The audience, if they’re still watching (or playing), becomes hyper focused on the mundane details that in other works would be ignored or edited out.
All games are simulations. They use the cold, pure logic of mechanical systems to create warm emotional connections.
Can planet-sized explosions ever get boring? Asura's Wrath suggests that the answer involves finding the right dosage.
As much as I kind of hate its retrograde commitment to the classic boss fight, still I have to admire the “truthfulness” of Devil May Cry in allowing the numbers behind the image and the actual image itself to reflect one another. That giant-unborn-baby-guy boss is what he appears to be -- frickin' hard.
Deponia demonstrates that LucasArts was so far ahead of its time.
Does Hotline Miami have anything to say about video game violence or does it just allow us to further exercise our own grossest tendencies?
In my head I kept comparing Ni no Kuni to Xenoblade Chronicles, but they evoke their sense of adventure in two very different ways. Instead, the way that Ni no Kuni uses its world rather than its story to evoke adventure means it actually has more in common with Skyrim than a JRPG.
Those willing to take the "Nuzlocke Challenge" may find a difficult yet enriching experience that teaches them as much about pokémon training as it does about system design.
The option to “continue” changed the nature of death in games. It could certainly remain an annoyance and a sign of failure, an indication that the player is not executing well, but frankly, any number of games also seem to use death as a feature, as a necessary mechanic for play.
For literature and film, plot is everything. Without moving events that shape (or fail to shape) the characters, there is only setup with no direction. But games, at the core, are all setup. They create a place to wander and figure out for one's self.