The following is a reprint from Unwinnable Weekly Issue Two. If you enjoy what you read, please consider purchasing the issue or subscribing for the year. 1. In 2010, game critic and developer Tim Rogers wrote a review of the PlayStation 2 beat-em-up title God Hand. “God Hand is like being a professional chainsaw-wielding glacier demolisher at a party where the penguins are going to need a lot of ice cubes,” Rogers writes in the first paragraph. “Though God Hand is usually like poking holes in a watermelon with a chopstick for the best reasons… [it] is sometimes like using a pizza cutter to
I. I’ve been reading a lot of critic Susan Sontag’s early essays of late. I’ve been motivated by a desire to have my own approach to criticism influenced more by that of other critics, and I’ve been influenced heavily in the way Sontag takes a work of art at face value. Explicit in her essays from the late ’60s, “Against Interpretation” and “On Style,” and implicit in the rest of her writing, is this refusal to separate an artwork’s “form” from its “content.” That is, she refuses to separate an artwork into what it “is” (a canvas, brushstrokes, colors, frame),
We often want games to hit the ground running, but Gus Mastrapa makes a case for the ones that dare to make us stop to smell the roses.