A videogames critical reader, by Liz Ryerson

All the best reading, digested.

Still not satiated with the amount of games writing that there is out there? Liz Ryerson also responded to my piece on videogames journalism with a reading list. I'm putting it up here for your enjoyment. Thanks Liz:

First and foremost there is writing by insiders in the video game industry that directly criticises its practices as a whole. The classic article "The Scratchware Manifesto", written in 2000 by an anonymous group of game developers, is still very much relevant today, and required reading. Here is the original piece with an introduction by indie game designer/critic Anna Anthrophy.

This is a video lecture from Jonathan Blow (creator of the game Braid), and not writing, but it is very helpful for understanding the thinking and philosophy - the "best practices" that are driving the game industry today:

This earlier lecture by Jon Blow outlines the fundamental conflicts - what is often called "ludo-narrative dissonance", at the heart of storytelling in games:

Also in that vein, Tim Rogers's piece "Who killed videogames?" is a wonderful insider account of what goes on behind closed doors at social gaming companies.

 

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On the other end, this article by David Kanaga (who's done the audio in recent indie games like Dyad and Proteus) takes a more academic tone and asserts that meaning is something which arises from a the interaction of the player and the game, not imposed from above by its creator (as implied by Jonathan Blow):

http://wombflashforest.blogspot.com/2012/06/played-meaning-concerning-spiritual-in.html

He also has writing on audio in games on the same blog that is very much worth reading. This short article asserts that the strangeness and feeling of displacement (in horror games, in particular), are what games are uniquely suited towards exploring:

http://voorface.wordpress.com/2011/06/20/unspoken-strangenesses/

Both of these articles eschew the sort of concrete insider details to talk about how games feel to the player, which I think is an extremely valuable theme to emphasise and I hope to see more of this writing.

Stephen Murphy (of Space Funeral fame) has written a few paragraphs that summarise this idea:

http://harmonyzone.org/Other.html

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Also in the vein of feeling - continuing on from the "New Games Journalism" trend of pieces that revolve around personal experiences with games. There are several of these kind of articles around (though there's a gap in my knowledge here so please enlighten me), but this recent one by Patricia Hernandez on RPS about how Fallout 2 awakened her to rebellion against the traditional gender roles her parents imposed on her is good:

http://www.rockpapershotgun.com/2012/11/23/gaming-made-me-fallout-2/

I also wrote a short, slightly abstract piece for Wolfenstein 3D's 20th anniversary (yes this is the first of several vanity links to my own writing) that talks about the effect that game, and videogames in general, have had on my life, past and present:

http://midnightresistance.co.uk/articles/wolfenstein-jubil%C3%A4um

And, of course, there's Tim Rogers's fairly well-known old article about Super Mario Bros 3 that is probably the archetype for every one of these articles that have come since:

http://archive.insertcredit.com/features/lifenonwarp/index.html

 

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Another emerging theme of games writing is detailed analysis about the moment-to-moment design of game worlds - or "level design". There isn't a ton of this sort of writing out there, but I think is extremely valuable in understanding the sorts of mechanisms games communicate to the player through their moment-to-moment design. Robert Yang does a good job of outlining what he believes makes good writing on level design here (and includes links to some great articles by Anna Anthropy, an old, detailed piece on Thief 3 by Kierron Gillen, and some things I've written about Wolfenstein 3D level design):

http://www.blog.radiator.debacle.us/2012/04/what-makes-good-writing-on-level-design.html

and also has an excellent detailed analysis of one Thief 1 mission here:

http://www.blog.radiator.debacle.us/2012/07/thief-1s-assassins-and-environmental.html

 

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From here, there's general writing that looks critically at different aspects of individual games as a whole. The semi-defunct blog MU-Foundation (maintained by J Chastain) has several different articles on specific games that are worth reading, but these two look to artifacts of the past (Maniac Mansion and the Atari ST game Captain Blood) for an alternative to current game design.

http://mu-foundation.blogspot.com/2011/11/maniac-mansion.html

http://mu-foundation.blogspot.com/2011/11/captain-blood-atari-st.html

Speaking of current game design, this recent article on Modern Warfare 2 reveals the game's ultimate failure to in any way comment on warfare in the way that it purports to do:

http://nightmaremode.net/2012/11/call-of-duty-6-modern-warfare-2-ass2ass-gif-23274/

I'm sure at least some of your readers have heard of Action Button Dot Net (run by Tim Rogers). I do sense a strong tendency of this site to make interesting little bits and pieces of a particular game look like grand, profound statements, and the articles articles are often rambling as hell. Still, the Action-Button Manifesto contains a ton of valuable insights about a big pile of different games, and has definitely shaped the way I see games as a whole:

http://www.actionbutton.net/?p=385

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Also worthy of mentioning is the (mostly untold) history of different fan modding scenes. Robert Yang's three-part piece "A People's History of the FPS" outlines the history of FPS modding communities and their decline:

http://www.rockpapershotgun.com/2012/09/19/a-peoples-history-of-the-fps-part-1-the-wad/

http://www.rockpapershotgun.com/2012/09/20/a-peoples-history-part-2-the-mod/

http://www.rockpapershotgun.com/2012/09/21/a-peoples-history-of-the-fps-part-3-the-postmod/

Anna Anthropy's book "Rise of the Videogame Zinesters" (link: http://www.amazon.com/Rise-Videogame-Zinesters-Drop-outs-Housewives/dp/1609803728) is a great resource for talk about DIY game communities and how to get started making a game of your own, but her site has a recommended list of mods for the game ZZT that's also worth checking out:

http://www.auntiepixelante.com/?p=443

Porpentine (who posts on the website freeindiegam.es and RPS) makes a good case for the accessibility of the program Twine for Interactive Fiction games:

http://nightmaremode.net/2012/11/creation-under-capitalism-23422/

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In this last section I'll link to some of my own thoughts on (what I view as) the destructive nature of the culture around videogames. Much shameless plugging lies ahead, so be warned.

