I fell behind on 2018 games thanks to my “Let’s Study Horror Games” series. Things kind of worked out in the end, though, because 2018 ended up being not quite as supersaturated with games as 2017. To be sure, it was a year of big releases, both on the mainstream AAA front and on the indie front. But it didn’t have the sheer firehose volume of 2017.
Since my mid-year post handled January through June, I was originally intending this post to mostly cover games that came out from July 1st onward. It turned out there were plenty of stragglers I missed in the previous post, so that organizational scheme ended up going out the window. A jumble of things below the jump.
When the end of June rolled around, I thought to myself, “hey, I should do one of those collections of capsule reviews of games from the first half of the year, just like I did last year.”
But then I prioritized peer-reviewed projects I’ve been working on, instead. I’ve had a productive summer, although I do regret not hanging a little “on summer vacation” sign on the blog, so it didn’t feel quite so abandoned.
Anyway, better late than never. Below the fold, you’ll find thoughts on games that have piqued my interest so far in 2018.
For those of you who aren’t in the know, “whoami” is a command that was first implemented in Unix-based systems, allowing the user to see what account, with which types of access, they are currently recognized by the machine as being logged in under.
This post offers two quick takes on two games. (They both happen to be from 2012, for whatever reason—something in the water?) While playing both of them, “who am I?” is a surprisingly rich one. Sometimes, they keep the player’s role vague, surprising them with the amount of agency they have, and the degree to which they seem to be inside or outside the game’s story. Other times, they are quite clear on who the player “is,” but leave plenty of room for interpretation as to what occupying this role means. Take care below: spoilers aplenty.
In my 2013 “Comparative Media Poetics: Cinema and Videogames” course, I devoted a week to the genres of mystery and suspense. In this first class of this week, we discussed theory. Students read a portion of David Bordwell’s Narration in the Fiction Film, in which he discusses the concept of communicativeness of narration, and the specific ways communicativeness is clamped down in the detective genre. We also discussed the ways in which mysteries play with time, using the formalist conceits of fabula and syuzhet that Bordwell draws from. This dovetailed with our second reading, Jesper Juul’s 2004 article “Introduction to Game Time,” in which he expresses skepticism that videogames could ever pull off a flashback-based story structure.
The screening for this week included the entirety of Alfred Hitchcock’s Stage Fright (1950), as well as selected chapters of Heavy Rain (Quantic Dream, 2010), which I had students play live, and discuss. We re-convened during the next class session for a discussion on unreliable narration and the relative “fairness” of twists. Readings included Kristin Thompson’s chapter on Stage Fright in Breaking the Glass Armor, and Emily Short’s writings on Heavy Rain. Spoilers on the (potentially unfair) twists of both texts below.
The moving image and the graphical user interface: they are often regarded as two separate forms, with their own unique histories, and with resulting divergent aesthetics. Recent years, however, have seen this division beginning to break down, as the GUI has gradually invaded moving-image storytelling.
Representations of the graphical user interface have a long history in science-fiction, from the augmented reality elements that clutter the cyborg’s point-of-view to the fantastic potentials of human-machine interfaces. Continue reading →