Silence as a character trait is questionable enough in narrative games. When it's completely in conflict with the story, it is just baffling.
The Moving Pixels podcast speaks to Jason Scott, director of Get Lamp, a documentary exploring the history of text-based adventure games.
'Final Fantasy XIII' feels like a slow paced game because it takes its time developing its characters instead of its plot.
Prophesies usually come in two flavors: a hero will rise to defeat the evil whatever or a great evil will arise to consume us all. Most of the time though, they're simply used to add an illusion of gravitas to an otherwise typical situation.
It's the content that a title promises that tends to sell video games, not the creator. Thus, things like sequels are an obvious go to for publishers that want to make a buck. However, there are other mediums where the author rules.
What benefit is there to having terminal consequences in an adventure game? Adventure games always succumb to the issue of having an interface where you can theoretically do anything and having it confined to a space where you can only do what the designer allows.
We discuss a variety of male characters, their body types and personas, and how they relay messages about masculinity to players of video games.
For a brief sequence, Final Fantasy XIII uses its battle system as a means of character development, not just tactical fun
Starcraft 2 doesn't ever feel like war to me. It's hard for me to feel that anything going on is even representative of something important.
Starring none other than the Android logo, this intriguing game points to good things for the future of gaming on that platform.