Friday, December 25, 2015

Gamer, I am

Every now and then, I ask myself the question what exactly makes me a gamer, and if I even am one. If I should consider myself one. If I should continue being one. Why it's important for me to refer to myself as a gamer, or perhaps not refer to myself as one, but to still feel like I am one in the sense of having stakes in the gaming community and the gamer identity. I mean I cried when the trailer for Shenmue 3 came out, even though I don't care much the continuaton of Shenmue 2. But, you know, what a day for gamers it was1! Because being a gamer makes me value games more than other forms of media. Being a gamer directs my attention toward games more than other forms of entertainment, and it makes me consider whether something should be considered a (video) game at all less than someone else who doesn't give two shits if a walking simulator should be considered a game at all, or someone who doesn't even consider considering it being a game because obviously it isn't and so it shouldn't be a part of any gaming spaces. And when it comes to the definition of what a game is I have all these thoughts about formalism, deconstruction, Wittgenstein, accessibility to space, privilege, identity, distribution forms and whatnot, but part of the truth is that I just live much of my life through the lens of my being a gamer and my playing video games. I want Dear Esther to be considered a video game because if it wasn't, it wouldn't be on my "Favorite Video Games of 2012"-list and it wouldn't appear on any other list either because I don't make lists as comprehensive as those of other things – I'm a gamer and quite frankly that takes a lot of effort and time. I prioritize being a gamer.
That's another important aspect of my considering myself a gamer – effort. I try to keep up with the world of video games in a way I don't with foreign or internal affairs, comics, movies, etc. I even try to keep up with "the industry", and not just as a consumer, but as, you got it – a gamer. I do usually skim over most of the industry/big business side of video games though, in favor of exploring more hidden indie gems and the analysis of these. Often I even don't get into something new in favor of reading yet another article about one of my favorite video games series, just for purposes of my own personal history and nostalgia, seeing as I'm too busy playing new games to go back and play those time-consuming behemoths of my childhood. That too makes me a gamer (and a nerd of certain franchises). But I put in effort and determination even into that aspect of my gaming by using my expanded view of my favorite series and bringing it into other aspects of my life where I explore ideas of all kinds – philosophically, psychologically, spiritually. I am a gamer because I put more value into games and the exploration of them than I would say a movie or a play, whether that be by playing or reading and writing. This is not due to some explicit judgment of mine, it's simply a consequence of my being – my being a gamer.


A consequence of my valuing games a lot is that I become more patient with them, because I am willing to cut them some slack for failures in one area or another if there is a silver lining of any sort, anything of interest which it attempts or if it's part of some sort of video game canon which I deem myself invested in and therefore should explore. This means I might be patient with a game even if it doesn't appear to have any silver lining if I've heard something good about a game from a peer of gamers with similar ideas to mine concerning gaming, or just a similar enough taste. But due to my valuing games more, sometimes I can also be more impatient than someone else would be – I don't want to put up with bullshit when I know that there is so much more potential and so much more out there. I give games more, and in turn I expect more. I construct my own meaning in the game on top of the meaning presented as face-value, and I am a gamer because this type of relationship makes me more of a player and less of a spectator than I would be if I would be just along for the ride and play the part of the missing cog that is the machinery of start-continue-you win/the end. Among other things, this over-the-top meaning construction entails a mindset of interpreting things charitably, and expecting games to be well enough thought-out so that I can be expected to draw conclusions from a wide array of its elements and not only those that are usually considered when reviewing a game.

I am an old gamer, but not because I believe things used to be better (they are in fact getting better still), but because I am frustrated with games and gamers. I am tired of gaming in many ways, and my tastes have changed to accommodate my tiredness. I am most definitely not a power gamer anymore and often get frustrated when the gameplay mechanics bog down the flow of the “game proper”. I much rather prefer roleplaying and the sense of playing something well in the sense of having had a dialogue with the game that resulted in my feeling that what I did was meaningful and satisfying as a narrative. I am an old gamer because I give up two hours after booting up Batman: Arkham City, tired of feeling inadequate and confused about the controls and everything it throws at me. I am an old gamer when I realize that the first Metal Gear Solid had the most fun stealth elements for me because it had gameplay resembling 2D/top-down games of an era that is mostly gone. I am both an old gamer and an Old Snake when I hang in and continue playing the Metal Gear Solid franchise until the very end even when large chunks of the gameplay elements don't cater to my needs and preferences anymore.

I am a tired gamer because I always check howlongtobeat.com before venturing into a game world, and often check out a let's play to see how much of the content is mindless filler or mindful puzzling – either of which I don't care for very much. I am the type of gamer that couldn't be bothered less by yet another fetch quest or yet another door which can't be opened until you find two keys, mold them into one, and then insert them into said door. I value thematic consistency and depth, a developed tone, juxtaposed motifs, hard-hitting symbolism and artistic imagination and integrity over saving the world or turning levers. I am pretentious that way, but not because I try but because otherwise I wouldn't be able to be a gamer anymore, and I would have to move on to something else – something way more pretentious. But even if the content is interesting in one way or another, I do feel the urge to move on quite quickly. Sure, I take notes and I'm patient in other ways, but I
hurry on to the next project due to my desire to experience as much as possible. Sometimes I think I take notes due to my impatience, simply because I feel I need more stimuli and writing starts up some thinking processes which would otherwise be hijacked by a more visceral aspect of the game I'm playing. Then again, I am an old gamer, and I often take notes just to keep track of the names of the dramatis personae...
 
