Games of the Decade: Mood


I’ve already compiled a list of games that make me deliriously happy and agape with wonder. But not all art aims to create positive emotions such as these. Much to the continued consternation of aesthetic philosophers, human beings have been proven, time and time again, to also like art that makes them sad, that makes them scared, and even art that makes them angry.

The games listed under this category excel at provoking feelings. Not all of these feelings are what I’d call “emotions.” Some of them are too inchoate and undirected to attain that designation. This is raw, bodily stuff we’re talking about here. And unlike my delight category, not all of the feelings provoked in these games are positive ones. Happiness might be undercut by a sense of melancholy. Wonder might be mixed in with dread.

But whatever the feelings are that these games actually offer up, they all display an airtight control of tone. Some might find the end results to be manipulative. And, for some of these games, I wouldn’t deny that charge. But even if we grant it, there is still no denying that these games display top-notch craft in mood-modulation. If nothing else, they are a wild ride.

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Games of the Decade: Intimacy


The games in my “ambition” category all “aimed big.” They tried to simulate the daily lives of an entire community, or put the entire history of videogame storytelling in their satirical sights. This category can be seen as the reverse of that. If my “ambition” games were large in scope, these games are small. They are cozier, more intimate, content to make sharp observations on a small scale, or to experiment within a tighter and more focused domain.

You can also think of this category as an extension of sorts to my “stakes” category, from two days ago. Much like Gravitation or That Dragon, Cancer, many of these are about interpersonal relationships. They are about acting ethically as a parent, or a sibling, or a lover, or … an interstellar salvager who has rescued a couple of AIs.

Okay, so, the connection might not be obvious at first. But, much like the games in my “stakes” sub-list, these are games that give you stranger, more precise goals than saving the princess or saving the world. They give you goals that are deeply intertwined with the hopes and fears of characters you get to know … well, intimately.

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Games of the Decade: Stakes


It has become a set of dual clichés: in videogames, you either save the princess, or you save the world. Those are the only sets of storytelling stakes offered. The only things that can imbue our actions with importance is to tie our success or failure to the fate of humankind, or the fate of a particular monarchic lineage.

Which is, frankly, alarmingly dumb. By way of contrast, here are some of the resolutions of the great works of cinema: A boy loses respect for his father after the father resorts to thievery. A group of reporters trying to decipher a newspaper tycoon’s last words ponder whether it’s truly possible to know and understand another person. A man and his dying wife are struck by the kindness of their widowed daughter-in-law. The fate of the world does not hang in the balance in any of these scenarios. The stakes in play are emotional, familial, and cultural.

So, whenever a game comes along that gives you a different motivation for caring about its central conflict, that is something to be savored and celebrated. The games listed here all roundly reject tired “save the princess/save the world” narrative stakes. Instead, they offer up goals, character motivations, and resoultions that are more personal, more intimate, or more philosophical. There is, if it can be said, much more at stake in these games than the fate of the world.

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Games of the Decade: Elegance


Even those who would reject the idea that videogames are an “art form” could agree that games can exhibit certain traditional aesthetic values. One prominent one is elegance. If we look toward traditional, analogue games, it seems inarguable to me that Go is elegant, and that Chess is elegant. Over the course of centuries, the tumbler of human culture has worn them down to their most perfect, least messy forms. (And they often come in supremely visually pleasing packages, to boot.) Looking to the history of videogames, it seems uncontroversial to propose that Tetris (Alexey Pajitnov, 1984) and Breakout (Atari, 1972) also exhibit this serene mixture of simplicity and grace.

Of course, videogames can also be bloated and unrefined. On the audiovisual level, the public imagination has long associated the medium all that is cacophonous and retina-searing: a ceaseless stream of crude stimulation optimized for goldfish-like attention spans. A peek at the output of PlatinumGames or Treasure over the past decade demonstrates that this conception is not entirely unearned. On the design side of things, games often come packaged with an inordinate amount of mechanical cruft. To boot up a contemporary Ubisoft game is to be assaulted by map icons, as the core activities of the game are augmented with collectibles and minigames and side-challenges and online player “invasions” and microtransactions and and and and and and and and and….

