It’s been a long haul, but my series of video essays on Half-Life 2 is now complete.
I have embedded the entire finished series above. If you just want to watch the seventh and final part, it is here. In it, I look at how Valve’s “herding” techniques were adopted and expanded upon by subsequent developers, taking a peek at things like Insomniac Game’s Resistance 3, Monolith Production’s 2000s-era output, and DICE’s Mirror’s Edge Catalyst. I then investigate how the pleasures of the well-constructed linear first-person shooter have been transformed and absorbed into himitsu-bako/wander games (which I just give up and call “walking simulators” in the video, so that people will know what the hell I’m talking about).
Creating video content takes much longer than other types of blog content, but I also find it much more rewarding. (I was right when I predicted that, because my day job has me writing all day long, I would have less patience for it outside of work.) Expect more in the future.
I’m facing a quickly-approaching deadline for some genuine academic writing, so I’ve got to put a cap on my efforts to play every game that came out in 2017. This is the final post of this series I have planned, and it’s admittedly a bit slapdash. The theme is basically just “remaining games that did interesting things with storytelling,” which is admittedly pretty broad. Still, good games in here.
Ground rules: Unlike in previous entries, I’m not going to include any games that got a mention in my mid-2017 round-up. My time is too tight to indulge in such redundancies.
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.