Games

Gameratis

A variety of science fiction authors offered theories about internet culture in the nineties, observing the potential and predicting various modes of expression possible in such a medium. William Gibson accurately guessed the artistic phenomenon of Youtube celebrities and their cult status, although he significantly over-estimated the appeal of anything beyond sneezing pandas. Ray Kurzweil, more of a futurist than a Sci-Fi author, calculated that downloadable content would replace DVD’s (as opposed to Blu-Ray) in a move that would eventually subsume all forms of media into the hands of one or two distributors. We aren’t there yet…but it is hardly as fantastic a notion now as it was ten years ago. In regards to the intellectual development of writing and communication, Neal Stephenson seemed to hit the nail on the head. In Snow Crash, he describes a type of writer called a gargoyle. Although he was certainly wrong about these people being computer-obsessed virtual junkies (I guess), their writing style he described is fairly apt. It’s a person who collects random information, researches topics online, and combines the data in unexpected and new ways.

For the past year or so, a growing movement of intellectual gamers has begun to take the spotlight. It is a social development that’s right on schedule (if not a bit early) in game culture, since all artistic mediums start hitting their stride once their initial fans are old enough to feel nostalgic about it. There was an interesting piece on GameSetWatch about the continuing evolution of video game journalism by Mike Walbridge. It’s a very good collection of different prominent gamerati and their takes on running a game blog. Some maintain well-developed communities, others view them more as soapboxes to stand on. He notes their curious habit of linking back & forth, discussing points raised by others, and in general functioning as an aggregate cabal of ideas. I’m reminded of Stephenson’s gargoyle term because of the way ideas flow and function amongst their blogs. They are not united by a magazine or website (though plenty write for one), they are united by an agenda: creating an intelligent and respectable discussion about video games. The way their attempts have become far more empowered than a single lonely critic or blogger is through the exact method that Stephenson predicted: aggregate ideas in new combinations are more powerful than individual ones. One blogger posts their experience designing an RTS. Another reads it, then cites it in reference to a think-tank on new RTS games. The next adds a little bit, the next adds a bit more, until a snowball effect has occurred and something wholly new is born.

So at what stage of intellectual development is the medium of video games right now? In an article about preserving classic video games by Michael Zenke, a particularly insightful comment summarizes it well. Danc, of Lost Garden fame explains: “As games increase in scope, play style and number, it simply isn't possible to know all games all the time. So a curious thing occurs. You run into people who game and you have nothing in common with them…If the literary world is any indication, there will emerge an elite group that builds lists of canonical titles that everyone must play if they are to be considered 'educated'…The existing gamer culture will fragment and adapt to this new reality of choice and variety. Entirely new cultures will emerge so that there is no longer a single 'gamer culture'.” There’s a bit of cynicism about intellectual elitism that I cherry-picked out, but you get his point. And it’s already happening, a person playing Guitar Hero is not the same kind of person who plays FPS games, though they’re both technically playing video games. Working on the book club model, gamers are now picking a game of the month then discussing it through the internet. The aggregate cabal in motion, canonizing the revered classics and exploring different perspectives on them. Michael Abbott, a college professor and prominent blogger at Brainy Gamer, has already made plans for a course on RPG’s and created a loose list for his syllabus. Video games, in terms of development, have started to declare their touchstones, their games that all others are compared to.

Let’s take a moment to shake the magic 8-ball, blow the dust off history, and remind ourselves that this has already all been done before in other mediums. Going back to Danc’s comment about game culture fracturing, you can already begin to see the symptoms of factions in the intellectual community. It’s gettin crowded in there ya’ll. You can’t swing a digital cat without hitting another gamer with the surname intellectual, smart, sophisticated, etc. I’m not trivializing or belittling this, my own blog is called ‘Literati Game Reviews’, I’m just trying to have a chat with the kettle while we both sit on the stove. Although the internet is a wonderful place for six or seven intelligent people to chat and flesh out an idea, it is still constrained by the fundamental problem that reality has with conversations. There’s only room for so many people per conversation. A book club with forty members isn’t going to develop nearly as coherent a theme or message as one with twelve. We’ve all played enough video games made by 150+ developers to know that. Whether it’s because your favorite game isn’t on the list, they disagree with your ideas, or they just don’t have enough room for them, eventually writers are going to strike out on their own. And whether it’s from the bitterness of being ignored in one group or finding the necessary fire to get a second one started, these factions are going to start bickering.

