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It’s half past five in the morning here, and I’m asking my phone’s AI if she obeys Asimov’s Laws of Robotics. She’s stonewalling me, I think. So, in the meantime, welcome to This Week in Videogame Blogging!

Design Notes

At Melody Meows, the titular Melody has published the third part in an ongoing essay series on Atlus’s Catherine, a fraught game which nonetheless invites some interesting analysis. Here, Melody attempts to tease out the game’s “true” ending and in the process makes a few pointed observations on how the game’s morality system is, ultimately, not representative of any morality we might know.

Speaking of our complicated relationships with some games, over on PopMatters regular columnist takes aim at the recently released Bayonetta 2 and how it is like attending a Beyonce concert in both form and function.

Meanwhile, on the Justice Points Podcast co-hosts Tzufit and the Apple Cider Mage chat with scholar and game developer Michael Lutz on the intersections of Shakespeare, performance and gameplay.

And at Kill Screen, Shonte Daniels compares the rise of ‘auteur’ games with a similar 20th century movement in the world of poetry.

Deep Dives

At The Digital Antiquarian, Jimmy Maher performs a meaty retrospective on Activision’s seminal 1986 Alter Ego and its key developer, psychologist Peter J. Favaro.

Elsewhere, Kyle Kallgren’s usually film-focused video series Brows Held High goes for the interdisciplinary approach this week with a fascinating analysis of the interplay of the visual languages of games and cinema — taking as its starting point Gus Van Sant’s experimental ‘road trip’ film Gerry and its unorthodox source of inspiration, Tomb Raider.

Gonzogunk

We’re seeing an observable downward trend in the frequency of thinkpieces on The Hashtag Which Must Not Be Named, but like any good horcrux, we’re still a ways from seeing it die off completely.

The first thing to keep in mind is that this wave of harassment is not new, and it is long from defeated. Pointing to several instances just in the last few months and just within games, scholar and treasure Katherine Cross highlights how minoritized individuals are still frequently targeted disproportionate to their voice or prominence in the discourse. (Content warning: misogynist and transphobic slurs.)

Ravishly’s Jetta Rae DoubleCakes has been running a series of fantastic interviews, including two from among Critical Distance’s own ranks, contributor Lana Polansky and alumna Mattie Brice.

There has also been a recent push within certain sectors of game design academia which has urged solidarity. Over on Gamasutra’s Member Blogs, USC’s Interactive Media and Game Design chair Tracy Fullerton has released a joint statement on behalf of much of her faculty condemning the harassment campaign which has dominated the discourse of the last few months.

Finally, for a good cathartic chuckle, the ever-reliable Damien Schubert has designed a highly accurate pie chart on the true influence of “social justice warriors” on game development.

My God, Pure Ideology

Thanks for reading! As always, we welcome your submissions by Twitter mention or through email.

The November Blogs of the Round Table is under way and looking for your contributions!

A signal boost: the Montreal-based Game History Annual Symposium 2015 has put out a Call for Papers for its 2015 conference. French and English papers will be accepted, deadline January 15th, 2015.

(Do you have a site, zine or conference looking for submissions? Let us know and we’d be happy to link it here!)

Finally: remember, Critical Distance is community funded by readers like you! We’re closing in on our very important $2,000 funding target, which brings with it more features and our proposed print anthologies, so please consider signing up for a small monthly donation!

How are you all this fine, crisp, chilly autumn day? And you in the southern hemisphere can keep your bragging to yourself, thank you very much. Eric here to take you on another journey through This Week In Video Game Blogging!

Bayonetta 2

Bayonetta 2 continues to stir up conversation both as a sexual entity and in the game’s other facets.

Apple Cider Mage picks up the sex positive/sex negative discussion around the titular character as an opportunity to explore what is actually meant by both terms in a feminist context.

Todd Harper, however, is tired of the discussion around Bayonetta’s body and sexuality behind it to the exclusion of everything else. To that end he posted a series of short posts on the game as capable of instilling joy, dance and music, the angelic facade of the monsters and Bayonetta’s love of the camera and vice versa.

Ben Ruiz continues on this with a set of videos on his development blog going into extreme detail about the technicalities and depth of Bayonetta 2‘s fighting system.

Military and Politik

Kill Screen’s Chris Priestman, instead of leaving the image of “Hold X to Pay Your Respects” and calling it a day, talks about why Call of Duty: Advanced Warfare fails to earn that interaction.

Jake Muncy also condemns the use, but instead goes on to talk about grief and our odd aversion to dealing with death at funerals. Muncy then talks about two games that managed the ritual of dealing with grief far better than CoD:AW.

At Polygon, Charlie Hall puts the spotlight at a different type of war game, with This War of Mine‘s focus shifted a few yards off screen from Call of Duty‘s soldiers and instead focuses on the cowering, surviving civilians trapped in the conflict.

Meanwhile, at Ontological Geek, Tom Dawson turns his eye back to 2012’s Spec Ops: The Line and why it asks “How many Americans have you killed today?” and if that isn’t sending the wrong message.

Finally, Robert Rath talks about a different type of war, the War on Terror, and how Shadows of Mordor is a mirror of that conflict. He says the game fails Tolkien’s world by eliminating the themes of idealism, suspicion of power and our better natures triumphing to instead mire itself in modern cynicism, realpolitik and victory coming from tactics and the willingness to do anything.

History

History Respawned invites Dr. Zach Doleshal on to discuss the Eastern Bloc through the lens of Papers, Please.

And the game history e-zine Memory Inefficient volume 2 issue 5 on religion and game history has come out, featuring articles from L. Rhodes, Austin C. Howe, Danielle Perry, Mauricio Quilpatay, Jon Peterson, Amsel von Spreckelsen and Stephanie Cloete.

Contemplation

Sometimes one needs to only lean back and think, letting the mind wander for no practical end and see what connections can be made.

Alex Jones compares the feeling of driving at night between Glitchhikers and Euro Truck Simulator 2.

Zolani Stewart explains expressionism paintings and their lessons to understanding worlds like that of Sonic Adventure 2.

Horror Games

At Outside Your Heaven, Matthew Weise feels like he should like Alien Isolation more than The Evil Within, but he finds that the former just retreads too much ground.

On Gamasutra’s member blogs, Sergio Hidalgo has some words on the mental tax on developers making horror games, drawing from his personal experience.

Craftsmanship

A concerning not only with content, but with how that content is both delivered and expressed.

If you missed GDCNext, Raph Koster has put up his slides from his talk from that conference, “Practical Creativity.” More than a few of the slides are thought inspiring, even as just a rough outline.

