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My latest blog post on games is my third for The Ontological Geek, and my first as a regular contributor to that fine collective. In it, I explore some of the ways in which games can tap into the tools and trappings of the horror genre. I use the theory of art horror as posited by Noël Carroll and discuss how games can evoke fear and disgust in players, not just by using monsters, but also light, darkness, and spaces. The article is part of a series of articles on horror in games, and connects to many other recent and older writings on the genre, so there’s a lot to read. [...]
Not one, but two new articles by my hand were published today in the fourth issue of Five out of Ten, a lovely mag that pays its writers according to a very honest model: the writers split the revenue evenly. The first article is a semi-close reading of three games published recently: Dear Esther, Miasmata, and Proteus. If you’re familiar with the games, you’ll realise they have a common theme, and that is that they are all set on an island. As I try to argue, there are more similarities between the games than at first appears, but interesting differences too. In the article, I try to get at what kind of places the islands in these games are, and what that means for the overall meaning and experience of the games. On the way, I cover themes like isolation (and its etymology), memory, and death. The other article contributes to the issue’s central theme: storytelling in games: how do they do it, and are they any good at it? My perspective deals with the concept of virtual worlds and spatial presence, and how that relates to story in a game, and to our experience of games in general. Long story short: I try to rehabilitate the concept world as occupying a central position in the study of games, with reference to some smarter people who’ve written great things about this subject. [...]
Few novels compelled me as much to immediately write my thoughts down as The Wasp Factory by Iain Banks. Usually I enjoy novels a lot while reading them (or not), but quickly dive into a new one afterwards. In this case, I felt the need to spend some words on it before moving on. I’m pretty sure this means that the book has some sort of clarity and compactness of style that brings across its messages very directly. I sure wasn’t the only one reading The Wasp Factory this month. Banks passed away after a battle with cancer on June 9th, and a number of my online friends and acquaintances made a grab towards his debut novel, like I did. [...]
This April was a religion-themed month over at videogame blog The Ontological Geek. I wrote the final article in the series, and mused a little on how concepts of religion, God, and particularly The Holy, can be incorporated into videogames. For perhaps obvious reasons, it’s easy for games to tackle and represent the more mundane sides of religion and faith, but they seem to struggle somewhat when it comes to matters more transcendent. In “Sanctifying Games”, I try to explore why that might be. [...]
It’s been a while since I wrote anything serious about literature, but recently I was reminded of an essay I wrote in 2008, about the question of authorship in the cyberpunk works of Kenji Siratori. I never did anything with the piece at the time, but felt it was interesting enough to brush it up and give it another chance. In short, I question how we should apply the “death of the author” as proclaimed by Roland Barthes to literature that provokes strong questions about the nature of its own author. [...]
Remember Groundhog Day? It’s that 1993 film about Bill Murray’s character, Phil, who keeps reliving the same day, February 2nd, in the Pennsylvania town of Punxsutawney, where on that day, the groundhog Punxsutawney Phil will predict when winter’s going to end. [...] It’s an awful lot like the way we tend to play video games these days. Faced with challenges in a game, we have the quicksave and quickload buttons close at hand, ready to revert to an earlier point in the game to try again. If you get to replay a section of a story over and over again, any challenge inherent in the original situation quickly morphs into a matter of trial and error. Like Phil in Groundhog Day, we get to try out every interaction, every conversation option the world allows us. More importantly, in a typical collapsing together of character and player, Phil – like us – retains (meta)knowledge of everything he did earlier. [...]
Videogames can sometimes be a very arcane medium, and it can often be difficult to comprehend what they’re all about for people who never or seldom play them. Of course entertainment is often the main ‘use’ of a video game, but many of them have elaborate themes and stories, and the way in which video games deliver those narratives and themes is often unique to the medium. Today my own piece on Planescape: Torment was published, and I try to explain how the game uses exploration and conversation to allow you to reconstruct the protagonist’s tortured past. [...]
Despite writing more or less in-depth about many of the digital works of Belgian studio Tale of Tales – see my posts on The Endless Forest, The Graveyard, and FATALE – I had been avoiding writing about what is arguably their best work to date: The Path. In any case, it is the one I felt the most personal connection with, and I’ve tried to express why that is in a retrospective piece I wrote for Gaming Daily. So if you’re interested in why a game about Little Red Riding Hood, disobedience, violence, sexuality, and trauma made me feel empathetic with some typically feminine psychological experiences, read on: [...]
Throughout human history, in art and religion, we find a longing for deliverance, the view of a promised land just out of our current reach, whether somewhere else on some part of (mythologised) Earth, or in a world beyond. [...]
This is the third time I’m writing about a digital work by Flemish duo Tale of Tales, and that alone says something about the capacity of their releases to inspire discussion. I started with the peaceful MMO The Endless Forest, and also did a short bit on The Graveyard. Continuing the chronological trend would leave The Path as my next subject – arguably their best and most game-like work – but writing about that fascinating psychological horror piece still seems rather daunting. Instead, I’m sticking to the slightly more manageable FATALE and exploring a bit of what it has to say about the figure of Salomé and how she’s been treated throughout history. [...]
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