New Games Journalism rejects this, and argues that the worth of a videogame lies not in the game, but in the gamer. What a gamer feels and thinks as this alien construct takes over all their sensory inputs is what’s interesting here, not just the mechanics of how it got there. Games have always been digital hallucinogens - but games journalism has been like chemistry, discussing the binding reactions to brain sites. What I’m suggesting says what it feels like as the chemical kicks in and reality is remixed around you.
While drug-poetry is certainly one approach to the subject matter -and one the earlier State experiments turned to - it’s not the strongest. “Bow, Nigger”, while being clearly totally subjective, austerely embraces Hemmingway’s cleanness. The tone has to be confessional - what happened to you and how it made you feel - or people simply won’t believe it, or be interested. Pub anecdotes with delusions of grandeur, essentially.
I stumbled upon this on a time where I’m thinking about the subject a little too much. As everything that holds a certain importance in my life, the pieces starts appearing at random, and decantation takes care of the rest.
Bow, Nigger, is a brilliant piece on gaming journalism, and if you have a interest in any of the two, you should go read it. Fuck, go read it anyway.
All of this was found on Kieron Gillen’s website.
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