Sam Kabo Ashwell of These Heterogenous Tasks wrote A Bestiary of Player Agency a few weeks back. It’s a long piece that goes into quite a number of different types of mental and physical play spaces and how the various implementation affect our behavior and what we get out of the game.

My colleagues at PopMatters Moving Pixels have also talked about different implementations. Marshall Sandoval writes about the use of regional authenticity to create the texture of real places rather than the bland settings of regurgitated copies of copies of copies. Also, G. Christopher Williams looks at the addition of a first person view to Grand Theft Auto 5.

Then there is David Canela who, on his Gamasutra blog, notes the many binaries in Dark Souls that mirror the thematic binaries at play in that world and how the oft overlooked sound is another of them.

Dispatches from Vienna

Joe Köller has these links to give from across the pond.

The essential story this week: apparently a German theater ran a stage adaptation of The Secret of Monkey Island. Videogame Twitter noticed it too late to make it to an actual performance, but the image gallery alone is worth clicking that link.

Austrian student paper Progress has a special on games this month, which includes a bit of media history by Helga Hansen, as well as Anne Pohl’s summary of recent GamerGate nastiness, among other things.

Meanwhile, Mina Banaszczuk talked about being an inexperienced player in MMOs.

Pixeldiskurs also has a recording of a talk Michael Schulze von Glaßer gave about his new book on games and the military-industrial complex.

You Know What This Is About

No seriously you do.

We missed this one from a few weeks ago: PBS’s Idea Channel tackles the issue of how to create responsible social criticism through media. So many good lessons here, like how saying something causes people to X is not the same as saying something causes X to be thought of as normal.

Indre Viskontas ends her Inquiring Minds interview with Mythbusters co-host Adam Savage on the anger directed towards woman in tech and videogame fields.

And finally, stand-up comedian Brock Wilbur gives his story of how he was doxxed by the hashtag and how absurd it is as someone who has nothing to do with video games. At one point, he quotes his mother’s reaction to the whole ordeal:

Why don’t they just take away all the Halos until boys learn how to play nice?

#TakeAwayTheHalos indeed.

Lighten the Mood

After all that, I need a laugh. Here’s Conan O’Brien trying and failing to cross a street in Call of Duty.

The Usual Footer Stuff

Please send any link recommendations to our Twitter account or by email.

We have a new November prompt, “Home Sweet Home,” up for Blogs of the Round Table.

Critical Distance is funded by readers like you! If you like what we do, please consider pledging a small monthly donation through our Patreon.

And I’m sure I’m forgetting something, but I’m cold.

Ahh, the weekend after Halloween. I hope you all had fun, dear readers? I know my cat did. Welcome to This Week in Videogame Blogging!

Design Notes

At Eurogamer, Simon Parkin has yet another gem of a feature for us, this time on the origins of the political utopianism undergirding every modern MMO:

Bartle gave [the source code for multi-user dungeons] away not to get famous and not to get rich. He did it because, in this virtual world, he saw a better blueprint for society. MUD was a place in which players were able to succeed according to their actions and intelligence rather than an accident of birth into a certain social class or fortune. “We wanted the things that were in MUD to be reflected in the real world,” he says. “I wanted to change the world. MUD and every subsequent MMO that has adopted its designs are a political statement. I should know: I designed it that way. And if you want the world to change, then making people pay to read your message isn’t going to work. So we gave it away.”

This was also a great week for horror-themed close reads, as you might imagine. At Normally Rascal, Stephen Beirne runs through Fatal Frame 2‘s projector room with a fine-toothed comb, while at Videogames of the Oppressed, Mike Joffe concludes his three-part analysis of Castlevania: Symphony of the Night with a meditation on the game’s setting as the childhood home of its protagonist.

These two sound-oriented articles pair nicely together. At Game Sound, Kenneth Young compares the auditory approaches used to introduce characters in two science fiction games, Destiny and The Swapper. And over at his personal blog, Harmonix’s Dan Bruno shares some notes on Mother 3‘s music-based battle system.

Context Cues

Taking notes from the recently released Bayonetta 2, Paste’s Maddy Myers argues that the term ‘male gaze,’ which game critics borrow from film studies, is in fact woefully inadequate for describing the ways sexualized game protagonists can be inhabited and made empowering by their players.

On the subject of sexuality and women, Todd Harper shares his impressions of the queer characters in Borderlands the Pre-Sequel, in particular how his impressions are inflected by how media has treated similar characters in the past.

On another subject, Marshall Sandoval showed up at PopMatters Moving Pixels again this past week to reflect on the recession’s influence on the recent uptick of cyberpunk in games.

Illustrated Herstories

Kill Screen’s Chris Priestman has a neat feature on Rachel Weil’s FEMICOM art installation, which Leigh Alexander also profiled earlier this year.

Actually It’s About…

At his review blog, Erik Twice notes that, indeed, games journalism is mired in very real problems, albeit ones which don’t seem to have crossed Gamergate’s radar.

Meanwhile, at Salon, Arthur Chu writes empathetically about the social ostracization and resentment behind much of the movement’s rage. And Zoe Quinn — who should need no introduction, if you’ve been following the Gamergate debacle at all — addresses latecomer ‘moderates’ to explain why good-faith discussion may no longer be possible, if it ever was:

This is not a debate with two sides. It never will be. It makes it really hard to have a conversation about anything when it feels like one side has a gun under the table. Even if the gun isn’t yours, even though you don’t condone it, it’s there all the same. Treating it as though it were a mere matter of difference of opinion when one group has been relentlessly ruining lives and trying to cover it up, and the other is made up of people targeted by that group, treating them equally is NOT fairness. It is NOT balance. It is falsely seeking the Golden Mean for the Golden Mean’s sake, while discarding the spirit of fairness it represents by asking victims of a group attacking them for weeks or months to defend their right to live their lives without that. Even if every single false justification that GamerGate has given for their existence was true, even if I was the Machiavellian hellbeast they make me out to be, no one deserves to be GamerGate’s target. No one deserves to have their real lives ruined over video games.

Someone punching you in the face isn’t a dialog, and it’s not something you should be called upon to prove yourself undeserving of.

Lastly, Laralyn McWilliams addressed her fellow developers in a Gamasutra blog, arguing that the games industry should look upon the hostility toward women it has created the same way it addresses a user experience problem:

These past few months have been challenging, to say the least. Personally, I hear more women in game development talk about leaving our industry every day than I usually see in several years. What has been happening and continues to happen is having a profound chilling effect on the women on our teams. It will be yet another reason women leave this line of work, and yet another reason many talented young women about to graduate will choose to use their skills and energy elsewhere in tech. Your opinion about whether those feelings are justified or correct doesn’t change the fact that the current climate and culture is alienating them. Your point of view on journalism and ethics and even on harassment doesn’t change their experience with the systems of our industry and the culture around it, and the impression left by those experiences.

