@collection{Apperley2021,

title = {Special Issue on Disco Elysium},

editor = {Thomas H. Apperley and Anna Ozimek

},

url = {https://sciendo.com/issue/BSMR/9/1},

year  = {2021},

date = {2021-12-14},

booktitle = {Baltic Screen Media Review},

volume = {9},

issue = {1},

abstract = {Disco Elysium is a highly praised game that is widely recognized for its innovation and quality. In December 2019, writing for Time magazine, Matthew Gault named Disco Elysium one of the ten most important games of the decade (2010–2019) along-side the likes of Fortnite (Epic Games 2017–),  Minecraft (Mojang 2011), and Pokémon GO (2016). Gault (2019) characterizes the dec-ade as one in which “artists broke free of the business side and produced works of astounding beauty on par with any prestige television show.” Disco Elysium is included on his list as “proof” that “all video games are art” (ibid.). While critical and commer-cial success, as well as the invocation of “art,” are not themselves crucial reasons for scholars to explore a particular digital game, in the case of Disco Elysium there are many other ways that it is significant.},

keywords = {Absurdity, Affect, Digital distribution, Disco Elysium, Dissonant development, Estonia, Film noir, Game production, Game production studies, Gothic fiction, Hermeneutics of objects, Political economy, Polyphony, Posthumanism, Rhizome, Software commons},

pubstate = {published},

tppubtype = {collection}

}