This week in Video Game Criticism: From auteurs to shoot'em up history
This week, our partnership with game criticism site Critical Distance brings us picks from Kris Ligman on topics including a profile of Braid developer Jonathan Blow, and an illustrative history of shoot'em ups.
"Let me be clear: the actual political economy of film did not change [following the classic Hollywood studio system]. Films were still vetted by execs, funded by studios, and ran by unions. What really occurred during the shift toward the auteur was that the public had a name and face to attach to a movie. Directors were names attached to bodies. That was just an illusion, though. No matter how much I liked Easy Riders, Raging Bulls, the lesson that I got from the book was that power will never rest in the hands of a creator who will not play the studio game–every famous director is a puppet. That's the reason Coppola decided to open up a vineyard."
"If you were a big cheese over at EA, you be laughing at the sheer genius of the current situation: your studio made a game with a crappy ending, but still sold millions of units. The ending was so crappy, and people were so pissed, that they demanded a new ending, which you can charge them for. No matter what, you're making shitloads of cash. You'd be the fucking Mr. Burns of video games. In what other industry do people willingly pay a creative team more money to redo something they should've gotten right in the first place? I can't think of a single one."