Crit Links 1/10

Baldur's Gate: Durlag's Tower - #1 - Design Club

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The Legend of Zelda: Oracle of Ages and Seasons' dungeon design | Boss Keys 

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Farewell 12 Dominion Cards

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Review: Japanese Arcades

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Sinister Seductress - Tropes vs Women in Video Games 

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Review: Japanese Pachinko Parlors - YouTube

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Pokémon GO - Designing for the Real World - Extra Credits 

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Why Abzu Might Be the Most Important Game for Kids in Years - Writing on Games

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Free-to-Play's MECHANICS are Great - Gwent, Blitzball, and the Mini-Game Revolution - Extra Credits

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Shovel Knight and Nailing Nostalgia | Game Maker's Toolkit

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Gwent IRL

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All the Slender Ladies: Body Diversity in Video Games

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Video game sequels are a different beast than sequels in other mediums. In video games, a sequel is typically expected to improve upon its predecessor because video games are intensely technical. Since a game is thought of at least partly as a feat of software engineering, sequels are approached as a honing, refining and improvement of the original as much as they are a thematic and aesthetic continuation of them. In other words, we should think of video game sequels as new and improved models as much as the next chapter of a story, if not more so. On the other hand, the nature of a sequel demands in any medium of genre demands narrative escalation.

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The Chinese Room logo - the creative process — The Chinese Room
The logo was designed by a local Brighton graphic design studio about 4 years ago. It works well as a logo, but as The Chinese Room has grown and changed, it wasn't sitting right as the visual to represent the studio. Red and black are very heavy colours and triangles are quite harsh and sharp. The overall logo is very masculine and corporate - exactly what The Chinese Room is not.
So I began my goals for rebrand -
•    Make the logo less masculine

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“No One Criticized Bioshock Infinite Before!” | this cage is worms
 something has changed. If the world were the same way it was three years ago, the people finding out about these long standing critiques would still be walking around thinking everyone sees Infinite as a holy grail of achievement. And that’s heartening, in some ways, because it means the discourse has shifted that little, small amount. The words got out, somehow.
/.../
I’ve got the long view on “games criticism” at this point, like quite a few others, and I’d say that 80% of the people doing that kind of work on the internet who predate myself and my “cohort” have gone on to other things. Maybe even higher. But there’s a weird print in the culture in the shape of their words, and well, I guess that’s something.

Crit Links 28/8

The Legend of Zelda: Majora's Mask's dungeon design | Boss Keys - 

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Inside Tokyo's Long Love Affair with 'Dance Dance Revolution'

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Review: No Man's Sky

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The Comeback of the Immersive Sim | Game Maker's Toolkit 

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Improving on Pokemon GO - Making Better Augmented Reality Games - Extra Credits - YouTube

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Zoe Quinn Talks Project Tingler and Moving On: VICE Gaming Meets - 

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Review: Deus Ex: Mankind Divided - YouTube

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Think of a game logo. Any logo. Chances are if you can picture one, it probably wasn't created in the last ten years.

Far be it for me to be that old man grumbling about how everything was better in the olden days... but one thing that was undeniably better in the olden days was this thing: game logos.

​And here's the proof.

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We began with the idea that the female body, when made visible, is sexualized, and then moved on to how videogames have avoided this by creating invisible women, rendered so by their first-person perspective and fast movement. But to stop there would be a hopeless end, as if women in games will only find power in their physical absence and the traces they leave. Bound presents an alternate, it being a game in which the body is the most important aspect—after all, the main character is a ballerina. If you watch the trailer, even if you look at it for a second, you’ll realize that the player’s avatar in Bound isn’t sexualized at all, and it is wholly present. Maybe it’s because the creators want Bound to be a game about femininity as seen from the inside

Crit Links 16/6

Solaris (And How it Influenced Silent Hill 2) | Monsters of the Week

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Controllers Control Everything | Game Maker's Toolkit

