Medal of Honor's multiplayer tries to marry elements from Battlefield: Bad Company and Call of Duty but only borrows the surface trappings of these elements and none of the depth.
By submitting to self-constraint, players are distilling their favorite aspects of League of Legends into a powerfully addictive and exhilarating experience.
Bulletstorm sweats testosterone. But can a game really be kitsch if it's so close to the truth?
I'm not very traditionally girly, and I like it when a video game character is able to communicate that mixture of gendered ideals without becoming a caricature. I found that in Dragon Age.
Horror can be atmospheric rather than situational. Are abandoned tombs, inky black catacombs in which echo the shuffling, dragging footsteps of fleshy horrors, and the occasional giant mass of flesh, eyeballs, and tentacles glaring balefully at the player scary enough for you?
With hands covering eyes (though with fingers slightly parted), the Moving Pixels podcast travels down hallways painted in blood and visecra, in order to consider the beauty and grotesqueness of Dead Space and Dead Space 2.
Medal of Honor's campaign lacks many staples of a normal narrative, but it's still able to relate an apolitical theme through gameplay alone.
Like war in the Fallout universe, Super Mario never changes. The game may seem demanding or even harsh in terms of its skill requirements, but its rules are consistent in philosophy and practice.
Before the release of Dragon Age II, Rick Dakan reacquaints himself with the full spectrum of Dragon Age DLC -- resulting in a mixed response to the potential represented by them.
"Boy low and sell high," and other frightening necessities for profiteering on addiction.