Latest Blog Posts

by Sean Miller

10 Aug 2015


Luxuria Superbia (Tale of Tales, 2013)

Art is hard. It’s hard to do. And when it’s done right, it’s hard to fully appreciate. You have to work at it. Most original art is initially met with indifference, if not revilement. Of the two, indifference is the most common reaction and the hardest to stomach. At least scorn is a reaction, however nerve-rattling it might be. It’s something to work from, to work against.

One lament about indifference is that it leaves the feedback circuit between audience and artist untriggered. Being ignored gets the artist no closer to knowing whether the art fails to connect because it’s too “out there” or merely because it sucks.

by Nick Dinicola

7 Aug 2015


I remember when any system of progression (leveling up, gaining new abilities, stat points, etc) was referred to as an “RPG element” because those systems primarily existed in RPGs. Now, every game has a progression system. Such systems have become so common that we’ve stopped calling them “RPG elements,” which is for the best. It’s not hard to see why these systems have become so prevalent in video games. They play into our desire for growth. We learn more, and we get stronger. These metrics of self-improvement are considered inherently good, things worth striving for.

But the downside to this obsessive self-improvement is that it makes us arrogant and selfish. After all, if some NPC isn’t going to give me a quest, why should I bother talking to him?

by Scott Juster

6 Aug 2015


Her Story makes use of well known storytelling tool. It uses a representation of its own medium to construct a narrative. Like a play within a play or a movie about a movie, Her Story is a computer program in which you navigate a facsimile of an old research operating system and research data base in the hopes of solving a mystery. The computer imagery is very strong, right down to the color palette and arcane noises made by the simulated machine. In fact, it’s so strong that it creates dissonance between the way a real computer would work and the way the game needs it to work.

by G. Christopher Williams

5 Aug 2015


If you haven’t ever not played There Is No Game, I would recommend not clicking on this link to not play that non-game, as this article will slightly spoil There Is No Game. Oh, it will also kind of spoil the Sesame Street Little Golden Book classic The Monster at the End of this Book.

It is no surprise to me that There Is No Game was the winner of the recent DeceptionJam sponsored by Scirra, the maker of a game development program called Construct 2. The rules of this GameJam were to create a game using Construct 2 that presented the theme of “deception” in some fun and engaging way. There Is No Game seems like it had to be a shoe in for the top prize, as it is a clever and witty little “non-game.”

by Erik Kersting

4 Aug 2015


Time has a way of changing one’s opinions. A year and a half ago I reviewed Dark Souls 2, and I gave it a perfect 10. A few months after the review, I played through the game again, and even more recently, I started yet another run. Exploring the game’s damp corridors, I couldn’t help but ask myself, “Is this a perfect game?” Is it a good game? Positively. A great game? Probably. A perfect game? No.

I was undeniably hyped to play Dark Souls 2. Dark Souls is probably my favorite game, but in my excitement in playing Dark Souls 2, I too easily overlooked its flaws, which, once fully explored, reveal clearly how the lack of Hidetaka Miyazaki, director of Dark Souls and Bloodborne, lead to some small, but significant errors. These are errors that gnaw on the player and bring down the experience, especially upon replay.

//Mixed media
//Blogs

Ubisoft Understands the Art of the Climb

// Moving Pixels

"Ubisoft's Assassin's Creed and Grow Home epitomize the art of the climb.

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