When an author constructs an entire world, they tend to want to show it off as much as possible and provide explanations to game players. That's when games get stuck, especially if borrowing from sci-fi or fantasy literature.
We discuss the virtues and vices of using games as a means to evoke emotion and whether they remain "games" in the familiar sense of the word at all.
Clash of the Titans: The Video Game follows the original script of the movie, not the reworked script that found its way into theaters.
Multi-player is the only real reason to buy Starcraft 2.
Whether intended or not, the progression of achievement in Metroid resembles a kind of virtual striptease. Playing well results in seeing more flesh.
It doesn’t matter what you try to force a space into being, people will define that space themselves in connection to other parts. A game designer never truly plays their own game.
Silence as a character trait is questionable enough in narrative games. When it's completely in conflict with the story, it is just baffling.
The Moving Pixels podcast speaks to Jason Scott, director of Get Lamp, a documentary exploring the history of text-based adventure games.
'Final Fantasy XIII' feels like a slow paced game because it takes its time developing its characters instead of its plot.
Prophesies usually come in two flavors: a hero will rise to defeat the evil whatever or a great evil will arise to consume us all. Most of the time though, they're simply used to add an illusion of gravitas to an otherwise typical situation.