This week we discuss the minimalistic combat of One Finger Death Punch. We discuss the game, but our conversation also strays into a discussion of the design philosophy of Silver Dollar Games, punk game design, and video games that troll their players.
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Combat is expressive. You can tell a lot about a character based on the way that he fights. I wrote about this idea some time ago regarding Assassin’s Creed. I considered how the fighting styles of Altair and Ezio changed over time and how those changes reflected on each character.
In retrospect, I wrote that piece based on an assumption that went unspoken at the time. Combat is at its most expressive when it changes. Seeing Ezio’s techniques, arsenal, and skills evolve over the course of three games was far more interesting than simply analyzing Altair based on one game.
Limbo doesn’t tell a story. Limbo is an impression.
Limbo is about childhood. Much of childhood is a form of limbo, a state that lacks a specific goal, something specific to accomplish.
This week we return to a conversation that Nick Dinicola and I had several years ago about physicality in video games.
We aren’t talking about how games test your reflexes, though. Instead, what we are interested in is how games simulate physical experiences and how those experiences add to our immersion in game worlds and heighten the drama in video game storytelling.
Stealth has never been a word associated with the Uncharted series. When I think about Nathan Drake’s adventures, I think more about spectacle and swashbuckling and stunning scenery. Yet Uncharted 4: A Thief’s End makes stealth combat just as viable, if not more so, than the typical running and gunning action of past games. It’s a surprising addition to the game, and it’s a surprisingly fun addition to the game, but it’s also, for me personally, kind of an unwelcome addition to the game.
// Moving Pixels
"Virginia manages to have an exposition dump without wordy exposition.READ the article