Ratings and Reviews by CMG

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To Spring Open, by Peter Berman and Yoon Ha Lee (as Two-Bit Chip)
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9:05, by Adam Cadre
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a kiss, by Dan Waber
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And the Pursuit of Happiness, by Soda51
12 of 12 people found the following review helpful:
Nothing to see here, May 10, 2015
by CMG (NYC)

This game isn't a game. It's a message. When you click on the play link, you're presented with a 404 error and text that reads: "What you are looking for no longer exists." Additional links lead to websites for the White House and the House of Representatives.

And that's it.

I get why this was made. The attitude being expressed here is common nowadays. In fact, it's so common that this game is beating a dead horse. Perhaps it's somewhat clever, mechanically speaking, to illustrate American happiness's supposed nonexistence by creating a "nonexistent" game, but such an illustration adds nothing to the conversation. All it does is parrot the sentiment that "the American dream is dead" with a smirk.

How players feel about this sentiment doesn't matter. The game won't make anyone think differently about anything. At the most, it will serve as a two-second pat on the back for someone cynical enough to believe the game's boilerplate catchphrase but not interested enough to think about the ramifications behind that catchphrase.

I suspect that the author did want to make people think, and that this game was intended to be subversive. And I'm all for subversive media creeping in and suddenly springing new ideas at people. But in order to do that, it's got to have ideas to spring.

The reason I wrote this review is because, even though this game has little value as a game, I consider it a perfect object lesson in how not to present sociopolitical criticism. In that sense, it may still teach people something.

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Americano, by Peter Wonica
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Feu de Joie (Session 1): cathedral, by Alan DeNiro
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A ludic proof of the difficulties inherent in finding a proper skull, by JackDegree
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Garden of Steven, by Soda51
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The Endling Archive, by Kazuki Mishima
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Missing Since ’77, by Andrew Watt
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