Many people have since written manifesto type pieces to emulate the Scratchware Manifesto. I labored a long time over a lengthy, over-italicised one in this vein called "The Language of Videogames" that is more than a bit over-earnest but I still think has a lot of insights on why games occupy the cultural place they do right now:

http://ellaguro.blogspot.com/2011/09/language-of-videogames.html

This review of the recent indie game Hotline Miami is primarily an attack on games critics for unquestionably extolling the virtues of what I call "stupid games", and also the relationship between gamers and violent games:

http://midnightresistance.co.uk/articles/monster-within

For examples of what I'm talking about in the article, see Tom Bissell's piece on Spec Ops: The Line

http://www.grantland.com/story/_/id/8157257/line-explores-reasons-why-play-shooter-games

or Brenden Keogh's recent book "Killing Is Harmless", also about Spec Ops: The Line 

http://stolenprojects.com/

Which is excellently reviewed here, by the way.

In my review of Indie Game: The Movie I'm trying to take on what I see as the inherently self-congratulatory nature of much of the so-called "indie scene":

http://midnightresistance.co.uk/articles/indie-game-movie-review

The last article I'll link to is sort of a peculiar, fractured piece that is only partially about games, but makes the (not as often explored) assertion that the endless pursuit of a fantasy of total, perfect immersion within a game ("The Holodeck") is really the pursuit of totalitarianism:

http://ellaguro.blogspot.com/2012/10/the-puzzle-world.html

PS. No, really, finally, this essay about Second Life by Jenn Frank: http://infinitelives.net/downloards/all_the_spaces.pdf

Liz Ryerson can be found on Twitter on @ellaguro and her email is liz dot ryerson at gmail. She would love to hear from you, provided you are not a spam bot and you don't send her any rape threats."

Jonathan Blow's Braid.

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

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Forget planning for no deal. The government isn't really planning for Brexit at all

The British government is simply not in a position to handle life after the EU.

No deal is better than a bad deal? That phrase has essentially vanished from Theresa May’s lips since the loss of her parliamentary majority in June, but it lives on in the minds of her boosters in the commentariat and the most committed parts of the Brexit press. In fact, they have a new meme: criticising the civil service and ministers who backed a Remain vote for “not preparing” for a no deal Brexit.

Leaving without a deal would mean, among other things, dropping out of the Open Skies agreement which allows British aeroplanes to fly to the United States and European Union. It would lead very quickly to food shortages and also mean that radioactive isotopes, used among other things for cancer treatment, wouldn’t be able to cross into the UK anymore. “Planning for no deal” actually means “making a deal”.  (Where the Brexit elite may have a point is that the consequences of no deal are sufficiently disruptive on both sides that the British government shouldn’t  worry too much about the two-year time frame set out in Article 50, as both sides have too big an incentive to always agree to extra time. I don’t think this is likely for political reasons but there is a good economic case for it.)

For the most part, you can’t really plan for no deal. There are however some things the government could prepare for. They could, for instance, start hiring additional staff for customs checks and investing in a bigger IT system to be able to handle the increased volume of work that would need to take place at the British border. It would need to begin issuing compulsory purchases to build new customs posts at ports, particularly along the 300-mile stretch of the Irish border – where Northern Ireland, outside the European Union, would immediately have a hard border with the Republic of Ireland, which would remain inside the bloc. But as Newsnight’s Christopher Cook details, the government is doing none of these things.

Now, in a way, you might say that this is a good decision on the government’s part. Frankly, these measures would only be about as useful as doing your seatbelt up before driving off the Grand Canyon. Buying up land and properties along the Irish border has the potential to cause political headaches that neither the British nor Irish governments need. However, as Cook notes, much of the government’s negotiating strategy seems to be based around convincing the EU27 that the United Kingdom might actually walk away without a deal, so not making even these inadequate plans makes a mockery of their own strategy. 

But the frothing about preparing for “no deal” ignores a far bigger problem: the government isn’t really preparing for any deal, and certainly not the one envisaged in May’s Lancaster House speech, where she set out the terms of Britain’s Brexit negotiations, or in her letter to the EU27 triggering Article 50. Just to reiterate: the government’s proposal is that the United Kingdom will leave both the single market and the customs union. Its regulations will no longer be set or enforced by the European Court of Justice or related bodies.

That means that, when Britain leaves the EU, it will need, at a minimum: to beef up the number of staff, the quality of its computer systems and the amount of physical space given over to customs checks and other assorted border work. It will need to hire its own food and standards inspectors to travel the globe checking the quality of products exported to the United Kingdom. It will need to increase the size of its own regulatory bodies.

The Foreign Office is doing some good and important work on preparing Britain’s re-entry into the World Trade Organisation as a nation with its own set of tariffs. But across the government, the level of preparation is simply not where it should be.

And all that’s assuming that May gets exactly what she wants. It’s not that the government isn’t preparing for no deal, or isn’t preparing for a bad deal. It can’t even be said to be preparing for what it believes is a great deal. 

Stephen Bush is special correspondent at the New Statesman. His daily briefing, Morning Call, provides a quick and essential guide to domestic and global politics.