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The Legend of Zelda: A Link to the Past's dungeon design | Boss Keys

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E3 2016 Thoughts and Analysis - Writing on Games (Bonus Episode)

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Game Commercials are Still Stupid - The Final Bosman

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Still Skeptical of V.R. - Five Challenges for Virtual Reality - Extra Credits

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Strategic Butt Coverings - Tropes vs Women in Video Games

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OXENFREE | Part 1: The Story

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The Kojima-P.T. Conspiracy (Silent Hills|Konami) - Monsters of the Week Special (feat. Fungo)

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Designing Morally Difficult Characters, Responsibly
Designing a morally questionable character doesn't have to railroad your players into moustache-twirling villainy: done right, it can present a truly meaningful study in compromise and complicity. Dan Nagler, designer and writer for Gigantic Mechanic, details a unified design strategy for creating this type of game protagonist: a character whose very moral ambiguity is leveraged for positive dramatic, emotional and educational effect. This theory is grounded in Gigantic Mechanic's design for the Edward M. Kennedy Institute's Senate Immersion Module, a digital and live-action hybrid game that puts students in the shoes of antebellum, slaveholding American politicians.

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Some people insist that reliance on psychotherapy or medication is a sign of moral weakness, while others deny that clinical depression exists at all. Playing Quinn’s game and allowing yourself to feel sad therefore becomes a form of social action; to play is also to take a stand, placing yourself on one side of a debate. The sadness intertwines with a kind of proactive anger to challenge the status quo and advocate for the disenfranchised. The role of art in unpacking incontrovertible sadness is more ambiguous.
/.../
Ten years later I’m a little wiser and a lot less snarky, but I still don’t think Rabbit Hole is a good play. Its emotional punches land squarely on the nose, yet its point-of-view is absent. One ends up feeling manipulated by such a work: we are made to feel sad because, well, it’s sad to watch parents grieve for two hours. No one could argue with that. But what’s the point? There is no stand to take, and any anger evoked cannot be put to productive use. What can be gained by such an exercise? Then again, perhaps the idea that something should be gained is simply an indication of our discomfort with facing the undeniably tragic.
/.../
The emotional core of That Dragon, Cancer is real—so real, in fact, and so personal, that I ended up feeling like an outsider looking in. I pitied the Greens for having to endure this awful series of events, but I did not come away feeling connected to their experience, or enlightened by it. This was not because the game tried but failed to connect with me, but because it didn’t. There is an insular quality to the vignettes; they are by and for the family Green (and, perhaps more broadly, others who have lived through similar trials). The “point” of the game is that this is how Ryan and Amy are dealing with their loss. I can praise or criticize it, but really my opinion is irrelevant. This game was not made for me, and reviewing it feels like a borderline intrusion into a family’s private mourning.
/.../
for the Greens, the titular dragon turns out not to be an RPG’s final boss but rather one of the Arthurian variety: an evil to be battled by brave Christian crusaders, pure of heart and clean of soul, who know that even losing the fight means an unfettered ascension to god’s heavenly kingdom. As a secular existentialist Jew, it may go without saying that by ultimately settling on this metaphor, the game started to lose me.
/.../
This is sadness. Our task, I think, when faced with this kind of sadness, is not to force it into an ill-fitting symbol, or turn it into a cause, or define its point. Our task is to sit there for a while and feel its invisible weight, its randomness and cruelty. But I understand why the Greens could not stay in that space for long. Who could? I applaud that they tried, and I am sorry for their loss.

