One last post for September: I did indeed succeed in getting the second part of my new series on detective games out of the door by the end of the month. And it’s a long one, too! Long enough that I don’t feel bad about the dry spell that’s inevitably going to set in in October.
I’ve written about most of the games in this video on the blog before, mostly for things like capsule reviews and walkthroughs. This is the only time I’ve done any sort of analysis of them, though. (Excepting maybe Gone Home.) In addition to being long, it’s also mostly brand-new material, which is not something I can say about most of my videos.
Script below the jump.
Welcome to the third of a series of posts I’ll be doing on hodological space in games. “Hodological space” refers to the space that humans inhabit: not a space made up of strict coordinates, but a thicket of preferred paths, affected by factors such as interest, distraction, fatigue, and urgency. It’s a term that originated in the writings of psychologist Kurt Lewin, and which traveled by way of Sartre into the realm of phenomenology.
If, as Jean-Luc Godard once famously said, all you need to make a movie is a girl and a gun, than all you need to make a videogame is an island.
The island-game gave us Myst (Cyan, 1993), and it gave us last year’s The Witness (Thekla, Inc., 2016). It has also already made an appearance in this very series, with Miasmata (IonFX, 2012). But my favorite island game of all time might be Proteus (Ed Key and David Kanaga, 2013). And to really talk about what it gets right, we have to dip into issues of genre. So, buckle up: it’s going to be a bumpy ride.