What can be said at the close of 2022 that hasn’t already prefaced a thousand best-of lists?
It wouldn’t be fair to say there were no bright spots this year, because there certainly were. In addition to a slate of excellent new releases — many of which are discussed below — Critical Distance also saw an immense outpouring of support from you, our readers, when we launched our emergency fundraising campaign this past November. Our Patreon is back on track, our Discord server‘s buzzing with activity, and we have some great new stuff planned for you in 2023. None of this would be possible without your support.
But I won’t lie, reader. There was a moment earlier this year when I thought to myself: “Does the world even still need Critical Distance? As journalism continues to collapse and everyone is strained financially, is the era of games blogging finally at the end?”
Then I read an Art Maybury post about some early 1970s piece of interactive fiction I would never have heard of otherwise and thought: “Don’t be ridiculous. This is exactly why Critical Distance exists.”
Senior Curator Chris Lawrence and I have once again combed through a year’s worth of weekly roundups to bring you more than 80 works that run the gamut from historical deep dives to industry politics — and yes, quite a few new releases as well. No matter what you take away from 2022, there is something in here for everyone.
(One disclaimer: Due to a mixup with scheduling, we weren’t able to open submissions to readers as much as we have in past years. We did our best to include as many reader submissions as we could.)
We begin in the past. 2022 saw not just a wonderful assortment of retrospectives on classic games but also the people who made them, from the legacy of sound effects to Roberta Williams’s much-celebrated return to game development.
- Retro spotlight: Phantasy Star II | Retro XP
Marc Normandin looks back at a JRPG that was always ahead of the curve.
- The Powerful Queer Horror of Rule of Rose | Paste
Madeline Blondeau makes sense of the tangled and messy childhood sapphic friendships of Rule of Rose. (Content warning: sexual abuse.)
- Why Roberta Williams Came Out of Retirement to Remake a Beloved Text Adventure | Waypoint
Duncan Fyfe talks to Roberta Williams–on her boat–about genre, craft, and Colossal Cave Adventure.
- Saving Sacred Pools: Sega’s Million Dollar Adult Game – Gaming Alexandria
Dylan Mansfield recounts the history of a lost Sega game–now rediscovered–from the twilight of the FMV era.
- Lula 3D | Bad Game Hall of Fame
Cassidy returns, and in this 69th episode, they give a legendarily bad horny adventure game its due.
- This is the World We Created: Baroque and Poetic Form | Fanbyte
Aurora Brainsky-Roth unfurls how the macabre, morose roguelike Baroque evokes poetry not in its writing, but in its structure and form.
Naturally, this is true of all games; like a poem, a game only exists as a sustained, diffuse web to be “read,” never resolving into an external outcome entirely separable from the aesthetic configuration which expresses its coherency and meaning. Significantly, the sequence of tasks the player must perform in order to progress all involve retrieving and reconciling to memory and past events. The cyclical tower runs don’t so much propel the narrative towards a future resolution as retroactively entrench the game in the effaced history which formed it in the fictional world, and in doing so allow the characters to accept it as it is.
- A History of Hup, the Jump Sound of Shooting Games | WIRED
Bryan Menegus presents a thorough historical examination of That Grunt.
- HUTSPIEL and Dr. Dorothy K. Clark | 50 Years of Text Games
Aaron A. Reed uncovers the history and authorship of one of the oldest computer-based wargames, dating back to 1955.
- Dragon Quest  – Arcade Idea
Art Maybury ponders genres and legacies in a game situated at a crossroads between them on several levels.
- Agency, Empathy, and the Call of the Other in AMFV | Gold Machine
Drew Cook proposes simulation, subjectivity, and empathy for the Other as a keystone of interactive fiction, parser-based and beyond, turning to one of IF’s most distinct and realized protagonists up to that point: Perry Simm.
The Nostalgia Singularity
The videogame industry is a dichotomy in many ways, chief among them its twin obsessions with newness and nostalgia — despite not usually giving a toss about preservation. But there’s more at play here, as several writers highlighted this year:
- A Totem | Bullet Points Monthly
Yussef Cole considers The Last of Us Part I as a sort of totemic work, increasingly more a representative artifact of design and industry ideology than a videogame sold and resold on its own merits.
- Game Design Mimetics (Or, What Happened To Game Design?) | kyle kukshtel’s game dev/design blog
Kyle Kukshtel unpacks the industry conservatism at the root of the homogeneity, repetition, and endless re-releases and remasters in popular games.
