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by Jorge Albor

4 Jun 2015


I had barely scratched the surface of The Witcher 3: The Wild Hunt, the epic fantasy open-world game that features well over a hundred hours of action/magic/sword-fighting gameplay, when I decided to sit down and play Gwent, an optional card game within the game. The game crashed after my first win, and I haven’t been back since. I think I need a break from all the seriousness of gaming.

See, I don’t think I have had fun playing games lately, at least not the jovial free-spirited form of fun that I associate with child-like playfulness. The world of The Witcher is dark and rough. Geralt, who sounds like someone constantly waking up from a nap, lops off heads and runs quests for murderers and racists. It’s not exactly a light romp through magic-land.

by Brian Crecente / Tribune News Service (TNS)

3 Jun 2015


This year’s E3 will include a first for the 20-year-old annual international gaming convention in LA: limited public access.

While E3 has traditionally been an industry event that doesn’t officially allow consumers onto its game-packed floors, this year the show is allowing 4,000 to 5,000 of some of gaming’s biggest fans into the Los Angeles Convention Center halls to wander as invited guests.

by Nick Dinicola

29 May 2015


White Night is a striking game to look at. It’s all black and white with hard shadows to give shapes definition, like a Sin City panel come to life. At first, the game seems to contain the perfect combination of art and story.White Night is a tale in the tradition of noir, but about a haunted house. Its hard shadows hide the violent ghosts of an angry mother, and its light streams from the protective ghost of an innocent lover. It’s a beautiful and haunting game to look at, but it’s a rather annoying game to play. And it’s annoying largely due to its beautiful and haunting art.

by Scott Juster

28 May 2015


One year ago I started what turned into a “season” of Mario Kart 8, complete with gameplay tweaks and paid downloadable content (DLC). It’s the first time I’ve played a Nintendo game that has bought into the “long-tail” content and add-on strategy that is so prevalent in the large publisher space. Instead of a capsule frozen in time, Mario Kart 8 got something similar to the season pass and map pack treatment. The question is: how did this work out?

by G. Christopher Williams

27 May 2015


I read an interview with John Carmack, the creator of Doom, some time ago in which he was asked what was the most important element of the success of Doom, the game that essentially soldered down the centrality of the first person shooter to American video gaming culture. His response was simple: speed.

What Romero said that what he set out to do with Doom was to create the fastest gameplay experience that he possibly could, and anyone who has played the game should easily understand this explanation. The player’s role in Doom is to essentially play as a roving gun platform, a really, really fast roving gun platform, that simply massacres monsters en masse and as fast as possible.

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