Sometimes, though, you can point to a game and say, “this is exactly what it needs to be, and no more.” Sometime a game stands as a perfectly-cut gem of craft, with every element contributing to an overall sense of balance. Its user interface is a triumph of usability, compact and graceful. Its color scheme is tamped-down and meaningful. Its sound design is minimal and expertly-deployed. It is thematically tight: if there is a narrative involved, it is a lean and coherent one. It is, overall, soothing in its form, even if it might simultaneously be stressful in its challenge.

The first five games of this list all chase this sort of technical perfection. Some are small, and some are large, but they all are careful not to hit one unnecessary note.

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Videogame Cat of the Week: A Purr Tale


It’s hard to take good screenshots of A Purr Tale (Matias Selzer, 2014), because the cat never appears. You are the cat, in first person, for one. And, on top of this, you never catch even the slightest glimpse of a paw or a tail.

It’s also hard to take good screenshots of A Purr Tale because, frankly, it doesn’t look all that good. Its assets are low quality, and its lighting is muddied by needless effects. Also, its sound effects are bad. Its English translation could use some edits. And the signposting for what you’re supposed to do is horrendous. (Sometimes the correct thing to do is to slip right through the level geometry.) Basically, A Purr Tale isn’t very good, at all. And that’s too bad, because its serious subject matter (content warning for suicide, if you actually play the thing) deserved a more gentle and polished touch.

Ah, well. At the very least, this personal game is loads more ambitious than most things you can find made with pre-existing Unity assets floating around online.

Next week: another tragic cat story.

Here on My Side of the Screen


(I’m officially retiring my usual “Ian here” greeting, as, in the absence of student posts, there will be no one but me posting on this blog for the foreseeable future.)

Early in his book Pilgrim in the Microworld, a phenomenological account of videogame expertise that stands as landmark work of first-person game criticism, David Sudnow attempts to describe, to a presumably completely ignorant reader, the experience of playing Breakout (Atari, 1972). “There’s that world space over there, this one over here,” he writes, “and we traverse the wired gap with motions that make us nonetheless feel in a balanced extending touch with things.”[i]

Today, the term “wired gap” is archaic—we sit comfortably in the age of wireless game controllers. But the general logic of this gap, and how it is traversed, nonetheless persists. On the one side, we have the electronic world represented on the screen. On the other side, we have ourselves, cordoned off from the world of the game by virtue of being flesh-and-blood. If we act upon that other world from our side of the screen, it must be by virtue of some sort of electronic input device: keyboard and mouse, DualShock 4, Wii Remote, Jungle Beat bongo drum, what have you. Wired or not, the relationship we have with that world on the other side of the screen is necessarily mediated by technology: sever that particular link, and our involvement with it ceases.

Not all games follow this logic, however. In this post, I’ll be looking at three games, all of which came out around 2012–2014, that ask you to do more, as a player, than simply manipulate an electronic interface. These games have a different sort of contract with their player. They ask you agree to more wide-ranging sets of behaviors over on your side of the screen, which, by their very nature, cannot be regulated in strict procedural terms. These are games that re-map the points of contact between our fleshy, spacious realm and the realm of bits and pixels.

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Videogame Cat of the Week: Mr. Glembovski


If you want to read my serious thoughts on Richard Hofmeier’s Cart Life (2011), you should go here. For now, though, let us consider Mr. Glembovski, the cat that Andrus keeps in his hotel room, against the wishes of the management.

As a secret cat, Mr. Glembovski’s life is cruelly constrained, consisting of nothing more than a small room, and sometimes even less than that. But, as the GIF above shows, there is clearly so much love between these two. The nose-touching shows that Andrus knows just how to treat a cat. And who couldn’t love Mr. Glembovski, with his adorably desynchronized blinks and affectionate ways?

Don’t be a monster. If you ever play Cart Life, be sure to feed Mr. Glembovski. I don’t know what happens if you don’t (far be it for me to play that way), but I’m sure it’s awful.