I love not-games, art games, avant garde games, experimental games, newsgames, biographical games, personal games, lived games, virtual exhibition games, walking simulators, transmedia, games which exlore algorithms/systems for the design and implementation of dynamic story techniques which can lead to games that are emergent yet still about people
and characters. I read books about some of these type of games, and countless articles and forum posts. I engage much less with these communities other than through voting systems and playing games than I often wish to, simply because there are too many of these communities and too little time. I have a hard time settling on one over the other – I am after all a gamer, and I want it all. But sure, I've taken a more active role on some smaller forums, the smallest of which was some subdivision of a Bioware forum where people discussed Baldur's Gate exclusively. But that was way back, when I was a younger gamer...

I love niche communities with worlds of their own which I can explore; Inform 7 Interactive Fictions, Adenture Games Studios point-and-clicks, queer Twines, RPG Maker horror adventures, japanese indie shmups, and so on. I check up on some of these from time to time, and move on from others. And move on I need to indeed, sometimes even from things which would seem to be very important and thus in need of my attention. But move on I do indeed, because sometimes I'm just really tired of gamers and their gamergates, sexism, boneheadedness and immaturity and rather play games than read yet another article discussing the dark sides of gaming. I do not feel pride about being a gamer those days, in fact, I barely consider myself a gamer at all. And yet, I am a gamer be
cause I care where the industry is going. I care because I want there to be games which I enjoy and dream about AAA titles which cater to my preferences. I am gamer because I care about what games others get to play, and I wish that others might see what I see, play what I play, and not what the general media wants them to believe and play. I want non-gamers to be able to play games and not being accused of ruining it for “real gamers”. I even want to be a curator of some sorts for gamers and non-gamers alike, because I care about my tastes and believe them to be refined enough to recognize good games. I believe in my ability in doing a good job and being able to recommend these good games to others after having considered their tastes. I am both gamer and curator of sorts when I don't delete obscure little games from my hard drives because I'm thinking that there just might be a slight chance that the world will forget about these games completely if I remove them. What if somebody points at some game from one of my lists and tells me that it's nowhere to be found? What is nobody ever does? Ah, well then at least the game still exists and thus... is important somehow?

I write this text in the capacity of being a gamer, and I do so as part of something larger. I do it not because it makes me happy per se, but because I find value in it. The hedonistic treadmill is the great equalizer of things and one could always ask oneself if doing a thing would make one more happy. I don't think that is always the proper question to ask, and believe that there are things which would make oneself more true or authentic rather than happy, and that there is value in that too. It's a tightrope walk, balancing that which cannot be measured with that which can. And it's a hard line to draw between what is productive even though it doesn't lead to happiness, and what's just destructive and part of a negative pattern. Because let's be honest – oftentimes I do get the distinct feeling that my time would be better spent reading a book rather than playing whatever videogame I'm currently playing. So what am I doing playing the videogame? I'm a tired gamer, and for me gaming isn't relaxing – if I wanted to relax I'd just watch a television series. It comes back to value. But it also comes down to identity – is there a better argument for my being a gamer than that I rationalize my time spent on video games with my identity as a gamer?

But this isn't an argument and I'm not trying to convince you that I'm a gamer or what a gamer is. I hope that's perfectly clear by now. What I also hope is perfectly clear is that I don't
give up on video games (although I understand people who do). I do take games seriously, I do mind them, and I do believe that they affect us – gamers and non-gamers alike. My believing games to be a powerful force for individuals and in society means that I have to value them and their future. I have to care. And I have to believe in a better future.

So I do not play Fallout 4 as all gamers seem to be doing these days. I haven't played most of the usual big contestants for game of the year awards. I do not look forward to many AAA titles, and I spend more time thinking about games and deciding what games to actually finish, play at all, watch a playthrough of, listen to a podcast about or don't give a fuck about. Sometimes I even read articles about games I haven't played, when they provide interesting perspectives on video games/the industry as a whole, or even are just a lens through which something other than video games is explored. Because the danger of considering oneself a gamer is that one excludes things, and that in the end it may be too great a cost to bear. But the question of access is also why I consider myself a gamer, because the label “gamer” shouldn't be left to only a select few who are considered to have the credentials to be labeled such. It is not through playing certain (male) games that one becomes a gamer. It is not through gaining achievements or recognition within a community, or at least not exclusively. In reality, we are all gamers – reality is broken and the whole world is a game. All those who claim that they are gamers should be heard on their terms, and those who do not claim the title should at least be given encouragement to realize that they too might claim the label, make up a new one, take part of the/a community or spin off of an existing one. I am a gamer precisely because I realize that labels are a play of words and a play between human beings – gamers.
 
I am gamer because of all of the above, and more. How are you?



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1
Then of course the whole aftermath of the Shenmue 3 kickstarter became something to follow for gamers all over the world due to the ways in which some gamers felt letdown due to Shenmue 3 effectively alreadying having been "kickstarted" by a big game publisher – Sony.

Thursday, December 17, 2015

The True Indie Test

Which games should I pay for? Which developers should I support financially? I hardly buy every game I try out, or even every game I actually complete and/or enjoy. I'm not very rich and certainly feel I have other things to spend money on, and do not believe I shouldn't play games I'm not willing to pay for. But I do feel I should have some system for determining which games I definitely should buy, and I kinda have one. It's not without its own problems, but by necessity it kinda just works. Here goes: If a game seems interesting enough and isn't available at the largest torrent site in the world, then I will pay for it gladly. This makes it so that I give all potentially good games a fairer shake (I get to play more games), and it probably also means that I support indie developers who are really small and thus really need supporting. What about all the other cases though, like when a game is "pay what you want" or something else? In those instances I just go by a case to case basis.

My latest purchases made with the described True Indie Litmus Test were A Good Gardener (having played their game Little Party I just couldn't resist) and We Know The Devil (although I'm getting tired of visual novels I do still play them and this one seemed awesome enough). Let's finish up this videogaming year by playing these, shall we?

