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Thursday, Apr 17, 2014
The Stick of Truth represents the best of what South Park offers: satire with sincerity.

When I’m looking to encapsulate a game’s tone and its own treatment of its subject matter, I listen to its music. For example, Skyrim takes its high fantasy very seriously. Forged iron, arcane magic, and fearsome dragons rule the land and are treated with respect. It is an earnest world of sword and sorcery that treats all our D&D fantasies with the reverence that we secretly harbor. Just listen to its theme:


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Wednesday, Apr 16, 2014
The Blind Swordsman at first might seem like madness, a video game without an essential component of the video game, the video part.

When I was 10-years-old, I fell in love with an issue of G.I. Joe called “Silent Interlude.”


It wasn’t love at first sight.


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Tuesday, Apr 15, 2014
It is valuable sometimes to look at something broken to see how well it could work.

The more that I approach games critically, the less interested that I am in distinguishing good games from bad ones. A major complaint of the last console generation is that games cost too much to develop and that they cost too much to play (Chris Kohler, “Videogames Can’t Afford to Cost This Much”, Wired, 13 April 2012), and there’s no reason to believe that that trend will slow down. Under such circumstances, making a bad game is an unacceptable risk. But with the last console generation winding down and the next one’s library not yet fleshed out, audiences seem somewhat more receptive to what “bad” games can teach. Speaking as somebody who’ is always at least a year behind, it’s refreshing that the previous console generation has wound down and the new one has yet to pick up momentum. It has become a time to explore failures.


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Monday, Apr 14, 2014
This week we play a few hands of Blizzard's collectible card game, Hearthstone, while considering its place in the free-to-play gaming landscape.

Another day, another free-to-play release, but this one has been launched by a developer with a long history of bringing virtual addiction to the masses.


This week we play a few hands of Blizzard’s collectible card game, Hearthstone, while considering its place in the free-to-play gaming landscape.


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Text:AAA
Friday, Apr 11, 2014
The template of Dark Souls is more sustainable in the long run as an action/horror franchise.

Years ago I wrote about how Demon’s Souls represented the future of survival horror because of how it evoked the same sense of helplessness as that common video game subgenre, but in the context of an action game. I wrote that after playing the game for several hours, but not getting very far into it that I still hadn’t gotten comfortable with the world. Now, after having put days into both Dark Souls games, I realize that I was ignoring how empowering the action can be and how it is that empowerment that drives you to confront the horrors of the game. Dark Souls (and by extension Demon’s Souls) is still a great survival horror game, but it’s also a great action game. It succeeds at both genres because it doesn’t try to mix the two. Instead, Dark Souls uses a much maligned trick of level design to give each genre its time to shine.


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