The Glitch Art of ‘Zelda: Tears of the Kingdom’Lewis Gordonartreview.com19 May 2023Are the apparent tears in the fabric of this digital reality authored or accidental?
What Exactly Is the Point of ‘The Last of Us’?Lewis Gordonartreview.com15 February 2023Something crucial is always lost in translating videogames into TV shows
How Videogames Envision Capitalism’s Final FrontierLewis Gordonartreview.com23 December 2022From ‘Citizen Sleeper’ and ‘Signalis’ to ‘Hardspace Shipbreaker’, the cosmic dystopias of 2022’s videogames provided timely meditations on stinging economic hardship
How ‘Candy Crush’ Trapped Us in the Machine ZoneLewis Gordonartreview.com24 November 2022Now in its tenth year, the sugary sweet mobile game has proven a killer app for an era of rising technological addiction
What ‘-ism’ is Björk?Lewis Gordonartreview.com06 October 2022The Icelandic singer returns with ‘Fossora’, a daring collection of songs that search for common ground between fungi and family
What Makes a Videogame Feel ‘Real’?Lewis Gordonartreview.com08 September 2022How the Milan Triennale Game Collection and The Last of Us Part 1 offer conflicting positions on what constitutes beauty
Andrea Arnold’s ‘Cow’ and Cinema’s Search for Nonhuman ConsciousnessLewis Gordonartreview.com04 February 2022Filmmakers’ interest in the inhabitants of farmyards and beyond reflects a newfound longing for connection with the ‘more-than-human’ world
