I’m not sure how to define cyberpunk. Oh, I can recognize it, but I’m not sure if I know how to pare it down to a digestible one-sentence review. I know that I can easily look the answer up online, but I’m more interested in how people categorize it not as a list of features … Continue reading Cities of Magic
2014’s final Moving Pixels podcast at PopMatters covers the ever-divisive Spec-Ops: the Line (Williams, G. Christopher, Nick Dinicola, Eric Swain. “The Moving Pixels Podcast Steps Over ‘The Line’.” PopMatters. Dec 8 2014.). It was a good discussion and it inspired me to review a some of the writing about the game which, in turn, inspired … Continue reading The Great Expectations of Spec-Ops: The Line
Continuing from my previous thoughts, Spec-Ops and Hotline Miami, perhaps the two most visible “violent games about violent games,” have player-characters who only use violence to interact in the world. While Spec-Ops is far more on-the-nose about how destructive that attitude is, both put the player in a scenario where violence is the only language they have to communicate … Continue reading …When All You Have is a Hammer
One of the things I find most fascinating about the conversation about videogame violence is the nebulous threshold that separates “inappropriate” from “provocative” portrayals, “excessive” from “effective” ones. Reactions to Spec-Ops: The Line fluctuate widely, with some praising its harsh frankness and others ridiculing its shallow pretensions. People are either captivated or duped by it: it … Continue reading Everything Looks Like a Nail…
A lot of what I have to say will be an addendum to my most recent piece on The Border House so I guess go read that now (Filipowich, Mark. “Welcome to the Machine: The ambivalent tone of The Last Story.” May 5 2014.). Oh, and there are spoilers. Spoilers are everywhere. The observation in that … Continue reading The Incomplete Revolution of The Last Story
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