- Sable | The White Pube
Gabrielle de la Puente reflects on Sable, and endings, and not wanting things to end.
- June 2022 Update – The Only Game I Ever Replay | Clockwork Worlds
Austin Walker collects his thoughts from ten years and counting with Dragon’s Dogma.
- Awake on Foreign Shores | Bullet Points Monthly
Molly Zara-Esther Bloch situates a game of Empire in its wider aesthetic and material contexts.
The forever wars seen in AAA mainstays like Halo exist—at least partly—to compactify the stocks and flows of global capitalism into the simplicity of three dimensions. In its current state, the grind of modern industry isn’t a fight that can be finished. It can only evolve.
There’s a genius to these aesthetic trappings—a way of sidestepping the artificiality of digital 3D by making the world synthetic. This had been done before, but never in a work aimed at adults. And as the sixth and seventh console generations wore on, it became clear that Halo’s aesthetic sensibility was by far the longest shadow the franchise would cast.
- Tetsuya Nomura’s designs embraced Y2K fashion and never let go | Polygon
Kazuma Hashimoto unpacks the origins and influences of Tetsuya Nomura’s post-millennial zipcore drip.
Imagine if the Lightning Told a Story
As 2022 showed us, everything is a systemic issue. Be it by their programming, design philosophy, or politics, the machinery of games and how they’re used to create meaning for the player is a rich subject with quite a few depths yet to plumb.
- NAGA’S BLESSING | Eoan Wave II
Sraëka-Lillian highlights Fire Emblem as a rare strategy game that encourages the player to care about every stat on the board, both mechanically and thematically.
- The Curse of Content, or Burying Your Friends – No Escape
Jeremy Signor positions Unsighted‘s time-buying mechanics as a rejection of FOMO-culture and Limitless Content.
- Colony Collapse — Real Life
Leah Mandel dwells on god games and ant farms, individualism and determinism, our desire to choose even if choice is a fiction:
It’s not that humans have nothing in common with ants. The problem lies in the idea that ants have a “civilization” that simulates and clarifies how human society operates. This view, exemplified by god games, reinforces the notion of a genetic, predestined order and implies that humans across history are all the same, motivated by the same sets of underlying functions that are more or less obscured or distorted by how society is arranged. A player of these games taps into this fiction of a fated order, even as the game semaphores that we are merely ant-size beyond it.
- Entropy Machines: On Battle Platform Antilles
Alexander B. Joy ponders the evolution of artificial intelligence in the context of a turn-of-the-century wargame.
- Wandering Above a Sea of Fog (February 2022)
Esteban Fajardo draws association between our recent elevation of open-world games with the west’s long-standing elevation of perspective art technique.
- It should have been a walking sim | A Trivial Knot
Siggy proposes a playful (playless. . .?) thought experiment.
What if we removed all the combat, the platforming, skill-based anything? What if we only had press w to move forward, mouse to look around, dialogue, environmental storytelling, audio logs, item descriptions, cinematics, choices that matter, and a dash of light puzzling to taste? Walking sims are so simple, surely it should be easy, right?
- Workplace Woes | Videodame
Krista McCay breaks down how Going Under captures both the cheerful veneer and the underlying rot of the workplace grind.
- The big bird in the sky and the worm who ate Spiderman’s lunch – GlitchOut
Oma Keeling ponders the absurd futility of replicating Twitter in a Spider-Man game.
- D&D’s Obsession With Phallic Desire | Traverse Fantasy
Marcia B. ties colonial and misogynistic structural elements of Dungeons & Dragons to its ever-moving goalposts of desire. (Content warning for mythological rape.)
- A dev diary – Kimimi The Game-Eating She-Monster
Kimimi documents developing a text adventure game in C64 BASIC.
- Subjective Analysis of Modern Warfare 2019’s Objectivity in One Scene | Unwinnable
Ed Smith unspools the tightrope Call of Duty carefully walks to absolve itself of having any opinion about anything at all.
- Game Design in the Imperial Mode #CGSA 2022 | meghna jayanth
Meghna Jayanth, in continuation of her study and critique of the inflections of Empire in game design, shifts focus from the white protagonist to the white player.
The white player’s — imagined, assumed, understood — desires have been enshrined as objective and sacrosanct by our market-driven, data-driven, player-centric model of video game design. Funding is dispensed at his behest, he is invoked whenever someone in the room dares to suggest deviation from the well-trodden road, female protagonists are “unmarketable” or “financially risky”, whiteness and masculinity are replicated over and over not out of any racial prejudice or bigotry, no, but merely because of the practicalities of the market, which is an entity largely made of fantasy and unconscious desire.
