Water Cooler Games served as the web's primary forum for "videogames with an agenda" — coverage of the uses of video games in advertising, politics, education, and other everyday activities, outside the sphere of entertainment.
The site was maintained at watercoolergames.org from 2003-2009, where it was edited by myself and Gonzalo Frasca. It is now archived here in full.
The Guardian runs a story on the game industry's Hollywood envy. Well, actually maybe I should say "synergy" rather than "envy", but you get the message. The article quotes yours truly and features this noble website. My point, basically, is that the game industry may believe that its following Hollywood's steps, but that's simply an illusion. Hollywood is a far more complex and polished structure that is very well aware of the complexities of its market and niches, while the game's industry is fixated on the blockbuster. Even the downloadable market sees nothing but the blockbuster (repeat after me: "we need to kraft the next Kuma or Bejeweled"). Blockbusters are nice, but there should be a broader selection available. As I said in the article, Hollywood is smart enough to finance smaller, independent projects because they know that a single Blair Witch Project will make enough money to cover all the other independent experiments. Do you seriously believe that EA cannot spare 20 million bucks to fund, say, 5 wild pet projects a year? Well, after all, these are the people who almost failed to greenlight The Sims. The teenager-without-a-date mentality does not only set the content agenda in the game industry: sometimes I believe troubled teenagers are running their business department, too.
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