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On its own, the tedium of The Ice-Bound Concordance would not be enough to carry the text to any sort of end beyond exploring the well-trod intersection between play and work. Instead, the game focuses on narrative layering in a way that attempts to discover the compulsive allure of difficult texts. The echoes of Danielewski’s House of Leaves (2000), Nabokov’s Pale Fire (1962), or Borges’ Labyrinths (1962) are fairly apparent, but present also are the interests of electronic literary experiments like Shelley Jackson’s Patchwork Girl (1995) or Michael Joyce’s Afternoon: a story (1994). Like these artists and their respective works, Reed and Garbe use The Ice-Bound Concordance to prompt its player to embrace the pleasures that come with deciphering, or maybe just interacting with, texts that actively resist comprehension.
/.../
While KRIS wanted to write about “human dignity” and “going it alone,” I fought to keep the focus on the aforementioned spiral imagery and ever-growing threat of existential horror that haunted dark places below the facility. KRIS cared more about character flaws as they related to the personal sins of the writer whose mind the AI was meant to emulate, but I found its quest for self-discovery a dull moral tale about the need for humanism in the process of artistic creation. KRIS and I fought constantly, each of us vying for authorial control until we landed on an ending that disappointed the both of us. Ultimately, it was my struggle against KRIS that interested me most in The Ice-Bound Concordance. Even as that damn program insisted that “endings are the crux of this matter” and warned me not to “get distracted by the medium” because “it’s the material that’s important,” I found my time spent trying to use the book to redirect the program’s focus to fit my needs far more satisfying than coming to any sort of end. All of this is by design, of course, though the heavy-handedness of KRIS’s direction over-explains the themes of the game that were already revealed organically. Indeed, if The Ice-Bound Concordance has any noticeable flaws, they appear in the occasional pontifications about the toil of creation that are a bit too obvious, or with a few supposed tricks that are far too telegraphed in their method. But such observations may reveal more about my own hubris than it does an actual flaw in a game about the tension between authorial intent and editorial obsession.
/.../
There’s something troublesome at the heart of The Ice-Bound Concordance that rests in the space between the physical copy of the book and the way a machine can see patterns and forms beyond the player’s perception. The complicated networks of mediation reveal that there are systems at play beyond the human faculties of language. From the actual mechanics of printing and editing to the complex codes that run software required to read the physical Ice-Bound Compendium, these unseen forces aiding in the processes of artistic creation trouble our concept of the single author. After all, we can never read Ice-Bound in its native form because it only truly exists in the raw data of the computer program and the obscure iconography of the compendium, each only readable when filtered through the computer. For us, that text will always be just beyond our scope of understanding—formless, changing, and warped as if it is partially obscured behind a translucent sheet of ice.

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Was it worth waiting an extra five years to play The Witness? No. What I played in 2011 was satisfying and intriguing enough.

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Undertale and The Witness have a lot in common, too. Both heavily reference a mid-90s game (Earthbound and Myst, respectively) but avoid cloying reverence, instead managing to say something new. Both games are extremely avant-garde, constantly requiring the player to think about genre convention and challenge it head-on. And like The Witness, Undertale is essentially one long ritual labyrinth. At the outset of the game, an assortment of characters and posted signs walk you through a series of trials where you're meant to tread a path that has already been clearly marked for you.

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In the end, Oxenfree is absolutely a game about teenage bullshit (forgive me for being a little disingenuous earlier). But it manages to revitalize that narrative by focusing on feeling more than substance; it glances at each character’s inner struggle rather than serving it up for a full meal. The supernatural side of the story carries some of the weight here as well, mirroring Alex’s own story of grief and isolation even as it performs the work of all good ghost stories: reinterpreting your immediate surroundings and enchanting the mundane. If you’re looking for a story that valorizes adolescent struggle by iterating all of its existential complaints, you’d be better off looking elsewhere. But if you miss the naïve wonder, the warmth of lifelong friends, and the thrill of still having rules to break, Oxenfree can take you back.

