The Candidate, director Michael Ritchie’s 1972 political satire, depicted an exaggerated political milieu in which even the most earnest of candidates is shallow and ultimately believes in nothing more than getting elected. Ritchie’s exaggerated world, in other words, is the world we now live in. Th
Every new film that is at least tangentially about digital technology should open with a title card proclaiming: “At least it’s not yet another Steve Jobs movie.” So, here is the trailer for The Gamechangers, BBC Two’s film about the development of Grand Theft Auto and its accompanying moral panic.
Sharing is largely incidental to what has come to be known as the “sharing economy.” It is simply a solution to the larger problem of allocating resources. Let’s say you have a possession—it doesn’t have to be a car or a domicile. Let’s call it a widget. You use it some, but definitely not all of th
Where, if anywhere, is the line between casually offensive videogames and transparently hateful videogames situated? How many white, male playable characters and tokenized female or minority NPCs does a game need before we declare that the whole enterprise is rotten? These questions come up with ala
To be, or not to be—that is a rhetorical question, and it gets at the challenges facing anyone who wishes to convert Shakespeare’s Hamlet into a videogame. Games are about the ways user choices can shape a narrative and Hamlet—well, let’s just say he prefers to keep his own counsel. Every level mus
