Nach kurzer Krankheit darf ich mich zurückmelden, hier zunächst mit den obligatorischen Games-Lesetipps der Woche. Neuen Content meinerseits gibt’s dann am Wochenende. Bis dahin, und viel Spaß beim Lesen.

Why do video games find it so difficult to reflect real cities?
(, Phil Hartup)

[…] Taking a real city and putting it in a videogame sounds like a great idea. You get all that sense of place, all that rich history to draw on; and every city has its own character, its unique blend of people, politics and culture. Great cities are more distinct to a global audience even than the countries they are situated in. From London and Paris to New York and Hong Kong, these metropolises stand as some of the most significant cultural touchstones for people all over the world. And yet attempts to put these great edifices into a videogame can often be disappointing. Almost without exception, the best cities in videogames are fictional. […]

Secret of Evermore – ein Savegame meiner Erinnerung
(, Christian Kuhrmann)

[…] „Hey! Sieh mal! Eine Mumie, eine Kettensäge und eine Klobürste!“ Es sind Zeilen wie diese, an die jeder zurück denkt, wenn man Secret of Evermore gespielt hat. Für mich ist es nicht nur das beste Spiel der Super Nintendo Ära, sondern ein geistiger Speicherpunkt eines ganzen Lebensabschnittes. […] Ein Spiel koppelt sich bei mir oft an Erlebnisse aus dem echten Leben. Genauso ist es mit der Musik. Ohne meine Spielehistorie, die Soundtracks oder Musik, hätte ich vermutlich nur die Hälfte meiner Erfahrungen im Leben abgespeichert. Selbst wenn ein paar Erinnerungsfetzen in meinem Kopf verschwinden, tauchen sie beim Starten bestimmter Spiele immer wieder auf. […]

Lasst die Pokémon in den Gedenkstätten!
(, Julia Rieke)

[…] Wer in Auschwitz Pokémon findet, hat ein Problem. Nicht, weil es dort welche gibt – sondern weil er auf die Idee gekommen ist, dort „Pokémon Go“ zu spielen. […]

Gameplay Per Square Inch: The Making of Shovel Knight
(, David L. Craddock)

[…] “One of our philosophies to help achieve that goal was to make sure there were no references or callbacks. There should be no point where someone says, ‚It’s dangerous to go alone. Take this,’” D’Angelo explains, referring to an iconic line of dialogue from the original Legend of Zelda. “No one should say that, because those kinds of things sort of indicate that you need previous knowledge to understand the game. We wanted to make sure that we were creating this thing that could have come out in the ’80s, that couldn’t reference other games, because other people might not have played those games. It needed to be an original game that could stand on its own whether or not [players] had nostalgia.” […]

Sensation in Dead Space
(, Joshua Saunders)

[…] In this piece of writing, the idea of pleasure will be explored in the way a player can enjoy strong emotions even those with a negative connotation like fear. Dead Space explores the idea of disability and calculated cruelty, producing a mix of contrasting emotions including guilt, pride and elation. Game dynamics, level design, audio and visual assets create a roller-coaster of emotion leaving the player with sensations of vertigo, disorientation and disconnection. Anticipation, dread, thrill, relief, despair, guilt, disgust, shock and a strong sense of immersion are some of the feelings that create the track for this metaphorical roller-coaster. The aim of the game is to strap in and survive. […]

In Praise of the Videogame Haunted House
(, Zack Kotzer)

[…] Fire stages have time ticking heat waves and lava pits. Ice stages have slippery floors. Water stages, well, have lots of swimming. Haunted house stages? All bets off. „Haunted house level“ is in-game code for „anything can happen now, in a creepy way.“ Temporary elements. Floating, flipping furniture. Routes and logic become obscured. Secrets scattered behind trick walls. And those are only the reoccurring tropes. It’s a place where the developers’ imaginations run wild. Throughout gaming history, they’ve stood tall as the most interesting bits of design in their respective games. […]

Der Pokémon Go Hype
(, Matthias Hasler)

[…] Ja, man reibt sich schon etwas die Augen. Ein Pokémon Hype? Also ein echter, wirklicher Hype? Einer, der nicht nur, wie bei sonst den meisten Videospielen, die Fans eben jener Reihen betrifft? Und dieser Hype war nicht mal in den 90ern, sondern findet gerade statt? […]