7/10

§VIDEOS
Errant Signal - Glitchhikers
https://www.youtube.com/watch?v=SMqfFWQgzZY

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Extra Credits - Free to Play Is Currently Broken - How High Costs Drive Players Away from F2P Games
https://www.youtube.com/watch?v=FwI0u9L4R8U

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Extra Credits - MMO Economies - How to Manage Inflation in Virtual Economies
https://www.youtube.com/watch?v=W39TtF14i8I

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Are 50% of Gamers Women? | Game/Show | PBS Digital Studios
https://www.youtube.com/watch?v=ILMiw9KGJd8

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Review: Wasteland 2
https://www.youtube.com/watch?v=fnxdNncArdo

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Game Reviews Are Weird
http://www.gametrailers.com/videos/59gebk/the-final-bosman-game-reviews-are-weird

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Japan's Commercials Are Better
http://www.gametrailers.com/videos/vfm6qp/the-final-bosman-japan-s-commercials-are-better

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Would You Want To Live In Sword Art Online? | Game/Show | PBS Digital Studios
https://www.youtube.com/watch?v=32DwPB15a0M

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Damn, That's Romance
http://www.gametrailers.com/videos/49q706/the-final-bosman-damn--that-s-romance

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This One's For the Pervs
http://www.gametrailers.com/videos/w1j40q/the-final-bosman-this-one-s-for-the-pervs







§ARTICLES
The news that Mojang is to be sold to Microsoft undoubtedly causes a lot of upset for some. Minecraft, more cultural phenomenon than game at this point, has had a breadth of appeal unlike almost any other game. And Microsoft aren’t exactly at the top of most PC games player’s Christmas card lists. It’s very easy to see the news and immediately consider it bad news. But perhaps we should pause, and wonder if this might be something worth celebrating?http://www.rockpapershotgun.com/2014/09/15/opinion-maybe-microsoft-buying-mojang-is-a-good-thing/

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Thoughts on Microsoft Buying Mojang | Game/Show | PBS Digital Studios
https://www.youtube.com/watch?v=sp_A0NUpM3M

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Destiny‘s story fails because it tries to employ the evocation effect to a database.
http://thiscageisworms.com/2014/09/15/destinyandwriting/


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The hand-drawn fighting game background is a fading art, kept alive by the crew at SNK Playmore, keeping the lights on in the King of the Fighters series and the tireless hardcore savants at Arc System Works.
http://www.joystiq.com/2014/09/29/scenes-of-calm-and-chaos-artists-on-fighting-game-backgrounds-w/

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Treachery has long been an important aspect of competitive boardgames, but in videogames there seems to be far less betrayal between players.
http://blog.ihobo.com/2014/09/treacherous-play.html

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something I think Metal Gear Solid asks us to consider constantly: the very nature of interactivity means there is no fourth wall to break. A video game story necessarily exists in a world that includes the player, not just the character they control, and you can’t simply pretend they don’t exist.
/.../
Metal Gear has a reputation for extremely long sequences of passive acceptance as waves of chatter and floods of cutscenes wash over the player, but it is to be commended for proudly stating that the player is an important part of the puzzle. From the moment Colonel Campbell tells us about the Select button, the game is making a statement. You are not controlling Snake, you are Snake; and this universe only exists because you interact with it. The burden of the player’s role is exactly why games have the power to tell stories unlike anything you can find elsewhere.
http://www.electricphantasms.com/self-awareness-interactivity-and-metal-gears-three-walls/

2/9

§GAME SERIES
§SILENT HILL§ That's what has been missing from the series. The manipulation. The off-kilter madness. The worlds within worlds on top of worlds, in Silent Hill itself and between the player and the game, all tied together in an elaborate metatextual knot. The sequels, particularly those developed in the west, saw only the gore and the monsters. They saw Pyramid Head as an iconic slasher movie villain rather than a very specific Jungian symbol. They saw the fog, the meat and the rust, heard the sirens, and slavishly copied them while spectacularly missing the point.

