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November 18th

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Two authors this week each offer insightful, relational meditations on games writing, considering the other spheres that writing intersects with, and occasionally rubs up against.

  • Radiator Blog: The medium is not the magazine; the medium is not the criticism Robert Yang proposes that game criticism’s visibility problem could be one of insularity. A really thoughtful piece, and I’m really grateful to see such positive work coming out of the latest “where’s the crit?” moment.
  • We Need to Change the Relationship Between Developers and Press | Unwinnable Malindy Hetfeld unpacks the uncomfortable power and control game developers

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November 25th

…a detailed breakdown and critique of Artifact’s broken business model.

“For as much as it experiments with gameplay, Artifact feels like three steps backwards – aggressive pricing on a game with just a single set on offer and barely any game modes feels like pure arrogance no matter how good the game itself is.”

Timed Exclusives

Each of these three articles offers, in its own way, a sobering reminder of how fleeting games can be, whether by design choices that fade from popularity, franchises that end abruptly, or titles that disappear from availability entirely.

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Far Cry 2

…time score.

Permadeath – by Ben Abraham

(Disclosure: Ben Abraham is the founder and a current board member of Critical Distance.)

Finally, it should come as no surprise that Abraham’s permadeath experiment is on this list. Not only was Ben part of the early critical discussion surrounding the game, but his record of his permadeath playthrough inspired many others to play the game the same way. In hindsight, the PDF of his experience is a complete oddity, and utterly unique in video game criticism; it’s 400 pages of screenshots and descriptions of Abraham’s playthrough, culminating in his…

God of War (2018)

…outstanding feature of the game, and the most insidiously successful one. Many people have argued for and against God of War’s claim on maturity, but this is usually a question of tone and expression – How does Kratos express his desire to kill? How does he pursue his goals? How does the game judge him for his decisions – and very rarely of content. For indeed, does it really matter that God of War speaks in a more adult tone if it doesn’t actually say anything? As Tyler concludes,

That God of War sells itself as a violent

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January 20th

…at the ways Red Steel 2 effectively synthesizes elements from both the Wild West and Feudal Japan when so many things could plausibly go wrong.

“The question may then arise as to precisely why the world of Red Steel 2 works. The answer essentially lies in the method of the game’s combination of tropes. Rather than mixing the Wild West and feudal Japan into every single one of its characters, locales or plot elements (which would obviously be a recipe for disaster), the game allows both sets of tropes to stand on their own, but alongside each…

February 10th

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“While the black cosplay community is strong and thriving, even something like interpreting a character’s hair slightly differently than other fans can lead to racist abuse.”

Just for Fun

Apparently it’s Let’s-Screw-Around-With-Magic-Cards Week and I’m here for all of it.

  • Listen To Banjo Read Magic: The Gathering Cards | Kotaku I have only a peripheral grasp of the question “What is a Magic” but I was instinctively drawn to this Important Content.
  • Google Translate Makes Magic: The Gathering Cards Somehow Sound Sillier | Kotaku SPACE AND DANGER MAN

“Although I

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March 17th

…Gamasutra: Benjain Glover’s Blog – Thirteen tips for your next localization Benjain Glover breaks down the goal of game localization into a series of accessibly-written actionables.

“The point I’m trying to make, if the above wasn’t clear, is that the language additions were and are absolutely worth it. Not only did the localizations end up covering their own costs and been a net positive, but they’ve also demonstrably increased our game’s audience and found players in countries we never originally expected to find them.”

Beat the Boss

The discussion of labour in games continues

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April 21st

…much the foursquare mayor of Sims coverage on the web at this point. This week, I’m not sure whether to laugh or just feel really depressed–probably both?

“The only unrealistic aspect of The Sims 4‘s new freelance careers is that Sims get paid on time.”

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Abstract image evoking bird silhouette

June 30th

…have often been wrapped in mystique, tragedy, and melodrama. As we near the end of Pride month, I find myself fondly remembering Undertale, Night in the Woods, and Butterfly Soup for each having a scene in which queer women actualize their feelings, or reminisce on a time they attempted to do so, and fail spectacularly or embarrass themselves.”

Content Roadmaps

The idea of purchasing a game as a singular event is increasingly a quaint and remote myth. Contemporary games are less discrete products and more amorphous webs of monetization, both via official press channels and their influencer…

July 14th

…tidily in a quintessentially 90’s fad gadget. Fadget? Fadget.

“Skim past nearly 30 years, and here I am – 34 years old and with a Barcode Battler in my possession. And boy, was I excited when it showed up. And guess what? It’s utterly rubbish.”

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Critical Distance is community-supported. Our readers support us from as little as one dollar a month. Would you consider joining them?

Learn more

Contribute

Have you read, seen, heard or otherwise experienced something new that made you think about games differently? Send it in!

Contact us…