We discuss three flash titles that feature anxious video game worlds in progress, scary mommy AIs, and, of course, the hungry zombie hordes.
For all the articles discussing what the relationship between player and game is or how a title uses a certain trope, there are few essays about “just games.” If there’s a modern instance of “just a game,” it’s League of Legends.
Three more great games that justify the occasional browsing and buying spree of Xbox indie games.
I think Jonathan Leavitt and Nicholas Christenfeld's contention that "Story Spoilers Don't Spoil Stories" is premature. If anything, the study illustrates the difficulties of trying to empirically measure enjoyment and the dangers of imprecise definitions of pleasure.
What 3-D is good for is salaciousness and action, some things that the crop of 3-D games launched with the 3DS are largely bereft of.
Settle in for an evening with Moving Pixels as we explore the dark themes and curious gameplay of Atlus's biggest release to date, Catherine.
L.A. Noire is concerned with story first and foremost, and this focus on story trickles down to every mechanic and system in the game, including its own unique approach to pixel hunting.
From the depiction of cursed men as sheep to revealing confessional statistics, Catherine attempts to dismantle individuality, insulting and devaluing the player in the process.
And so it ends. The final chapter of Rick Dakan's serialized video game novel, Rage Quit.
I’ve saved more than my fair share of “princesses in another castle” since 1985, but I didn't really see Chloe coming.