The purely sociopathic Grand Theft Auto player just seems like another character in a narrative designed to critique the game's shortcomings as a game, more a straw man than any real player that I know (or am).
There is no element of Silent Hill that would pass muster nowadays and that hasn’t been infinitely improved upon in the ensuing decade plus since the game's release. And yet, were this game to come out today, instead of twelve years ago, I’d want it to be exactly same as it is.
'Gone Home' affords players the opportunity to practice a little archaeology on a late twentieth century American home. And maybe to exorcise a few ghosts from that period as well.
The Crooked Man is a dark and sad tale that avoids easy sentimentality. Its horror stems from relatable, real life fears.
Gone Home doesn't set out to preach, but it offers some valuable lessons for how to create a memorable game.
On a formal level, there are always a plethora of logical issues with gameplay and story because you start deconstructing the abstract shortcuts that all storytelling requires. You start deconstructing your own suspension of disbelief.
Those constructing eSports fandom have a unique opportunity to shape the future of fan celebrations and team sports for the better.
It's interesting that the medium of games, which has often learned much of its storytelling technique from film, might be a more viable inheritor of the magical realist tradition than other mediums.
We like to root for the underdog. Endgame: Syria is no exception. It’s firmly against the Assad regime, but instead of presenting a righteous cause as motivation for the player, the game instead decides to look at the practical aspects of Syrian rebels trying to fight a ground war.
What are developers striving to produce and what are audiences hoping to gain from games, their communication or their raw stimulation?