What I admire about Nocturne's design is how its function reinforces the theme of the character himself, going so far as to evoke visceral emotional responses and actions in players themselves that make sense given the horror that Nocturne is supposed to represent.
Somewhere at the crossroads of memory and storytelling lies truth, and truth can reshape reality.
Players don't belong on a pedestal. There are plenty enough reasons to limit video game interactivity.
Telltale Games returns with a game of choices and consequences, but this time out those hard decisions are embedded in the completely fantastic world of Fables, not the relative social realism of a zombie apocalypse.
The extent to which a story is interactive isn’t defined by how many buttons we press, but how important each button press is.
Netrunner is particularly special because through its asymmetry it allows us to engage in a familiar struggle.
Anachrony is a big part of Beyond: Two Souls and the primary reason why the game doesn't quite work.
Lost Planet 3 tries to swap its antagonists with the player's allies halfway through its story. It fails, but it fails in an interesting way.
Tradition? Necessity? Philosophy? What keeps the Call of Duty campaign going?
The fantasy world of The Wolf Among Us allows for a wolf to actually respond to the demeaning quality of the word that humans so often use to define the females of his whole species. And unlike a lot of human beings, he seems pretty unhappy about it.