The new episode of The Walking Dead suggests that, perhaps, we have less control over the outcomes of this game known now for its commitment to player choice. We consider this week what the impact of losing control is on the player’s experience.
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In many ways, 2012 seems to be shaping up as the year of the little game. While the holiday glut from the big publishers has yet to be seen, those games that build massive worlds to play around in have largely been absent from the shelves this year.
We decided this week to take a look at one of the few games of the summer that attempted to fill the open world void, United Front Games’s Sleeping Dogs.
When is a game a clone and when is it simply an example of a genre? In some sense, this is the question that begins our discussion of that ubiquitous example of the medium: the game clone.
From Torchlight to Saints Row and beyond, some games seem like a deliberate aping of intellectual properties that have gone before. What makes a clone a clone? And why do we sometimes really feel a kinship to clones despite their cloying adherence to a formula created by someone else?
Almost 10 years after its release, gamers are still talking about X-Com. This week, so are we.
The formula is simple, a turn-based strategy game mixed with an economic simulation. And yet, is there any other game that is quite like X-Com?
That is the question that we begin our discussion with.
Wolfenstein and Doom made them essential, but the shooter has been with us almost since the advent of the video game. Space Invaders, Contra, light gun games, the variations on how we can murder pixels on a screen seems nearly limitless.
Thia week the Moving Pixels podcast focuses on our obsession with this form of the video game and asks why we love this particular virtual activity so very dearly.
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