The 2015 installment of Need for Speed prioritizes realism and verisimilitude over gameplay.
Multiplayer games are booming, but they’re often the type of games that systemically inspire irritation towards one another.
To my little Westernized brain, science concerns itself with the material world, religion concerns itself with the supernatural, and never the twain shall or should meet.
Requiescat in pace, Mario.
This is Davey Wreden's first game since the critically lauded Stanley Parable, and with it, the developer changes focus from interrogating how we play games to how we interpret them.
The 2015 Need for Speed seems embarrassed by its simple arcade roots.
It is reasonable to entwine personal feelings with games. We assign meaning to our actions, even at play, a time when we think ourselves most free.
Cybele reminds us that it's difficult to confess one's awkward moments in public, but of course, it's also potentially exciting to risk doing so, too.
It's easy to dismiss blood and violence as salacious without considering why it's there, what its context is, and what it might communicate.
Video games have an advantage in how they pace a story. They can offer the choice of speeding up the plot or they can offer the option of slowing it down, perhaps to experience something less crucial to that plot, like the memories of a dead man.