“Player-centric design” is plagued by unexamined whiteness, and I believe that our reluctance as an industry to believe that players can enjoy experiences of unfairness, exclusion, limitation, powerlessness — or even just types of power outside of domination — is rooted in our internalisation of the white player.
To Live and Work in Games
2022 saw plenty of highs and lows for the games industry itself, from the continued push for unionization to the inexorable creep of gacha into every aspect of our lives.
- The rise of the video game union | Polygon
Nicole Carpenter presents a comprehensive explainer (even printable in zine-form) for prospective unionization efforts in the games industry.
- How Should We Be Talking About Visual Novels?
Kastel criticizes opacity, insularity, and inaccessibility in a community that is too often reacting to misconceptions rather than fostering more productive conversations about visual novels:
The way we discuss visual novels on social media and elsewhere is self-defeating. We march to defend the positive values and that’s, of course, an important strategy. But it makes us reactive: we only show up when things go bad and that’s all. We also don’t build resources that would prevent such garbage being spewed on the web in the first place. This becomes a cycle where we correct misinformation but never have the initiative to confront the problem at its core.
Let’s be realistic and admit we haven’t done shit for people who want to learn more about visual novels besides what already exists. We feel comfortable saying platitudes like “respect VNs” because we don’t have anything else that’s constructive to say. Our current remarks should be seen as us smiling at a faltering status quo and being upset when people don’t know where to start.
- The rise of prestige Chinese games | Polygon
Khee Hoon Chan reports on the increasing international visibility of high-production Chinese games, and talks to developers and analysts about the challenges of getting these games made, licensed, and noticed.
- Video Game Guide Writers Help Keep the Lights On But Get No Respect | VICE
Patrick Klepek talks to game guides writers about an undervalued, overexploited genre.
- Genshin Impact’s politics are getting messier with every new region | Polygon
Rui Zhong finds an increasingly fraught geopolitical landscape in Teyvat as the developers draw on stereotypes and real-world political tensions while trying to maintain a fun and airy fantasy world for players.
- GOTCHA | DEEP HELL
Skeleton sets the record straight on gacha and the games press’ tendency to dance around its rough edges.
You can drink all night in a Casino, but the moment you tell me with a smug grin that you didn’t even gamble a sane person might ask you why the fuck you didn’t just go to a regular bar: it’s likely you’re not there for the ambience. You just love drinking in Casinos. It’s not the lure, it’s the satisfaction in tempation. Sure, you never pulled the handle of the slot machine, but you’re still giving them money.
For Great Justice
You’ve probably noticed the boundary lines between these categories are kinda blurry, and this one’s no exception. But where above we focused on industry practices, here we spotlight games’ intersections with politics.
- Realism, Catharsis, and Why Pyre Works | Sidequest
Zora Gilbert muses on Pyre‘s take on revolution, at once idealized and pragmatic.
- Common’hood: Figuring Things Out Together | Minidoshima
Kastel plays a game full of open-ended questions about the housing crisis and the commons.
- Your Apocalypse is Bad and Wrong and I would Know | Medium
Nicanor Gordon faults the white western model of apocalypse fiction in games for, among other things, a linear and deterministic view of history and an (ahistorical) emphasis on cruelty over community:
To live in the Global South is to brave apocalyptic conditions enacted by the West. They appropriate our stories, but they change the setting, they make up a villain, and then they cast themselves as the hero. Their empty dioramas are filled with caricatures of cruelty and sadism. Their “reality” is voyeuristic and escapist. After all, they’re only tourists here.
- Blame It on the Game — Real Life
Katherine Alejandra Cross looks past the perennial linkages on the right between mass shootings and videogames to ask: what are the actual connections between popular media and violence? Spoiler: they’re structural.
- The Man with the Gun is a Boy who Plays Games by C. A. Kocurek — Journal of Games Criticism
Carly A. Kocurek critically unpacks the long American tradition of offloading the blame for white male violence onto videogames as a cultural scapegoat, thereby absolving white males of their violence.
