WARNING: This article contains spoilers for DOOM 2016 and DOOM: ETERNAL. But who cares about the story anyway, right?

The videogame market has, for many years, engaged in a form of self-referential cyclicality, from indie games hearkening to the minimalist pixel-art design of the medium’s early forebears, to the current wave of PS1 aesthetic resurgence and the much-beloved resurgence of the “boomer shooter”, all the way to the DOOM series’ reflection on nostalgic memories of the hyper-violent and frantic action of 90s FPS titles. This is, of course, nothing unique to video games as one need look no further than the box office hits of modern Hollywood to see that reboots, remakes, and reimaginings are the order of the day.

Enter Jean Baudrillard and his conceptualization of “hyperreality”, the indistinguishable muddling together of reality and the simulated as originally explored in Simulacra and Simulation of The Matrix fame.

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Today, January 8th, 2019 RE:BIND posted its first article ever.

What once started life as a quirky experiment to see if one could outmaneuver the discourse, has rapidly turned into a life-changing media extravaganza. What a lovely community we’ve developed over the past year in our Discord, as well as recently breaching 2,000 followers on Twitter.

None of this would be possible without your enduring support!

As we take a short rest from our year-long sprint to close the chapter of ‘Volume One’, I highly advise you take a look through our archives! Catherine examined some of our best hits that she’s produced over the last year worth taking another look at, and it is unwise to overlook the fantastic works of our editor: Mx. Medea

What’s next?

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Well, we all knew it was coming, and it looks like it’s finally here: subscription based gaming services – the “Spotifys of gaming” if you will (and tech companies definitely will). There has been much debate about the concept, however we find ourselves now amidst the full-steam execution, so what now?

Much of the idea is still nebulous and shrouded in corporate mystery. How will devs be paid? How is the amount they’re to be paid calculated? What the hell does “engagement” mean? All good questions, and crucially important, but we need to also address the dev-side of the equation and ask what this shift means for the future of the medium and our approach to video game development for these stream-based platforms.

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Hello fandom, my old friend, I’ve come to write on you again. If you’ve been living under a rock, or simply have literally anything better to do with your time, it may come as news to you that Martin Scorsese has stridden into the media spotlight once again to drive a stake through the caped heart of the Rodent Empire. I am, of course, talking about his mildly contentious opinions regarding the validity of Marvel movies as “cinema”, whatever the hell that word means these days.

I’m not here to debate the finer points of what does and doesn’t constitute art beyond my personal belief that art goes into Marvel films, and that they have artistic merit in their craft and their themes. What has caught my attention, however, is the visceral response to relatively mild criticism of fandom staples that such critique engenders.

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Oh dear, 1000 Followers on Twitter. It may not seem like a huge benchmark to many sites, but it is the main metric by which we have measured our work for the past year.

RE:BIND started as a gentle homage to Indie Critique greats of the past decade, and an experiment in alternative media. With the challenges facing indie coverage in today’s industry, we asked what would be the most effective means of adapting to the ever transforming and intimidating landscape:

Finally, we have our answer.

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“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.

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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.

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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.

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Preface:

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.

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Preface:

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.

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