I'm immortal, and I'm bored.
When a hero fails in a game, it usually means a game over or that an earlier save state can overwrite that failure from ever happening. This either means that defeat is so absolute that the game cannot continue or that the failure is so inconsequential that it can be avoided entirely. What games don’t often do is force players into a situation where there is no right answer.
All the world building of Syndicate is undermined by a single plot twist.
How might game designers exploit our hidden vulnerability to spatial-inspired psychosis? The good news is that many already do.
I don’t want to suggest that I don’t play to win. I love winning. It’s just that, quite honestly, I love playing more than I love winning.
From a marketing standpoint, basing a game off Game of Thrones seems intuitive. The problem that nobody seems to have considered is that the kingdom of Westeros is a miserable place that nobody should want to be in.
The next episode of The Walking Dead has arrived, and we are already hungry for more.
Slender feels like the gaming equivalent of a campfire story: A short but evocative bit of horror that takes advantage of our primal fears.
The strongest part of the Smithsonian's "The Art of Video Games" is its potential to involve visitors in the process of promoting the medium.
In the past, Lara Croft may have provided a male audience a figure to admire or even leer longingly at, but she didn't serve the normative video game role of that “princess in another castle".