The commentary offers no insight into the development process and no talk of inspirations behind the story. For a game that was in development as long as Alan Wake, one would think there’d be at least a couple of interesting "behind the scenes" stories to tell.
Aging technology, the difficulty of cataloging games, and the ease of digital revision complicates our grasp of video game history and our ability to critically evaluate the present.
Fallout 3 sucked me in all the way. I played all of that game, searching every last corner of the map and then buying all five of the DLC packs.
Most modern versions of fairy tales tend to sanitize the more “questionable” elements of such stories, but David Bae and Nathan Ratcliffe's Gretel and Hansel seems to seek to "moralize" in only the most unsettling of ways.
Contextually, multiplayer doesn't make much sense in a game like Dead Space, so the context needs to change.
Project Legacy is the surprisingly fun Assassin's Creed Facebook game.
The physical presence of a room heightens the overwhelming sense of frustration felt by players who know that all the tools of escape are within their grasp if only they could put together the solution.
I am a gamer, and as such, I need to be told what to do. The experience of play is something different than gaming. Gaming has a win-state or a fundamental goal, whereas pure "play" doesn't require that.
The story that Kingdom Hearts wants to tell is not the story it could ideally tell.
L.B. Jeffries bids adieu to the Moving Pixels audience, but before he goes, he has a few words to share about writing game criticism, noting that "the difference between a critical analysis and a game FAQ is that somebody who has never played the game can still gain something from good analysis."