Search Results for “ludonarrative dissonance” – Page 4

Now Accepting Submissions for TYIVGB 2013 Edition

…it or keep seeing it brought up. Pieces that get cited to this day. Examples from previous years include:

–The New Games Journalism by Kieron Gillen ‘05 –Ludonarrative Dissonance by Clint Hocking ‘07 –Taxonomy of Gamers by Mitch Krapta ‘08 –Permanent Death by Ben Abraham ‘09 –Video games can never be art by Roger Ebert ‘10 –The Pratfall of Penny Arcade – A Timeline (aka Debacle Timeline) by Unknown ‘11 –Killing is Harmless: A Critical Reading of Spec Ops: The Line by Brendan Keogh ’12

2. Any pieces that are an excellent example of larger trends within the…

This Year In Videogame Blogging: 2013

…Liz Ryerson wonders why she should love video games when the games seem embarrassed by their own nature and cannot love themselves.

Chris Franklin explains what Ludonarrative Dissonance actually means in the face of so many incorrect assertions and usage.

Zolani Stewart explains the problem with gun in video games is their lack of weight in the medium.

Shane Liesegang of Bethesda wrote a piece explaining the concept of Impressionist Gameplay.

Lars Doucet explains his newly coined term Procedural Death Labyrinths on his blog Fortress of Doors.

Reetesh Yelamanchili explores how the world itself is…

September 7th

…Roger Ebert, ludonarrative dissonance and Citizen Kane without awakening the legion of fallen critics, evaluating games like Metal Gear Solid and The Last of Us as narratives cognitively constructed by play to argue how terms like immersion misdirect the real problem with the medium:

Games are a broken because they are stuck in a quagmire of juvenility. They are not being allowed to grow by a commercialised industry obsessed with eternally repackaging Time Crisis for a mass audience. And the problem is exacerbated tenfold by a woefully inadequate mainstream gaming press, which largely identifies the problem as a

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Now Accepting Submissions for TYIVGB 2014 Edition

…(2005) –The Lester Bangs of Video Games by Chuck Klosterman (2006) –Ludonarrative Dissonance by Clint Hocking (2007) –Taxonomy of Gamers by Mitch Krapta (2008) –Permanent Death by Ben Abraham (2009) –Video games can never be art by Roger Ebert (2010) –The Pratfall of Penny Arcade – A Timeline (aka Debacle Timeline) by Unknown (2011) –Killing is Harmless: A Critical Reading of Spec Ops: The Line by Brendan Keogh (2012) –Tropes vs. Women in Video Games by Anita Sarkeesian (2013 to present)

2. Any pieces that are an excellent example of larger trends surrounding the most talked about games of…

Now Accepting Submissions for TYIVGB 2015 Edition

…you remember this piece of writing. They are pieces that get cited to this day, even years later, would fall under this category. Examples from previous years:

–The New Games Journalism by Kieron Gillen (2005) –The Lester Bangs of Video Games by Chuck Klosterman (2006) –Ludonarrative Dissonance by Clint Hocking (2007) –Taxonomy of Gamers by Mitch Krapta (2008) –Permanent Death by Ben Abraham (2009) –Video games can never be art by Roger Ebert (2010) –The Pratfall of Penny Arcade – A Timeline (aka Debacle Timeline) by Unknown (2011) –Killing is Harmless: A Critical Reading of Spec Ops: The Line…

This Year In Videogame Blogging: 2015

…beset by multiple framerate standards. Katherine Cross, writing for Gamasutra, argued videogames should forget all comparison to cinema and instead look to opera as their closest cousin.

Lana Polansky also tackled Clint Hocking’s famously misappropriated term “ludonarrative dissonance,” by formalizing and explaining a much simpler and clearer model: coherence and incoherence.

Speaking of Bioshock, Salavatore Pane criticized its “Tyranny of Fun,” an attitude of game design he says always impacts how we try to make or appreciate works outside the box. Elsewhere, on the subject of games like Dark Souls, Austin C. Howe explained the concept of “Republican…

April 17th

…simply be boiled down to the question of “ludonarrative dissonance.” Here we have three pieces in one week that address interaction from the perspective of narrative pacing.

Quantum Break is better TV than videogame | Kill Screen Reid McCarter observes that Quantum Break is actually faster paced as a TV show, offering less excitement in moments that ought to be more action-packed.
Storytelling Engines: The Story Arc Has Ended and Yet the Game Keeps Going | PopMatters Eric Swain argues that emergent story arcs struggle to hew to the same pacing as the larger journey that the

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Critical Distance is for Game Developers Too

…featured here before, as part of our May 2015 This Month in Let’s Plays roundup. It’s one of simply countless mind-expanding essays, video or otherwise, of a kind we’ve showcased, week in and week out, for almost eight years. Be it our Let’s Play series, This Week in Videogame Blogging, our Blogs of the Round Table feature for new and budding writers, or our new souped-up search engine, there is way more to Critical Distance than stodgy academics or tiresome articles on ludonarrative dissonance. (Overplayed as the term is, I should point out Clint Hocking coined it while he was…

Now Accepting Submissions for TYIVGB 2016 Edition

…something that would stand the test of time and be remembered and cited long after its was published. Examples from previous years:

Ludonarrative Dissonance by Clint Hocking (2007)
Killing is Harmless: A Critical Reading of Spec Ops: The Line by Brendan Keogh (2012)
We are not colonists by Gita Jackson (2015)

Which games were talked about the most?

For example, last year that might have included Metal Gear Solid V, Bloodborne, The Beginner’s Guide, etc. We’re looking for example pieces that highlight the discussion around those games, and exemplify the key issues raised…

December 2nd

…brush up against one another.

The irony of Red Dead Redemption 2’s themes – Critical Hit Brad Lang revisits the concept of ludonarrative dissonance to find Red Dead 2‘s dated gameplay at odds with its narrative warning about staying stuck in the past.
The Emotionless Death Throes of ‘Battlefield V’ – Waypoint Cameron Kunzelman analyzes a death animation in Battlefield V, demonstrating how borrowing from prior forms, conflating the cinematic with the interactive, the first-person with the third, breeds hollow desensitization.
The meaning of death and Red Dead Redemption 2 – I Need Diverse Games Tauriq

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