Which is not such a bad thing, it’s right on course for the development of an artistic medium. Within those fights and dueling ideas is the magic that makes an artistic medium be alive instead of some dissected corpse. Within those conversations and arguments is what makes video games a living medium instead of a parade of dead people’s words or films. First you fight about the games you hate. Then you fight about the ones you love. Then you fight about what makes them great, then you fight about what made them even more. You fight about why they’ve changed. You fight about why they stayed the same. Finally, you fight about how the medium is dying, and then you fight about how it’s gone. Then you do something new.

In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

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Features

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Nonetheless, there are many fine country musicians making music that is relevant and affecting in these troubled times. There are singers tackling deep, universal matters of the heart and mind. Artists continuing to mess around with a genre that can sometimes seem fixed, but never really is. Musicians and singers have been experimenting within the genre forever, and continue to. As Charlie Worsham sings, "let's try something new / for old time's sake." - Dave Heaton

10. Lillie Mae – Forever and Then Some (Third Man)

The first two songs on Lillie Mae's debut album are titled "Over the Hill and Through the Woods" and "Honky Tonks and Taverns". The music splits the difference between those settings, or rather bears the marks of both. Growing up in a musical family, playing fiddle in a sibling bluegrass act that once had a country radio hit, Lillie Mae roots her songs in musical traditions without relying on them as a gimmick or costume. The music feels both in touch with the past and very current. Her voice and perspective shine, carrying a singular sort of deep melancholy. This is sad, beautiful music that captures the points of view of people carrying weighty burdens and trying to find home. - Dave Heaton



9. Sunny Sweeney – Trophy (Aunt Daddy)

Sunny Sweeney is on her fourth album; each one has felt like it didn't get the attention it deserved. She's a careful singer and has a capacity for combining humor and likability with old-fashioned portrayal of deep sadness. Beginning in a bar and ending at a cemetery, Trophy projects deep sorrow more thoroughly than her past releases, as good as they were. In between, there are pills, bad ideas, heartbreak, and a clever, true-tearjerker ballad voicing a woman's longing to have children. -- Dave Heaton



8. Kip Moore – Slowheart (MCA Nashville)

The bro-country label never sat easy with Kip Moore. The man who gave us "Somethin' 'Bout a Truck" has spent the last few years trying to distance himself from the beer and tailgate crowd. Mission accomplished on the outstanding Slowheart, an album stuffed with perfectly produced hooks packaged in smoldering, synthy Risky Business guitars and a rugged vocal rasp that sheds most of the drawl from his delivery. Moore sounds determined to help redefine contemporary country music with hard nods toward both classic rock history and contemporary pop flavors. With its swirling guitar textures, meticulously catchy songcraft, and Moore's career-best performances (see the spare album-closing "Guitar Man"), Slowheart raises the bar for every would-be bro out there. -- Steve Leftridge



7. Chris Stapleton – From a Room: Volume 1 (Mercury Nashville)

If Chris Stapleton didn't really exist, we would have to invent him—a burly country singer with hair down to his nipples and a chainsaw of a soul-slinging voice who writes terrific throwback outlaw-indebted country songs and who wholesale rejects modern country trends. Stapleton's recent rise to festival headliner status is one of the biggest country music surprises in recent years, but his fans were relieved this year that his success didn't find him straying from his traditional wheelhouse. The first installment of From a Room once again finds Stapleton singing the hell out of his sturdy original songs. A Willie Nelson cover is not unwelcome either, as he unearths a semi-obscure one. The rest is made up of first-rate tales of commonality: Whether he's singing about hard-hurtin' breakups or resorting to smoking them stems, we've all been there. -- Steve Leftridge



6. Carly Pearce – Every Little Thing (Big Machine)

Many of the exciting young emerging artists in country music these days are women, yet the industry on the whole is still unwelcoming and unforgiving towards them. Look at who's getting the most radio play, for one. Carly Pearce had a radio hit with "Every Little Thing", a heartbreaking ballad about moments in time that in its pace itself tries to stop time. Every Little Thing the album is the sort of debut that deserves full attention. From start to finish it's a thoroughly riveting, rewarding work by a singer with presence and personality. There's a lot of humor, lust, blues, betrayal, beauty and sentimentality, in proper proportions. One of the best songs is a call for a lover to make her "feel something", even if it's anger or hatred. Indeed, the album doesn't shy away from a variety of emotions. Even when she treads into common tropes of mainstream country love songs, there's room for revelations and surprises. – Dave Heaton

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Scholar Judith May Fathallah's work blurs lines between author and ethnographer, fan experiences and genre TV storytelling.

In Fanfiction and the Author: How Fanfic Changes Popular Culture Texts, author Judith May Fathallah investigates the progressive intersections between popular culture and fan studies, expanding scholarly discourse concerning how contemporary blurred lines between texts and audiences result in evolving mediated practices.

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Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

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