Review: Destiny Is Great, raves Chris Kohler, if You Can Ignore Your Life
At The New Yorker, Simon Parkin profiles Zoe Quinn in the wake of the harassment campaign against her, as does Alex Hern at the Guardian.
Colin Campbell of Polygon considers the question of whether or not violent video games actually reduce real world crime?
Edge's Nathan Ditum examines how the growing overlap between cinema and games in the way that films like Edge of Tomorrow borrow the language and grammar of the video game medium.
Gamopolis is the name of a new podcast about games and politics by Daniel Ziegener and Yasmina Banaszczuk, who also wrote this lovely piece about kids growing up in post-apocalyptic worlds.
Hey Microsoft, Acquiring A Hit Game Is Stupid. Josh Constine wonder why the world's most ubiquitous software company has learned nothing from Zynga, Rovio, King and Dong.
In a recent piece on Paste Games, “The Last of Us: How Sexism Survived the Apocalypse,” Ed Smith argues how one of the main characters, a middle-aged male named Joel, brings sexist tendencies and a “destructive masculine ego” into the post-apocalyptic game setting to restrict that of the other main character, the teen female Ellie. Haniya Rae of Paste argues that There's Nothing Sexist About The Last of Us.
Over at the Post Product Dev, Jim Crawford discusses the how and why of Making Games More Mysterious. "You need to be careful that you don’t provide answers that are worse than leaving the question unanswered. Think about how you felt after seeing a magic show versus how you felt after you found out how the trick was done. Magic tricks imply bad secrets, by design. This is how they stay secret. If the secret was awesome then you would get a thrill from telling your friends about it, rather than a groan."
Shira Chess writes about moral panics, Slender Man and the “Tulpa Effect” at Culture Digitally.
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