I revisited The Lord of the Rings: The Return of the King (2002) after two decades for a thorough review in the Dutch Tolkien publication Lembas.
One of my favourite conferences is about the study of video game music aka ludomusicology. Last month, it was held again and to my great joy, I got to be the first speaker. Here’s a little blog made out of my notes from the presentation with YouTube videos of the music.
In “Fan Studies Methodologies“, the 2020 special issue of Transformative Works and Cultures, I described how, as an autistic gamer, I engage with games in a different way, showcasing how (dis)abled gaming, neurotypicality, fannishness, and sociopolitical responses are never independent from one another. All the examples I named in that “autiethnography” were from my adult life, but looking back, these differences in engagement were already very noticeable when I was a kid. Therefore, in the following essay, I would like to recreate my small piece of the history of the mid ‘90s Dutch video gaming culture, which was a sort of “produser community” avant la lettre.
From September 2018 to February 2019, the famous Victoria and Albert Museum in London hosted ‘Videogames: Design/Play/Disrupt’, a major exhibition on contemporary video game design and culture. Announced as “a unique insight into the design process behind a selection of groundbreaking contemporary videogames”, this immersive exhibition was the end presentation of a project that took four years to undertake. I went over the Channel to take a look and write down my experiences for the first issue of the Journal of Sound and Music in Games.
As a (ludo)musicologist, I was delighted to see today’s Google doodle: an ‘AI’ powered Bach simulator. But that is not the only Google product I am excited about, the American multinational made waves earlier this week when it unveiled its long-awaited console project, the Stadia. What is this Stadia thing and why are gamers so excited about it?