Gaming’s low bar for critical discourse
The wide ranging discourse around The Last of Us Part II (TLOU2) has been a welcome change of pace from usual gaming criticism. Instead of the expected debate over gameplay, fidelity, and genre expectations, there’s been far more focus on TLOU2’s depiction of violence, ludonarrative dissonance, non-linear narrative structure, treatment of LGBTQ characters, and other thematic elements. Vice ran a six hour podcast dissecting the game’s narrative, and I’ve seen similar extensive “spoilercast” treatment across other gaming sites. The breadth of TLOU2’s discussion beyond social media and enthusiast sites like IGN and Gamespot is also notable. I’ve read dissections of the game in indie film blogs (Indiewire), lifestyle magazines (GQ), and popular newspapers (New York Times, Washington Post).
But I’m unhappy this same level and breadth of discourse doesn’t occur across more games and more often. Nor has chatter about TLOU2 been universally deep or mature; there’s a tremendous amount of vile, toxic “debate” from bigots upset with the game’s plotting and LGBTQ representation.
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