The slow march of my video series on detective games continues with this, its fifth entry. For awhile I was afraid there was no reason to do this one, as I wouldn’t be able to top my students’postsandvideos on this game after I taught it last spring. In the end, I went with sheer length as my own particular angle.
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.
This post is part of a series that borrows the term process genre from Salomé Aguilera Skvirsky’s work in cinema studies, and explores its utility for videogame analysis. A quick definition: “process genre” films are films about labor, films that focus on processes of doing and making, that are fascinated with seeing tasks through to its completion. They are deliberately paced, meditative, and often political, in that they cast a penetrating eye on labor conditions. Are there games that strike the same notes? Posts in the series so far can be seen here.
In this entry, I turn not to one game, but to a whole slew of them. Particularly, I will be looking at games that have popped up in the wake of Lucas Pope’s lauded Papers, Please (3909, 2013), which I considered earlier in the series, here.