Before the gaming press, no censorship committees, praise Yog-Sotot, have reached, but without self-restraint it is not possible, of course. A solid list of words and phrases continues to grow, which we try not to let into our work. Not because a certain Prophet or Big Boss said so, but because their presence will poison the material.

The harm of such words varies from case to case. Some do not carry sufficient semantic load, others extremely simplify the author’s mental work, which means they reduce the value of his conclusions for the reader. Using them, the journalist signs that the fate of the text is indifferent to him, and his goal is more likely to hand over the material.

Yes, of course, you can find these words in the texts on "Gambling". But the whole thing is that we know about them and carefully get rid of them. If you are seriously configured to write or tell, or are simply not indifferent to your native language, read our selection of the most poisonous terms, epithets and word forms. For the first time on the pages of "gambling" — words that are better not to write!

► Here's a list. Let's go.

"Propagated"

Where?

Even homo erectus growled fiercely on their children's children. It was difficult for them to express their thoughts in words, but the essence was probably in one thing: “What kind of young people went!"Empires collapsed, cosmic shuttles fell, and those who tasted the game of the so-called" Golden Age ", are already sure that their generation is still" norms ", but these who play with auto pruning-they are" nubier ".

The word "proved" and generally derivatives from the word "casual" is a sign of the continuity of generations, only within the framework of our beloved industry. The old generation stigmatizes the novelty with “casual”, knocks on the countertop with a corpus callum and again goes on a trip to the water chip.

► Even Fallout 3 transferred a series to the niche of militants, but militants with a rich role system, which properly promoted in Fallout: New Vegas. The fourth of the series shifts the series even further from RPG.

The very word comes from English. casual — “random” or “everyday”. Previously, casual games were almost officially called simple things like Zuma And Bejeweled or quests with the collection of objects. Now the adjective itself is used very rarely (and above all, in the industry, in order to conditionally distinguish the market), and a popular “incident” is a popular word — even less often. But the verb “prisoner”, in which the indictment of the creator is obvious, on the contrary, is alive and live.

Why?

So are games simplified? And yes, and no. If we measure “casuality” with convenience and accessibility, then all games are always “out of hand”, and the further, the stronger. If you reason from the standpoint of the complexity of the development and wealth of gaming mechanics, then everything is much more complicated. Previously, the demand for simple games almost no one satisfied, but not enough hardcore game was not considered a bad game. Now the demand of society for simple and understandable entertainment is much higher than the demand for unbearably painful and with a multi -level bottom.

► Paradox games are complicated every year, but the further, the more friendly the interface and the lower the threshold of entry.

► Trine 3 is the rare case when the game was actually trimmed from all the edges, without investing anything in return, and not shifted into a more popular genre niche.

For what?

To "Opasuali" often reduces a very complex and not always the same process. It happens that the series is slowly changing the genre to the objectionable to the "old -speeds" (Fallout 4). It happens that they want to reorient the series to a wider audience without losing the old one ( Total War: Rome II ). And it also happens that valuable game mechanics really throw out costs to reduce costs. We try to write about this sharply and directly.

"Boring" and "Interesting"

Where and why?

From everywhere. The adjectives “boring” and “interesting” are too convenient and obvious so as not to appear on the pages of publications and in oral speech. Great seduction to christen a whole range of properties — or the property that is difficult to formulate — just in one word.

In essence, any sensible game can be decomposed into “interesting” details: it is interesting to fight, it is interesting to explore the world. In a bad game, on the contrary, a lot will become “boring”: boring quests, boring videos. Two polar evaluative judgments allow them to accommodate the whole variety of heartbreaking, fervent, mediocre and non -casual — any details.

► "Interesting setting" — so you can write about the world of Bloodborne. But you can "only" for several paragraphs to briefly explain why. Which is more useful?

► despondency is one of the dominant emotions caused by Call of Cthulhu: Dark Corners of the Earth, but the game itself does not become dull for a minute.

We include the adjectives “beautiful” and “dull” to the same category, but in rare cases they are appropriate to use in the literal meaning: despondency as the hero’s emotion, the beauty of the moment and the like.

For what?

The answer is obvious — for colorlessness, for simplifying the text, for a bottomless container that destroys all distinctive features.

"Conveyor"

Where?

