Edmund McMillen's A.V.G.M. is a test of fortitude and relies on the assumption that gamers are unwilling to resist their own masturbatory instincts.
Kentucky Route Zero creates non-Euclidean spaces that cannot exist, not as an expression of the possibilities of video game space when unshackled by the constraints of the real world, but as an outright rejection of the common standard of video game spaces.
Need for Speed: Rivals is more of an MMO than a simple open world game, yet it doesn't know how to be an MMO.
Indie games like Rain have all the hallmarks of the video game as an artistic experience, and Brad Galloway of GameCritics has been kind enough to sum up what I have realized I have been thinking about games of this sort with a single word "critic-bait."
Some thoughts on what to leave in 2013 and what to bring into 2014.
The Wolf Among Us's quick time events typify the hard boiled genre better than any elegant combat system would or than any analytically driven puzzle solving might. Moments less to be won than to be survived or endured.
The key to a good sequel is trying not to erase or even compete with what has come before. A sequel ought to complement its predecessor, not improve upon it.
David Cage's Beyond: Two Souls may just be "an evolution of the point-and-click adventure game that never happened".
Ghosts doesn't have the same ambition of social commentary as Modern Warfare, so it's free to blow up half the nation in the opening cut scene. Just 'cause.
Ignoring the lessons other media imparts is a harmful form of self-delusion. This is a spotlight on this year's most important movies for game makers and players to see.