That buzzing sound you can hear is the bee in Alex Kierkegaard's bonnet over at Insomniac. It would seem he's quite incensed about the use of the word retro within the context of video gaming.
He makes a good point regarding the abuse of retro when employed as an adjective. He quite correctly observes that, in this context, it describes a contemporary concept affected by stylistic leanings to the past — not merely something that actually is old. E.g., an old Atari 2600 game isn't a "retro game", but a contemporary remake of that same game on the Nintendo DS most certainly is.
However, Kierkegaard is overlooking the myriad ways retro can be applied as a prefix, wherein the meaning subtly changes to something more akin to the perceived meaning amongst classic gaming enthusiasts. The retro– prefix, in this context, can mean "backward" or "situated behind".
Not only that, but the word retro also functions as an informal contraction of the words retrograde ("to turn back", "to go back" or "to go back over or recapitulate something") and retrospect ("reference to or regard of a precedent or authority" or "a review of or a meditation on past events"), amongst others.
We currently live in an era where people develop a nostalgic ache for last Wednesday rather than merely yesterdecade, thus the word retro is bandied around like it's going out of fashion. Some misguided folk even use it as a synonym for kitsch. I think we can forgive classic video game fans for their appropriation of the word, which wormed its way into gaming parlance some time in the mid-90s when emulators of 8-bit gaming machines began to surface. In fact, the first instances of the phrase "retro-gaming", according to Google's archive of Usenet, correctly used the hyphenated prefix.
While the hyphen may have wandered off during the intervening years, the phrase "retro gaming" (and each derivative thereof) at least shows some evidence of being born of sturdier grammatical stock than the lonesome adjective may suggest.
tl;dr: The phrase "retro game" can refer to an old game if you don't constrain yourself to a single, rigid definition of how the word retro can be used. All hail the English language's elasticity.
a voice in the void
thoughts, opinions and responses to random occurrences
Friday, June 13, 2008
Tuesday, April 22, 2008
- Find an odd piece of trivia concerning the artist and deploy it in such a way as to mock their fans.
- Mention a couple of the album's decent tracks, albeit in a slightly passive-aggressive tone.
- Summarise the album's overall aesthetic with an awkward comparison with one of the artist's peers, followed by a critique of what the album isn't rather than what it is.
- Conclude with two sentences, posed as a question and answer, that make little contextual sense.
- Rate the album 6 out of 10.
Smoke City - "Flying Away"This stuff writes itself!
In days gone by, Nina Miranda's striking visage would be enough to sell Smoke City's curious blend of smog-drenched London trip-hop and hi-tech Brazilian bossa nova, but gazing across the youthful throng at Brixton Academy, jumping and swaying, en masse, in their shrink-to-fit 501s, you can't help but wonder just how much influence Levi Strauss & Co had over Smoke City's rapid rise to stardom.
The dark, relentless drive of 'Devil Mood' allows us to briefly dismiss Smoke City's commercial pliability, even if Bjork's footprints already criss-cross their path in the once virginal snow. Things improve immeasurably once Miranda shows off her flair for lyrical Portuguese in the likes of 'Aguas de Marco (Joga Bossa)', although you can't help but wonder if Moloko are missing a backing singer.
There's no question that 'Flying Away' neatly fills a void, assuming that a samba-drenched Massive Attack tribute band-shaped hole is something that really needs to be filled. But one can't help but wonder to what heights the album could have soared had a more weathered soul such as Horace Andy contributed their talent.
Density and obfuscation masquerading as art? Not on my watch.