Is the design of Sleeping Dogs's open world vision of Hong Kong a sufficiently unique experience by comparison to its forerunners?
Most of Driver takes place in a dream, so there's almost nothing at stake in this story. Yet it still works.
Papo & Yo demonstrates that a kid's story in a video game doesn't need to be childish.
I find myself more discouraged by the games that encourage me and more interested in letting brief failure teach me patience, better strategy, and to appreciate the few victories I squeeze out of hours and hours of play.
Despite the seemingly superficial nature of the plot, Driver: San Francisco does go places much deeper than an episode of Starsky & Hutch might go. Driver: San Francisco may have those elements, but it is not about them. Instead, it is an exploration of a police detective's psyche.
Death must be ever-present in order to give this absurd tale of robot warfare any kind of symbolic meaning.
Deciding who dies has far less meaning than deciding how we move forward with those left behind.
In Drake's Fortune, El Dorado is the object of desire and a real monster. It is a disguise and a disease.
If games are to be taken seriously, they can't be making serious things "fun." However, infusing darker, edgier, and more serious elements into contemporary design philosophy should still not come at the expense of fun. Fun should not be allowed to become obsolete.
When is a game a clone and when is it simply an example of a genre?