Kristen Bell in Fanboys.
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Critical Distance: This Week in Videogame Blogging #9

On the 'cool gamer girlfriend'.

Critical Distance is proud to bring to The New Statesman a 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 catch up on highlights from San Francisco’s Game Developers Conference and take a stab at dismantling the ‘cool gamer girlfriend’ archetype.

At the Game Developers Conference in San Francisco, This War of Mine head writer Pawel Micechowski spoke about designing new kinds of "survival" in the face of players who are trained to think of characters as resources to be used. Also from the conference, the #1ReasonToBe panel was a powerful recounting of women's experiences working on the game industry.

At First Person Scholar, Mohini Dutta writes about designing for the Other, calling into question the ways that designers think of themselves in position to players and parsing out the ethical ramifications of that split. Elsewhere, Katie Chironis writes about her experiences developing Elsinore and continually answering questions about why a character is black. Her answer is simple: why shouldn't she be?

Maddy Myers takes a deep personal dive into the image and concept of the "cool gamer girlfriend" and the cultural expectations surrounding her. She writes:

There is no narrative about a girl who shows up to play games and turns out to be kind of okay at them, and then she makes platonic friends who see her as a person, and then she goes home alone. My mediocrity became a huge disappointment for men that I didn't know in gaming spaces. It was a disappointment for me, too, and it still makes me extra-nervous. Every time I show up and play games in public somewhere, in some male-dominated space, there is some stupid part of me that wants to win beyond all my wildest dreams ... even though it's impossible, especially when people are staring at you. I do okay, sometimes. That's the most I've ever been able to hope to achieve: being okay at games, sometimes.

At Games That Exist, Alex Pieschel provides an extensive and amazing piece on Final Fantasy 7's debug room. Meanwhile, on Vice, Carolyn Petit explains the finitude and pain of time built into Legend of Zelda: Majora's Mask, while on The AV Club Jake Muncy reads Wind Waker as a response to the Zelda franchise itself.

Lastly, one of the more exciting announcements to come out of GDC is the news that Leigh Alexander, in partnership with Boing Boing will be launching Offworld – a new publication for games criticism geared toward those not served by mainstream game sites. We recommend it!

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.

 

Home Alone 2: Lost in New York
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The best film soundtracks to help you pretend you live in a magical Christmas world

It’s December. You no longer have an excuse.

It’s December, which means it’s officially time to crack out the Christmas music. But while Mariah Carey and Slade have their everlasting charms, I find the best way to slip into the seasonal spirit is to use a film score to soundtrack your boring daily activities: sitting at your desk at work, doing some Christmas shopping, getting the tube. So here are the best soundtracks and scores to get you feeling festive this month.

A Charlie Brown Christmas (1965)

Although this is a children’s film, it’s the most grown-up soundtrack on the list. Think smooth jazz with a Christmas twist, the kind of tunes Ryan Gosling is playing at the fancy restaurant in La La Land, plus the occasional choir of precocious kids. Imagine yourself sat in a cocktail chair. You’re drinking an elaborate cocktail. Perhaps there is a cocktail sausage involved also. Either way, you’re dressed head-to-toe in silk and half-heartedly unwrapping Christmas presents as though you’ve already received every gift under the sun. You are so luxurious you are bored to tears of luxury – until a tiny voice comes along and reminds you of the true meaning of Christmas. This is the kind of life the A Charlie Brown Christmas soundtrack can give you. Take it with both hands.

Elf (2003)

There is a moment in Elf when Buddy pours maple syrup over his spaghetti, washing it all down with a bottle of Coca Cola. “We elves like to stick to the four main food groups,” he explains, “candy, candy canes, candy corns and syrup.” This soundtrack is the audio equivalent – sickly sweet, sugary to an almost cloying degree, as it comes peppered with cute little flutes, squeaky elf voices and sleigh bells. The album Elf: Music from the Motion Picture offers a more durable selection of classics used in the movie, including some of the greatest 1950s Christmas songs – from Louis Prima’s 1957 recording of “Pennies from Heaven”, two versions of “Sleigh Ride”, Eddy Arnold’s “Santa Claus is Coming to Town” and Eartha Kitt’s 1953 “Santa Baby”. But if a sweet orchestral score is more your thing, the Elf OST of course finishes things off with the track “Spaghetti and Syrup”. Just watch out for the sugar-rush headache.

Harry Potter (2001-2011)

There are some Christmas-specific songs hidden in each of the iconic Harry Potter scores, from “Christmas at Hogwarts” to “The Whomping Willow and The Snowball Fight” to “The Kiss” (“Mistletoe!” “Probably full of knargles”), but all the magical tinkling music from these films has a Christmassy vibe. Specifically concentrate on the first three films, when John Williams was still on board and things were still mostly wonderful and mystical for Harry, Ron and Hermione. Perfect listening for that moment just before the snow starts to fall, and you can pretend you’re as magical as the Hogwarts enchanted ceiling (or Ron, that one time).

Carol (2015)

Perhaps you’re just a little too sophisticated for the commercial terror of Christmas, but, like Cate Blanchett, you still want to feel gorgeously seasonal when buying that perfect wooden train set. Then the subtly festive leanings of the Carol soundtrack is for you. Let your eyes meet a stranger’s across the department store floor, or stare longingly out of the window as your lover buys the perfect Christmas tree from the side of the road. Just do it while listening to this score, which is pleasingly interspersed with songs of longing like “Smoke Rings” and “No Other Love”.

Holiday Inn (1942)

There’s more to this soundtrack than just “White Christmas”, from Bing Crosby singing “Let’s Start The New Year Off Right” to Fred Astaire’s “You’re Easy To Dance With” to the pair’s duet on “I’ll Capture Your Heart”. The score is perfect frosty walk music, too: nostalgic, dreamy, unapologetically merry all at once.

The Tailor of Gloucester (1993)

Okay, I’m being a little self-indulgent here, but bear with me. “The Tailor of Gloucester”, adapted from the Beatrix Potter story, was an episode of the BBC series The World of Peter Rabbit and Friends and aired in 1993. A Christmastime story set in Gloucester, the place I was born, was always going to be right up my street, and our tatty VHS came out at least once a year throughout my childhood. But the music from this is something special: songs “The Tailor of Gloucester”, “Songs From Gloucester” and “Silent Falls the Winter Snow” are melancholy and very strange, and feature the singing voices of drunk rats, smug mice and a very bitter cat. It also showcases what is in my view one of the best Christmas carols, “Sussex Carol.” If you’re the kind of person who likes traditional wreaths and period dramas, and plans to watch Victorian Baking at Christmas when it airs this December 25th, this is the soundtrack for you.

Home Alone (1990-1992)

The greatest, the original, the godfather of all Christmas film soundtracks is, of course, John William’s Home Alone score. This is for everyone who likes or even merely tolerates Christmas, no exceptions. It’s simply not Christmas until you’ve listened to “Somewhere in My Memory” 80,000 times whilst staring enviously into the perfect Christmassy homes of strangers or sung “White Christmas” to the mirror. I’m sorry, I don’t make the rules. Go listen to it now—and don't forget Home Alone 2: Lost in New York, which is as good as the first.

Anna Leszkiewicz is a pop culture writer at the New Statesman.