bulletin witch


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Bubble Bobble not letting you get the true ending without playing 2 player was something I thought was cute as a kid but would make me type out strongly worded message board posts today.


“games are the new literary frontier” says a classics ph.d

and then cites red dead redemption 2 as an example of how games will colonize literature



I keep trying to stop ranting about this article and this dipshit’s whole project on twitter but I cannot stop myself.


Suddenly I’m conscious of where I am and what I’m doing in this game, and blithe entertainment turns to mild disappointment then dull acceptance. Basically, when I began work as a critic, I believed (and advocated) that the most ludicrous videogame genre could be elevated by the appearance of social or political personalities; an industry and creative environment that encouraged videogames to opinionate on our world directly, and experiment with idiosyncratic, tendentious styles and stories, would mean that something as historically banal as the first-person shooter could become fascinating. Now, at the end of my critical career, I’m resigned to the belief, evident in a game like Wolfenstein: Youngblood , that mere apparentness of “social or political personality” is not enough to make any videogame worthwhile. The insipidness of the big-budget game, as it exists today, as it’s been cultivated into existence by the last 25 years of videogame culture, cannot, as I once thought, be redeemed by political, satirical, or didactical intent—a bland shooting game that parodies contemporary facism remains a bland shooting game, or put another way, it’s not just the stories and writing (or lack of) that make most videogames feel redundant to me, it’s the mechanics as well. I don’t belong on the zeppelin any more.

Probably not to the same existential depth, but the makers of Youngblood appear to be conscious of this as well, that their once successful mix of usual-for-videogames shooting mechanics with unusual-for-videogames political argument has lost its potency. When developing Wolfenstein: The New Order, prior to its release in 2014, Nazism of the world-ruling kind that the game portrayed, must have been to game designers an inspirational convenience, serious and literarily-impactful enough that its abstraction could lend a first-person shooter sophistication and artistic credibility, but also historically-distant enough that its real implications and genuine nature could be either abbreviated or avoided completely, in favour of spending both development and play time on familiar game mechanics. Today, however, when political events have transpired in the way that you all know that they have, it’s telling how Youngblood either bypasses, diminishes, or dissolves the Nazi question. By the in-universe time the game begins, Nazi-occupied America has been liberated, Hitler has been killed, and the Third Reich is in its final throes, struggling to hold onto Europe; implying that it might be possible to undo everything that has happened within the Wolfenstein world, BJ Blaskowicz, father to Zofia and Jessie, has discovered an alternate dimension—our own—where the Nazis lost the Second World War, and is trying to re-open its entrance; owing to another off-screen contrivance, it’s repeatedly implied that rather than the Nazis, the largest threat to the planet now is its mysteriously-erratic weather patterns and rising temperature, thereby introducing a replacement, unambiguously-frightful villain in the form of climate change.

In a similar sense that I have given up believing that a videogame made in the mechanical tradition of popular videogames can credibly sustain any intellectual worth, whether they realise it or not, Wolfenstein ’s makers, MachineGames and co-creator Arkane Studios, have given up believing they can use their work to satirise our contemporary world articulately: now that fascism and Nazism are more relevant, more divisive, more consequential, and more complex—now they’re actually happening, and affecting people in a way that means representing them through shooting mechanics would be diminutive and insulting—MachineGames and Arkane, in Youngblood , are trying to disguise or erase their Nazis along with any related discussion or analogy. The reaction seems almost directly correlative: the more that Nazis and their politics matter in and to reality, the less they seem to matter in and to this videogame.


ah geez I had this open in a tab but didn’t get a chance to read it so I’m DOING IT NOW


The combo of silly blobby alien goofoes with deeply Cinematic serious bgm and voiceover is making my day


oh my god why are there so many good fucking games this year please everyone slow your roll

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yeah it’s fucked up

and it feels like half the ones i want to play are literally 500 hours long

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I hope it was a real short critical career, for their sake


Frothing intensifies

Mixed with a bit of worry these levels will be too hard for me


“frothing, yet concerned” is pretty much my dog’s default emotion


woah, that new art is uh… real fucking bad


This coming off the Dreamcast releases.


HardOff and BookOff are seperate companies.


Rudie, I think I speak for all the people who build small plastic robots on the forum when I ask: is hobby off the magical place I want it to be?


Travis Strikes Again is coming to PS4 and Steam???

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HobbyOff is usually paired with OffHouse. OffHouse is used clothes and furniture and housewares. HobbyOff is gundams and anime CDs and yugioh cards and video games.

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Shocking lack of conversation about LIQUOR OFF here.

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