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Abstract
This article offers a political reading of Mossmouth's UFO 50 , a collection of 50 retro-style games that evoke the aesthetics and design principles of 1980s gaming. Drawing on Frederic Jameson's concepts of the ‘nostalgia mode’ and the ‘utopian impulse’, I argue that UFO 50 's nostalgia is not a superficial longing for the past, but a political gesture that challenges the current state of the video game industry. By creatively appropriating the past, UFO 50 critiques the complacency of modern game production and consumption, urging us to imagine alternative futures and reclaim the creativity and risk-taking that characterised earlier eras of game development. However, through its meta-narrative, the game also cautions against uncritically preserving the past, reminding us that, while we can learn from them, every historical period is flawed. Ultimately, UFO 50 is a critically nostalgic work that refuses to accept the present conditions of the gaming industry.
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