Windows, borders and defamiliarization in Daniel Linssen’s games

For some minutes he had been watching the Tower of Art […] As is the case with many things that are totally familiar, he hadn’t really looked at it for years.

Guards! Guards! (Terry Pratchett, 1989)

The first game by Daniel “Managore” Linssen I played was his metroidvania birdsong (2014). The game’s main appeal, in at least two ways, is its camera. The first way is the clearest: the viewport encompasses Continue reading Windows, borders and defamiliarization in Daniel Linssen’s games

Arc Symphony: Building Our Identity One JRPG at a Time

SPOILERS: This article contains spoilers about Arc Symphony.

Arc Symphony (2017) is an interactive piece by Sophia Park and Penelope Evans. Like the works covered in Love in Times of BBS, it portrays interpersonal relationships in the first internet communities, but instead of focusing on a general interests community, it shows us a community obsessed with Arc Symphony, an imaginary PSX JRPG.

Continue reading Arc Symphony: Building Our Identity One JRPG at a Time

Which is the industry we want?

Cover by crysanthema.

At the inaugural panel of last year’s Meet the Devs a lot of panelists agreed that the videogame industry is composed not only by companies, but also by indies, hobbyists, academic institutions, and the specialized press and critique. This statement, that I still hear nowadays, worries me, because it presents several issues from a moral standpoint, and because stacking several different things together as if they were part of a whole makes for poor analysis and clumsy critical thinking.. Continue reading Which is the industry we want?

Interview with Paolo Pedercini (Part 4 of 4)

In August of last year, Matajuegos sat to chat with Paolo Pedercini (of Molleindustria) about videogames and art and politics, resulting in a conversation we divided in four parts. We already published the first, second, and third ones. This is the fourth and last one, where we talk about Paolo’s youth, his first experiences playing videogames and analyzing them critically, the evolution of his political thought, and the stupidity of bees.

Santiago Franzani: So, about you. Did you grow up playing games, is it something that is part of yourself?

Paolo Pedercini: Yeah, I played games, started with Nintendo. Actually Continue reading Interview with Paolo Pedercini (Part 4 of 4)

Interview with Paolo Pedercini (Part 3 of 4)

In August of last year, Matajuegos sat to chat with Paolo Pedercini (of Molleindustria) about videogames and art and politics, resulting in a conversation we divided in four parts. We already published the firstsecond, and fourth ones. This is the third one, where we talk about the industry, the indie side, experimentation, and representation of broken systems.

Santiago Franzani: Do you make any difference between if you are indie or if you are industry, or there is something that you can say that, OK, this is the opposite, or you can gather all together to think the same way?

Paolo Pedercini: Um…

SF: Hard question?

PP: Yeah, it’s hard. When I was in Italy, Continue reading Interview with Paolo Pedercini (Part 3 of 4)

Interview with Paolo Pedercini (Part 2 of 4)

In August of last year, Matajuegos sat to chat with Paolo Pedercini (of Molleindustria) about videogames and art and politics, resulting in a conversation we divided in four parts. We already published the first, third, and fourth ones. This is the second one, where we talk about metaphors for tactical media, and the kind of audience it can reach.

Santiago Franzani: You use the term “propaganda” when describing your games sometimes, or “contra-propaganda”. Could you explain the role of propaganda in your projects, what does it mean?

Paolo Pedercini: I think I was talking about it last night. I mentioned propaganda because I started a party which was not a mainstream party at all, it was like five percent representation type of party. So the first game was made as part of a promotion for Continue reading Interview with Paolo Pedercini (Part 2 of 4)

Interview with Paolo Pedercini (Part 1 of 4)

In August of last year, Paolo Pedercini came to Buenos Aires to give a talk and a workshop at Media Party 2016, a free conference about the “future of media”, with special attention to advances in tech.

We at Matajuegos already translated texts of his, wrote about his project Molleindustria of subversive games, and have admired his work for years, so we asked him if he had a few hours to sit with us and talk about videogames and art and politics.

The resulting conversation was transcribed, cut, and divided in four parts. We already released the second, third, and fourth ones. This is the first one, where we talk about the origin of Molleindustria, its changes over time, and the importance of expressive systems.

Santiago Franzani: What’s the origin, what’s the meaning of “soft industry” (molle industria) actually?

Paolo Pedercini: The title was like a reference to the industrialization or post-Fordization of the industry. Continue reading Interview with Paolo Pedercini (Part 1 of 4)

Ladykiller in a Bind: Revindicating Kink

NSFW: In this article we talk about sex, sexuality and we will show screenshots of games containing people showing their titties and being stark naked, so reading this at work might not be a good idea.

Ladykiller in a Bind is an erotic Visual Novel (VN) made by Christine Love, published on Steam on January 9, several months after its release at the Humble Store on October 10th. The delay was due to its erotic and queer content, because Steam’s policies are unclear about which kink it wants to distribute and which kink it wants to play fool with.

Continue reading Ladykiller in a Bind: Revindicating Kink

PSA: About GDC and the ways of exclusion

A while ago FundAV reopened their grants that deliver an All Access Pass for the GDC, only this time they were reopened just for women, because the entity that grants the passes decided that the male quota was covered and the remaining beneficiaries had to be women, since they were aiming for a quota of 50% male beneficiaries and 50% female beneficiaries. That measure was taken because women are a minority in the videogame industry.
Continue reading PSA: About GDC and the ways of exclusion