Wednesday, December 16, 2015

Undertale - (pacifict) RUN!

Undertale just got voted the BEST GAME EVER on gamefaqs, so I thought it would be a good time to post this little piece. Music. Curtains.




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In videogames we want to do battle if we can, and often we don't even need a justification for our doing battle. But there are exceptions. In some games, the choice that makes the most thematic/cathartic sense and has the strongest impression on us is the one that doesn't involve violence at all. One such game is Undertale, a japanese-styled RPG where we can choose "mercy" in every encounter (having first figured out how we can make our encountree less antagonstic, realize how they in fact never were to begin with, or just decide that the conflict isn't worth investing time into and thus choosing the "flee" option instead of the "spare" option, both of which are reached through the mercy button in our encounter interface). But there is the one battle where suddenly sparing nor fleeing isn't an option anymore, where in fact the whole interface we've grown accustomed to include the option of mercy is changed so that it no longer is. Our enemy simply takes hir trident and destroys the part of our interface where the mercy button is located. And one might think that it is so because the encountered creature is simply antagonistic, yet it's not that simple. It is through the lens of this one poignant and sublime moment that I want to explore some themes in Undertale.

One way to make things less simple, to complicate and add depth to the situation at hand is to ask ourselves how this move of our opponent to literally destroy the MERCY button at the start of the encounter might be construed as defensive (I mean from the view of the opponent, their every action is not an aggressive but a defensive one). My answer involves a pattern oft repeated in Undertale and is at the heart of why Undertale works so well, as well as what it's about. It's a pattern which involves subversion and the oscillation between simple, predictable, shallow, cute, funny or nostalgic, and difficult, unpredictable, deep, frightening, sad and mature. This oscillation is what the general tension and release structures in Undertale relies on, whether it comes to the setup and delivery of jokes, the setup of encounters and the dismantling of their raison d'ĂȘtre and the "enemies" therein, the setup of horrors that turn into humane creatures, the setup of childish characters and their establishment of them as multilayered and adult creatures, the setup of and breaking down of general rpg conventions – and the subversions of all of these and other setups. The game establishes this pattern right from the start, with the omnious-sounding title screen with the big text UNDERTALE and a little red heart situated in the R, followed by the cute tune in the title screen. From there it just goes downhill. And uphill. And then downhill again. You get the point.





Enter Asgore Dreemur, killer of mercy... buttons. We finally arrive at hir evil castle and get to see the fruits of hir evil... gardening hobby? Hir head hangs in shame, and zie asks us if we want tea and tells us it was nice knowing us – before hiding hir face behind a helmet, drawing hir weapon and getting down the "Final Boss look" to a tee. And the funny thing is that I do get scared. I'm thinking ok I can't flee from this battle now, this is some serious shit, it's the final showdown for sure! Hell, Asgore has perhaps been buttering me up just so I'll be weak for this fight all along! Beyond just the initial reaction of "shitshitshit we're gonna die, Asgore DID kill all those humans that came before us!", I realize that this is yet another oscillation – I've been duped into thinking that this person whose last name is an anagram of "Murderer" is a nice guy and thus I thought that zie in fact is a bad guy, but now it turns out that zie was nice all along, but, hm, perhaps both good and bad? Asgore is both a family man and a man who has the potential for murder. For a brief moment, I think hir a monster even after having been offered tea and condolensces, before I start thinking that is. Perhaps zie is one of those good guys that need to do evil for some reason, because zie has a dreem. Declare war on humans in order to return hope to hir kingdom of banished monsters and to get see hir dead child again, and so on. But then it hits me – in what sense might we construe hir actions as defensive? And the answer is that it isn't a question of whether zie is a "monster" or not, but in what ways zie might make hirself one in order for hir to do what zie feels need to be done, or perhaps what zie feels needs to be done against hir.


Having failed to hate us, the protagonist, the only way for Asgore to make sure that zie goes through with it is for hir to literally destroy our ability to show mercy, but not so that we can't run away from the encounter, but because zie is the one who needs hiding. Zie is hiding hirself behind a helmet so as to be able to face us while battling, and in doing so also making it easier for us to face hir. Wait, what? Well, Asgore is a torn fellow and isn't sure that zie can go through with killing us, so that's not actually why zie makes it so that we can't flee or spare hir. It's for making it impossible for us to back out as we've before during the game (in this rather good, time-traveling playthrough – it's complicated). In realizing this, my heart sinks. It's been yanked around so many times by now, I start to question whether Asgore even killed any of those humans whose souls zie has and needs to break the barrier between the human and monster/under-world. I mean Asgore didn't ask us to finish our business with the residents of Underworld before our final confrontation just because the RPG conventions dictate so, but because zie actually wanted us to be as strong as possible before we engage with hir. It even goes beyond death – every time we die, a voice reaches out and asks us to stay determined, and that voice is Asgore's! Even if it was during our battle with Asgore that we died does zie tell us to stay determined...

And just as we're on the verge of defeating hir, zie begs us to take hir soul and get out of the underworld. We regain our mercy button and choose mercy. We have a heart-to-heart where Asgore tells us that zie and hir wife will take care of us from here on out – and then zie is killed, by FLOWEY/CHARA. But the tale is not yet over and there just might be twists also to the fright that is the true antagonist of the game...


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In Undertale, beneath the shallow darkness of "oh look it's a scary monster" is the darkness of a banished kingdom without hope, scientists with questionable experiments and residents with tragic fates. But from these nightmares there is light. Switch – that light is used for dark means by those without the capacity for light. Switch – maybe they do have a capacity for light? Switch – of course they don't, what did you think? Switch – but there are people all around you who make up for that potential lack. Switch – but those people are kidnapped because of their ability to make up for lack! Switch – their love is greater than any cage! And so on. And it's not just subversion for subversions sake either.

