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.
‘Tis that time again: the waning days of December, when the unwrapping of gifts is accompanied by the wrapping-up of a year. I have been trying to keep up with interesting releases this year, and over the next several days I will be attempting a final run-down.
(Just to be clear: “Interesting” is my way of circumventing the “best” trap. There are hundreds of voices you could find promising to reveal the “best” games of the year. These, by contrast, are games that made me think—about the subject matter presented, and/or the possibilities and limitations of the medium. Some of them are noble failures. All of them deserved to be remembered in some way, as a game that contributed to the medium in 2017.)
These little retrospectives will undoubtedly stretch into January, as there have been exciting releases stretching all the way into December (Finding Paradise!) that I will need to catch up on. 2017 has been, overall, exceptionally chock-full of exciting indie releases. Back when I was doing my “Games of the Decade” retrospective, I wrote that, following tremendous excitement about the indie scene in 2012–2013, the diabolical duo of Gamergate and the Trump election put a damper on my naïve enthusiasm for this budding art form. And yet, while the current moment certainly finds me hardened, pessimistic, and politically preoccupied, I also can’t deny that 2016 and 2017 have witnessed the release of an inordinate number of truly superb games. It really does seem that the medium is rediscovering its creative mojo, a few years after everyone had to go into hiding from being harassed by ‘gaters. Best of times, worst of times, and all that.
Anyway, I have a lot of ground to cover, and I’ve chosen to split my retrospective into themed posts. Up today: games about labor, a topic I have developed something of an interest in over the course of 2017.
It was important for me to immediately follow up my elegance sub-list with one on ambition. There’s a simple reason for this: these two are often incompatible.
The games on here are among the most rough-hewn of all the games I’m listing. In terms of visuals and audio, I would have to admit that two of them are outright ugly and grating. In terms of features, there are parts of these games that just don’t quite work. They don’t always succeed in doing what they set out to do.
But what they set out to do is something utterly fantastic, and their failures are, at the very least, interesting.
Today marks the 163rd anniversary of the publication of Henry David Thoreau’s Walden; or, Life in the Woods. I am celebrating the occasion by resurrecting my old “Process Genre in Videogames” blog post series, and turning an eye toward the USC Game Innovation Lab’s recently-released Walden, a game, across two posts.
In this series, I borrow the term process genre from Salomé Aguilera Skvirsky’s work in cinema studies. According to Skvirsky’s 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 their completion. They are deliberately paced, meditative, and often political. In this series of posts (you can see them all here), I examine games that strike some of the same chords.
Yesterday, I compared and contrasted Walden with Minecraft, including a consideration of the Life in the Woods: Renaissance mod pack, which heightens Minecraft‘s Thoreauvian aspects. Of central concern was each game’s treatment of the natural world as a collection of resources. Today, I turn to the matter of “inspiration,” and how Walden, a game transforms enlightened, deliberate living into a game.
Tomorrow marks the 163rd anniversary of the publication of Henry David Thoreau’s Walden; or, Life in the Woods. I have decided to celebrate the occasion by resurrecting my old “Process Genre in Videogames” blog post series, turning an eye toward the USC Game Innovation Lab’s recently-released Walden, a game. I ended up having too a bit too much to say about it to fit into a single blog post, so I’ve split up my thoughts across two days.
Just a quick refresher: in this series, I borrow the term process genre from Salomé Aguilera Skvirsky’s work in cinema studies. According to Skvirsky’s 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 their completion. They are deliberately paced, meditative, and often political. In this series of posts (you can see them all here), I examine games that strike some of the same chords. Today, that means turning to the life and work of everybody’s favorite environmentalist pseudo-hermit, Henry David Thoreau.
The itch.io page for Walden, a game claims that the game is the product of a “very small core team” at the USC Game Innovation Lab working on the project for “the past ten years.” I first became aware of it in November 2011, when Tracy Fullerton sat down and had a wonderful talk with students during a session of the University of Chicago’s New Media Workshop. Back then, Fullerton described the project as a difficult balancing act, balancing the quantitative and systems-heavy “gamey” aspects of games—which are actually right there in Thoreau’s text, making this entire project of adaptation especially tempting—with the need to present nature, and the labor one does when living in it, as a source of unpredictable inspiration, worthy of our respect and wonder.
My goodness. It’s been awhile since I’ve done a non-silly post. The new job has kept me busy, and on top of that I have made a real push to catch up on games released in 2017, now that we have passed the year’s halfway point. This latter task has given me plenty to mull over, and while I’m not yet prepared to write longer critical thoughts on the games in question, I thought I would collect some “quick takes,” as a way of priming the pump.
I still have a substantial backlog of big releases from 2017. I have not yet played Nier: Automata (PlatinumGames, 2017), or RiME (Tequila Works, 2017). I’m making my way through Resident Evil 7: biohazard (Capcom, 2017) right now. And although I recently bought Prey (Arkane Studios, 2017), I’m afraid that my 2012-built PC might not run it smoothly, and have been putting off installing it.
I have, though, found the time to play over a dozen other games released in the past six months. Thoughts below are listed in order of the release date of the game. I’ll set up links in this page if and when I write fuller pieces on any of these games.