I see systems everywhere I look, but games contain too few of the ones that really matter.
The problem with feelings of nostalgia is that they invoke such polar reactions. After all, when you feel let down by such a revered icon as Nintendo, it feels like an attack on your very childhood.
Setting our expectations about what a story is going to be is important to storytelling. The Uncharted series sometimes fails to meet the expectations that it establishes for its players.
Doom, Space Invaders, Contra, light gun games, the variations on how we can murder pixels on a screen seems nearly limitless.
Spec Ops: The Line avoids a predictable payoff.
Metroid: Other M captures the look of other Metroid games, but it fails to capture their spirit.
We aren't talking about how games test your reflexes. What we discuss this week is how games simulate physical experiences and how those experiences add to our immersion in game worlds and heighten the drama in video game storytelling.
Dear Esther and Assassin's Creed DLC use similar tricks to create tension even when there’s no danger of failure, since the stories revolve around stuff that's already happened.
The Walking Dead is a well told piece of storytelling, regardless of its length, but the short episodic form makes the game's features that much more interesting and engaging.
It’s a very satisfying experience to kill in an online competitive video game. It makes one aware that one’s efforts are significant in, perhaps, the clearest, most visceral metaphor possible. I just made someone else dead.