Greg Costikyan has written a barn-burning essay calling for serious criticism -- not reviews -- of games as an art form:
Similarly, there would be no point today in writing a review of Ultima IV, since it is long out of print. A useful work of criticism, however, is entirely conceivable: discussing, perhaps, its role as one of the first games to consider the moral implications of a player's acts, and to use tactical combat as a minigame within the context of a larger, more strategic title. Such an article, well-written, ideally with an understanding of the influence of tabletop roleplaying on the development of the early western CRPG, and of the place of this title in the overall shape of Richard Garriot's ouevre would be of interest to readers today, even if they'd be hard put to find a way to buy the damn game. And it might find a place in anthologies and studies of the 20th century origins of the popular medium of the game, going forward into the indefinite future.
The truth is that, for the most part, we don't have anything like game criticism, and we need it -- to inform gamers, to hold developers to task, and to inform our broader cultural understanding of games and their importance and impact on our culture.
Sgt Crispy writes, “XKCD creator Randall Munroe, has made a spiffy little hoverboard game. Looks to be small, however, when you realize that boundaries are made to be broken, A massive world opens up to be explored.”
Gauntlet, Atari’s 1985 dungeon-looting arcade game, came long after the heyday of its successful home console. But CDS Games has managed to pack a playable version of the complex action RPG into the primitive Atari VCS. [via]
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