Undertale thrives on both darkness and cuteness. Behind the cute there is darkness, and behind the darkness there is cuteness. But no matter how many reversals, it's humane all the way down, and deep deep down there is both light and dark. At the bottom is the frightening tale of humanity in monstrosity and monstrosity in humaniy, and that we just might be capable of both less and more than we think. About the lengths we might go to not to get hurt, or the ways in which we might make ourselves or others less human to hurt them. And in Asgore's case, how we even might make ourselves less human so that others can hurt us and stop our pain. Asgore forces us to fight hir and thus to take on the role of the King of the underworld and make real the promise of war, but zie also forces us to become Masters and confront our preconceptions about when mercy is possible. The interface is our being-in-the-world, and we don't have to take it at face value as it's part of our ideology and thus can become a blind spot through which our self-reflexivity is limited1. If our determination is strong enough, we can believe in a better world even when one doesn't seem rationality possible, when it seems childish and otherworldy and alien. The interface is what others allow us to believe, or what we think the Big Other allows us to believe. But we can allow ourselves not to believe what others say about us, or what others say about the Others, be they monsters, kings, or humans. We all have the same capacity to dream and imagine otherness. (Except for Flowey, perhaps. Nevermind Flowey, zie screws up my moment here!)


When we hold
the tension of not knowing whether we just might make it through all of the game without killing anyone or if Flowey was indeed right all along (that sometimes we simply just have to draw blood) in a state of superposition, we can hold on and believe in mercy until the very end of the ride. We've gone against our predispositions as videogamers before during our journey, fled from boss battles that we deemed impossible to resolve peacefully, encountered monsters that misunderstood our intentions due to their own preconceptions, and even weathered encounters where mercy didn't work before we put in the proper amount of necessary commitment. And although facing Asgore is the first time that our interface is changed around to make mercy impossible, this encounter is a repeat of much of what has happened earlier and the first encounter especially (in more than one ways), only more complex. It's a true test to see whether we've grown up or not. And even in this encounter the solution is what it has always been – compassion. Through harnessing our ability to withstand the lashing out of people in hurt or people afraid of us, we learn to approach them in a way that makes friendship and spaghetti possible.


Maturity is not just about darkness and being able to cope with things that would scare a child, but also how one might approach dark topics in a mature matter (while remaining cute! ^^). Undertale is childish in the sense that it's simple, and even if there is a lot of tragedy there, the solutions do seem easy and one-sided. Undertale is otherwordly in that the characters are much more than what they seem at first, but also in that they are far too understanding and forgiving than people of our human world, which is perhaps why it makes sense that they live in a world separate from the humans. It is quite fitting then that the true antagonist in the world of Undertale is someone from our world, and it's not the person who we thought we named at the beginning of our game (our protagonist, who actually has a name – Frisk), but someone who was already down in the underworld before us, tried to instigate a war, died, and now must be exorcised2. Finding the one who we understand ourselves to be according to RPG standards (the one we name at the beginning of the game) in Undertale is dangerous, and I'm not even sure that this radical evil is ever quite expunged3. It certainly lives on in our world when we shut off the game.


In many ways, the underworld is foreign to us, but it is consistent and through its own logic we do get to find our place of determination and mercy in it. I believe there is something to be gained from that childish dream as well. Furthering our imagination and learning to take the perspective of a world on its own terms doesn't hinder our ability to regain the realistic and grown-up holding of our world and its infected, long-lasting Israeli–Palestinian conflicts. I mean can you imagine Undertale against the backdrop of such a setting? The peace resulting from that encounter would lead to all of the world being inspired and determined to make peace with one-another! And that's not realistic, now is it? Undertale is quite naive in many ways if we try to understand it as a simulation of our world. Almost all of Undertale is the angry dragon with a toothache, or the furious wolf with a spike in the paw – both of which are really nice fellers when you realize where their antagonism comes from and remove the thing which hurts them. Both are staples in children's literature.

In the end, I think even grownups need their dose of cute dragons and wolves. We might need to see how easily Undyne forgives Alphys after having been lied to for such a long time. We are better off with seeing Undyne not only accepting Alphys' nerdy interest, but even encouraging them. Because these courtesies are not always extended to us in our human but not necessarily humane world. We just might need a world where mercy works as a clockwork and thus paradoxically becomes a childish power fantasty of sorts. And in my grownup world where magic must be searched for in all-new places, and treasured for its rarity, Undertale really hits the spot and has riches in abundance. In trying to reverse engineer the formula of Undertale, it would seem that one way to reach the sweet spot where magic can grow is through the mixture of an overload of cuteness that oscillates with an overload of heart-shattering misery. This sweet-and-sour spot is a tale of monsters and humans and of a lost child stumbling upon a frightening grownup world where even the adults have their inner children intact. I can relate to that. And all those utopian solutions of staying committed to non-violence and optimistic representations of forgiveness in relationships ? Hell I can live with those if they come in such a fluffy, dreamy package. I can even live for them.





1
An important example of how the interface in Undertale suggests ideology is how "fight" is the command which our actions are defaulted to every turn, thus making it much easier to commit atrocities if mindlessley playing the game. RPG conventions state that LV is short for Level, and EXP is short for Experience, but in Undertale it turns out it's Execution Points and Level of Violence. The numbers next to these don't seem as glamorous now, do they? In proper Undertale fashion, one might guess that HP doesn't stand for Hit Points but something else – hope, perhaps?
2http://correlatedcontents.com/?p=1974
3There is definitely at least one occasion in which this radical evil cannot be exorcised. After a no-mercy run, even when resetting the game there is residue in the form of a ghost that makes it out of the underworld and into the human world. And though this evil has the form of a human (a child actually) one could argue that it takes a village and that it was the work of men in the overworld that created this evil child. But yeah the game suggests otherwise – radical evil exists in the form of a child, and not as some form of terrible innocence either, but as calculated sadism.

