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January 16th

…because it doesn’t have to. It simply lets you object to the whole of the system by killing its agents in the name of Allah and by the strength of Ogun. This is not something I get to do in most media, particularly not video games. Not only do these Black men have interiority as characters, but their interiority is defined primarily by faiths that are routinely disrespected by the white supremacy that existed then and that we live in today. For six hours I was able to invoke the name of Allah down the barrel of a gun aimed…

February 6th

…highlight reel, it might be difficult to really sort through what each of these games do differently. When you can play each of them, it is far easier to weigh their differences in your mind.”

Roll Speech Check

Next up, two pieces interrogate common practices of worldbuilding and choice design in popular games, looking at both the ideological implications developers think they’re designing for and the ones that actually emerge in practice

  • Balancing in the Middle | Problem Machine Problem Machine ruminantes on the counterproductive both-sides-ism that passes for moral complexity in games like Fallout:…

February 13th

…I need to be able to play the game with a controller, although many of the games on this list can also be played with a keyboard and mouse, and a few are available on mobile. Outside of controls, a good flare game lets me feel like I’m actively engaging in some way, whether by solving puzzles or completing quests, but at a low level of difficulty so I can comfortably play with brain fog.”

Genre Studies

With apologies to Art that genre is so often the critical thread I pull out of their writing, when naturally

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Rachael Webster / PixelVixen707, Part 2

…jadedness, judgement, or excited claim to a new sighting of ludonarrative dissonance; just a deadpan statement that succinctly illustrates the game’s ridiculous marriage of narrative and mechanics.

We’re going to see more writers like Rachael in the next few years. I don’t mean invented personas, but rather writers with a style that can only come honestly and comfortably from someone who grew up in a world where games have the kind of cultural relevance and ubiquity that makes constant justification unnecessary. I have a 12 year old cousin who is more hyped than I am for Beatles: Rock Band…

October 30th

…aforementioned Pinchbeck, who’s currently working on a reboot of his 2008 Source mod Dear Esther; Pinchbeck especially has some interesting ideas on whether “lazy” narrative really needs to be “saved”. The discussion later shifts focus to the design of a Portal 2 map, a collaborative project between Yang and Pinchbeck. This is the first of a seven-parter – Stick to the end of this series, and you’ll get to download and play the map that they’re putting together!

Blogging at The Machination, Jack McNamee suggests that the stories of 1001 Nights may have been an early example of gamification:

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October 21st

Our own Alan Williamson is himself highly critical of Kellaway’s article but argues that we shouldn’t dismiss outsider criticism, noting that “video games are often unashamedly elitist and obtuse.”

Jim Rossignol of Rock, Paper, Shotgun counters: “Actually, no, I don’t think we really need to worry about what non-gamers think of games. And that is because, in this instance, we are the highly educated elite.”

Mattie Brice opines that we can’t demand cultural legitimacy and then dismiss outside criticism:

The gaming community, or let’s say the ones with voices- popular developers, media, and maybe celebrities

July 2015

…life has no value.

This month, Cameron Kunzelman looks at two film-to-game adaptations (The Two Towers and Minority Report) to consider the practice of remediation. In one type of adaptation, the game focuses on adapting the content of the film into the game. In the other type, the game adapts the movie’s concept, but takes very little of its content. Kunzelman proceeds to discuss how each type of adaptation remediates the film experience differently.

Game Designers in Conversation with Games

This month, Kimberly Wallace of Game Informer sat down to play Gone Home…

Episode 45 – Documentary Delight

http://www.critical-distance.com/podcast/Critical-Distance-Confab-episode-45.mp3 Direct Download With this interview, we move away from YouTube and delve into independent film, to talk with Philip Jones, the director of the 2015 documentary Gaming in Color.

The documentary started with an intent to focus on the then-new Gaymer X convention. But as the original crew fell away due to lack of funding, Philip Jones and others picked up where they left off and expanded the scope of the film. With a focus on the intersection of the queer and gaming communities, the documentary seeks to answer the question of many outside observers, why is something

June 19th

…the same, it actually makes a difference if you take 5 minutes or 50 minutes between them, 3 steps or 30, 7 words or 700. Or just choosing the right pronouns; it’s not a ‘game’ decision at all, usually, but it is definitely meaningful.”

Queer Spatialities

Two themes, or perhaps one compound one, guide our next collection: the interactions between queerness and material spaces in game worlds.

  • In Hades, Queer Love Blooms – NiCHE Juniper Lewis studies how queer love suffuses not just the narrative of Hades, but the transformation of its game world.

Emilie Reed | Keywords in Play Podcast, Episode 2

…the class where they’re comfortable those things. Like they just can’t like appreciate things that aren’t, you know, engaging. These art practices are seen as, by Claire Bishop as kind of ameliotory to, you know, things that would have helped with issues of poverty and social life and mental health that are kind of cut back on. She sees it, she sees it as, you know, potentially, obviously, it’s interesting to her because she wrote a whole book about it, but she also sees it as like potentially, you know, condescending and potentially a bit directing, you know, how art…