Super Meat Boy Blowing a Hadoken Through a Saxophone!

Did that headline get your attention? Good, because you should go and read this super-cool piece by Kill Screen‘s Lana Polansky about mechanics, practice, saxophone, jazz, and Street Fighter. (It also features the amazing illustration above, drawn by Daniel Purvis.)(new Image()).src = 'https://capi.connatix.com/tr/si?token=995c4c7d-194f-4077-b0a0-7ad466eb737c&cid=872d12ce-453b-4870-845f-955919887e1b'; cnx.cmd.push(function() { cnx({ playerId: "995c4c7d-194f-4077-b0a0-7ad466eb737c" }).render("79703296e5134c75a2db6e1b64762017"); }); “Hey,” you may be thinking. “Doesn’t Kirk write about that sort of thing too, sometimes even for rummy mars Kotaku?” Why yes, curious reader, he does! https://kotaku.com/the-unsung-secret-of-great-games-and-how-some-games-get-5808033 Wait, why the heck am I referring to myself in the third person? Ugh. Anyhow, Polansky’s piece is tackling an angle near rummy master and dear to my heart, looking at how Street Fighter requires a strict, musical mastery of its systems before play is possible: I can’t imagine a more perfect example than Street Fighter for how a game system can treat practice and play. It not only demands a fairly profound understanding of how its mechanics rummy modern work, but allows players to combine those mechanics in intriguing and unusual ways once they understand them. Once mastery is achieved, the feeling of play emerges. From there it goes to a lot of super brainy places, like… the work of Hungarian psychology professor Mihaly Csikszentmihalyi and Bit.Trip Beat and Super Monkey Ball It’s a cool piece, and worth a read. Everyone we can get to start talking about music and games in this way is a win, as far as I’m concerned. The two have so much in common, we gotta get those crazy kids together more often. Please Try Again [Kill Screen] (Top illustration by Daniel Purvis)