I’ve been thinking about game mods lately. For those not in the know, mods are user developed “add-ons” for video games that change the appearance or the features of a game. They’ve grown increasing popular in the last decade, and for some game like Minecraft, they’re pretty much standard for most players.
The thing I love about mods is they represent a brilliant opportunity in the evolution of gaming. They’re an example of the feedback loop in action. The old development cycle was this:
Developer has an idea -> build game -> tests -> release game -> moves on to next project.
But with the advent of online forums and social media, fans are much more vocal about what they want in a game, and while I’m the first to warn content creators about trying to please ALL of the people all of the time, the fans are not only speaking, they’re now creating.
If we think of mods as the individual’s way of responding to the work(the game), mods are essentially a way to add something that was not there, or missing. To that end, while not every mod needs to be embraced and cherished, really popular mods must represent something the players want or need.
So, in the last few months, I’ve spent more time online at The AV Club’s TV Club, and less time on Fark. There’s a whole other article as to why, but in a nutshell, Fark seems to be getting ‘meaner’, and way more sexist that it was, and TV Club comments are just funnier, and more clever. One of their features is rewatching older shows, and reviewing a couple of episodes a week. One of those show is LOST.
Unless you’ve lived under a rock since 2004, you likely have a least a passing familiarity with the show and it’s ‘trapped on a desert island’ premise. More likely, you’re familiar with the outcry at it’s completion, with the internet exploding in anguish over unsatisfactory answers etc.
DECEMBER TWENTY-FOURTH: HOPE
We’ve reached the final chapter of Ross Bagdasarian Sr.’s magnum opus. Christmas with the Chipmunks is coming to a close, and so is my review. As well as my ability to write any reviews at all. Apparently, someone didn’t get the “remember to use the back entrance” memo.
DECEMBER TWENTY-THIRD: AFTERMATH
“Jingle Bell Rock” is a tricky song. It makes perfect sense to have a “hip”, “current” Christmas song that “wasn’t written a hundred years ago” included on the album, but does it work thematically? After all, Christmas with the Chipmunks was written to bring about world peace, to show humanity a new way of life, one of giving up the old ways that have so poisoned our society. And how else to wipe clean thousands-of-years-old traditions, and their anthems, than by turning them into novelty music, the lowest form of art?
I apologize for yesterday’s bizarre article. It would appear my new contact here at The Correctness doesn’t know the difference between a fairy tale and a song review. So if you’re reading this, Mr. Sullenger, know that you’re fired. It’s bad enough that you had to call the Waltons while I was staying at their house—while they were on vacation! They’d never notice I was there!—and get me thrown in jail, but if you’re not even going to post the right article, I don’t know why I even pay you. Don’t come back to the abandoned Lloyd’s Skating Rink. I rather like having my new office there, and I don’t want your incompetence ruining that too.
DECEMBER NINETEENTH: DOWNFALL
There once was a man who lived in a tiny cabin on the outskirts of a small mountain town. The man desperately wanted children, but as a florist, he had long ago taken a vow of celibacy. Not wanting to break his vows, yet still wanting a child of his own, the man grabbed his lantern and ventured off into the woods to ask the trees for advice.