In recounting the rise of John Carmack and John Romero, Masters of Doom chronicles two of video games' most influential creators and documents pivotal years in the medium's history.
"In game development, I’d like to think the mob really should rule, but I might be wrong. We want to see if they can or not."
It’s possible that gamers haven’t figured out a use for criticism. But one of its uses is the possibility for encouraging new perspectives and second chances.
Gears of War 3 marks the ostensible ending of one of the Xbox 360's earliest games.
The Battlefield 3 beta has become a cautionary tale of how not to do a beta.
All three of these commercials reflect the mobility and indeterminacy of games within our pop culture landscape.
In video games, dying becomes useful, functional, pedagogical. In some games, it is consequential. However, such pain ironically can magnify the pleasure of play.
No matter how grave or self-destructive the world of Dragon Age becomes, the poet figure is the ideal guide and prophet to Thedas.
This week the Moving Pixel podcast explores our own origins as gamers.
The scariest game is one that constantly tries to kill us but also gives us a clearly unfair advantage.