We’ve been very interested in the experiences of the developers involved with the meditations.games project, how they felt about the crediting process and controversy surrounding it, and the level of social media reception that they experienced, so we reached out to multiple developers involved with the project for their input. Below you’ll find the second batch of interviews we conducted with the developers who asked to be credited upfront for the project, and what they had to say.
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We’ve been very interested in the experiences of the developers involved with the meditations.games project, how they felt about the crediting process and controversy surrounding it, and the level of social media reception that they experienced, so we reached out to multiple developers involved with the project for their input. Below you’ll find the first batch of interviews we conducted with the developers who asked to be credited upfront for the project, and what they had to say.
There’s one topic I’ve found myself meditating on quite often as of late: exposure. Specifically I found myself asking what the value of exposure actually is, and whether or not the returns we expect are necessarily the ones we get. Of course, one can find countless discussions of the issues with exposure-centered approaches to artistic endeavors scattered across the internet, but there’s one particular project that I believe frames this dilemma perfectly for our purposes, meditations.games.
“And when we tell ourselves we have reached the paroxysm of horror, blood and flouted laws, of poetry which consecrates revolt, we are obliged to advance still further into an endless vertigo.” – The Theater and its Double (Antonin Artaud, 1958).
I wish to swiftly dispose of the formalities, preferably via the edge of the knife, if not the tip of the pen, and thus we begin.
Much has been said of video games and art, are they art, aren’t they art, how can one deny they are so, when do we get our Citizen Kane, when will the medium finally be reified through this endless endeavor to replicate the extrapolative force of The Good Piece of Art that we have decided is all that lends credence to a medium’s creative practices? But let us present an alternative, to eschew the respectability of The Good Piece of Art and instead pursue The Art That Which is Art, to hear the cries for the Citizen Kane and rebuff them with a cry for The Holy Mountain and the Pink Flamingos.
What defines the self? A name? A role? The tasks we are set to? What others perceive us to be? What we perceive ourselves to be? Or perhaps something more? This question has possibly plagued mankind more throughout the ages than any other, but it defines a key conflict in the world of OFF in which we emerge fully-formed, and find our existence immediately questioned. As we begin we find ourselves perceived as little more than a figment of the imagination of a humble cat.
Horror, a genre known for having as many pitfalls as there are fall-prone protagonists, and one that is notoriously hard to integrate into video games. While there are countless examples of Horror done poorly across all media, games present a slew of challenges very specific to the medium which are far too often not taken into account during development, leading to lackluster Horror title upon lackluster Horror title. This is apparent enough that some commentators have even come to eschew the title of Horror game, opting instead for Horror themed game.
There’s a lot to be said about the Fallout series, and almost all of it has long-since been said. However there’s one aspect of the series, particularly its first 2 entries, that has been playing on my mind.
War….war never changes.
Far from a cool slogan, this phrase, though oft-misunderstood, helps to frame a larger discussion of games from a critic and developer perspective.
As GDC comes to its close and everyone begins the long journey home, we hope that the last week has been a positive experience for you, whether at GDC or not.
In case you missed it, we’ve been busy this week. So, if you need something to read on the way home, or to just decompress with as you take in recent events, we’ve got you covered:
Well, here we are again. There’s been a lot of talk lately about parasocial relationships, the type that we unilaterally form with artists, social media figures, writers, but I like to think that isn’t how you feel about me as a writer. I think that in the reading of this deconstruction there’s an unspoken overlap on some level going on, a trade of understanding. But we’ll get to that, for now let’s take that proverbial last strike of the hammer into Getting Over It With Bennett Foddy.
Well, here we are again, I’m crossing my fingers that most of you made it this far, and I’m glad for each and every one of you who did. I have a lot left to say, and I hope you have a lot left to read, so without too much delay, let’s get right to the second section of our deep dive into Getting Over It with Bennett Foddy.