Part parody, part loving homage to the Silver Age of comic books, Freedom Force was the best superhero video game that we played before the advent of Arkham. This episode, the Moving Pixels podcast turns back the clock to revisit a title by Irrational Games that really holds up despite its age.
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Last week our podcast crew had all only gotten started playing through Mass Effect 3, so the three of us got together to discuss our initial impressions of the game as well as how we have played through the trilogy.
So, this week’s podcast concerns our sense of the significance of how the ability to carry over story data from one game to the next affects the way we play the game and how much control we assert over getting “our” Mass Effect experience just right.
Stoic lone gunmen? Check.
Delicate and sensitive female healer? Check.
Rogue with a heart of gold? Check.
Video games, like most media, draw on some fairly stock types to build their characters. However, since so much of games’ plots and characterization just feel tacked on in spots, sometimes these stock types remain just that—never given the opportunity to grow as characters that we can relate to or representing ideas that we might, likewise, relate to.
Archetypal characters and stereotypical ones populate games, and it may be a fine line that developers walk between characters that personify an idea and characters that are merely simplistic placeholders for more legitimately developed ideas.
Theology, horror, and an old school console aesthetic combine in Edmund McMillen and Florian Himsl’s The Binding of Isaac.
Nick Dinicola and G. Christopher Williams return from Isaac’s basement with stories to tell and more than one observation about this troubling, provocative, and madly additictive roguelike shooter.
This week the Moving Pixels podcast is joined by former Digital Cowboy and current host of the Digital Gonzo podcast Alex Shaw to discuss the changing face of the gamer.
When a game full of dungeons and dragons can sell to the tune of hundreds of millions of dollars on release (yes, we’re looking at you, Skyrim), it seems that what was once perceived as a hobby for freaks and geeks may “belong” to a slightly broader slice of the general culture than it used to. We consider generational shifts in attitudes towards gamers, the advent of social gaming, and the inclusivity and exclusivity that gaming as a past time may or may not have come to represent as a cultural practice as we have moved into the twenty-first century.