Walking into any bookshop, the science-fiction section seen, from a distance, is healthy; an island of colour and variety amidst the sad faces of the ‘misery memoirs’, the black and bone of the ‘Dark Romance’, and the silver-backed Penguin classics. Yet, get closer, and there’s something strange. The colour comes in bursts, great streaks of the same style dominating the shelves, logos iterating across shelf after shelf. Stars Wars and Star Trek are there, for sure, but they’re not in charge; video game franchises are dominating science fiction and fantasy.
I was lucky enough to get a chance to interview Jonathan Blow, creator of the most challenging game of this generation “Braid”, and play a very early version of his next puzzler The Witness; so early that only the core structure will be preserved when it’s finally released.
This is a piece I’ve written for Rock, Paper, Shotgun. I’ve reposted the whole thing below because a) my hits aren’t going to hurt them and b) it’s very personal to me. If you want more information about the game, go read it on RPS – the commenters really know their stuff about Ultima.
To the tune of: The Durutti Column – Trust The Art Not The Artist Fuck provenance. The joy of many modern critics seems to lie in the attribution of intention to the auteur, or at least cause to the auteur, focusing on the backstory more than the object of study; the importance of something is
(This post to the tune of…) Professional statistics-mangler Professor Cliff Arnell is conquering the news again today, for his yearly profile-raiser about this being the most depressing day of the year. As Ben Goldacre has pointed out, he was paid to produce this research by Porter Novelli, a PR firm, who pitched the idea and date