Finally, that may be about to change. Hideo Kojima has long said he'd love to make a Silent Hill game, and since this is the guy who made Psycho Mantis taunt you with the contents of your memory card, I'm confident he sees the potential for more than just a gonzo splatter game.
http://www.eurogamer.net/articles/2014-08-17-why-silent-hill-2-is-still-the-most-disturbing-game-ever-made

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§BIOSHOCK§
Bioshock 2 is the best Bioshock. It has the best gameplay and story, yes, but it also is the best at being Bioshock.
/.../
 Bioshock is about extreme philosophy, parenthood, and the subversion of flesh, mind, and environment. Bioshock 2 is the purest instance of this formula.
/.../
The other Bioshock games present philosophies of abuse and ask you to lend them credibility. Bioshock 2 hands you apparently-nurturing altruism and asks you to see the darkness in it. Not only is that more interesting but it’s also more ethical.
http://ludusnovus.net/2014/08/29/the-sublime-bioshock-2/







§COMMUNITY

We, “video games,” do not “take care of our own.”

On the contrary: We expect freelance professionals to function as our avatars, to say and do what we ourselves wish we could say and do. And when the battle becomes too much—when the fight is too great, the baddies too numerous—we absolve ourselves by shutting off the Xbox.
http://infinitelives.net/2014/08/31/you-have-to-protect-yourself/§

Thoughts on Anita Sarkeesian, Zoe Quinn & More | Game/Show | PBS Digital Studios
https://www.youtube.com/watch?v=iO8Cck3vm_o

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Women as Background Decoration: Part 2 - Tropes vs Women in Video Games
https://www.youtube.com/watch?v=5i_RPr9DwMA

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The News is Ruined
http://www.gametrailers.com/videos/qc6a91/the-final-bosman-the-news-is-ruined

PC vs Console: Why the Hate? | Game/Show | PBS Digital Studios
https://www.youtube.com/watch?v=XH1UuxxmiQ4

Design Club - The Blue Shell - Why Mario Kart's Most Hated Item Makes It Better
https://www.youtube.com/watch?v=LFfga8-3SZI







§DESIGN
Extra Credits - First Move Advantage - How to Balance Turn-Based Games
https://www.youtube.com/watch?v=TRHdIScOMWQ§

Castlevania & History Special - Did You Know Gaming? Feat. Markiplier
https://www.youtube.com/watch?v=3WY1TUJal0E

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Games typically want to communicate the importance of the power to choose, while pieces like Benthic Love have you contemplate the function of choosing anything in the first place.
http://www.mattiebrice.com/benthic-love/

5/8

§NOW AND THEN
Extra Credits - Episode 200! - How Far Have Games Come Since 2008?
https://www.youtube.com/watch?v=uKmNzujz-Aw

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Is Minecraft the Most Important Game Right Now? | Game/Show | PBS Digital Studios
https://www.youtube.com/watch?v=KkKNt6Xq1dY

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Retro Review: System Shock 1
https://www.youtube.com/watch?v=Vnh0l_Ecpx4






§DESIGN
SWT - Inputs and the Rift
https://www.youtube.com/watch?v=UEht8W6w2Rc

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Players sit up and pay more attention when they think they might die. Permadeath games and the like don't even bother with the fake-out; if you make a mistake, boom, goodbye, thanks for playing.
/.../
Quicksaves, regenerating health and other sorts of developer generosity are well-intentioned but often diminish the experience. These systems make no demands, so the player sleepwalks through the game. Let's call it: some of these shooters are just walking simulators with a bit of colourful pizazz. There's nothing to lose, so there's nothing to play for. This isn't to say all games need extraordinary challenge, but how risk compensation affects player behaviour is not something that should be ignored. Tricks to simulate risk might work but it's all too possible players will figure them out after which point they begin to relax. Suddenly, it's a walking simulator.
http://www.electrondance.com/how-to-stop-making-players-lazy




§QUEER
Kim Kardashian is surfing this wave of male tears all the way to the bank. In a world with limited opportunities for famous women as they age, Kardashian broke the Internet simply by lending her likeness to a single mobile game. And to read Kardashian as a vapid figure who does not deserve her fame is to fundamentally misunderstand the ways in which women exercise agency within the sexist constraints of celebrity culture.
http://www.dailydot.com/opinion/hating-kim-kardashian-makes-her-stronger/

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Let’s talk about how folks in fandom were rewriting [Mass Effect 3] in a massive variety of creative and clever ways for over a year before that one dudebro did it, in horribly out-of-character quasi-prose, and was the subject of front-page Kotaku articles showcasing his devotion to the series.

