The 1970 release of the Minimoog synthesizer freed popular music from the tyranny of singers and guitarists. In the hands of prog band Goblin, it would unleash a far more sinister presence.
Blood on the Moog
Synthesizers may have sparked a revolution in music, but the blood was spilled at the movies.
Until the late 1960s, the soundtrack to evil ran to two extremes: orchestral menace and theremin eeriness. Then came Wendy Carlos and A Clockwork Orange.
The audience reading the new game journalism are asking themselves whether or not their gaming experiences were worthwhile, and looking to contemporary game criticism—perhaps not for answers so much as for a method.
“All the traditional markers of adulthood are pretty worthless now. The only thing I can really be an adult about is, yeah, games.” An interview with Unwinnable’s Jenn Frank.
“Games were something I had done my entire life, but I didn’t start thinking about them critically until I started at the Journal.” Kill Screen founder Jamin Warren discusses game journalism’s coming-of-age.
Video game journalism is coming of age. But why now?
“What we’re seeing, by and large, is a mainstreaming of approaches that have been academia’s bread and butter for several decades.” Kris Ligman of Critical Distance talks about the changing state of game journalism.