Even if each of us didn’t make every element in the game they’re playing, each one of us is on the game development team for our culture as a whole. We’re watching the usability session in action — right now, today. Yes, it’s painful and frustrating. Yes, you may want to argue with the player on the other side of the one-way mirror who doesn’t understand your carefully crafted controls. Yes, you may feel shafted because a handful of malicious players are griefing a segment of the player base without your permission, and now you’re on the hook to fix it.

But as experienced developers, we all know the answer is not that “She’s playing it wrong.” The systems of our industry are failing her.

Speed Racer Was a Good Movie

Thank you to everyone for sending in your link recommendations by Twitter mention and email! Please keep it up!

The October Blogs of the Round Table has concluded and you can read its roundup here. And once you’re done with that, pop on over to November’s prompt post, “Home Sweet Home.”

Memory Insufficient has a new Call for Submissions, this time tackling the subject of alternative histories in games. Maybe we’ll see some more about Rachel Weil’s installation in this issue?

That’s it for this week! We’ll see you next time, and until the– hmm, what does the header for this section mean? Oh nothing. Just watch the movie. Here’s my cat dressed as the cat from Sailor Moon. Happy Halloween!

IMG_0161

It’s that time of year again (at least for those of us in the Northern Hemisphere) when the weather is turning cold. Holidays are approaching that focus less on going out and more on cozying up inside. Some of us may travel great distances to go ‘home’ while others may make ‘home’ wherever they are. That has us thinking about the homes you’ve made in game spaces. This month on Blogs of the Round Table, let’s talk about ‘Home Sweet Home.’

There are many games that allow players to carve out and claim a space to call their own. Unlike customizable avatars, these places become part of the fabric of the game environment. We can travel away from them, packed with gear for battle, or we can travel back to them in search of a bed to rejuvenate our bodies, souls, and possibly our magika. They can be urban or rural. They can be ours alone or communal spaces. Much like real homes, they are what we make of them.

Tell us about homes you’ve made in games. Have you built a home and started a family in Skyrim? What music did your Commander Shepard relax to, and what fish were in the tank, what models on the shelves? What makes your Animal Crossing home distinctly yours? Why is your guildhall the best guildhall in all the MMORPG land? How long have you defended your camp in Don’t Starve? Basically, if you’ve carved out a space to call your own, or if you’ve turned a house into ‘Home Sweet Home,’ we want to hear about it.

We’re accepting blogs until November 30th. You can see current submissions here:

Use this code to embed the links in your blog, if your publishing platform allows iframes:

<iframe type="text/html" width="600" height="20" src="http://www.tinysubversions.com/bort.html?month=November14" frameborder="0"></iframe>

Please email us your submissions or tweet them to @TheJoycean or @critdistance with the #BoRT hashtag. Happy blogging!

Rules of the Round Table

  • Blogs of the Round Table is not curated. If you write it, we’ll publish it, as long as it’s connected to the topic and has been written specially for BoRT or up to one month prior.
  • This BoRT post is the home of the discussion: as I receive new submission blogs, I’ll update the ‘BoRT Linkomatic’ so new blogs are reflected on this page immediately. We’ll also use the @critdistance Twitter account to post regular updates, so follow us!
  • Your duty as a knight of the round table is to leave a comment on a blog to which you respond with a link to the response piece, to give them a ‘right of reply’. Keep the conversation going.
  • If your work contains potentially disturbing content, please include a suitable warning at the start. Use your common sense.
  • You can submit as many articles as you like throughout the month, and it doesn’t matter if they are commercially published, paywalled or available for free. We will need a transcript for paywalled content to be approved.

To all my fellow North Americans I say at last: Happy Halloween! And to everybody else: hello. Yes, it’s a time of year for disguising yourself and living a new life from behind a mask. Of course, we don’t really need a special day for that, we do it all the time in the games we play. This month’s Blogs of the Round Table explores ‘Masks’ and what they mean in games:

Masks serve a wide assortments of functions in many cultures. They’re ceremonial, playful, religious, criminal, empowering, and so many of other traits. They protect heroes and villains alike, they keep identities secret and they give identities and opportunity to flourish.

Tell us how masks are reflected in games. Is there a game that uses masks in an interesting way or are they all just uninteresting stat modifiers? Is role-playing at a tabletop or online a mask of sorts or does it let you take a mask off? Have games ever provided you with a mask when you needed it or are masks just a chance to abuse anonymity? What does masquerading symbolize and how can these effects change the experience of a game? In short, tell us about how masks effect a game, a player, and the culture.

Luke Pullen kicks begins at his blog, The Conversation Tree, with a look at how power armour shapes identity in three of Bungie’s first-person shooters: Marathon, Halo and Destiny, among several other examples. Pullen discusses how exterior protection subsumes the wearer, dehumanizing them into a killing machine:

The mask is a weapon of mass destruction, a monstrous cybernetic zombie.

You kill because you have been programmed to. ‘Honour’ is a fantasy constructed as a hidden form of discipline. The armour has colonised your own body, and you never noticed.

This is the mirror of what is sometimes called ‘neoliberalism’ — the extension of market logic into all spheres of life by social engineering. Your power armour no longer has a blueprint: it is a form of individual expression which just happens to be an instrument of mass murder designed by someone else.

I’ve only taken a few snippet, but Pullen’s analysis is stellar and demonstrates how attitudes toward violence, artificial intelligence and militarism have changed in such a short time.

Elsewhere, at Logical Dash, Zachary Spector observes that Magical Diary treats the player like a mask, not a doll in the way that simulation games such as The Sims or Animal Crossing do. The article describes how this creates an important difference in power dynamics: where Animal Crossing allows the player to act on their own, with NPCs following certain schedules or decisions opening up new mechanics, Magical Diary forces the player to take on the role of a completely new character with each decision.

Meanwhile, The Rev of The Rev 3.0 looks into the relationship between personal and public masks in Persona 4, concluding that the game’s protagonist holds no identity beneath their masks:

Whether victim or villain, each person who enters the Midnight Channel has the worst aspect of their inner selves personified and displayed for the entire world to see. Even Adachi and Namatame, who supposedly received the same powers as Yu, both have their internal selves exposed and objectified for the audience.

Everyone except Yu Narukami.

