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by Nick Dinicola

17 Apr 2015


Battlefield: Hardline opens with a brief shootout in a tiny room, and a frantic car chase that ends when the fleeing suspect crashes his car. Battlefield 4 opens with your team jumping/falling out of a building as a helicopter shoots it to pieces, and a frantic car chase that ends with you hanging out an open door and blowing up said helicopter with a grenade launcher before the car flips off the crashing wreckage and into the ocean.

One of these openings feels like an introduction, a brief tease of action that leaves plenty of room for escalation throughout the rest of the game. The other feels like a climax within itself.

by Scott Juster

16 Apr 2015


Unless you’re some sort of professional video game savant, you’ll be spending a lot of time staring at Bloodborne‘s logo. Surprise attacks, traps, one-shot kills, and just plain sloppy play means that you’ll have plenty of time to consider your actions while staring at the Game Over text and subsequent loading screen. Bloodborne‘s unusually long load times enforce this period of reflection. Apparently From Software is trying to cut these times down, but during the last few weeks if you have played Bloodborne, you may have been staring (and seething) at the loading screen for the better part of a minute.

by G. Christopher Williams

15 Apr 2015


The premise of Titan Souls, while unusual, is not entirely unique as anyone familiar with the 2005 cult classic Shadow of the Colossus should know.

While both Shadow of the Colossus and Titan Souls take place in fantasy-inspired universes, composed of magic, monsters, and men, a la Legend of Zelda and countless other games that have come in its wake, the actual living population of the worlds belonging to the aforementioned games, though, is much more sparse than that of a Zelda game.

by Eric Swain

14 Apr 2015


There’s been a lot of digital ink spilled over the faults of Valiant Hearts, most notably concerning the game’s inconsistent tone and the overall direction of the game. On the one hand, the game wants to be a serious examination of the horrors of war through the eyes of those affected by the first major conflict of the 20th century. While on the other, it wants to be a rollicking, pumped up action ride of pulp sensibilities, mustachioed villain and everything. It’s not so much that the fun, action-oriented pulp storyline featuring Baron Von Dorf is terrible, just that it should have been a separate game from the melancholy “family torn apart” storyline. It’s the back and forth between these two plotlines that let diminished Valiant Heart‘s promise.

That’s all well trodden ground and is material that would be quite easily excised from any potential remake. I feel the game suffers from another division of purpose, one that is more subtle and not quite easily extracted from the whole. It’s not so much a single element or series of elements, but a matter of one element that exists throughout Valiant Hearts. It’s a pattern best exemplified by this one overly pandering element: the narrator.

by G. Christopher Williams

13 Apr 2015


For a video game designed within a game genre known for its often less spectacle-driven storytelling, The Cat Lady is surprisingly brutal, violent, and often appalling.

That being said, it is also a horror game that is more interested in the horrors of real life, depression and anxiety, than it is in its gorier and terrifying backdrop. This week we discuss the 2012 indie game and what it might have to say about the kind of horrors that real people grapple with everyday.

//Mixed media
//Blogs

'Wanted' Is a Spaghetti Western That Will Leave You Wanting

// Short Ends and Leader

"The charisma of Giuliano Gemma and some stellar action sequences can't save this sub-par spaghetti western.

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