We like to root for the underdog. Endgame: Syria is no exception. It’s firmly against the Assad regime, but instead of presenting a righteous cause as motivation for the player, the game instead decides to look at the practical aspects of Syrian rebels trying to fight a ground war.
What are developers striving to produce and what are audiences hoping to gain from games, their communication or their raw stimulation?
The first episode of Kentucky Route Zero's mines, maps, and madness all beg to be explored, which is exactly what we attempt to do in this week's podcast.
Joel and Ellie bond in battle, when they have a common enemy, but they naturally conflict with each other so much that it's unlikely their relationship can survive the peace.
In the midst of mashups and kitchen-sink design, it's refreshing to play games that return to their mechanical and philosophical roots.
Rockstar may have just borrowed a bit of The Wire's approach to telling the tale of an American landscape for the sake of painting the portrait of America that Grand Theft Auto has always been interested in realizing.
On their journey, Joel and Ellie meet three sets of friendly people, and they all also represent the past, present, and future of Joel and Ellie.
This masterpiece builds a compelling experience by offering a competitive exercise in the creation of a churning and diabolical bureaucracy.
The oddest detail in a game world that concerns itself with including shampoo bottles, cereal boxes, and VHS tapes is the fact that the house that you occupy in Gone Home is missing one item so common to human experience and so common to domestic spaces. This is a home that contains no mirrors.
You are but one man (or occasionally woman), and this world could not care less about your petty ambition to conquer it.