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  • Katamari Damacy – A Critique: Part One

    - Ryan Stancl
  • New Critical

    Not so.

    This could be a comment by the video game designer saying how he created this room for the player to learn, or even the game for him to play, and he’d better be grateful for it (is sensed in the tone of the King’s dialogue). Also, if the player looks straight up while he’s rolling around, he will see the King peeking into the room from above – the ever-present King perhaps standing for the ever-present game designer, watching, waiting to see if their game is a hit.

    The player knows that the King/the designer is watching the whole time he’s playing because the King will make comments like “It was boring to watch this whole time,” perhaps making another comment on how much a designer hates their game by the time they’re done with it.

    Again, those were just two small New Critiques. An exhaustive list would be near-impossible to compile and then put back together again to create a deeper meaning for the work, for there are just far too many things that are part of the overall package of a video game.

    So, just as with the Biographical approach, there is a fault with the New Critical approach.

    New Criticism lends itself best to poetry or paintings – the brevity of the pieces fit into the scope of the school. However, this starts the dialogue between viewer and work of art for us.

    In the coming weeks, the examples given from the other schools fit under the New Criticism umbrella, as most are derived from the game itself, but they will fit better under the schools that I’ll place them under.

    Be here in two weeks when we take a look at Katamari Damacy from a Marxist and a Jungian perspective. See you then!


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