Really, it doesn’t seem like anyone has, and if they did, they didn’t consider it significant. Again, I’m not necessarily saying anyone should. It just seems we’ve come a long way from the time when Fallout 3 concept art of post-apocalypse Washington, mistaken for an extremist fantasy, raised government hackles.

For more context, you should watch “The Wall” trailer for Crysis 2, which opens with a series of missives and memorials for lost loved ones trying to find one another in the midst of disaster. I’ve lived in New York City since 2002, but when 9-11 happened, I remember commuting to work in Massachusetts, listening to Howard Stern on my car radio. I’ll never forget the poignancy in hearing the abrasive shock jock serving as something of a community pillar, using his broadcast platform to take calls from people who were trying to find other people, unsure whether or not they were alive.

Is there an intentional recollection in the imagery of Crysis 2 that’s no longer painful enough to employ in entertainment? Or is it truly that we can now use visuals and concepts like these without even making the connection?

Is it that we’re intended to make the connection, in the world of Crysis 2, with the sense of violation we felt at the images in New Yorkers’ backyards at that time, and that it doesn’t need to be said? Or is it that it’s simply become okay to bash up New York again, the way we can and do with any other game world?

Does this mean it’s not “too soon” anymore? Does this mean we’ve “healed”, if we can look at this and just see a video game?

These phases lend themselves to being light on blogging — at times like that, I’m glad I have my Twitter to toss quick thoughts and links out to you guys. Of course, I’m also busy as usual at Gamasutra. You know I love indie games that try to push or change the medium; I spent time with Jason Rohrer’s Sleep is Death, my writing on which you might have read at Kotaku, so just a little bit later, I caught up with the fascinating, loquacious and giant-brained Eskil Steenberg at Gamasutra to talk about his work on the impressionist-art MMO (though he resists the word “MMO”) LOVE.

We talk about how he suddenly decided to develop his own self-contained game engine and persistent multiplayer world without any significant design experience (truly, truly impressive), and why LOVE is, in his view, completely different than other games, most of which don’t interest him much.

I went to see Crysis 2 unveiled in New York City late last week, and I talked to Crytek boss Cevat Yerli about why, in a world where crappy-looking Facebook games can pull millions of users in just a few weeks (as venture capitalists are I think over-fond of pointing out), AAA graphics still matter. Last night on Jimmy Fallon (Kotaku has video), Cliff Bleszinski answered “graphics” first of all when asked what makes a blockbuster — because they “pull people in” initially, he qualified. Yerli and Bleszinski both work for companies with perhaps the largest footprints in the high-end development engine biz, so certainly they have an interest in that point of view.

Oh yeah, Bleszinski was premiering Gears 3‘s trailer, by the way. It has a lot of ashes and dust in it, kind of like Crysis 2‘s trailer. Ashes are so in for 2011! Seriously, it looks cool, though, and as Cliff says, it has female soldiers for the first time. He says that’s thanks to fan feedback.

Most of my time yesterday, however, was spent covering the latest and greatest in the Activision-versus-Infinity Ward drama, which you know I have been following in some depth for some time. As I’m sure you’ve heard by now, exiled IW bosses Jason West and Vince Zampella now have their own studio in Respawn Entertainment, and surprise-surprise, they have EA’s backing. Wedbush’s Michael Pachter told me this is the ‘ultimate screw-you’ to Activision.

I would guess the ‘ultimate screw-you’ to Activision will happen when employees of not only Infinity Ward, but of certain other studios under its umbrella who are sick of being crunched to obscene, five-years-ago levels try to get out and send their resumes to what’s likely to be a more comfortable situation. At Respawn, I would assume they put lights in the cubicles all the time, not just when the press is visiting.

But anyway, after writing about them for weeks on weeks now, it was neat to finally talk to Zampella, West and EA (read my interview!), even if just on the studio kickoff. Most people assume the two are going to lead some kind of Modern Warfare killer on EA’s behalf, although they aren’t yet willing to confirm anything whatsoever about their project. Theoretically, they could be making anything, although I’m not exactly expecting a cartoon platformer.

It’ll be interesting to see how their product is positioned — after all, anything that competes with Modern Warfare is going to compete with Battlefield, too. As Pachter said to me yesterday, the vertex of the market that would make the most sense for the pair is the future/sci-fi-ish genre, where their only major rival would be a little franchise called Halo (and maybe Killzone or something).

Shooter, shooter, shooter, shooter. Graphics, graphics, graphics, graphics. Bummer that the industry’s top talent keeps making the same kind of games. Or maybe I’m not the market. If you’re into this kinda thing, you must be going out of your head with this bounty of exciting news.

Now I return to Harvest Moon, where I will plant and pluck turnips over and over and over and over and over.