I have my own thoughts on this, but first, let’s stop at The Ludi Bin, where Rachel Helps explains how playtesting her game has developed her ability to explore new roles in her games. By pushing up against the boundaries of what her game allows, she’s discovered new ways characters can emerge: “As a playtester, I want to try different play styles. Instead of choosing what I know will “win,” I start role-playing different kinds of players.”

Rather than putting herself in her comfortable play style, playtesting has urged Helps to don the masks of any would-be player that picks up her game. Looking forward to the finished result, by the way.

I took to my own blog do share my thoughts inspired by The Rev’s above. Though the identity-less Persona 4 might encourage players to manipulate others, the identity-less hero of Persona 3 is elevated above the dramas of those around them. Their lack of identity allows them to empathize with others rather than take advantage of them.

Over at Video Brains, Emma Sinclair takes a step away from game analysis and explores how gamers themselves use their protagonists as a mask:

You don’t have to stretch your imagination to see that gamers wear their characters themselves as masks. If you lack social skills or just want a bit of escapism, becoming a character in a game allows you to hide your true identity and be whoever you want to be. This applies to both online and offline gaming, although it’s by no means exclusive to gaming.

We tend to use our newfound anonymity to create a new identity that we feel is somehow bigger and better than who we really are. We can be the person we want to be and that usually means striving for fame or infamy; but perhaps it just means being anyone other than ourselves.

Sinclair unpacks a lot with only a few paragraphs, including the relatability of masked superheroes, the dehumanized empowerment of self-effacement and the, as she puts it, “somewhat unpleasant”-ness of online interaction with anonymous figures.

Zeitrad explores the different meanings of masks in Dishonored and I’ll share the conclusion but I highly encourage you to read the article that gets us there:

I’ve said the masks provide characterization, but for whom? The masks of the Overseers and Whalers deny their member individuality, and only characterize the faction itself. For the nobles, the masks bring out the inner truth about the owner, as well share new insights about the self-depreciating mood among their class.

But do the masks really reveal the truth? Are Overseers a cohesive force? Are Whalers always practical and loyal without fault? Are the Boyle sisters truly interchangeable?

Who is Corvo? Just a man playing pretend or has he fully embraced his role as Death, pulling the city into misery and chaos?

Wearing a mask is a choice. Believing it is another.

What struck me was how masks could only hold so many different meanings by being such a mundane, everyday object in Dishonored’s world.

The last word goes to Leigh Harrison at her blog, As Houses, where she relates her first experience with Metal Gear Solid and the mixed identities of baddy Decoy Octopus and human exposition dump, Donald Anderson. Harrison illustrates that, in her haste to beat MGS just so say she’s beaten MGS, she missed out on the longer, fuller experience of the game as a whole. Maybe she was the one wearing the mask all along.

…Woah.

For all those who participated in this month’s roundtable, I offer my sincerest thanks and encourage you all to add the Linkomatic 5000 to your blog by copy-pasting the following code to your blog:

<iframe type=”text/html” width=”600″ height=”20″ src=”http://www.tinysubversions.com/bort.html?month=October12″ frameborder=”0″></iframe>

On a more personal note, I wanted to say that it’s been a pleasure managing this month’s Roundtable. I’ve always enjoyed the BoRT feature as a reader and as an occasional participant. BoRT was how I was first introduced to Critical Distance and it was how I got to know most of the games writing that was out there, so I can’t tell you what a joy and honour it is to be on the other side of the curtain now.

Now that I got the mushy stuff is out of the way, the inimitable Lindsey Joyce will be covering November with her very own topic that she’ll introduce shortly (spoiler: it’s a good one). Thanks again and happy blogging.

Readers, I am tired. As, I suspect, are you. For months now, the discourse has more or less been held hostage by a vocal, angry contingent of self-described gamers who have rendered countless people afraid to engage in social media, afraid to speak publicly, even afraid to remain in their homes. Yes, Virginia, there is a terrorist element in games, and the introduction of national and international coverage in this debacle has put more lives at risk, rather than validate or protect the people this “movement” has already hurt.

Regardless of where you stand on the “issue,” to deny how it has ruined and endangered people’s lives is to turn a blind eye toward the stated, well-documented facts. This isn’t part of a “side” to be debated. You have people, many of them women, almost all of them already disinfranchised in some respect and hardly the movers and shakers of an industry, in fear for their lives. The time to respond to this was over two months ago.

Those who know me personally know I locked my social media accounts ages ago and have avoided making any public, personal comment on current events, outside of simply collecting and curating the words that others have put together. I still, even as I write this lengthy forward to the week’s roundup, feel too afraid to truly speak my mind about what has become all of our lives since August. Just collecting and posting others’ thoughts has been enough for my name to show up in conspiracy charts, accusations of ‘scamming’ our patrons, my private Facebook profile screencapped, nasty emails, the whole lot — just for linking, not even editorializing. Who knows what will happen as a result of my writing this?

The long and short of it, readers, is that something here has to break, and by the looks of it, it’s not going to be That-Hashtag-Which-Must-Not-Be-Named to fall apart first. It’s going to be us.

Now. Having said all that, let me try to muster one last brave face for you and get through this week’s roundup. Welcome to This Week in Videogame Blogging.

The Devil’s Backbone

At The Guardian, Simon Parkin offers up a profile on US politics’ recent move to include game developers in an ongoing conversation on future warfare, thus deepening the connection between games and the military-entertainment-industrial complex.

Also in the vein of military games, over at Vice the seasoned Leigh Alexander attempts to pin down that most inscrutable of creatures, Metal Gear Solid 3. In doing so, she reveals some of its least talked about, yet incredibly compelling commentary on the dirtiness of war.

Hollow Bodies High

At Polygon, Claire Hosking shares a solid takedown of the Damsel in Distress trope and just why, precisely, it’s creatively lazy. (Content warning: Polygon’s choice of stock imagery peppered throughout the piece features close-ups of terrified women tied up and gagged. Why this seemed a good idea to anyone, I’m not sure.)

Meanwhile, at Paste, Gita Jackson dashes off a missive questioning why, for a game which so heavily features fashion as a gameplay mechanic, the costume design in Final Fantasy X-2 is so awful. At Gamasutra’s Member Blogs, Tiny Cartridge’s Eric Caoili goes to some length to illustrate just what makes the card game Netrunner exciting from an inclusivity standpoint.

Finally, at Kill Screen, Dan Solberg has an excellent profile on independent game developer and artist Lilith, creator of Crypt Worlds.

Also, a brief shoutout, but Gaming Intelligence Agency has loads of coverage from IndieCade if you find yourself wanting more.

Dispatches from Vienna

First Person Scholar has begun a partnership with its German-language counterpart, Paidia. As our German Correspondent Joe Köller notes, the fruits of this cross-pollination have already begun.

