Like war, games are by nature centrally about conflict. The player has chosen to antagonize himself or herself for the sake of feeling the pleasure of conquering the game, which makes you not Snake, but Big Boss.
From an aesthetic perspective, Pikmin 3 is everything that a Nintendo game aspires to be and more. Yet, it completely misses the fact that combining cute, sympathetic characters and mass murder can be a little off putting.
The Great Giana Sisters might have been created to capitalize on the voracious popularity of Mario, but that was then. Now it seems like the fabled plumber could learn a few things from his one-time disciples.
Ice Climber is the game that I might rank as my favorite game that lacked an end-goal, that created an arcade-like experience in which the player kept climbing for the sake of climbing and for, of course, the sake of points. Though that was not the only reason that one climbed.
For a long time, Nintendo has been an 800-pound gorilla of a business influenced by whimsical artists and run by proudly stubborn businessmen. David Sheff's work proves that Nintendo has exerted considerable influence over the medium's history, and the subsequent years have shown that the company will continue to do so for many years to come.
Granted, Link does “hiyah,” “eyah,” and “ahh” his way through all of his post-64-bit adventures, but no amount of elfish interjections can change his status as a silent protagonist. Is a failure to communicate much, a failure to communicate?
Sometimes, rarely, a work is so good (so well-conceived, so well-executed) that it simply breaks our traditional expectations of comics literature. And this breaking allows us to glimpse the true, rare promise of what the industry can achieve. Davids Lapham and Aja's Wolverine: Debt of Death is this work.