Should game developers be considered auteurs? And how might such a self presentation effect the marketing and sales of video games?
Many games are meant to be replayed, dangling the carrot of a “new game+” to entice us, but few acknowledge this repetition in their stories, even when it would make perfect sense.
Games have not stumbled upon a new way of creating and interacting with art, they have rediscovered an older system.
Tetris doesn't say a whole lot about anything, right?
Its characterization may be weak, its rigid plot may only be a flimsy justification for a simple set of mechanics, and Chrono Trigger may just be a nostalgia title.
Maybe David Cage of Quantic Dreams had the right idea when he suggested people play through Heavy Rain one time only. After all, you can’t recognize the inconsistency of branching plots if you only see one of them.
Channel 4 Education, the learning arm of the UK television broadcaster, and Preloaded, a London-based game studio, seek to help teens confront their own feelings about mortality with The End, a puzzle-platformer that normalizes death and creates a venue for discussing life, belief systems, and our eventual passing.
Deus Ex: Human Revolution may prove Coco Chanel right: "before you leave the house, take one thing off.”
We discuss three flash titles that feature anxious video game worlds in progress, scary mommy AIs, and, of course, the hungry zombie hordes.
For all the articles discussing what the relationship between player and game is or how a title uses a certain trope, there are few essays about “just games.” If there’s a modern instance of “just a game,” it’s League of Legends.