Agarest illustrates just how much fun it is to be the scrappy underdog in games without actually being the scrappy underdog. It’s striking how often games suggest that the power of the victim’s moral high ground is equitable to that of the conquistador’s rifle.
Killer Is Dead is a little punk, a little noir, a little James Bond, and a whole lot of crazy.
Payday 2 does everything it can to make stealth unintuitive and unattractive.
As a companion piece to Heavy Rain, it is easier to appreciate Beyond as an improvement for Cage and an evolution in his body of work, contentious though it may be.
A master director can tell a whole story through properly framed and shot images alone. The camera in video games lends the medium the same ability. Designers just have to know how to use it to their own ends.
I Have No Mouth and I Must Scream's horrors develop, not so much via gore or titillating jump scares, but around the possibility of the kinds of evil that it suggests really lurk in the human heart. This game's monsters too often resemble ourselves.
The catachresis is a natural tool for horror since that kind of overwrought paradoxical language is often used when trying to describe something indescribable.
My annual return to television ad exposure suggests I'm either hopelessly out of touch or that the gaming industry has spiraled off into some kind of focus group tested madness. It's probably both.
Grand Theft Auto V's Trevor picks on social groups, rednecks, gang bangers, military personnel, and hipsters, and when he does so, he takes offense at one or two members of that social group before he then allows his rage to explode into a kind of murderous generalization. If one hipster offends, then kill them all.
Much of Crimson Butterfly's tension and horror emerges from the most unexpected place, the way that we interface with the game and its controls.