Graham Smith

Good morning, videogames. It has been a week of everyone, everywhere writing about Mixtape (including me), which means our links mostly have a theme this time. The theme is: articles I disagree with. Is Mixtape worth a perfect score? Is it cheap pablum? Is it too nostalgic? Is its depiction of the '90s too fast and loose and therefore not nostalgic enough? Is it an Australian psy-op? Are teens unlikeable? Are games journalists unlikeable? We will not answer any of these questions (except maybe the last one, every day forever), but here are just a handful of the articles I disagreed with this week.

Cameron Kunzelman wrote about how and why Mixtape deploys its music, and whether it can be effective in a world of nostalgic Spotify playlists.

What is maybe more notable about Mixtape, and what might bring people to clear defensiveness or derision when they encounter it, is that the kind of sampling it does with the database of culture is about your emotions. Bugs Bunny shows up in Space Jam because he is intellectual property that will draw Looney Tunes fans closer to the product, and he exists in contextless space and time to be summoned whenever

Good morning, videogames. We did it. We made it through the first week of Brendy's paternity leave and Jank did not immediately crumble. Sure, you might save some empathy for Brendy and his partner, exhausted as they no doubt are, but Jonty and I are the true casualties here. We are the Timon and Pumbaa of Jank, our trio's down to two, and the blog won't fill itself. Let's lift the log of the internet and see if we can find some slimy yet satisfying writing about videogames underneath.

I remember following the Nakatomi Plaza mod for Half-Life way back when, but had completely forgotten that it got turned into a full retail game, and had never connected that its developers went on to make the modern MechWarriors. Rick Lane tells the story for PC Gamer, which includes plenty of twists and turns.

Holtslander, however, says that he called Fox Interactive, and that the plan was not to persuade them to let the modders make a Die Hard game, but simply to allow them to use the assets they'd created to make something else. "I got connected to somebody there and I started my spiel," he says. "I was saying

Good morning, videogames. I'm a few hours late posting this today because, frankly, I was too tired last night to face putting it together. I am doing it now, on Sunday, squeezed between familial appointments. You may be doing similarly as you read this, a collection of fine writing about videogames from across the past week.

Over at Ars Technica, Kyle Orland spoke to some of the players who bought into and lost money on Legacy, Molyneux and 22cans' short-lived web3 game.

In addition to Molyneux’s usual game design bluster, though, was a newfound enthusiasm for the idea of making money from simply playing a game. “And because it’s a blockchain game, you earn,” Molyneux said at Galaverse, leaning on the last word for emphasis. “For a game designer, imagine how exciting it is to know that a game design that you’ve been working on, people will be earning money with it!”

MindsEye developers Build A Rocket Boy said that the game's DLC would contain real "evidence" of sabotage committed against them and their game. For Polygon, Giovanni Colantonio went looking.

Like MindsEye itself, all of this is painfully stupid. Blacklisted is a petty diss track that