Die Lesetipps der Woche – immer donnerstags bei Spielkritik. In dieser Ausgabe begegnen wir NES-Nazis, einem PSOne-Beuteldachs, und der wohl bekanntesten Lederjacke der Videospielgeschichte. Ferner sind wir Zeuge, wenn die PS Vita nicht alleine stirbt, wenn die Sonnenuntergänge der 80er wieder lebendig werden, und nicht zuletzt bei einem Paradigmenwechsel in der Spielekritik. Leider hat es diesmal nur ein (wenn auch exzellenter) deutschsprachiger Artikel in die Auswahl geschafft (nächste Woche hoffe ich auf mehr, Vorschläge gern in die Comments). Recht viel Spaß beim Lesen, Erinnern – und Kommentieren! – und bis zum nächsten Mal. PS: Neuer Spielkritik-Content ist natürlich auch in der Mache, braucht aber noch ein bisschen Zeit.

The Crash Comeback
(themaximumutmost.wordpress.com, pine717)

[…] I’ve always found it curious that the long decline of Sonic the Hedgehog has been a popular topic of discussion, but the corresponding decline in quality of the Crash Bandicoot series has not received nearly the same amount of attention. […] When Sony bought Naughty Dog to develop PS2 games, the rights to Crash didn’t go with them. Instead, Konami worked with Universal to take the series multiplatform, and, similar to his hedgehog counterpart, that’s when trouble started to arise. […]

Kulturkritik vs. Kritikkultur
(videogametourism.at, Joe Köller)

[…] Lange, lange Jahre wurde gefordert, Spiele mögen doch endlich als Kunstform und Kulturgut anerkannt werden. Nun endlich ist das Ziel erreicht, und das hat seine Folgen. Wie jedes andere Medium auch werden Spiele zum Gegenstand vielfältiger Betrachtungen, feuilletonistischer wie akademischer, feministischer wie postkolonialistischer. Nun, da mit dem Medium intensiver ins Gericht gegangen wird, wird aber auch der Wunsch nach der handzahmen Testerei früherer Zeiten laut. Aber beides auf einmal geht halt nicht. Wer einerseits kulturell ernstgenommen werden will, kann nicht andererseits den Schutzschild der Belanglosigkeit beanspruchen. […]

Does the World Still Need Shenmue 3?
(lastbossgaming.wordpress.com, Crosstix)

[…] To me, Shenmue is one of the most fascinating case studies in the history of video games. Critically loved at the time, it has now become the game most people love to shit all over. On the other hand, the people who don’t mock it seem fanatically obsessed with the series, elevating it to the level of video game deity. So where does Shenmue really fit in the history of games and is the upcoming Shenmue 3 really a good thing? […]

Time Twist: Rekishi no Katasumi de…

[…] If you’re wondering why you’ve never heard of this game, despite it having been published by Nintendo, that’s probably because it looks like the company tried to brush it under the rug even as it was headed out the door. […] It’s…look, why not just sit back and take a tour of some of the shit that goes down in this game as you meet a girl, fall in love, have your soul stolen, fight Hitler and are strung up by the KKK. […]

[…] The Famicom Disk System housed a number of adventure games, several of which were published by Nintendo themselves. Amongst more standard fare […] there was a bizarre, brazenly controversial title named Time Twist: Rekishi no Katasumi de…. („On the Outskirts of History“). Written by Keiji Terui […] and developed by Pax Softnica, it seems like they took a look at Nintendo of America’s censorship rules and set out to create a game that broke each and every one of them. […]

When the Vita Dies, Sony’s 1st-Party “AA” Franchises Will Die Along With It
(chiscroller.wordpress.com, Chris Hodges) – Link fixed.

[…] It’s no big revelation that the current gaming market is largely one of extremes: You’ve got your huge, AAA games on one end, and your smaller indie games on the other. Much like the United States’ vanishing middle class, there isn’t much in the way of game releases that are bigger than indie but smaller than AAA. […] Even the video game companies in the best financial shape have to largely hedge their bets on just a small number of surefire franchise releases each year, mixed in with the occasional new IP. […] That is exactly what makes handheld platforms so great. Starting with the PSP, Sony found a new, viable home for series like Syphon Filter, Wipeout, MediEvil, The Getaway, and others that didn’t quite have the cache to justify multi-million-dollar PS3 games, but could thrive on a more modest platform that didn’t require a game to sell 5 million units just to break even. […]

How Games Are Resurrecting the Eighties, One Neon Sunset at a Time
(rollingstone.com, Luke Winkie)

[…] It’s an aesthetic that gathered steam with the 2011 neo-noir epic Drive and the gloriously grubby 2012 video game Hotline Miami. A sleek, Reagan-less utopia, full of cliffside highways, hexagonal sunsets, and magenta video stores – it basically takes a few broad filmic touchstones and expands them into an entire aesthetic. There’s a general cognitive oversimplification the farther we get from a period of time. The Fifties and Sixties are a blur of pompadours, milkshakes, peace signs and sitars. It’s comfort food, a way to polish the past to distract us from a messy present. Thirty years later, the Eighties are getting the same treatment. […]

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