Sunday, December 6, 2015

End Of/Game Of The Year!

Eleventy Reasons Listicles Are Great | Idea Channel | PBS Digital Studios

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This is the year that I've probably played the most board games ever, almost more than video games.  I've thus gotten my "mechanical gameplay" fixes in the analog world and my mechanical gameplay frustrations in the digital one. Although I guess Undertale came out this year and had the most fun gameplay I probably ever encountererd in a turn-based game, Her Story had a bunch of "text" but a really interesting mechanical hook to gather that text, and Pillars of Eternity managed to make me powergame for 30+ hours. Then again Wasteland 2 did that last year as well, and I kinda regret digging myself so deep into both games. But yeah there were and probably always will be some games that manage to combine narrative and thematic depth with classical videogame mechanics that really interest me, and the best contender this year was without a doubt Undertale. Transistor took the top spot last year for both GOTY and had awesome gameplay, but it is kinda hard to compare such a game with say Shovel Knight or Towerfall: Ascension. What makes both Transistor and Undertale interesting is their merging of gameplay and story. Her Story does it as well, but I wouldn't refer to its gamey elements as "classical videogame mechanics" - some would claim it's not a game at all.

Anyway, I won't be listing any board games here, just video(ish) games. The 2014 list has two new episodic games on it which I didn't play until this year - Kentucky Route Zero and Dreamfall Chapters. I finally played Mass Effect 3: Citadel (2013) which made is straight into my top 10 list. Other than that, it's just a bunch of games that have made it into my honorable mentions (and "want to play" category) I think.

The last five years have been very good for me and videogaming. 2011 there were only seven games
Even More Worthy of Mentioning, there have been 10-15 in the last five years, with 26 last year (2014), and there are still more games I wish I had played! This year there were only only eight. I barely had ten games that I thought were worthy of being up at the top ten! But I don't think that has to do anything with any trends or that I played less games this year. I've always missed more games from the latest year than those before and indeed don't have any intention of playing anything I haven't already played that is older than a couple of years, but still, 2015 just wasn't as good a year as 2014, which I didn't even realize was so good until now.

When it comes to this year in blogging, I just started blogging seriously again at the end of the year because I got an internship that wasn't as stressful as my earlier ones and freed up my creative powers. I also started listening to podcasts as a paper boy this summer which inspired me to listen to gaming podcasts and thus made game writing my creative outlet at the end of this year. My most read post in 2015 is one from the beginning of the year (50 reads) which isn't surprising because there is a very long tail for my blog posts. The most read pieces are still very very old, and I'm not really sure that the number is really representative of how many people actually did see the posts, but in either case there is the only post that has 1000+ readers, and there are two that have around 750, one a simple link collection and the other a more personal piece which I think would be better if edited a bit and also expanded to point out things in the vein of "then again perhaps bioshock makes the argument that objectivism can't really work because of the nature of humans" and to clear up my reasoning concerning the conclusions I draw. I think that in part it got so many readers because it was featured in a critical compilation post on bioshock over at criticaldistance or somewhere else.

What will 2016 bring then? Gamewise, there is just too much to list here. I have 150+ games bookmarked which I look forward to, and 50+ small indie game developers whose websites I follow because if they were to make a game, chances are I'd never hear about it otherwise. Developers like Aaron Oldenburg, Lucas J.W. Johnson, Aaron Reed and Michael Lutz. Other developers, such as Sam Barlow, Jake Elliot or Dan Pinchbeck/Jessica Curry I really have no need, considering that Her Story, Kentucky Route Zero and the remake of Dear Esther were such big hits. Some websites, like those belonging to projects A Second Face 2 and Loom: The Forge I've had bookmarked for a longer time than Jonathan Blows recent project...And you know, let's not forget the fact that most games I play I never had a clue about before finding out about and playing them. But there are some games that are coming out in January at least, which I look forward to. There is the biographical couple-made kickstarter game That Dragon, Cancer, Blows six years in the making The Witness, The augmented reality thingamabob The Icebound Concordance, Kentucky Route Zero lookalike Oxenfree, and artsy Oldenburgs first game in a long time, 1000 Heads Among The Trees. So it will be a busy January and it will be a busy year for sure.

As for this blog, who knows. I feel like I need to go out into the world once again and get some inspiration. Right now I've been spending a lot of time in front of the computer and I'm about to some more because I will primarily be looking for a job. Which means I need less screen time, not more. Perhaps some more people, board games, or playing video games with people, which I hope will become a thing. I just might drop out of gaming altogether because it takes up so much time to keep up with things, and I just might need that time if I want to seriously consider making a Twine game. Then again, not right now while I'm looking for work. But maybe in 2016. If nothing else, I have words for the things I wish to put words into, words such as interactive digital theater, combinatorial narrative, secret box, procedural fiction, explorable explanation, emergent story. Well, the things these words refer to are also things I wish to interact with, and I just might be satisfied with that as well in 2016.

