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call of duty

July 5th

…long-running series) reflect contemporary tensions.

  • 25 Years In The Making: The Strange, Real World of Ace Combat | Uppercut Autumn Wright delves into the worldbuilding of the Ace Combat series, as well as its uncomfortable imperialist antecedents.
  • Shutter Stroll, Time, and Quarantine | Vista Magazine – Medium Taylor Hidalgo finds meaning in the silence, in-game, in our present moment.
  • GROTESQUE WEALTH – DEEP HELL Bryn Gelbart considers how Sekiro articulates ideas about health, wealth, and the ethics of immortality.
  • The Reckless Gender Politics of Call of Duty: Warzone | Unwinnable Porter Simmons looks at the

December 1st

…one indie, one about as AAA as it gets.

  • REDO! – Patience Is a Virtue | RE:BIND Mx Medea explores a slice of Survival Metroid Horror.
  • Call of Duty: Modern Warfare Turns Trauma and Fear into Cheap Tricks – Uppercut Chris Compendio takes a tour through the traumatic set dressing of the latest CoD.

“What Call of Duty: Modern Warfare does is exploit the real-life horrors that countless people overseas, children especially, are suffering through just to make more privileged and comfortable gamers say “huh, really makes you think.” And even that descriptor may

This Year In Videogame Blogging: 2017

…– Wesley Rockholz Wesley Rockholz explains the construction of For Honor and the particular balance problem: “where predictability should be punished, predictable defensive play is unpunishable.”

  • Why PlayerUnknown’s Battlegrounds’ violence is Important | YouTube – Writing on Games – Hamish Black Hamish Black explains the emotions and headspace PUBG engenders through the swiftness and omnipresence of its violence.
  • Watching History Fade Away in ‘Call of Duty: WWII’ | Waypoint – Rob Zacny In the face of family members that served through it, Rob Zacny sees the latest Call of Duty failing their generation, as it doesn’t reflect the…
  • March 2021

    …(Manual captions)

    Violently Aware

    Finally, this trio of essays finds their authors grappling with their complicity of in-game violence.

    • On Indie, Oxenfree | Story Without Killing – Micah Edmonds (26:07)

      Micah Edmonds uses a belated playthrough of narrative adventure game Oxenfree to think about how to go about really enjoying games if not the dopamine-feedback loop of combat. (Autocaptions)

    • Ski Sniper – SWITCH STANCE – Joe Bush (17:34)

      Joe Bush tries to come to terms with his enjoyment of the absurdist violence of Ski Sniper. (Autocaptions)

    • Was Call of Duty: Black

    Abstract image evoking bird silhouette

    May 11th

    …to Three, the one and only Tom Chick lauds Imperialism II as a critical comment on empire and exploitation.

    At The Escapist, Robert Rath breaks apart Vice and Activision’s new Call of Duty “documentary” on private military contractors (PMCs), which he argues distorts political and economic facts to suit the upcoming game’s fiction:

    Here’s the worst part: I want [Activision] to make a good documentary about PMCs. You have the resources and connections to do it and it could be a great public education tool. The rise of military contractors is indeed an emerging trend, and brings

    December 2nd

    …neutralize targets. Behind their cosmetic differences, smart-talking laser guns in Borderlands 2 and AK-47s in Call of Duty: Black Ops behave exactly the same.

    This lack of respect seems to foster dissonance in both discussions of military action and civilian gun ownership. Even ignoring all the other ways the modern military shooter has little in common with real war, by ignoring the physicality of the soldier holding the gun and fostering a lack of respect for that particular gun, these games gloss over the fact that real war is fought by human beings against other human beings. […] It’s…

    May 13th

    …Further on the subject of first-person shooters, Dan Nosowitz expresses his concerns for Sniper Elite V2‘s hyperrealistic “KillCam”. Thirdly, and a chief contender for article of the week, is Paolo Pedercini’s editorial for Kotaku on how franchises such as Call of Duty: Black Ops valorize a particularly frightening kind of warfare:

    In the Ramboesque universe of Call of Duty, black ops are presented as an elite force type of operations, carried out in secrecy by modern ninjas. But in reality, what makes certain operations “black” is not that they go undetected by enemy forces—after all, most of military

    November 15th

    …is. Being only the fourth mission in Modern Warfare 2, though, “No Russian” does not have the luxury of my trust or belief in its world.

    Matthew Kaplan had a vastly different take on the level, arguing that it ‘succeeded beautifully’. Meanwhile, Charlie Brooker writing for The UK’s Guardian newspaper asserts that, “Call of Duty: Modern Warfare 2 is the Citizen Kane of repeatedly shooting people in the face.” Those memes – they sure do get around.

    Decidedly in the negative camp when it comes to reactions to the “No Russian” level is Tom Chick, and his…

    November 14th

    It’s that time of the week where we bring you the best of everything we could find from around the blogosphere. This is TWIGB.

    Gunthera1 on The Border House blog applauds Activision’s Call of Duty: Black Ops commercial for its diversity [mirror] in regards to race, gender, profession age and body type. However, Sam Machkovech writing for The Atlantic calls it a “Twisted Advertising Campaign“, while Gus Mastrapa at Joystick Division takes a step back and decides that tacky is a better term [mirror].

    And, as usual, the marketers were right. This commercial for Call of

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    This Year in Videogame Blogging: 2014

    …Episode 3 and how it portrays toxic masculinity. In trying to assert dominance, he noted, the character Carver ends up seeding only destruction.

    On Kill Screen, Carli Velocci explained she had a panic attack while playing The Walking Dead. Given what it’s going for, she mused on whether that was a good thing.

    War never changes. Neither does Call of Duty. Christ Priestman wondered: if Call of Duty can’t do grief right, then who can?

    With an eye toward history, Andrew Dunn lamented Valiant Hearts’ atonal treatment of the conflict of its subject matter, the first World…