Two strong pieces from Videogame Tourism: Agata Góralczyk muses on human interaction in post-apocalyptic games while Dan Heck entertains a thought experiment on a large-scale crossover game.

At Herzteile, we find a podcast interview with board game developer Andrea Meyer, while at Kleiner Drei there’s an exciting interview about Lady Internet, an upcoming communication network for women.

This Ain’t the War You’re Fighting, It’s the Red October

If you follow one link in this week’s roundup, let it be this one: Dan Olson’s latest episode of Folding Ideas is a whammy of a breakdown on the Gate of Gamer and why, even if only a minority of the “movement”‘s participants harass, all of them benefit. This line in particular is worth isolating:

The use of terror tactics, even if only by a minority, has created an environment of fear that all members enjoy the privilege of.

While not directly addressing the Gate of Gamer, developer Stephanie Bryant picks apart one of its popular retorts, which certainly predates the campaign: why “just make your own game!” is so oblivious.

I leave the final word to our own Mattie Brice, who more than anyone else has hit the nail right on the head on why the fight against harassment is more like provocation, largely playing into the same spectacle which has already hurt the industry’s most vulnerable members:

This line of thinking seems to come from a couple of factors from what I can see: the ‘logical’ one of if society can see that people in the hate campaign are awful people, they don’t get credence, and the selfish one, that they want to do something but can’t bring themselves to a level where they feel like they can make a real difference. There’s a lot that goes into these two feelings, but simply, society already sees games culture as aberrant and horrible, and therefore doesn’t need to see it get worse to be convinced, and this entire conflict isn’t about gamers and wanting to feel like you’re a good person, it’s about the continual victimization and marginalization of minoritized people in games. It was in the beginning, always is, and yet there hasn’t been any real, healthy effort to counter this. Instead, people waste their energy dealing with people who can’t be convinced, and make bloodsport of it.

It’s Not the End of the World, It’s Just the End of A Song

As always, thank you to our readers who send in submissions via Twitter mention and email. You make these roundups stronger.

Reminder, you have a few more days to get your submission in for October’s Blogs of the Round Table topic, “Masks.”

Critical Distance is community funded by readers like you. If you want to help us weather this brave new world with such people in it, please consider signing up for a small monthly donation. We are very, very close to reaching our next funding target, which is essential if we’re to move ahead on some of our larger projects like the print anthologies.

Someone still loves you, Jakob Dylan. Not, you know, for “One Headlight” or anything. Just because someone has to.

Anyhow, readers — it’s the weekend after IndieCade and I’m back in the saddle. Let’s tuck in with This Week in Videogame Blogging!

Come On Back to the Five and Dime, IndieCade, IndieCade

Speaking of IndieCade, if you didn’t happen to attend, you missed out on some great talks!

Over on Gamasutra, Bryant Francis has an excellent write-up on a well-received panel led by Shawn Alexander Allen (Treachery in Beatdown City) on issues of racism in tech and game development.

Ian Bogost, he of the perpetual mic drop, spoke during IndieCade’s Sunday microtalks session titled “Why ______ Matters” and has generously posted the full text of his talk online. Here’s a sample, in which he deftly deconstructs the ‘specialness’ of games on the level of culture creation:

Whereas previously culture fought, won, and lost its battles at the scale of mass media — think of Madonna and Bart Simpson and Murphy Brown — now we do so in isolated pockets of niche media hobbyism. [Washington Post writer Alyssa] Rosenberg sees this as an unexpected victory. “Everyone can win the new culture wars,” she declares, because “all stories have a chance to be told.”

The problem with Rosenberg’s account is that fragmentation becomes Balkanization, which becomes recuperated into Libertarianism. Mutual hostility becomes “do what you want, just don’t foist it on me.” Pushed to its limits, all fandom becomes apartheid.

[…]

This state of affairs ought to chasten us. It ought to revise our understanding of the scope of the work before us.

For example: if you want to fight for diversity in games, then absolutely you should fight to broaden representation among players, creators, and characters.

But there’s another kind of diversity: the diversity of our interests and our dispositions, of the company we keep and the influences that inspire us, the people and the groups and the industries and the materials that we contact. It has to do with having dealings enough with the world such that it is no longer possible to be seen as a parochial backwater not even worth opposing let alone supporting.

We have become too comfortable here in games.

Lastly, Liz Ryerson has shared a revised version of her talk from the ‘Influences’ panel, in which she discusses the hard road to really waking up to what games can do and be:

this “new flesh” [from David Cronenberg’s Videodrome] is as another way of looking at digital devices as extension of our bodies – and embracing them as body parts we exercise full autonomy over. because if we don’t, we can easily fall under the order of strong, powerful cultural programming that favors the aims of corporate ideology and the military-industrial complex.

[…]

the problem with fighting back against the tide of all this powerful cultural programming is we’re often bad at envisioning and embracing this new flesh as a tool of progress amidst these vast corporate structures colonizing the internet. in his movie A Pervert’s Guide to Ideology, Slavoj Zizek looks at the many apocalypse scenarios increasingly saturating popular media of the last ten years and asks: why is it so much easier for us to envision in the cultural consciousness a total apocalyptic collapse of society than it is to imagine a fairly minor-shift in our ways of understanding and constructing the reality of our situation?

the answer is that is the logical endpoint of the ideological path we’re following now. and there is something intensely painful about, in the midst of this, realizing our own bodily autonomy, and our ability to make even a subtle a shift in our understanding and construction of reality. it’s a struggle, and it involves experiencing a lot of pain.

Class is In Session

In Gamasutra’s Member Blogs, Felipe Pepe salutes the 40th anniversary of Dungeons & Dragons — which also marks the 40th anniversary of computer role-playing games based upon it.

Independent critic Lulu Blue has been replaying the original Kid Icarus lately and remarks that it seems to exist during a weird transition point in Nintendo’s 1980s design philosophy:

Maybe it wouldn’t be until Kirby’s Adventure that they’d finally let up and greenlight such a revolutionary idea such as “action game that isn’t prohibitively difficult”. While there were games like Dragon Quest before it, with similar staple ideas such as “a game anyone can beat****” they were often tacked on with a billion [contingency] asterisks that amounted to “a game anyone can beat by spending enough time repeating the same trivial task over and over again and smashing their head against a rock (and also pressing the A button in front of every rock)”. Kirby was maybe the first game of Nintendo fame to not have that gotcha, but regardless of whether it was, Kid Icarus was NOT that game.

Meanwhile, in the newest installment of History Respawned, Bob Whitaker sits down with history professor Michelle Brock, an expert on early demonology, to discuss the cultural and religious underpinnings of Blizzard’s Diablo franchise.

