Yeah, approaching text/words from a rock perspective certainly works within music so why not in games.
The main reason I wanted to link to the article here is actually because when he defines what "the native language of video games" is, he never talks about winning or losing or competition or power struggle or anything game like, instead it's something quite inspiring:
This was the native language of videogames: synesthetic audiovisual expressing a meaning, where sound and image and logic come together and feel right, where the communication is nonverbal but nonetheless articulate, where you understand what's going on the same way you 'get' the communication of a song, the same way you can be blown away by a painting or a piece of sculpture.
I like that, it emphasis that these are the things that are easiest and most natural to achieve in video games. That doesn't mean that other things should not be done (gameplay, language, etc) but they are not the most perfect fit. Even though that's something that we have talked about a lot here it's nice to see other people write about it, especially at a site as big as Boing Boing.
I played the Superbrothers game (Sword & Sworcery) at GDC and it certainly has some notgamesthink in it.
