There are many common arguments against Latin American devs making games for their regional audience. They don’t tend to be false, but they do omit certain truths in order to appear much more solid than they really are. In this video, we explore some of those arguments and their shortcomings, and offer alternative some perspectives on the issue.Continue reading Make games for Latin America
We announced that we were going to start publishing videos and this is the first one. It’s about bad labor practices in the videogames industry, and the need for workers to confront them by organizing. It also doubles as a semi-official announcement for GWU Argentina, a new project started by some people here at Matajuegos, and ideally maintained and continued by many of you 💚Continue reading Game Workers Unite Argentina: Labor organization in the videogames industry
Content warning: This article contains screenshots and topics that aren’t at all nice to read. Particularly, reactionary opinions on the subject of reproductive rights. Proceed with discretion, or go back to the main article.
Continue reading Onda Verde: Annexes (Negative Response and Memes)
Update: We did it! We released the game. Thank you so much to everyone who participated. You can play it on the following link: Onda verde at Itch.io.
Next up, the original post:
Today in Matajuegos we’re announcing the free, safe, and legal web game, Onda verde (Green wave), to be released this August 8th in support of the march for the right to free, safe, and legal abortion in Argentina.
But we need your help!
Our game is going to depict a march towards the Argnetinean Congress, and we need virtual protesters. Go to the link up there and send us a 100×100 px image with a transparent background. It can be a drawing of yourself protesting or a made up character.
We hope you can come!
Last year I wrote a couple of paragraphs on the goals I would have in mind if I were to travel to San Francisco to attend GDC 2018, this year’s edition of maybe the most important and certainly the biggest conference on videogame development.
Inspired by the Matajuegos mission statement, I wrote that Continue reading Workers of the Videogames, Unite!
A lot of people detest spoilers. When you’re in no hurry to watch a certain movie, but you know you have to go see it because if anybody tells you how it ends you’re not gonna to be able to enjoy it. Or when a new season of a show you like just came out on Netflix, and you have to tread carefully on social media. Bear in mind that you can save this video, buy the game, try it out for as long as you want and then come back if you feel like it. My accent’s not gonna get any better, but I’ll still be here. Continue reading Getting Over It with David Marchand
For some minutes he had been watching the Tower of Art […] As is the case with many things that are totally familiar, he hadn’t really looked at it for years.
Guards! Guards! (Terry Pratchett, 1989)
The first game by Daniel “Managore” Linssen I played was his metroidvania birdsong (2014). The game’s main appeal, in at least two ways, is its camera. The first way is the clearest: the viewport encompasses Continue reading Windows, borders and defamiliarization in Daniel Linssen’s games
…we can imagine ways to fix Monopoly – either rewarding players who are behind to keep them within a reasonable distance of the leaders, or making progress more difficult for rich players. Or course – this might impact the game’s ability to recreate the reality of monopoly practices – but reality isn’t always “fun”.
MDA: A Formal Approach to Game Design and Game Research
Hunicke, LeBlanc y Zubek, 2004
Game criticism always goes back to the question of what’s the purpose of games. The answer has to be complex because not every game has the same goal, and different players look for different things (sometimes in the same games).
For common sense, there is no complexity to it: the purpose of all games is to produce fun, and the player is always looking for new ways to escape from their mundane reality. Sooner or later one encounters different forms of this escapist idea as a justification for criticism being unnecessary, since criticism often explores the juncture where games and reality are more closely related. Criticism is then left in the awkward position of arguing that many games couldn’t care less if their players are having fun, which is true yet counterintuitive.
It can be annoying when people who don’t know the first thing about videogames claim that games can’t say anything relevant on a human level. Still, those are people we can ignore. In my experience writing about games, the true pebble in the shoe are those who know them very well, yet decide we can only take a game’s message seriously if we’re going to praise it. If, instead, we intend to criticize a game for its message being toxic, then the game’s only purpose is to entertain, and all criticism is an overreaction.
The logic behind this defensive attitude is full of false assumptions: that only some or a few games convey any message at all, that a piece of entertainment must by definition have nothing to say, that if criticisms were correct players would replicate in-game actions in real life, that you can make art without your pesky subjectivity getting in the way, that freedom of artistic expression means toxic ideas are above scrutiny.