One world's too open, and one world is not open enough. Is there a middle ground, and if there is, should we even use it?
20 Jun 2011
The beginning of a game has to convince the player that it's worth playing, draw the player into the game's world, explain the game's mechanics, and do it all in a way that's not so slow and plodding that players give up before even getting to the meat of the game.
05 Jun 2011
The decision of who will be king is probably one of the more complex quests that the Grey Warden undertakes, and here's why.
28 Mar 2011
The game slyly informs the player of the pointlessness of their actions by making the motion to recharge Travis' beam sword a mimic of masturbation--another act that achieves nothing but a brief satisfaction and a mess that needs to be cleaned up afterwards.
14 Mar 2011
A look back at one of the most unique games of the last decade and its intriguing theme of mediation and the effect it can have on reality.
07 Mar 2011
Horror can be atmospheric rather than situational. Are abandoned tombs, inky black catacombs in which echo the shuffling, dragging footsteps of fleshy horrors, and the occasional giant mass of flesh, eyeballs, and tentacles glaring balefully at the player scary enough for you?
28 Feb 2011
The Necromorphs represent a level of posthuman development that extends far further than the protagonist of Dead Space is willing to go -- the point at which humanity is erased, allowing for the rise of the posthuman.
07 Feb 2011
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