As the diversity of our picks reveal, 2010 was a difficult year to pick a single Game of the Year for, which has only been a good thing for gamers.
The video guy (or girl) isn't attractive simply out of an immediate reflexive response to him but because of an ongoing and ever evolving coexistence shared with him.
While others are looking forward to the new year, the Moving Pixels podcast takes a look back at the best of last generation gaming.
In 2010, a few big games seemed willing to take a risk and comment, directly and metaphorically, on current political events. Sadly, only one actually had something to say.
Machinarium’s game design, art style, and narrative themes toy with conventional ideas about humans, robots, and adventure games.
I don't ever want to see the body hit the floor. I want to only hear it. Assassin's Creed has habituated me to play in a way that enforces a certain dramatic performance on my part.
Today we look at two themed independent titles that showcase two different facets of what we now call the art game: game as system and game as anti-system.
Bethesda's latest iteration of the Fallout series offers Sin City as one of the last remaining beacons of hope in their postapocalyptic American Wastleland.
Metro 2033 creates a world that is both claustrophobic and empty.
According to a conceptual framework of civic involvement in game design, Mass Effect 2 is one of the most successful educational games of all time.