You write because you don’t know what else to do. Is the writing good? Is the writing bad? It no longer matters.
Here’s another experiment. Find a 4-year-old and ask her to draw a picture of you. At the same time, blindfold yourself and draw a self-portrait. You might be surprised to learn that through a child’s innocent eyes, you’re actually a potato with a shock of purple hair, sticks for limbs and a triangular nose that rests somewhere south of where you always imagined your neck to be.
While development of Ridiculous Fishing was put on the back burner for a time, they returned to the game and fought back in the best possible way: By making the case that you can clone an idea, but you can’t clone the creativity of the artists behind it.
You see, procrastinators tend to be people who have, for whatever reason, developed to perceive an unusually strong association between their performance and their value as a person. This makes failure or criticism disproportionately painful, which leads naturally to hesitancy when it comes to the prospect of doing anything that reflects their ability — which is pretty much everything.
Admitting that you enjoy sexist content from time to time, does not make you an asshole. But pretending that the sexist scenarios in your games are not sexist, pretending that they are in fact acceptable to everyone except to people who are inferior to you, DOES!
I think my obsession with the diversity of sounds on display has overflowed into a greater appreciation for all different styles of music these days, as well, and I owe much of this reinvigorated interest in all things musical to Xtal.
A moral code in a game, oftentimes encoded unintentionally by its designers, is unavoidable. And when a game becomes more effective at evoking emotion (due to player choice), it also gains a higher level of social responsibility. It is a double edged sword, and one that must be wielded with care.
Kultur – auch die Games-Kultur – ist ein Spiegel der Gesellschaft, in der sie entsteht. Die existente mediale Gewaltfixierung, die sich beileibe nicht nur auf das Medium Spiele beschränkt, ist jedoch nicht die Ursache für eine angeblich dadurch gewalttätiger werdende Gesellschaft. Sie ist ein Symptom für eine Gesellschaft, in der reale Gewalt verpönt ist, andere Formen der Gewalt aber allgegenwärtig und sogar systemimmanent sind.
You take the glory; I give way to age. You: so physically well and well-meaning it makes me mentally ill—well, something does, anyway. While you fight the dark side with your light, white ways, I’m in the sarlacc pit, covered in Jabba’s vile body fluids. Will it ever end? It probably won’t, but I will. I’m pretty sure I will.
Möchte man verstehen, weshalb ein Spiel wie The Walking Dead die Kraft hat, uns in einen solchen emotionalen Tief- und Höhenflug zu versetzen, muss die vermeintliche Distanz zwischen Ich und Spielfigur in den Keller der urbanen Mythen verbannt werden.
What Chuck Lorre wants us to find funny is not the jokes which the characters are making, it’s the characters themselves. At one point Howard mentions playing Dungeons and Dragons. There is no joke attached to this, it’s not the punchline to any set up, however it is treated as one. Howard says the words “Dungeons and Dragons” and the audience laughs.