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July 23rd

…Mitchell highlights the biological imagery used in the space design of Pathologic.

  • Legacy of Kain: Soul Reaver – the genesis of today’s open world tech? • Eurogamer.net John Linneman analyses how a 1990s game’s level design was constructed to allow for some clever memory-saving tricks.
  • The Open World of ‘Yonder’ Is Supremely Pretty, But So Shallow – Waypoint Janine Hawkins criticizes the limitations of make-work games that don’t facilitate flow or allow for enough autonomy.
  • The pleasures of a good video game horizon • Eurogamer.net Christian Donlan pays attention to the backgrounds of games he remembers fondly,…

    • September 10th

    …the trauma of loss | Kotaku Heather Alexandra’s take on the much-discussed Hellblade shifts focus away from the objectification of paranoid delusions, toward the fundamental psychological injury that caused them – loss.

    “Boiling down mental illness to a Campbellian Hero’s Journey fails to provide the nuance required to say anything conclusive. Is the rot on Senua’s arm a representation of her growing self-doubt? Is it a bruise left by her abusive father? It is a literal mark of shame from the gods? It ends up being all of these things, because Hellblade shies away from anything too…

    October 1st

    Sometimes I get nostalgic for the era of “personal writing on games”, “confessional critical essays”, or “gonzo games journalism”. A few years ago, it seemed like the best way to start writing critically about games was to tell personal stories about how they had affected you. While it’s not disappeared entirely, that style of writing has waned in popularity lately. I can think of a lot of good reasons why that happened – for one thing, the environment got much more hostile for the minoritized writers who were doing the most interesting things with this form – but I

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    October 15th

    …boxes certainly aren’t there for fun. They have always been designed for the purpose of making sure that a company turns a profit.”

    Disrupt intent

    While some of the discussion about loot boxes evokes treasured notions of player agency, critical writing on other games continues to trouble the assumption that players should always feel in control – or, examines what that dream of control means in the context of people’s personal ethics.

    • How Mortal Danger Permeated Every Inch of ‘STALKER’ – Waypoint Cameron Kunzelman explores a survival horror game’s oppressive sense of not having control…

    November 12th

    …“squad mechanics” of the original Call of Duty were far more impactful than the latest iteration.

    “WWII’s squad mechanics end up feeling insufficient when compared to the original game’s unpredictable violence. I might appreciate the spare health pack from time to time, but I never built affection for my squad.”

    Necropastoral

    Three critics this week considered the kinds of future scenarios that have been portrayed in games, with a particular eye toward what sort of stories have been relatively rare.

    • Where are all the climate change games? | Transformations Journal How are…

    November 19th

    …literary origins of some of its representation problems.

    “Lead designer and co-founder Carlos Gómez Quintana has said his interest in the Mexica derives from an early encounter with Gary Jennings’ Aztec, a flawed text rife with noble savagery. This is really what binds everything in Dragons Conquer America together.”

    Plugs

    • Episode 51 – Red Angel – Critical Distance Eric Swain brought us a new podcast episode.
    • Do Games Have A Visual Language Problem? – Waypoint The latest Critical Distance digest for Waypoint focuses on visual literacy.

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    Critical Distance

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    December 3rd

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    Our existence is not a mistake

    In writing on emotional well-being and games, two pieces look at portrayals of pain and survival in a hostile world.

    • Everything is Going to Be OK is about the circus performance of being all right | PC Gamer Jay Allen argues that Nathalie Lawhead’s interactive zine puts players right at the heart of the contradictory actions we take when it comes to other people’s pain and their art.
    • B | Life is Strange replay journal: 1/? For Brenna Hillier, the fate of the queer girls at the center

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    December 10th

    …Allegra Frank highlights the portrayal of motherhood of this much-discussed game – an aspect that has been underappreciated, as most critical writing has focused on the politics of the story’s setting and the protagonist’s identity.

  • I’m Glad Wolfenstein 2 Didn’t Let Me Fight Hitler – New Normative Nic Reuben turns Godwin’s Law on its head a bit here, looking at the power of the image of Hitler and the ethically-fraught nature of satire, with reference to Malcolm Gladwell and Umberto Eco.

    • “[T]he audience often require[s] a pre-existing political alignment with the satirist to recognize the commentary…

    January 7th

    …Photo Modes – Waypoint Dia Lacina theorises player agency and power in the practice of video game photography.

  • Kinect was amazing – in a museum • Eurogamer.net Christian Donlan observes that some technologies are better suited to installation art than home consumer electronics – but it’s impossible for corporations to keep a product alive if it doesn’t have a mass audience.

    • “Video games have historically been rather solitary things, and when you stick them in a museum they just sort of sit there and get a bit sad. Kinect, though, is all about being seen.”

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    February 11th

    …which to imagine alternative cities and political structures.”

    Limitations

    Finally, two critics look at visual expression in games, with an eye towards things that feel familiar, whether that familiarity is comforting or creepy.

    • (9) Hygge in Video Games – YouTube (Video: auto-captions) Satchell Drakes highlights some visual design techniques that create a sense of simplicity and coziness in some of his favorite games.
    • FAITH – calei2copi0x Celia Sanchez argues that horror is best found in the unseen, and nostalgia is best used in service to consistent narrative and aesthetic goals.

    “FAITH‘s…