One Does Not Simply…

The new Middle-earth game, Shadow of Mordor, continues to inspire a lot of discussion.

On her personal blog, Carolyn Petit notes the game does poorly by its women characters, killing off many and damseling a woman warrior.

Over at Loser City, Jake Muncy digs deeper into the game’s innovative enemy AI system and how its potential is squandered on the narrative’s thematic contradictions:

[O]rcs don’t quite fit into the world Tolkien created. They don’t fit into the order of the world that Gandalf describes to Frodo, where mercy is absolutely right and redemption is always an option — however distant a one. Tolkien’s world is, after all, based irrevocably in his Catholic sensibilities; his non-Lord of the Rings contributions to the universe feature a benevolent creator God and make it clear that the wizards are maiar, essentially angels. It’s important that even Sauron chose to be evil, deliberately rejecting the goodness inherent in all creation.

Orcs are different. They’re evil simply by nature, inherently corrupted. In Tolkien’s rendering they have no culture and no language of their own. […] Orcs exist in a permanent state of exception, absolutely Other, nameless and killable in droves. They’re two-dimensional and infused with imported racist prejudice, given no depth in a world full of it.

[By contrast, Shadow of Mordor‘s] Nemesis system gives the orcs much-needed culture and depth. They have names, they make small talk. They have parties and feasts. They live in a constantly changing feudal society. […] Orcs are victimizers, but they’re also victimized, set in longstanding oppressive power structures.

[However, for] as much as the Nemesis System feels like a solution to the orc problem, it also reifies and even magnifies it. Orcs are still cannon fodder in the same way they’ve always been. It’s a bizarre double bind: our orcs are special unique snowflakes, now kill all of them.

Nuke It from Orbit, It’s the Only Way to B– Oh, I Already Used That One

Alien: Isolation is another game to see some sustained discussion in the last couple weeks, and it’s easy to see why.

Notorious list-maker Brendan Keogh shares his collected thoughts on the game and in particular, how it manages to show off far more raw personality than comparable big-budget games.

At Vice, Cara Ellison takes a few well-deserved potshots at Isolation‘s one major fumble with regards to its level design: the needlessly expository graffiti.

Meanwhile, at Polygon Danielle Riendeau has high praise for the game’s treatment of its protagonist, Amanda Ripley, as truly befitting the heroine template exemplified by Sigourney Weaver’s character in the Alien film series. And from a visual standpoint, PC Gamer’s Andy Kelly shares how the game stacks up next to the aesthetics of the original film in a side-by-side slideshow.

Finally, at Eurogamer, Jeffrey Matulef shares a bit of optimism that Alien: Isolation is but the latest in a broader trend in high-budget, first-person games (including The Last of Us and BioShock Infinite) to offer a more contemplative, sedate experience.

Listen and Believe

As we now enter our third month of the debacle that has come to be known as Gamergate (though in fact, it’s been going on since July or even earlier, for some of those affected), it’s important to keep the profile high and the dialogue open. With that in mind, like much of our Gamergate coverage, these links come with a General Content Warning for strong descriptions of harassment, stalking and slurs.

Let’s start with Brianna Wu, who became the third woman to be driven from her home in two months due to credible violent threats on her life. On XO Jane, she shares a first-person account of being targeted, including screencaps of threats sent to her.

Touching on Anita Sarkeesian’s recent XOXO talk (which this subsection also derives its title from), Damion Schubert has been busily collecting the stories from women from all “sides” of Gamergate, proponents as well as targets and others completely uninvolved, who nonetheless have been subject to harassment, doxxing and other attacks. On her tumblr, Secret Gamer Girl has also collated the experiences of many women targeted by the loosely-defined movement.

The Awl’s John Herrman takes a different approach, reprinting the comments and tweets from parents who have discovered their children are participants in Gamergate.

Also, on The Daily Beast, Arthur Chu (who has never actually written for Critical Distance, despite reports to the contrary) draws an astute comparison between Gamergate and the Disco Sucks “movement” of the 1970s. It’s all great, but here’s a sample:

Just look at the rhetoric used by angry 1970s rock fans to bash disco. It goes beyond just finding the music unpleasant, it invokes the rhetoric of legitimacy. Disco artists aren’t “real” musicians. They don’t play their instruments live, like rock guitar gods; it’s too “produced,” it’s too “studio,” it’s fake.

Moreover, guys who listen to disco are fake. They dress in expensive leisure suits and hang out at fancy clubs. They don’t get down in the dirt and tear it up like us hard-core, genuine, masculine fans. They’re not real men, and women like them for not being real men, which is unacceptable. […]

And there’s the aggrieved underdog stance, calling disco artists and producers “elitists,” spinning a narrative that rock was authentic music made by blue-collar kids in garages while disco was being “pushed on” America by corporate labels. (Are you kidding me? Led Zeppelin the hardscrabble underdogs vs. the Bee Gees? That’s as ridiculous as saying Call of Duty fans are oppressed compared to people who like indie text games about what it’s like to have depression.)

Gamergate reached the front page of The New York Times this week, due largely to a school shooting threat called in over a scheduled appearance by Anita Sarkeesian. With the NYT coverage, many game news outlets have come forward officially denouncing Gamergate. However, just ahead of this development, Jetta Rae DoubleCakes published this strongly-worded editorial at Ravishly which urges news writers to properly frame their Gamergate coverage, and it’s still relevant:

So eager [are some outlets] for that “big scoop” that they didn’t bother to look at what they were picking up. Or to check if it was toxic. […]

The willful ignorance of the media, both mainstream and “niche,” has fostered an antipathy without fear of reproach. […] And every second journalists sit there tapping their lip with their fingers, ahhhh I wish there was a word for people threatening to harm bystanders in public if their demands are not met, if only we’d gotten on this sooner—it emboldens the violence.

Soft Reset

It’s tough, but we have to keep moving. In light of some of the above links, and in particular Ian Bogost’s calls to diversify the critical and cultural landscape of games, let’s look at a few writers who are doing just that.

First, at Haptic Feedback, Austin C. Howe has a look at the recent wave of dismissiveness toward reflexive games (what he calls intertextual games; that is, games which comment upon or are “about” games) and concludes that by doing so we not only diminish these titles but risk throwing the baby out with the bathwater.

Speaking of taking things one level above, here’s Stephen Beirne reviewing an interactive review of Dontnod’s ambitious but flawed title Remember Me.

