interview

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In our ongoing series WORD/PLAY we look at the fusing of literature and games. The link to the the written word is almost as old as the videogame itself, and recent developments both on the side of literature and the videogame have shown that the relationship between the two media is as vital and strong as ever.

It's no secret that we here at Videogame Tourism are smitten with the work of the Swedish development studio Simogo. After all, we dedicated several thousand words to Year Walk, one of our favourite games of 2013. What we didn't talk about in such a verbose way, though, is that Simogo released a second game in 2013, Device 6, which is equally intriguing: A stylish fusion of classic graphic design, Cold War-thriller chique and typographical text that, thanks to Simogo's trademark cleverness in using the features of mobile devices, becomes navigable in hithero unknown ways. We talked with Simogo's Simon Flesser about literary influences, finding your work on the other end of education, going tactile, and much more.

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Casey T. Brooks, NYC based photographer and video artist,  recreates a fictional photographer's personal street photography in Los Santos of GTA V. His photo essay "You Only Live Forever" is a special kind of in-game photography, less concerned with high-gloss aesthetics or, indeed, videogame visuals, and instead concentrating on an aspect often underrepresented in gaming's world of non-stop spectacle: the mundane, the everyday, the ordinary and personal. 
 
Casey was kind enough to answer a few of my questions by email. 
 

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Joshua Taylor was one of the screenshot artists I featured in my original article on in-game photography; his series "A Distant Sadness" collects haunting images of a war-torn Battlefield 3. I asked Josh a few questions on his latest project.

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R

esearching for my article on "First Person Walkers" I sent a few questions to some of the developers regularly accused of producing "walking simulators", a term mainly used in a derogatory fashion. Tale of Tales, godfathers of artistic indie (not-)games and makers of quite a few games where walking is central to the gameplay, shared their thoughts on the topic.

Do you find the term "walking simulator" used to describe your games derogatory?

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Researching for my article on "First Person Walkers" I sent a few questions to some of the developers regularly accused of producing "walking simulators", a term mainly used in a derogatory fashion. Games innovator Dan Pinchbeck of The Chinese Room, maker of Dear Esther, Amnesia: A Machine for Pigs and the coming Everybody's Gone To The Rapture, was once again kind enough to answer my questions.
 
Do you find the term "walking simulator" used to describe your games derogatory?
 

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Researching for my article on "First Person Walkers" I sent a few questions to some of the developers regularly accused of producing "walking simulators", a term mainly used in a derogatory fashion. Ed Key, developer of the lovely Proteus, had this to tell me on the topic.

Do you find the term "walking simulator" used to describe your game derogatory?

1511Into This Wylde Abyss is a work in progress described by its creator Richard Whitelock as "a short game about struggling to survive on a freezing island and what happens in your final hours, inspired by the dangerous sublime, Paradise Lost and AdamAtomic’s Capsule". Despite the very sparse information available on the game, I was at once fascinated by its visual style and the use of in-game photography.
 
I asked its creator Richard Whitelock a few questions on the game, photography and his inspirations.
 

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In our ongoing series WORD/PLAY we look at the fusing of literature and games. The link to the the written word is almost as old as the videogame itself, and recent developments both on the side of literature and the videogame have shown that the relationship between the two media is as vital and strong as ever.

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In continuation of my piece on visual innovators in games, I was drawn to the black and white beauty of Monochroma. I asked one of its creators, Burak Tezateser of Turkish developer Nowhere Studios, a few questions about the game.
 
A short description of Monochroma could be "Limbo meets Ico", but Monochroma's style emphasizes different aspects and uses 3D in a 2D-setting. In your own words: What makes your games' visual style unique? 
 

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In continuation of my piece on visual innovators in games, I couldn't help but admire the sheer beauty and originality of the up and coming NaissanceE, due to be released later this week. I asked its creator Mavros Sedeño a few questions about his stylish, nearly monochromatic first-person puzzler. 

In your own words: What makes NaissanceE's visual style unique?