![]() Twine allows anyone with a computer and a web browser to build, play and distribute games its adoption by queer and marginalized communities in the early part of this decade saw a sudden widening of game narratives. First released in 2009 (though it wouldn’t see widespread adoption until 2012), Chris Klimas’s software for building interactive fiction has had a comprehensive influence on a period in which video games have shifted significantly towards the personal, the expressive and the human. ![]() It feels impossible to discuss narrative in games within the past decade without mentioning Twine. ![]() And yet, when I set aside these oxygen-stealing entities and their competitors, it becomes clear that a shift has happened in the last ten years in terms of the stories games tell.Ĭardboard Computer, Kentucky Route Zero, 2013-ongoing, still. The numeral in the 2009 title is working against time: a sign that narratives of innate progression should be distrusted. It should be evidence enough that Call of Duty: Modern Warfare 2 was the best-selling game of 2009, while 2019’s Call of Duty: Modern Warfare (a reboot of that same series, along with its blatant pro-American ideologies and connections to the military-industrial complex) looks set to take that same accolade. So, let’s begin with a proviso: I will make no attempt to weave the corporate powerhouses of blockbuster game releases into some arbitrary, decade-long chronicle of progression. Given that, over the past ten years, the medium of video games has ballooned to encompass everything from large-scale industrial projects to homemade experiments, reviewing the last decade in gaming – and the narratives that have emerged within it – is an impossible task.
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