Our most recent pieces about games.
Kelly Williams argues that both BioShock (2017) and The Evil Within 2 (2017) use the archetype of the mad artist and the mandate to “appreciate the art,” demanding complicity from players, who are forced to comply with a system created by their respective artists (the game developers), following a scripted plot progression, inhabiting a virtual world with prescribed limits, and using mechanics that are all designed by the developers.
Richard Croft’s walls and notes, discovered by his daughter Lara in Tomb Raider (dir. Roar Uthaug, 2018); walls such as these have appeared in a number of Tomb Raider games, including Rise of the Tomb Raider (Crystal Dynamics, 2015).
Another great set of walls from Deus Ex: Mankind Divided (Eidos Montréal/Square Enix, 2016): a conspiracy wall that leads to the underground paper, Samizdat, which has its own walls and a series of conspiracy publications throughout the game.
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