Search Results for “Spec Ops” – Page 5

Episode 46 – Talking on Games

…maker.

SHOW NOTES

Writing on Games YouTube Channel

‘Her Story‘ and the Birth of the Reader

Revisiting Killer 7 or: Art as Technique

Dark Souls Helped Me Cope With Suicidal Depression

Why Blighttown Really Matters (Dark Souls) – Writing on Games

How the Meaning of Vanquish (and Spec Ops: The Line) Changed

The Real Problem With Steam

Music Games and the Joy of Making Mistakes

Writing on GamesCast

Writing on Games Patreon

Opening Theme: ‘Close’ by The Alpha Conspiracy

Closing Theme: ‘Wishing Never’ by The Alpha Conspiracy

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…Cameron Kunzelman argues that speed runners who rely on a performance of skill might be impressive, but those who have memorized tricks and glitches reveal more about the nature of the games they are playing.

Five Years Later, ‘Spec Ops: The Line’ Still Hates Military Bullshit – Waypoint Brendan Keogh locates the game he once wrote a book about in the context of more recent anti-war games and interviews with the developers.

“[…] if you wanted to play a powerfully anti-war videogame, you would be better off playing Unmanned or September 12 or even This War…

Bioshock: Infinite

…first specifically about the game’s use of art direction and visual storytelling. on April 10. He followed up on April 15 with a piece looking at Elizabeth specifically.

Austin Walker’s third piece in his triad of Infinite critical writings dove into the role of Elizabeth in the game, and how her presence is for the player’s benefit more than Booker’s.

Leigh Alexander’s essay “‘Now Is The Best Time’: A Critique of Bioshock Infinite” was republished (with permission) to Kotaku on April 11, and is remembered as one of the first hard criticisms of Infinite on a mainstream…

Far Cry 2

…Number 9 spot counters. A lot of time passed between Armitage’s piece in 2008 and Keever’s in 2017, and many of Keever’s criticisms are interesting and fair – but Keever also makes those criticisms after having played Spec Ops: The Line, and Kane and Lynch 2; games that did not exist when Armitage was writing. Similarly, Keever’s understanding of Ludonarrative Dissonance is much more sophisticated than Armitage’s (or mine) was in 2008, and stands on the shoulders of excellent analysis such as that of Lana Polansky from 2015. If only we knew in 2005 what we know today, Far Cry…

December 13th

…of 2020.

Creating Player Guilt in The Last of Us 2 and Spec Ops: The Line | Kat (Pixel a Day) Kat discusses why player guilt in popular games seems to be such a highly selecteive experience.

Crowded Apocalypse | Unwinnable Yussef Cole finds Fallout 76 to be crowded, convoluted, and loud–a step away from the games that preceded it, but not necessarily all for the worse.

Let’s Place: Narratives of Rebuilding – Haywire Magazine Daria Kalugina finds that even in dystopias as disparate as Death Stranding and The Last of Us Part II, a common survivor…

This Year in Videogame Blogging: 2020

…Feature: Carrion – Team Shapeless Horror 4lyf | Gamers with Glasses (Content warning: suicidal ideation) Tof Eklund relates horror to queer childhood, identifying with monsters and seeing the shapeless, unknowable deep as a better destiny than attempting to survive a confined existence.

Violence

¿Pueden los videojuegos criticar su propia violencia? | GamerFocus (No spoilers) Aiming to better understand the discomfort of violence in The Last of Us Part II, Julián Ramírez gives an overview of design strategies that several writers have argued gave games such as Hotline Miami and Spec Ops: The Line a critical position…

Brendan Keogh | Keywords in Play, Episode 31

…a senior lecturer in the School of Communication and a Chief Investigator of the Digital Media Research Centre, Queensland University of Technology. He is the co-author of The Unity Game Engine and The Circuits of Cultural Software (Palgrave Macmillan, 2019; with Benjamin Nicoll), and is the author of The Videogame Industry Does Not Exist (MIT Press, 2023), A Play of Bodies: How We Perceive Videogames (MIT Press, 2018), and Killing is Harmless: A Critical Reading of Spec Ops The Line (Stolen Projects, 2012). He has written extensively about the cultures and development practices of videogames in journals such as Games…

December 10th

…Middle-Eastern settings for first-person shooting…that has significantly impacted how the world sees that region and the people from there,” GameSpot managing editor Tamoor Hussain said via email. “[Games and other forms of media and entertainment] present the region as places to be blown up and as having populations that are all evil cave-dwelling terrorists, whether that’s Call of Duty soldiers mounting Spec Ops missions to kill dangerous militants or Tony Stark proudly standing in front of a backdrop that is immediately recognizable as the Middle East…When you see those same settings in real-world news reports for long enough, the line…

This Year in Videogame Blogging: 2023

September 7th

…DiZoglio compares Little Inferno with Yvgeny Zamyatin’s “The Cave” as pieces that ask their audiences to tread the line between survival and civilization.

G. Christopher Williams, the final boss of the Moving Pixels blog at PopMatters, describes the race toward defeat in Spec-Ops: The Line as a videogame tragedy:

Walker and the player’s final choice in the game mark the tragedy of this downward spiral from badass video game hero to a character and player that is morally comprised by the very activity of playing hero.

James Wragg of Thrusting Sticks manages to write about…