A current listing of blog posts. As I add more posts over time I will be grouping posts together to help ease navigation.
Sequels are everywhere. And just like with anything else, we like to engage in criticism of sequels. But what does it mean to properly compare a sequel to its predecessor, and what kinds of pitfalls can we fall into when trying to critique sequels in particular?
When we experience narratives in games, we tend to experience them alone. We can share that solitary experience with others, but the original process of engaging with the story is something we do on our own. But what happens to the narrative as a concept when a game requires us to collaborate with others to construct the story?
We all have our different preferences when it comes to games. But how well do we understand what’s going on in our own minds? In this essay I explore the idea of “self-deception” – how sometimes we can be completely unaware of our own likes and dislikes because we basically trick ourselves.
Video games hand us all sorts of villains to fight. And of those villains, we find some of them more or less fascinating. But what is it that really makes a villain interesting? In this essay I explore some of the aspects that help us sympathize with and understand villains so that we are able to find them compelling, and as such making them strong villains.
The rise of playing games as content has created a series of problems about how we think about what to play. Play as performance runs the risk of letting the performance get in the way of fun. In this essay I examine a particular facet of this problem through the idea of avoid particular games because they are “bad” for streaming. The purpose will be to show how this focus on performance leads to otherwise poor decisions on our part.
In talking about games, it can be surprisingly easy to forget that they don’t just appear from the sky. They’re made by human beings. And because they’re made by people, perhaps we should think about what it means to talk about games *as though* they’re made by people.
Release dates for video games are so common that we almost expect them as a matter of course. But release dates also create all of these other expectations that can lead to unhealthy behavior – such as a developer receiving death threats when they delay a game. I want to examine what a “release date” really is and how we should treat it, and how this knowledge can help lead to healthier relationships with the things we enjoy.
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