In the midst of mashups and kitchen-sink design, it's refreshing to play games that return to their mechanical and philosophical roots.
Rockstar may have just borrowed a bit of The Wire's approach to telling the tale of an American landscape for the sake of painting the portrait of America that Grand Theft Auto has always been interested in realizing.
On their journey, Joel and Ellie meet three sets of friendly people, and they all also represent the past, present, and future of Joel and Ellie.
This masterpiece builds a compelling experience by offering a competitive exercise in the creation of a churning and diabolical bureaucracy.
The oddest detail in a game world that concerns itself with including shampoo bottles, cereal boxes, and VHS tapes is the fact that the house that you occupy in Gone Home is missing one item so common to human experience and so common to domestic spaces. This is a home that contains no mirrors.
You are but one man (or occasionally woman), and this world could not care less about your petty ambition to conquer it.
Rogue Legacy may have more to say than its seemingly retro mechanics and retro aesthetics imply. This week we talk about the game and the implications of its economic systems and financially motivated play.
Throughout the game we kill countless other people without realizing it because we’re incapable of truly knowing another’s thoughts. In the The Swapper our ignorant assumptions lead to mass murder.
Sometimes failing in front of an audience is a good thing.
The game equates separation with death and argues that entire societies can still suffer from a crippling loneliness if they’re cut off from a larger source.