Enter the Void: The Grimy Playfulness of No Wave

Like its titular artistic zeitgeist, No Wave places emphasis on jagged textural substance over narrative and stylistic fluidity. In lieu of offering a clearly marked trail of narrative breadcrumbs, No Wave invites players to tease out meaning from its maniacal imagery and sparse gameplay. Jim, like the player, enters an underground no wave club as … Continue reading Enter the Void: The Grimy Playfulness of No Wave

Gender as Enablement & The Glorious Power Fantasy of Tomb Raider

Upon arming the first handgun of the game, enemies will yell “Oh shit!” or “She’s got a gun!” and therein emerges a newfound clarity and satisfaction: eviscerate the problem if you can’t talk through it anymore. In this way, Tomb Raider presents a welcome power fantasy that imagines a world in which eliminating men who … Continue reading Gender as Enablement & The Glorious Power Fantasy of Tomb Raider

A Game of Gazes: A Closer Look at Killer Is Dead’s “Gigolo Mode”

In the aesthetic strategies of Killer Is Dead’s Gigolo mode, Goichi Suda channels a similarly playful farce that works in the register of social and political commentary. The excessive stylization and over-embellished performances of this segment break audience immersion purposefully. This detachment serves as a means to stir a grander awareness of the game’s farce … Continue reading A Game of Gazes: A Closer Look at Killer Is Dead’s “Gigolo Mode”