It was a somewhat popular post, which you can tell from the fact that it helped popularize annoying terms like ‘ludonarrative dissonance’. This is not the case with Citizen Kane, which is only dated by it being a black and white film.īack in 2007 Clint Hocking wrote a blog post about Bioshock that argued that “BioShock is not our Citizen Kane”, but that it signaled how close the video game industry was to that fated moment. It’s not like Metropolis, which is a good film, but also very dated, and you can tell that from its cinematic techniques and language. Also, if someone released Citizen Kane today people would find it as good as any movie made after it. To be fair, that’s not so different from what Citizen Kane is for cinema today, although that movie did deserve a lot of the praise due to its cinematic innovations. This was interesting since there was nothing groundbreaking about The Last of Us outside of having production values on par with an HBO series, at least when it came to its cutscene quality, visual design and world building. What ‘The Last of Us moment’ ended up being about was just a game release that every single journalist and reviewer wanked over with endless praise, which led to the journos convincing themselves that video games were finally worthy of being on the Louvre or something.
Although, that moment didn’t gave them what they really wanted, which was a gaming masterpiece so amazing and mind-blowing that it finally convinced everyone else in the artistic community that video games were a worthy form of art, rather than just entertainment for children. In retrospective it’s easy to see that The Last of Us was the so-called ‘Citizen Kane moment’ that video game journalists and critics were praying for many years in advance.
I actually like the black and white look here
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