Assassin’s Creed: Syndicate loves the city of London, and it wants you to love it too. The Assassin’s Creed games have always excelled at creating virtual worlds that feel alive, stuffed to the brim with people going about their daily lives—relaxing, working, or having fun in period appropriate ways. However, the Assassin’s Creed games are also about climbing up buildings, running across rooftops, and parkouring your way through a city as if the ground was hot lava. It’s hard to appreciate all that impressive historical mundanity when the gameplay keeps pushing you up and away.
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As is the case with the disease itself, it’s hard to know how to talk about That Dragon, Cancer. Everyone deals with such challenges in a different way, and words that are meant to be brave or comforting often end up sounding like generic platitudes. Ryan and Amy Green made a game about their son Joel’s struggle with cancer. There’s some happy parts and some sad parts in it, but all of them feel honest and even practical at points. It’s something that I admire about the game. It feels authentic because they’re tackling multiple aspects of the disease, which makes it easier for other people to relate to and to even share their own personal experiences with cancer.
On January 6th, Louis Vuitton premiered a Spring-Summer collection called Series 4: The Heroine, designed by Nicolas Ghesquière. In the lead up to the event, the famous fashion house released a video featuring Ghesquière’s clothes modeled by a virtual heroine, Lightning of Final Fantasy XIII.
This episode we discuss, well, our picks for the best games of 2015.
There was a whole lot to love in 2015 from both the big publishers and from the indie scene. From iOS sims to big budget action games to narrative driven adventure games, we have a little something for everyone on our list.
Some people really loved Everybody’s Gone to the Rapture. I didn’t, and a lot of my dislike stemmed from what I saw as bad design. This is a game that does everything it can to hinder your consumption of its story, even though its story was the only thing of interest to its players. As a first-person walker, Rapture is a story-driven game in a story-driven genre that fumbles every aspect of storytelling. I hated playing it so much that I think that hate has seeped into my interpretation of its themes. It’s a game that is stuck in my mind not because it’s so good, but because it seems, to me, to be one of the most cynical and nihilistic games ever made, one that embraces the awfulness of humanity and celebrates our untimely end.