- The Anarchy of Play – No Escape
Kaile Hultner responds to the latest flare-up in indiepocalypse discourse with an anarchist’s perspective on why we need the imagination of diverse designers for the past, present, and future:
Anarchism is, in my experience, most commonly expressed by the things it opposes: states, hierarchies, domination, bigotries, prisons, borders, etc. These are what we might call the outer bounds or parameters of a possible anarchist society. They’re an important element of the anarchist possibility space, the outer ring of the magic circle.
- Ethically designing unethical worlds | Game Developer
Ruth Cassidy talks to the makers of several notable simulation and strategy games about the tricky balance of presenting a world with problems without producing a system made out of different problems.
- The Hopeful Disharmony of Into the Doomed World | Unwinnable
Phoenix Simms contemplates collectivity in crisis, via Into the Doomed World, contemporary anticapitalist indie games, and more.
- Volcano Manor, Blasphemy, and Christian Nationalism — Gamers with Glasses
Nate Schmidt parties hard with the perverse and the profound up at Uncle Rykard’s house of horrors.
- Games are not gonna fix this | Malindy Hetfeld
Malindy Hetfeld contemplates the role–and limits–of art in times of intersecting crises.
- ‘Hardspace: Shipbreaker’ Understands the Joy and Grace of Good Work | VICE
Renata Price mediates on how Hardspace: Shipbreaker pushes through and against the dueling, contradictory narratives of labour in the American popular consciousness:
Hardspace: Shipbreaker is unique in the completeness of its portrayal, and the grace with which it depicts that work. Objects float through space in gorgeous arcs, accelerating and decelerating in pace with the wide arcs of your grapple beam. Its reverence towards labor isn’t just aesthetically beautiful, but actively humanizing towards its characters. The joy of shipbreaking isn’t just satisfying gameplay, but an essential part of the game’s core belief in the possibility of a good world in spite of capitalism.
- Incrementing Towards Finitude: Playable Portraits of Late Capitalism Part 1 | Medium
David R. Howard surveys incremental games to share some thoughts about their themes.
How’s That Systemic Racism Coming Along
It would be nice to say that 2022 was the year we finally turned a corner on race representation in the games industry, but it’s almost like these problems are structural. Still, there are positives to focus on as well.
- A Boy Is A Gun | First Person Scholar
Oluwatayo Adewole unpacks how white western constructions of binary gender are weaponized against Black bodies–both cis and trans–in videogames as well as wider popular media.
- Towards intersectional and transcultural analysis in the examination of players and game fandoms | Critical Studies in Media Communication, Volume 39, Issue 3 (2022)
Sarah Christina Ganzon pushes back against identity siloing and silencing in game and fandom studies.
- Mandinga: A Tale of Banzo & Faith As Power – Uppercut
eloquentire situates faith as an integral aspect of Mandinga‘s protagonists’ Black liberation in the face of white supremacist, Catholic-colonial Brazil:
Truly, there is something beautiful about seeing faith so reverentially applied to a story about liberation. It is also a deep act of healing, as a Black person, to be able to reject grotesque institutional injustice by the aid of powers that cannot be touched by any institution of man. As hard as colonial Brazil, the Papacy, and white supremacy more broadly may have tried for centuries to erase the breadth and depth of what belief means for Africans and their descendants, they failed. Mandinga is the result of why that is important not just to Black people but important to the historical record of the planet itself.
- Killing My People | Unwinnable
Yussef Cole discusses Othering, assimilation, and SOCOM.
- Remember Me and gaming’s most overlooked Black protagonist | Metro News
Luna Reyne remembers back to a compelling character who defined a French studio before life was strange.
- 10 Years Later Assassin’s Creed III: Liberation Remains a Compass for How to Approach Diverse Representation in Games | Paste
Phoenix Simms reflects on lessons about the complexity of thoughtful and intentional representation from a game the wider industry–including that game’s own publisher–seems to have largely forgotten.
This Whole Thing Smacks of Gender
Let’s not mince words: 2022 was a bad year for LGBTIQA+ people, especially trans and non-binary folks. Even so, more than a few writers found inspiration and refuge in games, even in the unlikeliest of titles.
- SORRY THAT YOU HAVE TO HAVE A BODY | DEEP HELL
Karin Malady meditates on bodily autonomy, bodily decay, and trans liberation as cotextualized through soulslikes, Disco Elysium, and more.
- The Endless Possibilities of Transness in Sonic Unleashed | KRITIQAL
Danny McLaren traces the reclaimed theme of monstrosity-as-trans-experience in Sonic the Werehog.
