Amid a hail of gunfire, the player-character crumples to the ground, defeated, that is, before a loading screen pops to revive her. At least, that's how most action games represent death. In Tomb Raider, I've seen Lara Croft stabbed through the neck, had her head split open on a coral reef, seen her torn apart by wolves.
Skyrim put us in Skyrim and Fallout put us in the wasteland, but simply "being" there gets muddled by all of the other elements that those games require of their players. Proteus is tapping into that ability of games to create a sense of immersion and little else.
One of the more interesting indie releases of last year was Tomorrow Corporation's Little Inferno, a puzzle game, a parody of casual gaming, and an opportunity to burn everything in sight.
Dead Space 3 is guided by a philosophical horror that wants to remind you that mankind is insignificant compared to other forces in the universe.
As much as the mud on her face or the gorgeous environments, the physical animations of Tomb Raider recreate a more adventurous, realistic, and compelling Lara Croft.
What Mike Mika's daughter wanted, what provoked him to hack a classic game, was a quite simple request: “She wanted to play as Pauline ... and she wanted Pauline to rescue Mario.“
Home is where we see characters in a state of normalcy. We get to know what the protagonist does between adventures, and for a medium that depends so much on empathizing with the lead character, seeing who they are at home, away from it all, is a significant experience that more developers should consider investigating.
Video games are described as cinematic, yet cinema edits out the time when nothing or unimportant action is taking place. Video games show everything. They show the whole journey.
While the majority of the game is spent burning and destroying things, Little Inferno is a celebration of life.
It's clear that streaming and capturing game footage will be easier with the PS4, but why is that a good thing? In a word: democratization.