Let’s talk about how female-dominated fannish spaces have been around for decades. Let’s talk about how “fans brought back Star Trek in the 70s!” always brings to mind stereotypical Trekkie dudes and not the women who were actually organizing and running conventions.

Let’s talk about how women are over 50% of moviegoers. Let’s talk about how women make up nearly 50% of gamers. Let’s talk about how, despite all this, the industry is still almost entirely guys making content for guys.

I’m just saying. Let’s fucking talk about this.
http://eponymous-rose.tumblr.com/post/84698057207/wait-wait-wait-while-im-still-having-my-grumpy

Feminist games?

A first attempt toward a feminist video game compilation. Comments are very much welcome. I'm not sure how to classify the games, really, but I'll give it a try, for clarity.


Games by trans people with trans themes:

Kims Story: http://www.freeindiegam.es/2012/11/kims-story-kim-moss/

Dys4ia: http://www.newgrounds.com/portal/view/591565

Intake/Ten/Fall/Closet (Maddox Pratt)

Lim/Brace/A Synchronous Ritual/Terf War (Meritt Kopas)


BDSM Practices:

Encyclopedia Fuckme and the Case of the Vanishing Entree (Anna Anthopy)

Reset (Autumn Nicole Bradley)


General:

Galatea/The First Draft of the Revolution/Alabaster (Emily Short) Gender inversions, women in an oppressive world of men trying to find agency, and discussions of subject/object positions.

* Porpentine is a transgendered feminist video game artist with a lot to say about the state of games and gender issues, if not always very clearly, as is the case of Howling Dogs which has gotten quite a lot of attention and has inspired other feminist video game creators

* Experiment in queer fighting game mechanics: Queer Power (Molleindustria)

* To My First Born Son (increpare), a tribute to feminism and the future sons of the world.


Critiques/subversions of stereotypical masculinity and some problems these pose
Silent Hill 2/Silent Hill: Shattered Memories

Metal Gear Solid 3: Snake Eater

Braid (Jonathan Blow)


Motherhood/Womanhood
Silent Hill 3/Silent Hill (not really sure there's anything remotely feminist going on there, but I did enjoy the games very much!)

The Path (Tale of Tales)


Diverse sexualities:

* Homosexual couple therapy anyone? Radiator 2: Handle With Care (Robert Yang) is your game!

* Gone Home, which amongst other things tells the story of homosexual, teenage, awakening and love.


Games with well-written and/or strong female characters:

* Protagonists
Life Flashes By (Deirdra Kia)

The Longest Journey

Beyond Good And Evil

Cirque de Zale (Rebecca Clements) 

Spooks (Lively Ivy/Erin Robinson)

Nelly Cootalot (Alasdair Beckett)

Blackwell (series) (Dave Gilbert)

* Antagonists
Portal 1&2

System Shock 2

* Other

Star Wars: Knights of the Old Republic II - The Sith Lords, which has Kreia, who is a totally awesome mentor and one of the most interesting characters in all video games I've played.

Psychonauts, which if I remember correctly has well-written female characters in general.