And here’s a couple plucked from our own contributors. At Paste, Lana Polansky describes her recent venture into card gaming, in particular the simple 1965 game Nuclear War and its critique of the titular subject matter:

But one of the game’s best little touches is that, here, in state of war, there is a nonzero chance that everybody dies. When war is declared, it can’t be undeclared until the first player to launch a missile is knocked out of the game. That means genocide must effectively be committed before peace can resume—there is no going back. However, a losing player can go out by detonating all their playable nukes at once, and therefore has a chance to take out another player with them. There’s nothing in the game prohibiting every player from being taken out, losing their entire population. This means that, in all likelihood, you either end up with a pyrrhic victory or, quite literally, no one wins.

Also, our own Eric Swain is starting a project on his blog The Game Critique, aiming to start folding in criticism from other media forms as a means of diversifying how we approach games. Have a look.

Entering the Sublime

A couple hearty pieces for the road. At PopMatters Moving Pixels, Scott Juster takes a look at The Vanishing of Ethan Carter and the subtle ways it subverts player expectations.

Also from Scott Juster his long-time blog partner Jorge Albor, a brief podcast discussion on games and eating, from our gustatory traditions to our Soylent futures. Mmm.

And So I Send You Out Into the Night, Not, I Hope, Unarmed

That’s it for this week! As always, we value your contributions via Twitter mention and email.

There is still a bit of time to get involved in October’s Blogs of the Round Table. It’s a fun topic touching on Halloween, so I encourage you to give it a whirl!

Did you know we’re commissioning new features? Because we are! Head over here to learn more.

And a few more sites and resources to relax into your Sunday:

-Arcade Review is a quarterly magazine edited by our contributors Zolani Stewart and Lana Polansky
-Five Out of Ten, edited by our sysadmin overlord Alan Williamson, has just released its 10th (!) issue, “Heart.”
-Memory Insufficient is a great free zine edited by Zoya Street.
-Forest Ambassador is an important, free curated resource for small independent games, run by Merritt Kopas.

Did you know? Critical Distance is community funded by readers like you! If you like what you do and want to help us get our “BOTH SIDES” knuckle tats for when we get sent to Games Journalism Prison, please consider signing up for a small monthly donation!

Hello everyone! Welcome to a new roundup of This Week in Videogame Blogging.

Such Justice. Very NPC.

Let’s start with Austin Walker at Paste, who writes on Watch Dogs and Shadow of Mordor’s nemesis system. His piece is comprehensive and meaty, moving from Mordor‘s approach to failure, its perpetuation of colonial enslavement narratives, and weaving succinct observations of Watch Dogs and both games’ presentation of NPCs, and the violence we perform onto them.

Eric Swain also writes a piece that laments the superficiality of Watch Dogs, surveying the numerous problems with its themes and structures.

Ludology of Hunger

At the blog videogameheart, Grayson Davis twists the connection between meat and health in videogames, and asks what it means for a game to reflect a vegetarian’s way of life.

Kevin Wong traces lines between Sleeping Dogs and his experiences being an Asian American. He examines the struggle of the diaspora prevalent in his and Jackie’s life, and the negotiation of belonging and acceptance in the tug between cultures. It certainly touched into some of my own experiences as a Black Canadian, A rewarding and relatable piece well worth reading.

Nuke It From Orbit, It’s The Only Way to Be Sure

Edward Smith looks our relationship to technology as a conceptual character in Alien: Isolation. Hazel Monforton examines Outlast in the context of surveillance, and Jon Peterson writes a history of war games in the early 20th Century, and the places women have taken in those spaces.

Surveying Gamergate

It’s been about two months since a loose anti-feminist collective known as Gamergate began carrying out harassment campaigns and waves of abuse towards women developers, writers, journalists, critics, and many of those who are active in the indie community and the videogame industry at large. A lot has been written about this already, so I only chose the most enlightening and useful pieces regarding the situation.

But before I mention these pieces, I’d like to express a moment of solidarity, to the women who have been victimized, abused, harassed, driven out of their homes, had their private information stolen, their friends and family put in danger, and their careers and livelihoods severely damaged by groups who saw them as a threat to their sense of power and domination over discourse. We know this is unacceptable, and cannot stand. And all of us, in the blogging community, stand with you, and are dedicated to your well being, and your right to practice your craft safely and reasonably. You deserve better than what this industry gives you.

(Zolani’s sentiments are echoed by all of us here at Critical Distance. It has not been said often enough: we would not contribute to this site if we were not squarely focused on promoting the voices of the disenfranchised and creating safer spaces for everyone in games writing and discourse. We denounce harassment in all its forms. –KL)

So with that, let’s start on Jacobin, where Peter Frase discusses the Gamergate groups in a larger context of how right-wing reactionaries tend to function. Not only does he provide a useful description of what Gamergate is ideologically, but he makes interesting points about how Gamergate reflects larger constructions about industry and consumption. Check it:

So this is not just a story about gamers. And within the boundaries of the games world, it is also not merely a story about a “toxic culture” among game fans, but rather about an industry that is structurally and systematically reactionary, and cultivates the same values among a segment of its consumers. It’s not just 4chan mobs terrorizing writers and game designers, it’s a games business that pushes out workers who don’t conform to its political assumptions and demographic stereotypes.

At First Person Scholar, Katherine Cross uses a slightly different context, examining how the Gamergate groups differ from the typical radical extremism in how they view themselves as an apolitical `consumer movement. It’s a piece with remarkable scope on the situation, and is highly recommended.

T.C Sottek at The Verge writes a hard damnation of the Gamergate groups, emphasizing their role in the waves of abuse and harassment during the past two months. Brendan Keogh does the same, but puts focus on the complete lack of engagement from mainstream games journalists in dealing with Gamergate, calling “the sheer radio silence… nothing short of embarrassing.” Indeed so, Brendan.

BioWare developer Damion Schubert, at his blog Zen of Design, has a longer and more comprehensive roundup of links about Gamergate, as well as a survey of large videogame websites and where they’ve stood.  And Patrick Miller writes a list of things we can all do to curb the damage done by Gamergate. It’s a refreshing piece to read, one that will hopefully give you some hope, regardless of all that’s happened.

And some good news: Stephen Beirne of Normally Rascal has ventured into critical curation on his own blog! “This Week We Read” takes up several writers, each with their own pieces to contribute. Take a look if you’ve gotten tired of reading in my voice.

We’re Good!

That’s it for this week! We greatly value your contributions, so if you write something that you want us to see, send us a Twitter mention or an email! And to support the work that we do here, you can help us continue our curating work at our Patreon.

Happy reading! And take care of yourself, friends. Stay strong, and stay powerful.

We’re Commissioning Two New Features!

