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July 2020

…terms with personal identity against social expectations. (Autocaptions)

Episode 1: “9:05” by Adam Cadre (2000) – Victor Gijsbers IF Analyses (13:49)

Victor Gjisbers describes how 9:05 uses IF genre conventions to mess with the player and expose the inherent fiction-gap between player and player-character. (Autocaptions)

Geography Lessons

Grouped here is one video contemplating the horrendous environmental and political impacts of videogame production on developing countries, alongside two contemplating the depictions of specific places (both sites of extractive and colonial violence) in videogames.

The PlayStation War – HeavyEyed (16:22)
Mitch Cramer shines a

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November 29th

…could make for a refreshing pallete-cleanser after all the reading I’ve found for you this week?

This Week in Videogame Blogging is a roundup highlighting the most important critical writing on games from the past seven days.

Changing (Dis)Course

We open this week with three articles challenging dominant critical narratives in games and their attendent discourse. How can we talk more meaningfully about games without going in circles? What else is out there to play and cover? How can we more thoughtfully engage with the stuff that already has all of the mindshare?

La importancia

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December 17th

…2023 draws to a close, there’s really no way to dodge the assessment that no matter how good a year it’s been for games releases, it’s been a pretty terrible year for games labour, whether it’s game dev or games press. That’s been the undercurrent of much of the industry-focused writing we’ve seen over the year, and that trend continues here.

¿Fue 2023 el PEOR año para los videojuegos? | GamerFocus Julián Ramírez digs into the hows and whys of what has made this year such a terrible one for the industry.
The Videogame Crash of 1983

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This Year in Videogame Blogging: 2023

…campy 1993 dystopian satire that simultaneously scared Nintendo off films for 30 years while prophesying its even*]}*tu*]}*al turn to corporate media convergence.

“The Super Mario Bros. Movie and its accompanying theme park are the very sort of enterprise Joffe, Jankel, and Morton’s Super Mario Bros. tried to warn us of. Easy, recognizable entertainment that services a larger entity. A barren concrete city where natural life is choked to death. Figureheads who we blindly trust to entertain us and do no harm, but represent the further encroach of cultural stagnation.”

Remakes/Remasters

There have been…

October 21st

…‘playing to win’ and ‘being playful’, what does the latter mean? Are those who play in alignment with the goals intended by developers playing any more ‘truly’ than others, or is their alignment of goals merely incidental?

Robert Yang finds the game’s tutorial lazy and disruptive. Meanwhile, Becky Chambers does a deep read on Dishonored‘s portrayal of women.

KELLAWAY’S FINANCIAL TIMES ARTICLE

Apart from recent game releases, this week’s major discussion trends seemed to revolve around this article by non-gamer Lucy Kellaway, writing on her (rather critical) impressions as part of the GameCity prize judging panel.

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January 8th

…important, but there’s more to the game’s design than that alone might suggest. As he says in a discussion of the game’s open world nature,

Why would the designers give us these options when all but one of them leads to disaster? Because if we make the decision, we own the consequences. When we talk about “open world” games, we think of words like “discovery” and “freedom,” and sometimes we conflate the terms: if we can discover the game on our own, then we must be free. But there’s no freedom in Dark Souls. The designers let us

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October 27th

…Sex? That second one comes close, but manages not to fall into any pitfalls.

Miscellaneous

Those? Oh sorry. I haven’t gotten around to reshelving them yet. Sure you can have a look.

L. Rhodes at Polygon says sequels are sometimes good for gamers. He also wrote about how copyright law pertains to Super Mario Brothers and video games in general for Medium.

Jason Johnson wrote an interesting look inside the “failed” utopian New Games Movement.

And Mitch Dyer wrote on the all too depressing and all too real question of ‘how long can video games…

This Year In Videogame Blogging: 2018

…Tacoma to see what they reflect about our late capitalist hellscape and what future they can offer us.

Where are the Radical Politics of Cyberpunk? | Waypoint- Cameron Kunzelman Cyberpunk is over 40 years old as a genre, but Cameron Kunzelman expresses that whatever original political meaning it may have had has been sanded down into just an aesthetic co-opted by the capitalistic system it is meant to be a critique of.

Metal Gear Solid 2 Is Not About The Internet | Outside Your Heaven – Matthew “Sajon” Weise Given the current political climate, Matthew Weise finds it…

May 23rd

…authors, each going long, situate their subjects in industry history, looking alternately at social play and violence in games.

The Ratings Game, Part 4: E3 and Beyond | The Digital Antiquarian Jimmy Maher looks into the history of studying (and litigating) violence in videogames, coming away at last with a conclusion that methodological problems continue to prevent a satisfying proof of causality between violent games and violent real-world actions.
1990: LambdaMOO | 50 Years of Text Games Aaron A. Reed chronicles the transition from MUDs to MOOs, from dungeons to worlds, along with the sociological and ethical

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August 1st

Welcome back, readers.

I don’t have any major site updates to share this week, but if you aren’t doing so already, give Uppercut a dang follow and maybe check out their Patreon. Reporting often falls slightly outside our scope at Critical Distance, but their coverage of Activision Blizzard’s abusive workplace culture has been essential, and they do it all on a shoestring budget. So yeah.

This Week in Videogame Blogging is a roundup highlighting the most important critical writing on games from the past seven days.

Industry Introspection

We open this week with a pair

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