There would be no modern civilization without a conveyor: all the goods would be collected at manufactories, and there would be a line with two in each house (if it would have appeared in a form known to us at all). Thanks to the conveyor, industrialist Henry Ford for the first time in history established the production of cars by millions of copies, creating a foundation for a consumer society.

In the gaming environment, the word "conveyor" carries a negative meaning. In the masses of the Word went back in the second half of the 2000s, when large publishers, having felt for large “veins” of demand for some series and concepts, established their continuous production. The budget allowed them to get two or three studios so that they simultaneously work on projects of the same series.

Thus, it was possible to establish the annual production of multi -ton blockbusters like Call of Duty , without clamping the development studio in the annual framework. Once the acceleration of the pace has already destroyed the game industry in 1983, but today the annual stamping is not possible to the detriment of the overall quality.

… Well, almost. We will not talk about the value of such games.

► Call of Duty first held tight to the second world, then — for the fight against terrorism. Now everyone has rushed to the future.

► Change of gameplay model can be delayed for a long time if you are not afraid to experiment with the style. Thanks to this, Far Cry continues to work as it works.

Why?

An annual (sometimes more frequent) release of games of a series or another almost does not touch the ordinary buyer, who is to the light bulb. However, the savvy audience is invariably furious, having heard the next promise of Ubisoft to compose new adventures of the assassins by the fall. They can be understood. Commercial interest is inherent in any business — it does not matter whether it is pooling dumplings, assembly of scissors or development of Baldur’s Gate.

However, in the case of a mass annual release — “conveyor” — the desire to earn the most powerful. Some episodes carefully run from bold ideas and trust fashion or traditions — from the point of view of business, the decision is cowardly, but reliable. But at the same time, the audience often forgets: the gamememakers are also not devoid of ambitions, and everyone wants not to change everything in the root, but it is better to do what has already been done.

► Need for Speed ​​is probably one of the most “tired” brands.

For what?

Because the word "conveyor" does not deserve the negativity that is connected with it. “Conveyor” is a production method, and there is no crime in it. Paradox Interactive also “stamps” its strategies, they just have a series of changing every year: while the shelves are crawling Hearts of Iron IV , A Stellaris Already shipped to shops, in the bowels of the studio it is already cooked with might and main, for example, Rome 2. And on the drawings — the new Victoria.

Yes, and not Electronic Arts invented the “conveyor” in mass culture: even Robert Zemeckis shot at the same time two parts of the film “Back to the Future”. Conveyor?

"Kinzo" and "cinematography"

Where and why?

About ten years ago, each author boldly wrote that the genre of the classic quest died. How much time he was buried — Vladimir Ilyich would die of envy. What to do: the genre went into the shadow. Point’n’Click in the heyday of the heyday remained the most convenient way to express the plot plan, sparkfully joke and show off with scenario skill. However, no one wanted to change the format — if the will of Lucasarts, they would still compose monuments like Grim Fandango , with an almost unchanged form.

► Mechanics of the classic quest always interferes with the narrative: while you sweat, solving an illogical riddle, the experiences dissolve in the routine.

► Real non -linearity in interactive short stories, alas, at the level of shades — TELLTALA and their colleagues much more like to compose stories than to branch them.

For a number of reasons, this approach stopped working. The classic quest has become afraid and finally became a niche genre, which remains to this day: no Deponia , If she was at least three times remarkable, not to step on the tail Far Cry or Star Wars Battlefront. But be that as it may, make interactive cinema, TV shows and “walking simulators” (also a very problematic term) became more convenient than ever, and most of the plot games became just that.

In parallel on the seventh generation of consoles, their "kinzo" was born. Increasingly, the creators allowed themselves “Hollywood”: put spectacular scenes, use cinematic techniques. Along the way, the dependence of the gameplay on the pointer of the director of the Waiter grew … Well, QTE played a significant role than the winged “click X to win” later. And the abundance of effects like “Blue” caused another contemptuous epithet to life — “soap kinso”.

► The blur effect when moving will never be washed off from the nickname "soap". Puppet.

For what?

Everything is simple here: if we walk on the shortcomings, then a brush of caustic and well -aimed theses with arguments, and not a canned word.

