THE CRITICS FOR GAMES IN 2017

Erik Twice, who wrote the best and most searching review of This War of Mine, is right that the audience for games has reasons to distrust critics which extend beyond personal bias. An article recently published on this site explained that suspicion of contrary opinions, deployed automatically by the gaming audience, is a result of that […]

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THE AUDIENCE FOR GAMES IN 2017

When criticism that is against consensus is inherently distrusted and favourable reviews of games are considered, uniformly, more honest; when contrary opinions are always suspected to be fake, and part of a self-satisyfing attempt by the writer to gain internet celebrity, get more hits and ultimately earn more money, then it is clear that videogames are over-commercialised, […]

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COLE PHELPS

A simple concept, still seemingly lost on the writers of videogames: if a character is to be interesting he needs to have flaws. And “flaws” meaning genuine flaws. Not flaws like Nathan Drake, who clumsily, endearingly bangs his head, or makes frightened noises whenever he performs some impossible feat of freehand climbing. Not flaws like […]

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THE LAST GUARDIAN

Without bravado or guns, and possessing occasional gentleness, The Last Guardian appeals to tastes beyond those held by the typical videogame audience. At the outset, it seems a powerful fascination. Put off by games’ pomposity? A fan of Spielberg, Miyazaki or Disney? Then try this. It is something different. But if The Last Guardian aesthetically, […]

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2016

The Politics of BioShock Infinite Are All the Worse When Revisited During a Heated Election Year There’s Always a Man: Jordan Thomas Discusses the Making of BioShock 2  The Making of Full Spectrum Warrior Why Video Games Love the Special Forces Why Max Payne 3 is Rockstar’s Best Game The Troubling Politics in Battlefield: Hardline […]

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LET IT DIE

A deliberately hard hack and slash game, even your characters’s stride, block and dodge animations in Let It Die look like they’ve come from Dark Souls. But Grasshopper Manufacture goes to such arduous lengths to explain the game to you, to outline how everything – and everyone – functions, that its absurdist aesthetic becomes redundant. […]

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