2015 also brought some disappointments, but mainly in the form of Metal Gear Solid V which was painful to watch, and Grim Fandango Remastered which also was painful because it wasn't as substantial as my childhood memories made me think. Other than that, it's crazy how many games which I end up loving barely have my attention before release. Of the top ten this year, I only knew about Pillars of Eternity a  year before it was released, and I had heard about Life Is Strange and Tales of Borderlands before release. Most of the games were complete surprises then, and probably 2016 will bring many surprises as well, which is crazy considering how many games I know about from the get-go. As usual, there were far too few games which aimed at reflecting the political climate we live in right. But a positive thing is that gender representation in the top ten games is as follows: 3 games with male protagonists, 3 with gender neutral/self-chosen genders, and 7 with female protagonists. Some of these games even have several female protagonists! When it comes to the production side though only one game has mainly female creators as far as I know. But still.

Before the video game lists, here are some other stuffs.



§HYPE
Who Wins Game of the Year? - The Final Bosman



§ANTIHYPE
Between the date and the emphasis on “exclusive” trailers, it’s pretty clear the ceremony is still an advertising opportunity for publishers first and foremost.  Instead of waiting until early 2016 to recap 2015 games, the awards are held in early December – smack-dab in the middle of the holiday buying season.  The show acts less like an awards ceremony and more like a commercial or buyer’s guide reminding people which games are available and which ones to consider must-buys.
/.../
Most reputable game awards have some reason to exist, some core ethos that motivates the desire to hand out prizes.
/.../
Nothing like this can be said for The Game Awards.  It’s a continuation of an outright embarrassing award show that was always more concerned with generating ad revenue than curating a year’s worth of games.



§ROUND UPS/AWARDS
Critical Distance Podcast Roundup


Cane and Rinse - A Little Look Back On 2015

RockPaperShotguns Christmas Calender

Polygon's 2015 Games of the Year


Kill Screen: The Best Videogames of 2015

Polygons Top Video Game News 2015

the most emotionally resonant games of 2015 opted to confront us with truths instead of helping us avoid them—whether they were ugly or embarrassing or cheesy or pathetic.

Mattie Brices favs

Leigh Alexanders 2015 Farewell Tour

Critical Distances Year In Videogame Blogging

The 5 trends that defined the game industry in 2015

The Top 10 Best Things of 2015 - The Final Bosman

Game Maker's Toolkit - 5 Bits of Good Game Design from 2015

§

A few years after becoming absorbed in what evolved into a hobby, I happened across a desire to reach out to these people, who had only existed disembodied in my imagination.
/.../
I tell you this so that you know how I’m approaching and presenting the games listed below. All released in 2015, these were the ones that spoke most to me, that let me into their creator’s mindspace and maybe also opened my eyes to something. In short, these were the games of 2015 that brought me closer to other people.



§OTHER NOT GAMEY STUFF I INTERACTED WITH IN 2015

Favorite Movies

Birdman
Coherence
Don Juan
Ex Machina
Her
Hunger Games: Mockingjay Part 2
In Your Eyes
Robot And Frank
Song of the Sea
Tape
Winnie The Pooh (2011)

3 Before Sunset
2 Before Midnight
1 Before Sunrise

Favorite TV-series
Agent Carter
Fringe
Sense8

3 Rick and Morty
2 Supernatural
1 Ally McBeal

Music stuffs
Chvrches - The Bones of What You Believe
Burzum - Fallen
Drudkh - Blood In Our Wells
Katatonia (in general)
Life Is Strange Soundtrack
Marcato Brothers - Podcast & Albums
Muse - Various
Music From Various Zelda Games
Opeth - Ghost Reveries
Pink Floyd -  A Momentary Lapse Of Reason
Purity Ring - Shrines/Another Eternity
Saturnus - Veronika Decides To Die
The Beatles - Let It be... Naked
Timbuktu - Sagolandet
Vanessa Carlton - Heroes & Thieves
Walk Off The Earth - Sing It All Away


I've barely read any new books this year, mostly reread stuff. I've played a lot of boardgames, but meh, I'm getting powernapeytimey here so let's skip those for now. :P




§MY GAMES OF THE YEAR

(ignore the footnotes)
Missed Out On/Want To Play

PCDreamfall Chapters: The Longest Journey – Book 2-4
Dropsy1
NotDoba
Game Of Thrones Season 1 – Episode 2-5 (Telltale Games)
Ori and the Blind Forest
Super Sec Soccer

Console
Everyone's Gone To Rapture
Runbow
The Legend of Zelda: Majoras Mask 3D
Until Dawn
Yoshi's Wooly World
Honorable Mentions
80 Days
A Fistful of Gun2
Assault Android Cactus3
Beneath Floes4 (Kevin Snow)
Best Chess5 (Pippin Barr)
Cibele6 (Star Maid Games/Nina Freeman)
Conversations We Have In My Head7 (Squinky)
Cradle8 (Flying Cafe for Semianimals)
Dr. Langeskov, The Tiger, and The Terribly Cursed Emerald: A Whirlwind Heist
Dyscourse9
Else Heart.Break10 (Erik SvedÀng)
Epanalepsis11
Final Girls12 (spideyj/Kanane)
Grim Fandango Remastered13
Home Is Where One Starts14
Hotline Miami 2: Wrong Number15
Knee Deep: Act 1-216
Knossu (Jonathan Whiting)
Lovers In A Dangerous Spacetime17
Metal Gear Solid V: Phantom Pain
Metamorphabet18 (Vectorpark)
MINKOMORA19 (Kikopa Games)
Neurotic Neurons20 (Nicky Case)
Obéissance21 (Merritt Kopas)
Off-Peak22 (Cosmo D)
Ohmygod Are You Alright23 (Anna Anthropy)
Orchids To Dusk24 (Pol Clarissou)
Pathologic Classic HD25
Penarium26
Plug & Play27 (Etter Studios)
Radiator128
Rain, House, Eternity29 (Kitty Horrorshow)
Republique Remastered30Rocket League
Sanctuary31 (Connor Sherlock)
Shovel Knight: Plague of Shadows32
Soma33
Subway Adventure34/Bedrooms35 (Stephen Lavelle)
Summon The Apgrod36
Stasis37
Sunset38
Sylvio39
The Old City – Leviathan40
The Next Penelope41
The Static Speaks My Name42 (Jesse Barksdale)
Timruk43/Menagerie (Studio Oleomingus)
Titan Souls44
TowerFall: Dark World45
Even More Honorable Mentions (Even More Worthy of Mentioning)
After School46
ChargeShot47
Hollywood Visionary48 (Aaron A. Reed)
Life Is Short – Interactive Haiku49 (Florian Veltman)
Super Mario Maker
The Writer Will Do Something50 (Matthew S Burns)
Three Fourths Home: Extended Edition51
White Night52
10 The Music Machine53/Fingerbones54/A Wolf In Autumn55 (David Szymanski)

