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Assassin’s Creed III

…Connor is a constantly-spotted rube, a guy standing on a rooftop being yelled at by a guard.

Aside from poor implementation of stealth mechanics, AC3 also suffered from a unique kind of ludo-narrative incoherence (to borrow Lana Polansky’s terminology), because of the protagonist’s social status in the simulated game world. As Adrienne Shaw asked, what does stealth gameplay even mean in a world in which the main protagonist’s racialized identity makes him instantly visible to colonial onlookers?

In these moments, where Ratohnhaké:ton/Connor’s position in the colonial world is made unexceptional despite the fact that the game…

Far Cry 2

…Number 9 spot counters. A lot of time passed between Armitage’s piece in 2008 and Keever’s in 2017, and many of Keever’s criticisms are interesting and fair – but Keever also makes those criticisms after having played Spec Ops: The Line, and Kane and Lynch 2; games that did not exist when Armitage was writing. Similarly, Keever’s understanding of Ludonarrative Dissonance is much more sophisticated than Armitage’s (or mine) was in 2008, and stands on the shoulders of excellent analysis such as that of Lana Polansky from 2015. If only we knew in 2005 what we know today, Far Cry…

September 6th

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  • We Need to Talk About Games Journalism – Grace In The Machine Grace decries an economy of suffering in popular games journalism, leveraging and ultimately disposing of the trauma of survivors rather than making any movement towards substantiative change.
  • How Games, Tech, and the Army Use Progressive Language as a Smoke Screen | VICE Lana Polansky offers a brief history on the appropriative tactics big companies–intersecting with games, tech, and beyond–use to deflect substantiative criticism of their actual practices.

“It’s best to understand this trend not as an isolated phenomenon within games and tech

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March 17th

…fervor of Super Earth’s citizens is as chilling as it is amusingly absurd.”

Tempest 2024

Next let’s look at new and different approaches to storytelling.

  • The secret story behind Planet of Lana’s robots is told through music | Gameshub Meghann O’Neill nerds out with composer Takeshi Furukawa about music theory and the ins-and outs of sonic storytelling in games.
  • ‘Grand Theft Hamlet’ review: ‘Grand Theft Auto’ meets Shakespeare in this video game documentary | Mashable Siddhant Adlakha takes stock of an unlikely medium-crossing work of pandemic metafiction.

“If anything, the medium…