Critical Comp 9/11

More Gone Home:

http://ontologicalgeek.com/soft-transgressions/

http://www.popmatters.com/post/174927-gone-home/

http://www.polygon.com/2013/8/22/4643796/opinion-six-lessons-for-creating-believable-female-characters

http://thefullbrightcompany.com/2013/08/27/flowery-language/

Critical links April

BIOSHOCK (best to worst)
http://frictionalgames.blogspot.se/2013/04/thoughts-on-bioshock-infinite.html
http://crypticsea.com/twined/bioshoot.html
http://clockworkworlds.com/post/47514171804/i-can-see-my-house-from-here-bioshock-infinite
http://clockworkworlds.com/post/47663113342/this-is-not-an-agent-bioshock-infinites-elizabeth
http://bphennessy.com/bioshock.html
http://dropouthangoutspaceout.tumblr.com/post/47055663161/bioshock-infinite-the-end-of-history
http://badassdigest.com/2013/04/03/hulk-vs-devin-vs-bioshock-infinite/
http://howtonotsuckatgamedesign.com/?p=9309
http://leighalexander.net/bioshock-infinite-now-is-the-best-time/
http://kotaku.com/an-effin-ai-in-bioshock-infinite-is-more-of-a-human-th-470825011
http://www.rockpapershotgun.com/2013/04/06/about-a-girl-assorted-thoughts-on-bioshock-infinite/
http://www.snakelinksonic.com/2013/04/theres-subtlety-then-theres-cowardice.html
http://www.brainygamer.com/the_brainy_gamer/2013/04/apotheosis.html

Infinite Regress | Stay Classy BioShock Infinite: an intelligent, violent videogame? - Read - ABC Arts | Australian contemporary art and culture reviews, news & videos What — Gamer's Advisory: Bioshock Infinite On and Off the Rails: The Problem of Player Agency in Post-Bioshock Games | ClockworkWorlds The Hall of Heroes: BioShock Infinite's Fort Frolic? • Opinions • Eurogamer.net The Vigor Of Oz: Bishock Infinite’s Wizardly Parallels | Rock, Paper, Shotgun Adrian Chmielarz on the first 300 seconds of BioShock Infinite, and why game openings are so important | Features | Edge Online Bioshock Infinite is a Metacommentary on the Nature of Video Game Storytelling | KEVIN JAMES WONG bioshock infinite | action button dot net Modern shooters and the atrophy of fun - The Tech Report Bioshock Infinite: Part 1 – Art Direction and Visual Storytelling | Terminally Incoherent Critical Incredulity • Columbia: Problematic Racism Theme Park to the anon who asked about BioShock Infinite | Flutiebear: Rambling My Way Through Thedas In Defense Of Religion In BioShock Infinite BioShock Infinite ending explained - ComputerAndVideoGames.com 


Random:
http://www.choiceofgames.com/2012/03/we-almost-flooded-the-xyzzy-ballot-box/
http://www.secondquest.vg/2013/04/02/deeds-or-hofmeier-destroys-everything/

Planescape-forumet med ideas och annat
http://frictionalgames.blogspot.se/2011/11/problem-of-repetition.html

Dear Esther:
http://www.unwinnable.com/2013/03/28/close-playing-dear-esther/

Feminism:
http://zoyastreet.files.wordpress.com/2013/04/memory-insufficient-issue-one-women2.pdf

Essentialism/game formalism:
http://www.raphkoster.com/2013/04/09/a-letter-to-leigh/
http://www.mattiebrice.com/triptychs/
http://www.blog.radiator.debacle.us/2013/04/a-letter-to-letter.html
http://dropouthangoutspaceout.tumblr.com/post/47791590888/on-universals-formalism-the-critical-reception-of
http://ohdeargodbees.tumblr.com/post/47911443396/mammon-machine-how-to-talk-about-a-system-and-who-gets


FROM:
http://www.critical-distance.com/2013/04/07/april-7th/

--

http://kambyero.com/tag/in-defense-of-bad-endings/
http://sortiv.com/?p=2177
http://brindlebrothers.blogspot.se/2013/04/quizzical-play-2-optimising-for-beauty.html
http://www.auntiepixelante.com/?p=1991