9 The Book of The Dead/Viral Dusty Dead Identity Quiz56/Tales of the Stop57/Death and His Deer/Morning Rituals58 (Silverstring Media/Lucas J.W. Johnson)

8 We Know The Devil59 (Aevee Bee, Mia Schwartz & Alec Lambert)

7 The Beginner's Guide60 (Davey Wreden/Everything Unlimited)
6 Little Party61 (turnfollow/Carter Lodwick/Ian Endsley)

5 Tales From The Borderlands Season 1 – Episode 2-5

4 Pillars of Eternity/Pillars of Eternity: White March62

3 Her Story63

2 Life Is Strange64

1 Undertale65


New Horrors
Beneath Floes
Pathologic Classic HD
Rain, House, Eternity
Sanctuary
Soma
Stasis
The Old City – Leviathan
The Book of The Dead/Viral Dusty Dead Identity Quiz
The Static Speaks My Name
White Night

3 We Know The Devil
2 The Music Machine/Fingerbones/A Wolf In Autumn 
1 Undertale (No Mercy-Run)

New Interactive Fiction
80 Days
Beneath Floes
Conversations We Have In My Head
Final Girls

Hollywood Visionary
Morning Rituals
Three Fourths Home: Extended Edition

3
The Writer Will Do Something
2 The Book of The Dead/Viral Dusty Dead Identity Quiz
1 We Know The Devil

New Multiplayer Madness

Lovers In A Dangerous Spacetime

3 TowerFall: Dark World

2 Penarium
1 ChargeShot

New Funny Games

Dropsy

3
The Writer Will Do Something
2 Tales From The Borderlands
1 Undertale

Thursday, December 3, 2015

Critical Links 3/12

§§§MGSV
He is, just like all the other Snakes in all the other Metal Gears, just a bloke with a mullet who crawls around on the floor a lot. There’s no shame in that: the amorphous, interchangeable character of Snake is one of the more compelling blokes in all of contemporary video games. But that isn’t enough for MGS V. It wants us to see him not only as the greatest warrior of the 20th century, but also as the greatest man to have ever lived. General. Tactician. Visionary. Father. Philosopher. But he’s none of these things. He’s simply really good at solo sneaking missions, just like his cloned son before him.
/.../
AND AND AND it’s not even Big Boss at all, which makes the whole thing, which hardly made sense to begin with, stray even further away from possibly ever making any sense. The destructiveness of the game's violently unnecessary twist cannot be overstated.
[It defintely takes a special sort of madness to keep writing the Metal Gear Saga, and it takes a different (?) sort of madness to continue to invest so much of oneself into the world of Metal Gear when it just barely makes sense anymore. It's very hard to let go of the series because it can't let go of itself, and what's even worse, the very fact that it can't let go of itself and explores similar themes and concepts in every game but adds new layers and world building to it every time is precisely why I love the series to begin with! But after MGS4 I just felt that it kind of hurt more than it felt good, and although that game was far from my favorite in the series, I could live with it being the last game. Peace Walker came and well it was good, but I kinda lost interest although I tried to hang on anyway. And then this fifth game -- I don't even know. I'm still waiting for someone to write something so that I can appreciate the game for its hidden genius, but all I can find is disappointment. On some level I do get the twist that we are big boss and always have been, and it ties into the existential themes of past Kojima games where we were told to find ourselves, our own paths, effectively becoming just men with guns (and thus not soldiers), but I don't think all of the bollocks that is MGS5 makes up for that. Yes it's a neat Kojima ending that it's not really an ending, and that we all waited for Kojima to make sense of Big Boss and it all for us, and that instead zie just trolls us and tells us that this is the end for hir involvement in the saga and that it is now up to us to make the legend come alive, up to us to decide what it was all about. Up to us to create our own meaning instead of trying to piece it all together and find meaning in some sort of passed-on canon without contradictions. MGS was never about that, just as it was precicely about neurotic attachment to building upon existing canon. Everything MGS is just that sort of paradox.

But still. You know?]


§

Whether intentional or not, Kojima's stylised, fetishistic view of military life seems to be saying "This is why people go to war: to enact the media that excited them so much."
In other words, Snake doesn't have to do anything overtly evil for us to determine that he's not exactly the nicest man. It's just that so many war games put the player in the role of a psychopath that we simply take his egregious actions for granted.

§

Raiden is at the whim of the designer.

The true ending of Metal Gear Solid 5 takes it one step further. We don’t need Raiden anymore, because we’re doing that job ourselves. From that perspective, it makes sense why this new game focuses so much more on gameplay and less on half hour long cutscenes: the real story is about the player becoming Big Boss.

§

Hideo Kojima or (The Art of Meaningful Game Mechanics)

§

Two Minute Game Crit - Metal Gear Solid: Crouch and Zoom
[perhaps we could use some crotch and zoom in the series as well - to balance out all the tits and zoom?]





