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Spec-Ops: The Line has been critically lauded as a game that takes a hard, self-aware look at the shooter genre. But all good shooters are self-aware. It's how they're able to distill conflict into something fun that matters.
14 Jan 2013
Modelled after the introversion of the comics on which it’s based, The Walking Dead tries to deal more with exploring the human condition rather than bathing in the fantasy of a zombie apocalypse.
10 Oct 2012
Developers of games like Heavy Rain, Mass Effect, and Fallout 3 take pride in their ability to provide players with the experience of deciding for themselves exactly how plot lines will develop in their games. So why are we gamers fixated on the idea of making and playing such games?
07 May 2012
Mass Effect has always had trouble presenting its morality system to players -- that is, until Mass Effect 3.
05 Apr 2012
The podcast draws its own conclusions about the controversial conclusion of Bioware's epic trilogy.
01 Apr 2012
With the ability to carry over story data from one game to the next, we consider how this system in Mass Effect affects the way we play the game and how much control we assert over getting "our" Mass Effect experience just right.
25 Mar 2012
The insensibly repetitious nature of romance present in both video game plots and in their mechanics leads to all too familiar storytelling.
24 Oct 2011
Perhaps in this age of serialized television, franchise-driven films, and transmedia everything, the very idea of a stand-alone product is antiquated.
22 Sep 2011
Maybe David Cage of Quantic Dreams had the right idea when he suggested people play through Heavy Rain one time only. After all, you can’t recognize the inconsistency of branching plots if you only see one of them.
01 Sep 2011
Watching becomes a rather central and active occupation in most games and very often requires more time than “doing something”.
21 Jun 2011
The ways gamers customize their gameplay and then document that play has the potential to significantly affect how certain titles and their surrounding culture of players are perceived.
03 May 2011
Arrival demonstrates an almost appalling similarity to American media, not just in the way that we create our own enemies, but in how we manage to disregard the ensuing violence as the Other's doing, surely not our own.
05 Apr 2011
L.B. Jeffries continues the Zarathustran Analytics series, putting together his pillars of game design and calling for sense in classification.
05 May 2008
L.B. Jeffries kicks off his ambitious series on the state of gaming with the question of how a game can develop its own unique identity.
07 Apr 2008
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