Bioshock Infinite: can it really be called a “living, breathing world”?
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Critical Distance: This week in videogame blogging #1

Are we about to enter an “age of games”?

Critical Distance is proud to bring to the New Statesman a new weekly digest of its popular This Week in Videogame Blogging feature, which promotes the best, often little-known, incisive criticism and cultural commentary on interactive media. This week, we discuss the “ludocentricism” of games discourse and Ian Bogost tackles the idea that we are entering the “age of games”.

First up: a diverse body of games critics and scholars came together over Twitter to discuss the domination of play in critical discourses on games. Lulu Blue further elaborates on the interplay between play and context as the most crucial point of focus:

Much like a face drawn from lines, game systems carry assumptions made by their creators. If a man sets out to draw a woman and he idealizes a certain beauty standard, he's likely to draw women which conform to this beauty standard. If the same man sets out to make an RPG, he's likely to fabricate a world which systematically expresses these ideas about women as well.”

Elsewhere, Daniel Parker offers his own take, suggesting that compromising narrative to offer an illusion of play cheapens a game:

Games that employ post-cutscene design ideology tend to be marketed as ‘immersive experiences’ with ‘living, breathing worlds’. Bioshock Infinite is not a living, breathing world; it is a flashy museum with freaky animatronics.”

At Sufficiently Human, our own Lana Polansky writes that game design is too wrapped up in the fantasy of wealth accumulation to actually communicate anything meaningful. According to Polansky, the time may be to look outside of big-budget commercial games for a meaningful conversation.

At Kill Screen, Ray Graham explores depictions of torture in light of exposed CIA documents and wonders how culpable games are in the widely held (but misinformed) belief that torture is an effective method of gathering information.

Media philosopher Ian Bogost ended 2014 skeptical of Eric Zimmerman's “ludic century”, suggesting that instead of dominating our culture, maybe games should just be a small part of our ever complicating lives:

We don't have to scorn games (or comics, or YA fiction) to feel a little embarrassed at the prospect of a century with them at the center of the media ecosystem. And on the flip side, we don't have to discard games (or comics, or YA fiction) to scratch our heads at the wisdom of feeling satisfied by them.”

Lastly, some further reading for the week. The latest issue of Zoya Street’s game e-zine Memory Insufficient has hit the shelves, tackling alternative and speculative histories of games. The newest StoryBundle compiles ten great ebooks ranging from veteran games journalist Leigh Alexander’s Clipping Through to deep dive analyses of Jagged Alliance 2 and Super Mario Bros. 2. Finally, renowned interactive fiction author Emily Short has compiled a massive list of IF competitions, anthologies and shows for your perusal.

There is much more available in this week’s full roundup at Critical Distance! Tune in again next week and be sure to follow us on Twitter @critdistance for all the latest and greatest games writing from around the web.

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Brexit… Leg-sit

A new poem by Jo-Ella Sarich. 

Forgot Brexit. An ostrich just walked into the room. Actually,
forget ostriches too. Armadillos also have legs, and shoulder plates
like a Kardashian.  Then I walked in, the other version of me, the one
with legs like wilding pines, when all of them

are the lumberjacks. Forget forests. Carbon sinks are down
this month; Switzerland is the neutral territory
that carved out an island for itself. My body
is the battleground you sketch. My body is
the greenfield development, and you
are the heavy earthmoving equipment. Forget
the artillery in the hills
and the rooftops opening up like nesting boxes. Forget about

the arms race. Cheekbones are the new upper arms
since Michelle lost out to Melania. My cheekbones
are the Horsehead Nebula and you are the Russians
at warp speed. Race you to the finish. North Korea

will go away if you stop thinking
about it. South Korea will, too. Stop thinking
about my sternum. Stop thinking about
the intricacy of my mitochondria. Thigh gaps
are the new wage gaps, and mine is like
the space between the redwood stand
and the plane headed for the mountains. Look,

I’ve pulled up a presentation
with seven different eschatologies
you might like to try. Forget that my arms
are the yellow tape around the heritage tree. Forget
about my exoskeleton. Forget
that the hermit crab
has no shell of its own. Forget that the crab ever
walked sideways into the room.
Pay attention, people.

Jo-Ella Sarich is a New Zealand-based lawyer and poet. Her poems have appeared in the Galway Review and the Poetry New Zealand Yearbook 2017.

This article first appeared in the 17 August 2017 issue of the New Statesman, Trump goes nuclear