Remowned

As some of you may know, I currently serve as Editor-at-Large at industry trade publication Gamasutra.  Today, we ran a piece of mine looking at the idea of subtext in games, with an examination of titles such as Half-Life, Grand Theft Auto, Ico, No More Heroes, Full Throttle, and BioShock.  Here’s an excerpt:

On the surface, Full Throttle is a badass neo-noir biker murder thriller with hard rock music (on that level alone it is already more novel than most game premises), but underneath it is a melancholy reflection on the American frontier and the inevitability of invasive industrialization.

If you have any interest in a dialogue- and puzzle-driven game, Full Throttle isn’t overbearing or preachy in the least, but there’s a lot to chew on. Its subtext is essentially literary, hinging on classic themes of American fiction.

If you like, go check out the whole thing.

I watched the Coen brothers’ Prohibition-era gangster flick Miller’s Crossing at the Castro the other evening. I’ve seen it enough at this point that I’ve internalized the interpersonal connections and intricate subplots, and can focus entirely on appreciation when I watch it.

In particular, I want to point out the introductory scene, which sets up the relationships and general convictions behind local boss Leo O’Bannon and up-and-coming rival Johnny Caspar. Even if you aren’t entirely sure what all they’re discussing, the scene completely frames these two men in a way that informs your perception of them for the remainder of the film.

This is reminiscent to me of the opening scene from Tim Schafer’s brilliant 1995 biker adventure, Full Throttle. (more…)