We demand much from the world while rarely giving anything back. We steal from homes, we kill civilians, we decimate entire towns, and we break economies. We're gamers.
That powerful and important social concepts can permeate such a diverse group of games is a testament to our very human desire to examine big ideas through play.
Suda 51's games are smart, and, of course, annoying as hell, due to the frequency of repetitive tasks and the banal nature of such activities. Often enough, Suda's goal in game design seems not to be in facilitating a fun experience for the player but to troll his own audience. And I kind of love him for it.
Religion occasionally gets some lip service when games attempt to flesh out a world, but the deeper issues that guide people to their faith -- the quest for meaning in the universe -- is rarely explored in games. Game worlds operate in systems of miracles, but churches, heroes, and gods within them are treated in a purely utilitarian manner.
Another day, another zombie apocalypse. However, when Uncharted developer Naughty Dog is orchestrating that apocalypse, it may be worth taking a look at.
Fez and Tomb Raider deserve special mention for the aesthetics of their main menu screens.
A tribute to a friend that never knew me.
As one of Twine's most infamous developers, Porpentine loves writing about the gross, the sexual, the internal, and the metaphorical. And nearly every single one of her games leaves the player with some measure of dread and longing.
We take the supposed "meta" elements of gaming for granted, but how do they contribute to the drama and realism of the gaming experience?
With all the horrible ways to die presented in Tomb Raider, why are the impalings singled out as gratuitous or exploitative? I think that it has less to do with their content and more to do with their context.