Gamer Grow

For a New Classical critic the degree to which a game’s formal elements promote its primary function is a measure of its success. Such a critic views all games through the lens of the principles found in Classical game design whether a game is made under a Classical or Western design. When approaching a New Classical critique of BioShock, I ran into a number of issues. Because Western designed games prioritize game-story and the overall “experience” over its gameplay and mechanics, I had to consider if a New Classical critique misses the core of such games? On the other hand, I had to consider if I had enough experience to critique BioShock’s experience or story otherwise. With games borrowing from various other mediums (books, music, theater, movies), wouldn’t assessing a game’s overall experience require at least a working knowledge of these fields? For the purposes of this essay, I will begin with a New Classical critique of BioShock, and then move into a more free discussion of my ...

New Classical criticism focuses on identifying a game's primary function/action that sums up all of the player's actions, functions, and abilities into a single expression. This expression can be thought of as the interpretation of the game or what the gamer is actually doing when he/she plays. Sometimes the primary function can be encapsulated in a single word. For example, the primary function of the Super Mario platforming series is "jump". After the primary function is identified, the New Classical critic then looks at a game's formal elements to analyze how they promote the primary function. The formal elements include Sound, Music, Art style, Story, Graphics, level design, enemies, etc. Because the New Classical critic privileges interactivity over passivity (especially when focused into a limited number of rules and actions), such a critic is only concerned with how these elements shape the gameplay experience, and assumes that any formal element in a gam...