Gamer culture is marked by a sort of box fixation.
A game doubling as vehicle for '80s nostalgia but with a twist. Sounds like my kind of party.
For many, survival horror is the only proper horror game, but no modern game can accurately be called survival horror. So, for those players, no modern game can be a proper horror game.
In BioShock 2 and Minerva’s Den, Grace Holloway and Charles Porter’s racial identities link them to specific historical and cultural subjects without turning them into stereotypes or purely symbolic characters.
Dead Space is a game that finds heroism in doing real work.
Most video games celebrate the state of the present. However, the JRPG, with its arduous focus on the task at hand, reveals that that is rarely the goal or even pleasurable in the moment, but bearable only because of the knowledge that once it ends, the player will be rewarded with more story.
The Necromorphs represent a level of posthuman development that extends far further than the protagonist of Dead Space is willing to go -- the point at which humanity is erased, allowing for the rise of the posthuman.
With gameplay that may or may not do service to its plot but featuring some talented voice acting and direction alongside expressive motion capture and beautiful graphics, does Enslaved manage to tell a good story?
Any world built upon the bodies of children must be a hellish, nightmarish, or dystopian world. Sometimes it's one in which the player takes on the role of monster.
We know from our everyday experiences that familiar is comfortable. What we are used to just feels right. Our brains seemed wired to appreciate and fall into normative practices. Why, then, is jumping in LittleBigPlanet 2 so unsettling?