Rockstar Games's LA Noire.
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Critical Distance: This Week in Videogame Blogging #13

The representation of autism in games.

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 share letters between two game-playing brothers separated by a prison sentence, as well as the first in a new video series from Anita Sarkeesian’s Feminist Frequency.

At Wizard of Radical, Ray Porreca has embarked on a touching letter series on childhood memories of videogames with his incarcerated brother.

World Autism Awareness Day occurred this past week, and at Polygon Joe Parlock surveys several games depicting autistic characters, finding most of them wanting. Going a step further, at Vice, Jake Tucker (who like Parlock is on the autism spectrum himself) relates how L.A. Noire inadvertently created a player-character who seems to share his disability.

Anita Sarkeesian's Feminist Frequency has launched the first in a new series highlighting positive, strong, and unique representations of women in games, which is certainly worth a look.

At Video Game Researcher, Wai Yen Tang has drawn up an interesting condensation of several research studies seeking to identify the (manifold) reasons women are not equally represented in STEM fields and game development. Coming at it from a player and industry perspective, Tegiminis responds to the assertion that women "naturally" prefer different games than men, arguing that to treat the push for better representation in the core market as "cultural colonialism" is, at the very least, misguided:

The framing of our new conversation on games as cultural colonialism is appalling on just about every level. Asking for games to mature in their treatment of women and minorities is, and it's comically absurd that this even needs to be said, not colonialism. […] This isn't colonialism, it's maturation. Games aren't being colonized because everybody who is saying these things was already here.

At his development blog, independent designer and games instructor Robert Yang goes into the development process of his game Stick Shift, in which the player participates in erotically stimulating... well, exactly what it says on the tin. It's a fascinating exploration of both social-political metaphor and alien phenomenology, considering that, as Yang says, "this is arousal on the car's terms."

At Hopes and Fears, Joe Bernardi details the lasting impact of Dogma 99, a Scandinavian LARP scene aimed at reducing the artifice and barrier for entry to live action roleplay.

Lastly, at the ever-delightful Offworld, the equally delightful Katherine Cross reviews Gravity Ghost, a small and accessible game best played by letting go:

I stopped trying to tightly control my orbit and instead relaxed into the gravity of the little planet that I'd been fighting this whole time. I stopped seeing Iona as a superheroine battling against an impossible power and yielded to it instead, embodying her trust and turning her into a ghostly moon swinging in the arms of a larger force. [...] There was no hurry, no clock to beat but my own. I'd find a way, gravity would find a way. Ultimately, the solution was simple: I had to stop treating Gravity Ghost like every other game I'd played.

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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Why does food taste better when we Instagram it?

Delay leads to increased pleasure when you set up a perfect shot of your dinner.

Been on holiday? Take any snaps? Of course you did – but if you’re anything like me, your friends and family didn’t make it into many of them. Frankly, I can only hope that Mr Whippy and I will still be mates in sixty years, because I’m going to have an awful lot of pictures of him to look back on.

Once a decidedly niche pursuit, photographing food is now almost as popular as eating it, and if you thought that the habit was annoying at home, it is even worse when it intrudes on the sacred peace of a holiday. Buy an ice cream and you’ll find yourself alone with a cone as your companion rushes across a four-lane highway to capture his or hers against the azure sea. Reach for a chip before the bowl has been immortalised on social media and get your hand smacked for your trouble.

It’s a trend that sucks the joy out of every meal – unless, that is, you’re the one behind the camera. A new study published in the Journal of Personality and Social Psychology suggests that taking pictures of food enhances our pleasure in it. Diners at the food court of a farmers’ market in Philadelphia were asked either to photograph their meal or to eat “as you normally would”, then were questioned about how they found it. Those in the photography group reported that not only did they enjoy their meal more, but they were “significantly more immersed in the experience” of eating it.

This backs up evidence from previous studies, including one from this year in the Journal of Consumer Marketing, which found that participants who had been asked to photograph a red velvet cake – that bleeding behemoth of American overindulgence – later rated it as significantly tastier than those who had not.

Interestingly, taking a picture of a fruit salad had no effect on its perceived charms, but “when descriptive social norms regarding healthy eating [were] made salient”, photographing these healthier foods did lead to greater enjoyment. In other words, if you see lots of glossy, beautifully lit pictures of chia seed pudding on social media, you are more likely to believe that it’s edible, despite all the evidence to the contrary.
This may seem puzzling. After all, surely anything tastes better fresh from the kitchen rather than a protracted glamour shoot – runny yolks carefully split to capture that golden ooze, strips of bacon arranged just so atop plump hemispheres of avocado, pillowy burger buns posed to give a glimpse of meat beneath. It is hardly surprising that 95 million posts on Instagram, the photo-sharing site, proudly bear the hashtag #foodporn.

However, it is this delay that is apparently responsible for the increase in pleasure: the act of rearranging that parsley garnish, or moving the plate closer to the light, increases our anticipation of what we are about to eat, forcing us to consider how delicious it looks even as we forbid ourselves to take a bite until the perfect shot is in the bag. You could no doubt achieve the same heightened sense of satisfaction by saying grace before tucking in, but you would lose the gratification that comes from imagining other people ogling your grilled Ibizan sardines as they tuck in to an egg mayonnaise at their desk.

Bear in mind, though, that the food that is most successful on Instagram often has a freakish quality – lurid, rainbow-coloured bagel-croissant hybrids that look like something out of Frankenstein’s bakery are particularly popular at the moment – which may lead to some unwise menu choices in pursuit of online acclaim.

On the plus side, if a diet of giant burgers and salted-caramel lattes leaves you feeling queasy, take heart: if there is one thing that social media likes more than #avotoast, it is embarrassing oversharing. After a week of sickening ice-cream shots, a sickbed selfie is guaranteed to cheer up the rest of us. 

Felicity Cloake is the New Statesman’s food columnist. Her latest book is The A-Z of Eating: a Flavour Map for Adventurous Cooks.

This article first appeared in the 25 August 2016 issue of the New Statesman, Cameron: the legacy of a loser