




The final part of Tevis Thompson's essay It's Not Coming Back is almost here. You can (and IMO should) read the first four parts here: http://tevisthompson.com/the-worst-games-of-2018/ …pic.twitter.com/eGHBejHCze
I'm just an animal looking for a home. @Kotaku.
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The final part of Tevis Thompson's essay It's Not Coming Back is almost here. You can (and IMO should) read the first four parts here: http://tevisthompson.com/the-worst-games-of-2018/ …pic.twitter.com/eGHBejHCze
An important note about what we can expect from the final section of Tevis Thompson's essay, It's Not Coming Back. http://tevisthompson.com/news/ pic.twitter.com/UYo8yR7z1C
I'm gonna say a bit (again) about one reason why I find Tevis' writing valuable. It's true that he and I have become friends in the past few years, so take this with whatever amount of salt you deem appropriate. But I haven't read a word of what's coming in this next section.
I’m certain I won’t agree with all of it. I may be deeply frustrated by it. Agreement, in my view, should basically never the point of engagement with criticism, and I doubt anyone has ever sincerely read a TT piece and come away saying "Welp, I totally agreed with all of that!"
I think that in a sense criticism is a practice of personal ethics, part of an ongoing dialogue (or argument) about what matters and what's good. I think all critics operate from a set of core assumptions and convictions, though not all of them are aware of these beliefs.
When there's widespread consensus about what matters, what makes a good game, those guiding principles can take on the sheen of objectivity, but they're never that. They're just widely agreed upon, sometimes unquestioned, ideas about what's good and what isn't.
Tevis often provokes me into questioning my own assumptions and beliefs, which isn't always comfortable but is useful. Example: Early in INCB he challenges the idea that good "gamefeel" is inherently good. He argues that we have to consider what good gamefeel is in service of.
i mean, sure, but in this new essay he's sort of saying Fortnite is amazing because of its transcendent gamefeel and dismissing anyone with concerns about the monetisation model it's in service of as shrieking Helen Lovejoys or smug elitists
not trying to do a "gotcha" or whatever, but this is a guy who's fairly routinely dismissive of stuff for being, like, really well-made and great at situating you in a place but "orientalist" like Obra Dinn or having a bit too much nostalgia bait like Celeste
it kind of feels like he's gotten hooked on Fortnite, wants to justify it to himself, and he's applying his usual logic and rigor but in reverse. like, i've enjoyed a lot of the essay to this point, but he's really lost me here. i find this last bit unbelievably facile
I don't think he's talking about gamefeel at all re: Fortnite, not in the way we use the term when talking about games like Celeste or Destiny. in any case, he's making an argument from his own deeply felt perspective. Disagreeing is a perfectly valid response.
And it's not, in my opinion, so much that anyone had concerns about Fortnite's monetization model, but that they hadn't really lived in the game, that they were passing that judgment at something of a remove, and making broad, false judgments about who plays Fortnite, and how.
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