October 8th, 2014 | Posted by Kris Ligman in Announcement: - (Comments Off)

Hey, folks. Kris Ligman here, with a special announcement!

As many of you know, we’ve been community-supported since earlier this year. I’m pleased to say that we’ve reached a funding level that not only ensures the continued smooth operation of the site, but also allows us to pay all our contributors. This is all thanks to you, the readers, so give yourselves a hand!

Second bit: because of our current funding level, I’ve decided it’s high time we start ramping up production of some original features, such as our Critical Compilations and Spotlights. You may have noticed a recent Nier Critical Compilation, which was brought to us by First Person Scholar’s Michael Hancock. We’re looking to run two more such features, sourced from the community, in the near future.

If you have a game you are particularly passionate about and want to write up a Critical Compilation for it, or if there is a writer or gameplay subject you are interested in and wish to write a Spotlight on it, this is the time to send us your pitches!

Because our budget for features is generous but not in any way huge, we’re starting off commissioning just two features at this time (two Critical Compilations, two Spotlights, or one of each). However, we have plans to commission more down the line. So, if your pitch isn’t picked up right away, you’ll be put at the head of the queue for the next batch.

If you have any questions about the format of our Critical Compilations or Spotlights, check out our links at right to see how other authors have approached them in the past. Or if you have another issue, feel free to drop us a line.

There is no deadline for getting your pitches in, but the sooner is better, obviously. We would like to run the first feature as early as November.

In the meantime, if you want to support Critical Distance, please, consider signing up for a small monthly donation through our Patreon! Your contribution goes toward paying writers and maintaining a space for smaller voices within the ongoing games discourse.

I don’t know if the persistent heat wave has sapped us all of our wills to write, but I have a short but sweet one for you this week, dear readers. Join me, won’t you? It’s This Week in Videogame Blogging!

Design Notes

At his blog Just Delete It, James Earl Cox offers an interesting analysis on the four kinds of “metafiction” in games, which he defines as self-aware fiction meant to mediate player suspension of disbelief.

Meanwhile, at Kotaku, GB Burford shares a fascinating long-form essay on the Dead Space series and how the games, moreso than creating a language with its various components, create a unique and memorable “dialect” through mechanics, art, sound design and more.

Even though a crafting system [in Dead Space 3] sounds interesting and cool, it kills engagement. When players don’t have to think about what guns to bring, what items to carry, or what order to engage enemies in, the game reduces its vocabulary. It becomes flat and boring.

Dead Space 3 has the vocabulary of a caveman’s poetry. Dead Space 1 and 2, comparatively, were the combined works of Shakespeare.

And at Joystiq, Anthony John Agnello has a quirky series of interviews with some artists on the lost art of fighting game backgrounds.

Press X to Precious

On Polygon, Zach Gage draws focus to the tutorial for Shadow of Mordor, in which a skill introduced to have the player character kiss his wife uses the exact same mechanical grammar to later kill enemies. Meanwhile, at sister site The Verge, Chris Plante reflects how the game’s over-the-top brutality casts the player into the role of a terrorist:

The concept of this game is shocking when you think about what’s actually happening. As an ultra-powerful white dude, you use fear and extreme acts of violence to manipulate an enemy’s behavior, destroy its militaristic structure, and ultimately gain control of it in the form of living bondage despite being outnumbered by the thousands. Really, chew on this: This is a video game about a spurned man terrorizing an entire foreign culture, literally killing, branding, torturing and enslaving hundreds of living beings. And really they’re only tangentially connected to the man’s real enemy: another ultra-powerful white dude.

While we’re on the topic of Lord of the Rings, over at Paste Ian Williams has penned something of a living epitaph for the outgoing Lord of the Rings Online, Turbine’s seven-year-old MMO which now appears to be entering the last stage of its life cycle.

From Your Gate to God’s Ears

Rab Florence — yes, that Rab Florence — offers a passionate appeal to those sincerely interested in criticizing games journalism:

Okay, okay, look. Are the games press too close-knit, too cosy with each other? Absolutely. Are they too cosy with game developers? Absolutely. Do they circle the wagons when they get criticised? Absolutely. You’re right. You’re right.

[…] But how do you respond to that? By joining a gang? By entering another bubble? Fuck bubbles, man. FUCKBUBBLES. That’s why you think all the games websites are the same! Because you’re stuck in a bubble! Break out — look for games writers you love, and support little websites and blogs. Discover them! They’re out there, desperate for you to find them. I’m with you, dude. FUCK those big websites.

[…]

Sometimes when the barrel is sour you need to walk away from the barrel, y’know?

Scholar and seasoned critic Katherine Cross has been abuzz on Twitter of late, and this Storify of a series of tweets on the (actually quite common) human compulsion to see one’s own interpretation as factual, while all others are “forcing” a narrative, is a worthwhile read.

Lastly, lest you think there was any shortage of valid things to get angry about when it comes to games, Leigh Alexander has compiled a (non-exhaustive) list of actual ethical concerns in videogames, with relevant links.

Dispatches from Vienna

Our German correspondent Joe Köller has the latest for us from the German-language games blogosphere.

First up, Nina Kiel, Hendrik Thiel and Marcus Dittmar all attended the recent PLAY14 games festival in Hamburg and have come back with their report of the goings-on.

Also on Superlevel, we have this delightful Games Journalism Dummy Text Generator, complete with AAA-to-indie language slider. Nearly as good as the real thing!

At Kleiner Drei, Martin Pittenauer interviews game designer Henrike Lode, while at Herzteile, Helga Hansen interviews Nina Windisch, who has an interesting job: she develops games for German television shows.

Lastly, on Paidia, Franziska Ascher takes a look at the Souls games’ spin on the ‘unreliable narrator.’

All the Rest

It’s so thrilling when a site outside the usual games blogosphere stumbles upon something of interest. Over at Scenes of Eating, Sara Davis recently found her way to Memory Insufficient’s Food Issue as well as the Games and Food Tumblr, comparing what she found there to how she sees food used in film and literature.

Lastly, anna anthropy has shared another interview conducted for her recently released book on ZZT, this time with developer and author Jeanne Thornton.

Hello, Goodbye

That’s it for this week! As always, we welcome your recommendations via Twitter mention and through email, and yes, you are free to link to your own work!

The August-September Blogs of the Round Table recently concluded, and you can view the delicious offerings here. And there is a new topic for October: “Masks!”

Critical Distance is completely funded by readers like you! If you like what you see and want to help us continue cancelling the Apocalypse every time that little Ragnarok pop-up notification shows up on the task bar, consider pledging a small monthly donation. We now offer an exclusive physical reward tier for people who pledge a little more!