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  • Katamari Damacy – A Critique: Part Three

    - Ryan Stancl
  •  Conclusion

    Katamari Damacy was at the top of most magazine and online site’s top 10 lists for 2004. It earned many critical acclaims – Play magazine said it had the most innovative gameplay of the year, while Game Informer gave the Prince the honor of being the year’s top hero – and even made it into mainstream media into Entertainment Weekly’s ‘The Must List’ for a week there in 2004.

    In addition to the critical accolades, it did well in sales (something that doesn’t usually happen – a game that’s both critically and publicly accepted), selling close to 400,000 copies in Japan and North America.

    It did so well that it warranted two sequels (so far), spawning yet another franchise in this franchise-laden culture.

    There has to be a reason for all of this.

    Of course, many gamers will say it’s the fresh take on gameplay and presentation, but there has to be something more than that.

    In doing a critique of a game such as Katamari Damacy, deeper meanings can be found that may have led to more people recognizing with the game on a subconscious level.

    More critiques such as this should be done of video games, if not for developers to figure out what meanings they could lace into their action game to make it sell that many more copies – a scary side to this way of critiquing, finding the marketability in it all – then to see these video games as perhaps what they’ve been all along, or even to make them: works of art.


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