- Pride Week: Make cyberpunk queer (again) – a cyborg tranifesto | Eurogamer.net
Lloyd (Meadhbh) Houston draws on cyberpunk literature and cyborg theory to ask how games might go beyond merely representing queerness and towards fundamentally being queer.
Don’t Game Me Bro
Before we dig down into some of this year’s stand-out titles, let’s chat about the people who play games and then get very, very, very, very (very) passionate about them.
- THE FIVE PEOPLE YOU MEET IN FORTNITE | DEEP HELL
Karin Malady parties with the pop-cultural pantheon in the world’s most videogame.
- The Itch Scratches Back | aromatasemebro
aromatasemebro, in the wake of Tim Rogers’ 6-hour Tokemeki Memorial video review, contemplates the relationships we form with critics and criticism when they share with us their own relationships with a text.
- Miyamoto’s Quote, Pac-Man, E3, and the Role of Hype Culture in Video Game History – The History of How We Play
Ethan Johnson explores the genesis of the “release date” as a concept in games, the attendant growing cultural backlash against developmental delays, and the famous misattributed quote which responds to both.
- does art say things? | GB ‘Doc’ Burford
GB Burford unravels misconceptions and oversimplifications about how games (or really just art generally) make arguments, convey worldviews, an express the thoughts an sentiments of their creators:
At its core, conservatism is rooted in the idea that there is an in-group and an out-group. The in-group is good, the out-group is bad and attacking it. This justifies the right-wing’s violent response. Almost all right-wing art is predicated on the notion that There Is An Enemy To Be Defeated, and while there’s nothing wrong with art about overcoming struggle (all drama is about overcoming something, even ourselves), the right-wing art says, at some level, that might makes right.[…]
[A] right-wing story cannot ever accept, in any way, that there are people other than the right-wing whose lives are valuable or meaningful unless the meaning of their life somehow elevates the hero’s own struggle. “I am better than them,” the conservative says, “I am the hero who saves the undeserving.” That sort of thing.
It’s so condescending and awful that it’s not hard to see why that kind of art never lasts, unless the violence is so thrilling and so exciting that the audience wishes to overlook the problems, like with The Division. Getting loot is fun, you know? So of course a lot of people are gonna play the game, politics be damned.
Let’s now turn our attention to the games which took over our brains and our social media feeds in 2022.
The latest game from Sam Barlow is another database tale about sex and identity.
- The Rapists of Immortality | Unwinnable
Aster Shen contemplates perspective, identification, and abuse in Immortality (content warning for discussions of child abuse and sexual assault).
- Immortality review: a peeling apart of stories, power and film that can’t quite balance on a knife edge | Rock Paper Shotgun
Alice Bell praises Immortality‘s intent but has some quibbles about its context.
- Papers, Apples, Microphones, Chairs: Immortality’s Spatial Miscellany | Unwinnable
Caroline Delbert asks around to see how people are (or aren’t) getting their spatial bearings in the sprawling Immortality.
This H.R. Giger-inspired indie from Serbian developer Ebb Software asks the most important question a game can ask: Can body horror sustain itself on vibes alone?
- Another Corpse, Another Monument | Bullet Points Monthly
Grace Benfell finds strewn through the ruined halls of Scorn, where the reciprocal cycles of life and death are rendered transparent, the failures of Empire and liberal optimism:
Just as there is no outside to Scorn‘s failed civilization, the flesh that constructs the corridors, switches, and temples of the world does not come from somewhere else. It’s all grown right here. There are no white sepulchers, all the death that enables the world is on the surface. The flesh and labor of the workers that enable empire is grafted into the walls.
- We Scorn Friction at Our Peril | Unwinnable
Steven Nguyen Scaife wonders if Scorn is simply too polished for players to abide friction in its design, and observes that the expectations are very different for horror games with a more lo-fi presentation.
- Review | Scorn (Xbox Series X|S) | 8Bit/Digi
Juno Stump sits with the friction in the fiction to see what Scorn might be getting at:
It feels like Scorn is attempting to have a conversation and engage in a dialogue with players about how empires ultimately all require a sliding scale of suppression so that everything can be fine tuned for creating more and more life. Creation for the sake of creation. Birth for the sake of birth. Life for the sake of life. And, while trying to remain as absolutely vague as possible, in the end, anything different or outside the binary must be struck down.
This year saw the release of Nier Automata: The End of YoRHa Edition, but let’s be honest: when are we not talking about the beloved works of Yoko Taro?
