In tough economic times, it doesn't hurt to have a game that encourages a mindset of frugality and efficiency in terms of our relation to material goods. Using what you have as efficiently as possible and only clinging on to the most useful and valuable stuff isn't a bad attitude to perpetuate even in a pre-apocalyptic American wasteland.
Under the governance of a model like synergy, media conglomerates could get away with treating a game adaptation and a plastic Burger King cup as two spokes of the same promotional wheel. No more. Synergy is (in theory) politically dead; its replacement, transmedia, is interested not simply in the transmission and sale of images but in gaining an invitation to the world of creating unique content.
This week the Moving Pixels podcast crew discuss how gamers are taught to play.
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.