Blips: Final Reaction

Source: Taking A Risk
Author: Stephen Winson
Site: re/Action

The news is about a week old, but if you hadn't heard, re/Action, the video game criticism website that aimed to provide a platform for voices not heard elsewhere and pay their writers well for the work they create, did not reach their crowdfunding goal before their deadline. This means that the re/Action project is not going forward since the editors would only have proceeded if they could pay their writers what they saw as a fair rate ($200 per article). In a sort of post mortem, technical editor Stephen Winson penned a look back at the re/Action campaign, thanking all involved and continued to advocate for decent pay for writers.

I was really hoping re/Action would succeed because I thought they were onto something pretty great. Yes, they did publish a piece of mine, but I'm not speaking out of self interest here. I wouldn't have sent them a pitch had they not impressed me with their initial batch of articles and inclusive mission statement about seeking minority voices and opinions. I was just excited to be a part of it. I'd also like to note that my experience going through the re/Action editorial process was quite pleasant, and the feedback I was given was tremendously helpful in focusing an article that I struggled to keep from digging too deep into several pools of minutiae. Also, like Bit Creature, which also went under this year, I thought re/Action's website was pretty and had some nice design touches that complemented the essays contained within.

If it's any consolation, at least re/Action is still online, which gives me the opportunity to read some of the articles that I never got around to checking out. I hope people remember the re/Action campaign in the future when they consider voids in games criticism, but hopefully not as a detraction from trying something similar; on the contrary. In their IndieGoGo video, Managing Editor Andrea Shubert referred to re/Action as a "grand experiment," and in that spirit, I think even the results of an experiment that didn't turn out as planned can be useful in continuing to test the original hypothesis. So, let's pour one out for re/Action, but then, let's raise our glasses to the continued pursuit of the ideals for which it stood.

Blips: Let's Talk Later

Source: Poor Community Spirit
Author: Stephen Beirne
Site: re/Action

I'm really digging the latest piece over on re/Action by Stephen Beirne on the classist nature of gaming's critical discourse and the concept of avoiding spoilers. Even though the prices of games have come down in indie categories, popular, big-budget games are still $50-$60. What is cheap and expensive is all a matter of perspective, but there are a great number of people who love to play games who can't afford these games at their initial launch prices and rely on used copies or sale prices to bring games into an affordable range. Yet, the discussions around games are most fervent initially after a game's release, and if a game is lucky it will spur discussion for a few weeks after. For example Bioshock Infinite held critics' attentions for about three weeks past its release, but most games are lucky to get that level of focus for a day or two.

This leads to folks who can't afford games at launch having to wade through minefields of spoilers, minor or otherwise, in order to be involved in critical discussion in any way. What ends up happening is that if these people end up purchasing and playing a game a few months later, their experience is colored by critics and commenters, not of their own making as those very critics and commenters had the privilege of experiencing. It may just be the way business happens, but it's worth understanding the consequences and who does and does not have a voice in critical discourse.

If there's one thing I'd have liked to see more of in Beirne's piece, it's ideas for solutions or improvements. He does acknowledge that indie games are now offered at more affordable prices than their big-budget cousins, so that lowers the barrier to entry for certain games. What about those blockbuster titles though? The zeitgeist moves so quickly, it can be difficult to keep up. After all, the reason there's so much discussion about games at release is because so many people are engaging with the same material at the same time. Think of it like a book club, but one where the market determines which book you're reading next instead of group vote. To tell the truth, I don't really have any ideas for solving this problem. Perhaps something like the Vintage Game Club could be of use for this purpose. I'd love to hear other people's suggestions too. Until then, I'm going to start playing Uncharted 2.

Blips: Look At Me

Source: Twilight Crossfade
Author: Dan Solberg
Site: re/Action

I just wanted to take a minute to share my first ever post for re/Action! I got to write about DJing, Proteus, Miasmata, and photography. So, it's got pretty much all of my top interests rolled up into one piece about transitions. Check it out, and be sure to look around at other essays on re/Action, which is fast becoming a hotbed of talented writers and subjects that aren't your typical video game feature fare. They're launching a crowd-funding initiative next month, so be on the lookout. Lastly, if you're wondering which songs I used in my DJ mix examples, they're Moby's "Disco Lies (The Dusty Kid's Fears Remix)" and Daft Punk's "Phoenix."

Blips: Battle Scars

Source: Regarding the Pain of Avatars
Author: Brendan Keogh
Site: re/Action

In his first piece for re/Action, Brendan Keogh dissects how depiction of struggle helps to humanize even the most invincible of video game action heroes. His primary reference is Bruce Willis' John McClane from the film Die Hard. With action movies and games we know the protagonist is going to win the day in the end, no matter how many times they're fired upon and how many times they fall from impossible heights. Keogh points out that McClane's physical appearance and progressively strung-out tenor provide a trace of the suffering he endures. Cuts and scrapes begin to mount as the film progresses; his clothes becoming increasingly filthy and torn as well.

Games do this to, but perhaps not as often as they should. Most action games grant their heroes a Disney princess level of infallibility; jumping from rooftops and dodging gunfire, with not a hair out of place. Just think of how many characters you've taken on epic adventures that appear unchanged by the experience. I think silent protagonists are supposed to make up for this by allowing players to project themselves onto their avatars, but I'd argue that while this can prompt empathy, it's not necessarily through humanization. If games are going to tell more compelling stories, they need to begin showing how characters are effected by the game world over time in a responsive, persistent way.