- A Rain to End and a Flower to Begin – No Escape
Alephwyr applies a xenofeminist critical lens to Drakengard 3 and one of its key progenitor texts, Hybrid Child:
The xenofeminist ethos can be boiled down to a few key tenets:
- If nature is unjust, change nature.
- Alienation is a liberating force.
- Feminism must be a rationalism, and rationalism must be decentralized and decentralizing.
- The Replicants and their Friends Between Apocalypses – Uppercut
Trevor Richardson studies the non-normative, found families of the Nier series and their resonance with queer players.
- 19 years ago, the best bad video game ever made transformed the medium | Inverse
Willa Rowe reflects on lessons of design and play, nearly two decades out from Drakengard.
Indie gem NORCO captured plenty of hearts this year, with many comparing it favorably to Cardboard Computer’s Kentucky Route Zero.
- notes on norco
lotus reflects on NORCO, techno-capitalism, dysfunction, and memory.
- Face Where You Come From, Even If It Hurts | No Escape
Farouk Kannout plays NORCO and reckons with memory, grief, and their own upbringing in small-town America.
- Norco review | PC Gamer
Alexis Ong offers the highest praise to NORCO as a game that approaches its bleak, hyperlocal, dystopian setting with humour and heart.
- This stunning Deep South fable isn’t the next Kentucky Route Zero—it’s the first Norco | PC Gamer
Alexis Ong chats with the developers of NORCO about bummer vibes, material hyperlocality, and much more.
The latest from indie publisher Fellow Traveller, Citizen Sleeper audaciously asks us to imagine a futuristic world where work still sucks.
- ‘Citizen Sleeper’ Is a Game About Finding Home in a World That Hates You | VICE
Renata Price meditates on the commoditized tensions of bodily existence in Citizen Sleeper.
- The Melancholy Realism of Citizen Sleeper | Paste
Cameron Kunzelman describes a recent critical movement in adventure games, with Citizen Sleeper as an inflection point, but hopefully not an endpoint.
The realism of these games is that this strange existence will go on after you, that the world fundamentally does not need human life to succeed; the melancholy is that you will never understand it, will never be fulfilled in it, even if you can be stunned into wonder by the numinous mystery that borders on Mystery.
Citizen Sleeper is a treasure. I really enjoyed it. It hits all the posts that it aims for, and it appears that longform updates are coming through this year to expand the space station and its people. But I hope that it expands conceptually alongside the word count, that we might see other ways of being and knowing that are not the echoes of the howls of us, all of us, caught in a bear trap of capitalism.
This year also saw the release of FromSoft’s biggest hit to date: Elden Ring. Naturally, the internet had plenty of thoughts about it, as well as its much-beloved predecessors.
- Lover ahead: How queerness is rooted in the narrative of Elden Ring | Gayming Magazine
Samantha Greer takes a closer look at gender fluidity, hegemonic order, and lesbian space wives in Elden Ring.
- The Boschian Horror of ‘Elden Ring’ | ArtReview
Gareth Martin examines the artistic and religious traditions which influence the painterly vistas of The Lands Between.
- Being Trans is the ‘Dark Souls’ of Gender: An Exploration of Parallels | Epilogue Gaming
Flora Merigold, in an expansive critique, relates the experience of coming back to Lordran to the experience of coming out as trans.
- Dark Souls and Trans Closets: Self Discovery Through Failure | Sidequest
Evelyn Grey breaks the ruinous cycle of the world and overthrows the mouldering institutions of Empire.
- Bloodborne Will Always Be My Game Of The Year | Kotaku
Ashley Bardhan’s read on Bloodborne, the Doll, and the uncanny whips. That is all.
- Bloodborne PSX creator explains why the original is “so transgender” | Gayming Magazine
Juniper-C chats with Bloodborne PSX dev Lilith Walther about her homage to a game she positions as fundamentally about unravelling the class and identity baggage of gothic horror.
And So It Ends…
We’ve come to the end of our 2022 retrospective! No list could ever be 100% comprehensive (and still be readable, anyway), but we hope our gathering-together of articles here showcases the breadth and depth of all that this fantastic little world of games criticism has to offer.
There’s plenty of other stuff to mention — our founder Ben Abraham’s important feature on games and climate change, our podcast, our recent ‘open mic night’ on our Discord server, just to name a few. 2023 is gearing up to be a watershed year for Critical Distance, so we hope you’ll stick around!
Happy New Year from all of us here at Critical Distance, and here’s to a brighter one!