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"Ludonarrative dissonance, a term first coined by the game designer Clint Hocking, arises whenever a video game's fiction says one thing and its gameplay says an opposite thing. Some designers and critics regard ludonarrative dissonance as a core problem in modern game design. Max Payne 3, quite possibly the most ludonarratively dissonant video game ever made, amounts to 12 and a half hours of game fiction and game action throwing empty champagne bottles at each other."Sounds quite pleasant!
"Most tourists don't say anything critical out of reverence, but the French have chosen to mar their version of Omaha Beach with a really awful metal sculpture that permanently scars the shore and ruins the subtle relationship between the original landing monument and the land. [...] It's just there, stuck in the sand, like another German beach obstacle that exists solely to be in the way. Well, it's supposed to evoke flames to symbolize youth or something, but its odd height leaves it just barely over human scale yet much shorter than a monumental scale — so it's a monument that requires a nearby plaque, poorly typeset, to explain itself and give it the monumentality that it still doesn't have and will never have.Speaking of grandeur of and interactions with spaces, much has been made of survivalist ARMA II mod DayZ. Our favorite Sneaky Bastards pinned down the game's charm thusly:
Clearly the "real world" has failed Omaha Beach. It's up to video games to give it space."
"Despite its player-driven stealth gameplay, DayZ is not an emergent game. Emergence is something defined by the interaction of systems, whereas the ones that govern DayZ are as basic as can be. It goes beyond emergence, appealing to and being a reflection of raw human behaviour."Quintin Smith, in a piece for Eurogamer which echoes his memorable Rock, Paper, Shotgun series on Russian cult hit Pathologic, also attests to the game's allure through the utter brutality of its play. If you're hungry for more like I am but can't brave the currently overcrowded servers, James Dalzell provides another engrossing tale of his play experience, and blogger J Wilbur has set up Day Z Diary to serially deliver the chronicle of his game in novel form.
"The very large differences in the ways players of Mass Effect have viewed the way choice works in the trilogy deserve attention from a practomimetic perspective first because they represent critical perspectives worth refining. Second, and more importantly, however, those differences demand attention because of their affective nature, in light of what I would call the fundamental relationship in practomime between form and affect."On the subject of Journey, Nathan Hardisty suggests that "What Journey does is introduce a computer into the most purest of human experiences. The incredible irony is that the word 'connection' now has two connotations. I think Journey is about this connection, about engineering the relationship." Writing for Edge, Brendan Keogh defines Journey and other recent independent releases as "walking games" where "a new generation of developers is asking what a videogame can be when such definitions aren't just ignored, but consciously resisted."
"In 1959, 26 Westerns aired each week during prime-time. In March of that year, eight of the top ten shows were Westerns. […] So what happens when 1959 ends? Again, history could prove prophetic. The second wave of Western filmmakers (Sergio Leone, Sam Peckinpah, Clint Eastwood) turned our deep familiarity with the genre in on itself, addressing existential questions and examining the nature of violence. These films were radical departures from the Hollywood formula, not because they rejected the familiar settings or the guns or the hero/villain dichotomy, but because they made these the very subjects of their scrutiny."(The following section bears trigger warnings for discussion of rape, misogyny, violence toward women, and the inclusion of ableist and sexist language.)
"The fuss is minimal when award-winning Pakistani student filmmakers are denied visas for depicting the bloody truths of "drone warfare". But get in Tentacle Bento's way, and you have one of the figureheads of "gamer culture" taking up the sword because of that one time he read that falsely attributed Voltaire quote and got it in his brain that all ideas are of equal value."In further response to the topic and especially pieces like Thomsen's, Blake of The Border House calls direct attention to the consumption of sexist culture:
"I want people to stop giving money to companies that make first-person participatory hate speech. If they do so anyway, I am going to judge them for that individually. It baffles me that we might want government regulation, because I don't think it's unreasonable to expect people to not do things like this in public without having anyone tell them they have to. It's basic empathy here.Writing for Nightmare Mode, Skyler Moss echoes the sentiment of developer and consumer responsibility in his critique of transphobia in major Atlus games:
There may always be some population that would like to play this sort of game, but it's not that hard to make it not worth the huge budget that went into this game. As an industry, we don't have to spend millions to cater to assholes. Chances are, all it would take to get people to stop doing stuff like this is to stop giving them positive feedback for doing stuff like this! I am disappointed that it makes economic sense for this game to be advertised with this video. Apparently, holding out a giant poster saying "Our Game Hypersexualizes Women And Then Lets The Player Brutally Kill Them, Which He (because he is the same straight white male protagonist as almost always) Will Enjoy Because He Is Scared Of Agency Among People He Might Like To Have Sex With" is a winning strategy. The least I can do is point out that I don't think we should be validating that world view."
"Both gamers and developers are responsible for the rather backwards nature of games today. Developers have an obligation to help progress move forward by releasing games that are better in this respect. Fans need to be held accountable for their purchases. Between the used games market and game rental services, there's very little excuse for knowingly supporting games that hold the medium back."Finally on the subject, while in no way denying "the stupid shit" endemic of mainstream games, Gus Mastrapa suggests they should be kept around, if for just one reason:
"As repugnant and harmful as you find this stuff, try to look at Lollipop Chainsaw and Hitman as you would a blind, poisonous and altogether hideous cave frog who can only breathe the toxic fumes of a dank, sunless cave. As gross and useless as that species may seem, it probably serves some small purpose in the grand scheme. Don't hide your revulsion, go ahead and upchuck your salad. But don't crush those vile creatures under your boot. Wouldn't it be nice if those slimy little amphibians could live in their dark havens and go about their poisonous business without biting and infecting all the nice people up on the surface?"(End of trigger warning section.)