✿ Polly Pocket Shrine ✿ Brief text about what I love about Polly Pocket in comparison to other dolls and their dollhouses.

Videogame reviews. Judgment exercises.

GirlsGoGames: We only care about girls when they’re profitable. This video essay I made illustrates the material, historical and cultural conditions that led to the creation of arguably the most successful online games portal for tween girls. After that, I dive into the actual games to see the kind of lessons they’re actually teaching young girls, which mind you, have nothing to do with shallow assumptions about the inherently sexist nature of traditionally feminine stuff! Barbie Fashion Designer, Newgrounds, self-care, social media as feminized labor, and more!

Ramble Planet: un mundo familiar y extraño. Ramble Planet presenta una conceptualización del binomio exploración-batalla (espacio-tiempo, pasividad-actividad) que me interesa mucho.

Papers, Please Is A Capitalist Nightmare, Not A Communist One. What do we talk about when we talk about "political games"? Most of the time, the answer to that question is "videogames that appear to be political. Papers, Please employs shallow Soviet imagery to represent a cruel and cold-blooded political system. What the videogame doesn't seem to know is that that system is, in fact, Capitalism.

Oh boy.

[REVIEW] 悶絶ファイタ // Monzetsu Fighter. I explore a Japanese PC-98 cards game about lesbians having sex with each other. But they don’t do that casually, no; sex serves the purpose of conquering your opponents in a campaign to defeat a despotic queen (that’s my guess, though; the game is entirely in Japanese).

on memory. Media cycles are thirsty and careless. They help to bury smaller games, thus devaluing them. That’s bad. There are people who have tried to revitalize them--sometimes genuinely, sometimes performatively--, but that doesn’t matter if the media structure systematically excludes those who lay outside the epicenter of The Discourse.

faith. I think horror is about the unseen. Would you dare to look back? No jump scares, just the phantom of nostalgia materialized as a retro videogame made in 2017.

helter skelter. Capitalism can exploit beauty and monstrosity alike.

El papel del autor en las relaciones de producción. Habrá que reescribir esto, ¿no? No me gusta tardar tanto en llegar a una conclusión comunista.

Mecanismos escópicos: la legítima intersección del videojuego y el cine a través de Tacoma. Menudo spin-off guapo de mí escribiendo como si estuviera en la academia, tal y como jugaba a cocinar adultamente echando cacao en una cacerola de agua y macarrones crudos. Lo peor es que lo que digo en el texto sigue moviéndome, y hasta volvería a escribirlo de nuevo con un lenguaje más accesible y una visión renovada.

En fin, que sigue teniendo su gracia; hablo de la primera persona en Tacoma y en general como una dualidad entre vivir la imagen y registrarla, basándome en un escenario en el que haces las dos cosas a la vez. Actualizar, sobreescrbir y vivir para contarlo.

TAP THE SCREEN. Una chispa curiosa pero rudimentaria de lo que se convertiría en mi actual cruzada contra la interactividad.

Estoy harte de Thimbleweed Park y por eso hago este texto. Oye, pues con esta crítica sí que me identifico casi plenamente a día de hoy (2019).

Night in the Woods y el salto. ¿Por qué puedes saltar en este videojuego? ¿Qué narices es esta bacanal millennial?


404 Page Not Found. "the artifacts of internet life are personal—that is, not professionally or historically notable—and therefore worthless. The persistent erasure of what are essentially frozen experiences, snapshots of our lives, nakedly demonstrates how tech monopolies value the human commonality and user experience so loftily promoted in their branding—they don’t."

The Existential Art. "For the existential art of videogames will continue asking fundamental questions of its players: Who will you play as? Whose subjectivity matters? And who are you, player? As games diversify and more players step forward, these questions become more urgent than ever. Yet many deny that such questions even matter."

De islotes y laberintos: un repaso a la situación actual de la crítica cultural en los videojuegos. "Uno podría recoger estos dos formatos de crítica y posicionarlos entre sí como si se tratara de opuestos ideológicos, pero en la práctica, sólo les separa el método. Mientras que uno se afana en encontrar la verdad más allá del yo, el otro se afana en encontrarla a partir del yo. Uno es extrospectivo, y el otro, introspectivo; el primero es estructuralista, y el segundo fenomenológico."

10 Insights on Gamers’ Political Views (According to Facebook Data). "Centrists Love Open World Games and Morality Systems."

Imagine This: A Web Without Servers. "I want to ask what if we just didn't need servers to share a website? What if we could press a button in our browser, and, with one click, create a new web page? That would certainly be nice but how in the world could we pull that off?"

flat pak. "and i think this is something that kind of grinds interestingly against the idea of videogames as inherently systematic, inherently good at portraying systems - like, in what way are they systematic when it’s become easier NOT to be systematic? at what point do those “systematic” features become a mannerism, while the very easiness of bad game design means it starts to cleave more rigorously to the contours of actual material life and practice, to the way we really use computers rather than the ways we’d like to use them?"