In addition, "kinematographic" is what? Today, every big game can be dubbed for one reason or another with cinematographic; In the distant past, the period remained when someone could be surprised only by the work of the camera, taking "cinema" angles. Cinema and games have long come together, and many of the latter are already time to evaluate by the criteria of the movie, including. You need to look deeper and understand where this cinematography comes from.

"Soul"

Where?

It seems strange to the observer not familiar with the history of games that such an esoteric and vague concept in the environment of interactive entertainment sounds at every step.

► “Souliness” Half-Life is amplified by its fifth-legendary status-the third part is not released consciously.

The word "soul" in relation to games carries almost the same meaning as in relation to us, people. Engine, graphics, mechanics, gameplay — all this in a similar coordinate system turns out to be a “body”, that is, a brave shell. The rest is “soul”, a weightless and elusive something on which everything depends. There is — there is life, gleam in the eyes, thought and desire. There is no it — and the rest of the parts are spreading, the meaning is lost, the body is dead and becomes a corpse.

“Soul” is an integral part of the real “masterpiece” created by enthusiasts, and all the creatures of bloodthirsty commercial empires are completely deprived of it. Real mythology!

Why?

If real propagandists started in the game press, they would operate with the concept of “soul” with the despair of Joseph Goebbels. Because it, this concept, is devoid of both the exact definition and the boundaries — if you, the dear reader, have come to us from the world of “big journalism”, compare the concepts of “soul” and “spirituality”. As a game journalist, you are free to reward with a “soul” or deprive it without proved anything at all. Such a gesture is an indicator of either great love, which cannot be justified in other ways, or banal misunderstanding, “dog syndrome”: I understand everything, but I can not explain in words.

► Years later Skyrim will gain the same status as Morrowind and the old people who are seduced by the gray -haired people bury on the way to the rift.

You can burn me like a heretics, but I will allow myself to make out the word "soul". She has several components in the games: visual style, music, voice acting and texts, as well as the most difficult thing — situations. Together, they form an atmosphere — the mood reflected in the situation.

Take the recognized "sincere" Morrowind. Here are the buildings of the bizarre shape, the chitin armor and mushrooms to heaven (style), thin musical tires, composed by Jeremy Soul (music), the guard is contemptuously growls: “We follow you, the insignificance!"(Voice acting), a dusty storm howls, forcing people to cover their face from sand (situation).

Those who are not familiar with the game will see an unfriendly atmosphere, alien, foreigner. Knowers for a long time can also smell away, having felt the same, but through the prism of the first impressions (“duckling syndrome” — it seems that it is customary to call it). So the “soul” is synthesized: the atmosphere, refracted by perception.

Therefore, the “soul”, as a rule, is attributed to the old games — the matured generation nostalgically recalls the past. It is not necessary to look for the “soul” in the games of the past: often reviewers, having imbued with a well -created atmosphere, see this a manifestation of the highest substance.

► Your children will most likely grow on minecraft — in twenty years it will be in all lists of the greatest games of the past.

For what?

"Soul" is the concept of a propagandist, a demagogic technique that does not need justification. Know: If you are in the review of the “soul”, then the author https://sister-site.org/spinland/ either wants to deceive you or was able to deceive himself.

* * *

“A drop in the sea” — something like this can describe the volume of work we presented. Thousands of authors went through the short history of gaming journalism, and hundreds of multifaceted phenomena have found one -sided reflection, and all this cultural baggage went to us. But the language does not freeze, it develops and lives: yesterday’s innocent “masterpiece” now has become a sign of verbal poverty, and the evil “pixelhanting”, on the contrary, has lost negative connotations in a few years of oblivion and returned in the form of a cold, convenient term.

► some parasitic words will still have to be thrown away. For example, clumsy -derivatives of the “sequel” — “Trickl”, “Quadrickvel”, “Sidkvel” … Some episodes simply will not allow to pronounce the correct “term” to continue, while others confuse everything with restarts.

A few years later, new cliches will grow from the modern texts of Gamery and other publications. One of us seems to be remembered by an unkind word for "sleep logic". What will they remember me? I can’t know: from the position of the author, calculating his own stamps is very, very difficult. Many of us are not without sin, and this, meanwhile, is one of the reasons why we publish this text.

So look after us — and write in the comments if future "strong middle peasants" slip off from our virtual feathers.