Criticism
Critical Game Studies is probably the most prevalent approach to integrating videogames into the composition classroom, but that doesn't mean that it is without detractors. The criticisms of this approach fall into three primary categories (in addition to the overarching criticism of cost):
1. Losing Better Texts: Shallow and violent nature of narratives: it is true that many video games feature half-baked narrative attempts due to their focus on creating compelling action. The plots, even when they are intricate, are often rife with clichés and false culminations (the plot of Diablo games, for example, are sure to feature multiple acts where the "boss" claims to be the player's ultimate adversary). Literature scholars might question the cultural value of this study. This is not an easy problem to solve.
Fortunately, there are many good games out there that would welcome in-depth of critical attention. Awesome games of the past, such as Lucas Art's Grim Fandango, the story of a travel agent in the afterlife, might still offer some interesting avenues (and at a reasonable price). And intriguing new games are also being released, like Catherine, which explores the main character's infidelity amid a supernatural story of lethal nightmares. But both of the previous games are only examples from major publishers. Indie developers are also releasing games that explore the mechanics of videogames in new ways. Braid, for example, takes the traditional platformer style game, but adds a time rewind feature that fits cleanly with the game's plot of remorse.
2. Complex Objects of Study: Since they are not entirely consistent from one playthrough to the next, and because the theory that informs their design is not the same as that which structures literature, using videogames in a classroom might require teachers to have expertise outside of their comfort zone. Not only would they have to be fairly expert at playing to the game (in order to make sure that composition, and not gameplay was the source of student difficulties) but they would also need to explore and develop knowledge of a new area of study. With that being said, I would not suggest that these methods will work for every teacher. Those willing to put the time and effort into exploring them, however, will benefit from an expanded pedagogy that addresses the contemporary concerns of students.
3. Limiting Games: This argument, made by proponents of videogame integration, says that composition classes tend to use videogames only as replacement for other texts without respecting the differences. This is part of the overall "Reductive Use" Criticism that says there are better ways to use games. On one hand, I agree that analyzing games provides only one path we might take for integration. On the other hand, I also believe that the theories of Bogost and Galloway discussed in this section can help to make this form of analysis more unique and responsive to videogames.