Blade Runner
Game
3 documents in the library are about Blade Runner, from writers such as DiGRA, Extra Credits and Gaming Founders Podcast. Each has a summary and key insights with the page they come from.
Connections
Each row is a game or company named alongside Blade Runner, each column a document, oldest first. A mark means that document names it. Select a row to see those documents.
Documents about Blade Runner
Cyberpunk: Legends FIRST GAMEPLAY LOOK with Mike Pondsmith and James Portnow
Cyberpunk: Legends represents a strategic effort to translate the high-stakes, narrative-driven essence of the Cyberpunk tabletop RPG into an accessible, cooperative card game.
- Cyberpunk: Legends is a cooperative card game for one to four players that utilizes poker-inspired mechanics and restricted communication to emphasize team synergy over individual heroics.
- The game is developed through a partnership between Talsorian and CD Projekt Red to ensure strict adherence to established franchise lore and the master timeline.
- The design features a modular, scenario-based structure that supports non-linear storytelling and long-term character progression without the need for a game master.
The Storied History of Gaming Veteran Louis Castle, Co-Founder of Westwood
The evolution of the real-time strategy genre and the professional trajectory of Louis Castle illustrate the transition of the gaming industry from a hobbyist pursuit to a sophisticated corporate enterprise.
- Westwood Studios scaled its operations by using contract porting work to self-fund original intellectual property, a pragmatic model that allowed for creative autonomy.
- The studio achieved peak growth between 1992 and 1998, reaching a workforce of 250 employees through the success of genre-defining titles like Command & Conquer and Blade Runner.
- Westwood maintained creative control during four major acquisitions by strictly dividing leadership responsibilities between design and operations.
Dots, Fruit, Speed and Pills: The Happy Consciousness of Pac-Man
Alex Wade's DiGRA 2014 essay, "Dots, Fruit, Speed and Pills: The Happy Consciousness of Pac-Man," argues that Namco's deceptively simple grid maze encodes a sophisticated set of ideas about space, time, and consumer society.
- The essay reads Pac-Man's endless levels, culminating in the unplayable level 256, as a Borgesian maze with no exit, using Herbert Marcuse's concept of 'Happy Consciousness' and Jorge Luis Borges' labyrinths as its interpretive frame.
- Pac-Man is positioned within a transmedial reach spanning more than forty games and multiple media, and its design is highlighted for a nonviolent theme, broad accessibility across genders, and an emphasis on speed and consumption.
- The author links Pac-Man's sound and aesthetics to late-1980s acid house and rave culture, along with the psychological and drug-culture associations of that scene.