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.



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):

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:

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:


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:

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:

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:



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):

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



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.

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:

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:


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:

Anna Anthropy's book "Rise of the Videogame Zinesters" (link: 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:

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


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:

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:

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

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

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":

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:

PS. No, really, finally, this essay about Second Life by Jenn Frank:

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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After the “Tatler Tory” bullying scandal, we must ask: what is the point of party youth wings?

A zealous desire for ideological purity, the influence of TV shows like House of Cards and a gossip mill ever-hungry for content means that the youth wings of political parties can be extremely toxic places.

If you wander around Westminster these days, it feels like you’re stepping into a particularly well-informed crèche. Everyone looks about 13; no one has ever had a job outside the party they are working for. Most of them are working for an absolute pittance, affordable only because Mummy and Daddy are happy to indulge junior’s political ambitions.

It’s this weird world of parliament being dominated by under 25s that means the Tory youth wing bullying scandal is more than just a tragic tale. If you haven’t followed it, it’s one of the most depressing stories I’ve ever read; a tale of thirty-something, emotionally-stunted nonentities throwing their weight around at kids – and a promising, bright young man has died as a result of it.

One of the most depressing things was that the stakes were so incredibly low. People inside RoadTrip 2015 (the campaigning organisation at the centre of the scandal) cultivated the idea that they were powerbrokers, that jumping on a RoadTrip bus was a vital precondition to getting a job at central office and eventually a safe seat, yet the truth was nothing of the sort.

While it’s an extreme example, I’m sure it happens in every political party all around the world – I’ve certainly seen similar spectacles in both the campus wings of the Democrats and Republicans in the US, and if Twitter is anything to go by, young Labour supporters are currently locked in a brutal battle over who is loyal to the party, and who is a crypto-Blairite who can “fuck off and join the Tories”. 

If you spend much time around these young politicians, you’ll often hear truly outrageous views, expressed with all the absolute certainty of someone who knows nothing and wants to show off how ideologically pure they are. This vein of idiocy is exactly where nightmarish incidents like the notorious “Hang Mandela” T-shirts of the 1980s come from.

When these views have the backing of an official party organisation, it becomes easy for them to become an embarrassment. Even though the shameful Mandela episode was 30 years ago and perpetrated by a tiny splinter group, it’s still waved as a bloody shirt at Tory candidates even now.

There’s also a level of weirdness and unreality around people who get obsessed with politics at about 16, where they start to view everything through an ideological lens. I remember going to a young LGBT Republican film screening of Billy Elliot, which began with an introduction about how the film was a tribute to Reagan and Thatcher’s economics, because without the mines closing, young gay men would never found themselves through dance. Well, I suppose it’s one interpretation, but it’s not what I took away from the film.

The inexperience of youth also leads to people in politics making decisions based on things they’ve watched on TV, rather than any life experience. Ask any young politician their favourite TV show, and I guarantee they’ll come back with House of Cards or The Thick of It. Like young traders who are obsessed with Wolf of Wall Street, they don’t see that all the characters in these shows are horrific grotesques, and the tactics of these shows get deployed in real life – especially when you stir in a healthy dose of immature high school social climbing.

In this democratised world of everyone having the ear of the political gossip sites that can make or break reputations, some get their taste for mudslinging early. I was shocked when a young Tory staffer told me “it’s always so upsetting when you find out it’s one of your friends who has briefed against you”. 

Anecdotes aside, the fact that the youth wings of our political parties are overrun with oddballs genuinely worries me. The RoadTrip scandal shows us where this brutal, bitchy cannibalistic atmosphere ends up.

Willard Foxton is a card-carrying Tory, and in his spare time a freelance television producer, who makes current affairs films for the BBC and Channel 4. Find him on Twitter as @WillardFoxton.