§§§SUPER MARIO
Game Maker's Toolkit - Analysing Mario to Master Super Mario Maker

§

Game Maker's Toolkit - Super Mario 3D World's 4 Step Level Design

§

Miyamoto on World 1-1: How Nintendo made Mario's most iconic level

§

Really Freakin' Clever - Super Mario Sunshine

§

Let's Review Mario Maker Fan Levels. What Could Possibly Go Wrong?

§

The Weirdness of Super Mario EXPLAINED! | Game/Show | PBS Digital Studios

§

There is a futile egotism to “Super Mario Maker,” a piece of software that caters to delusory belief that enthusiasm and creativity are interchangeable, that being a fan of something can, if practiced with enough care, create an equivalent of the work to which one’s fandom is fixated. This self-deception is antithetical to the genius of “Mario” games. From “Donkey Kong” to “Super Mario 64,” Mario games have always felt like creations in pursuit of abstract ideas rather than homages to any specific history or design tradition.





§§§MISC
Errant Signal - (Spoilers) Fallout 4 and Role Playing
[I do feel like I'm beating a dead horse here, but I really want less player privilege/powergaming/less wish-fullfillment and more roleplaying/violence/what the players don't know that they need in games, and in this context - more Fallout 1&2 and less Fallout 4. And I really want what Planescape Torment or Unrest attempts in a AAA with Mass Effect's budget. I'm thinking that might be a while, and so I just have to be grateful that the difference between indie and non-indie is shrinking, which also means that indiegames can be really fucking beautiful and large in scope. There was even one game kickstarted that specifically wanted to do Mass Effect but different, but yeah the scope was just a couple of hours on that one. We'll get there eventually!]
§

I wanted to start from one simple word, one that is used by marketing departments and journalists alike; it pervades reviews, previews, the lexicon of indie games and it trickled down to gamers themselves. The word ‘addictive’. Gaming is, as far as I know, the only community in which the word addictive is considered a positive.
[This piece is really personal and hit home for me, even if my story with depression is quite different and has made me play less and not more games for the last ten years (but before that, yep, had me playing Baldur's Gate 2 constantly for three months).

§

Kuchera expresses the relief he feels at discovering Assassin’s Creed: Unity to be an unplayable buggy mess, such that it no longer binds him to go out and buy the game. It’s an unburdening, a release from one’s unspoken, self-imposed obligation, shared, Kuchera notes, by many fans of the series. The supposedly preposterous thing here and the reason it’s being presented as a curious twist of nature is people are glad they don’t have to buy a game from a franchise they’ve come to enjoy. They’re pleased to be able to write it off. It means they can move on to the next enormous franchise, as if a Metacritic score is the magic word to break their curse.
[Hi, my name is Ada and I'm an addict...]

§

How Modern Language Breaks Scrabble | Game/Show | PBS Digital Studios
[An interesting aside to how language breaks Scrabble is how high-level Scrabble play is so divorced from regular Scrabble playing that is barely the same game. How else could an American who doesn't speak French win the French national championship?]

§

What Makes a Good Video Game Companion? ? RagnarRox • Game Design++
[Awesome design document. Companion Cube for the win! Although I would like to question some of the assumptions in the video, the one concerning utility especially. But still, it is a tool for the toolbox.]

§

The internet is full of people speculating on whether they caused a certain event to happen in Stanley or whether it was poor chance.

These events serve to unsettle and disorient the player. They make it so that you’re never sure if you’ve fully explored the game and fully understood what is going on or if it has another surprise waiting for you the next time you start it up. By making the edges of the game vague, The Stanley Parable prevents you from getting comfortable and keeps you in a state of wonder.
[The strength of Playable Teaser is similar - in keeping the horizon of possibilities fuzzy.]

Some sound and video for a late Halloween.

§MONSTERS OF THE WEEK

The Gods of Silent Hill (Part 1): Valtiel
- Monsters of the Week - YouTube

The Gods of Silent Hill (Part 2): The Yellow God - Monsters of the Week - YouTube

Pyramid Head. (Silent Hill 2) - Monsters of the Week - RagnarRox - YouTube

The Butcher. (Silent Hill Origins) - Monsters of the Week - RagnarRox - YouTube

SOMA: The Philosophical Zombie - Monsters of the Week - YouTube

I Have No Mouth and I Must Scream: A Freudian Nightmare - Monsters of the Week - RagnarRox - YouTube




§OTHER VIDEOS
Until Dawn - Observations on Interactive Drama Design - RagnarRox - YouTube

Errant Signal - SOMA (Spoilers) - YouTube


Places of Horror - The Secrets of Scary Settings - Extra Credits - YouTube

5 Annoying Things HORROR Games Need to STOP Doing - RagnarRox - YouTube

Silent Hill 2 or (The Genius of Hidden Player Choice) - RagnarRox - YouTube

Silent Hill & Konami - Did You Know Gaming? Feat. Matt & Pat of Super Best Friends Play - YouTube

Tokens of Memory: Sanitarium - Monsters of the Week - RagnarRox - YouTube



§PODCASTS

Moving Pixels: The Music Machine

Moving Pixels: The Fall

Moving Pixels: The Swapper

§

Ontological Geek: Horror and Asylums
01:36 – Mashup of Thief music by Eric Brosius
05:20 – Horror and horror music in Games (Amnesia: the Dark Descent, et al.)
27:35 – Asylums in games (Outlast, Thief: Deadly Shadows, Batman: Arkham Asylum, et al.)
1:34:26 – Roundtable discussion (Brothers: a Tale of Two Sons, Dark Souls, To the Moon)