Spelunky, Replayability, and Performance on FPS

A few months back I wrote a speculative post on how performance theory can help us understand the idea of “replay value” in videogames.  I was shortly thereafter pinged by Steve Wilcox, editor at scholarly games writing site First Person Scholar, to ask if I’d like to work on something of a similar theme for the site.  I did, and so have turned out a little thing on those themes, in the context of my play of the game Spelunky.  You can go read it now!

My thanks for proof-reading the article go out to my pals Spam, Victor, Dan, and Alex Pieschel.  Speaking of Alex, he and Zolani Stewart recently started a little joint called Arcade Review, which provides some cool videogames crit that you might wanna check out.

I’d also like to thank Dr. Gerlad Vorhees for his reply to my piece, which provides me with some avenues of research that would otherwise be unknown to me (coming at games studies, as I do, rather catty-corner).

As luck would have it, Brendan Keogh a month or two back published a critique of videogames criticism that I in large part agree with, and makes in a different way many of the points my FPS piece led me toward, so that can also go into your recommended reading.  Also keep in mind comments by Ian Bogost and Daniel Joseph, as well as this thorough reflection and roundup by Zoya Street.  What Keogh is gesturing toward seems to me very similar to what Peggy Phelan advocates in her theory, an idea of “performative writing” that attempts to capture through “thick description” (as Keogh at one point calls it) the embodied experience of performance/gameplay.

Relatedly, in a few weeks (?) I’ll hopefully have another post here on the replayability issue, because there was an entire half of the FPS article that I imagined but, due to word limits and being sensible, did not write.  There’s nothing fundamentally new, but rather, I want to focus more on what it means to “performatively write” about a videogame (for my money this piece by Leigh Alexander on Bioshock Infinite is a great example, in case you’re tired of me).  But I also want to demonstrate a different kind of re/play experience that I find myself repeating for similar yet ultimately distinct ways from my account of Spelunky.  I tend to work and think in terms of illustrative contrast, so this is helpful for me.  But it will also demonstrate, I think, relayability in its more bizarre, persona, idiosyncratic, irrational mode.  This relates to something Vorhees brings up — a possible desire to escape the buying-the-next-game cycle — though as he concedes, this isn’t something we can necessarily (so to speak) bank on.

Thanks for reading!


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