Sequelitis - ZELDA: A Link to the Past vs. Ocarina of Time
Extra Credits - The Fighting Game Problem - How to Teach Complicated Mechanics
Design Club - Super Mario Bros: Level 1-1 - Game Analysis
Design Club - Portal: Test Chambers - Tutorial Mechanics
Design Club - Mark of the Ninja - Stealth Games and Visual Cues
Extra Credits - Choices vs Consequences - What Player Decisions Mean in Games https://www.youtube.com/watch?v=7iklM_djBeY
Let's Talk About Boring Upgrade Systems
Errant Signal - Civilization
Can We Ever Stop Toxic, Racist, & Abusive Gamers?? | Game/Show | PBS Digital Studios
Why Do People Do Sick and Twisted Things in DayZ? | Game/Show | PBS Digital Studios
Extra Credits - The Waiting Game - Why Weird Games Become Cult Hits
Why is SEX So Terrible in Videogames? | Game/Show | PBS Digital Studios
Zelda: Sales Numbers in Context
If “Rugby is a beastly game played by gentlemen and soccer is a gentleman's game played by beasts,” as the age-old sports quote playfully asserts, then Call of Duty is an adult game played by children and Super Smash Bros. is a children’s game played by adults.
Lovecraft’s protagonists are always men of learning, the brightest sparks of all that we have built; their understanding makes their fall so much the greater.
The terms used to illustrate this dark realization are many. The scholar Timothy Evans (in his essay “A Last Defense Against the Dark: Folklore, Horror, and the Uses of Tradition in the Works of H. P. Lovecraft”) describes the structure with reference to the tropes of a detective story, in that the Lovecraftian narrative “leads not to a solution (like a detective story), but to a realization of the illusory nature of truth and the unknowability of the cosmos.”
In this vein, Amnesia: The Dark Descent is an almost textbook Lovecraftian horror. The creeping darkness that hounds the cultured protagonist – remember, he is an archeologist – is a profoundly alien and horrifying presence.
But Amnesia: A Machine for Pigs is a very different beast.
What A Machine for Pigs presents us with is moral cosmic horror – that the universe, despite the walls and roof of laws and morals and the illusion of progress, is a ravenous and bloody place; that the world’s turning is predicated on suffering; that time and time again, despite whatever moral window-dressing we put up to improve the decor, we cannot bleach away fresh bloodstains.
A secret box is a game which is built around some form of content and challenge is trivial or absent. The emphasis is on conveying moments or ideas to the player rather than testing the player's abilities.
So screw your “walking simulators”. I've got a mountain of secret boxes over here that I'm anxious to explore.
Hollywood needs a love story. It’s hard to imagine a film like Her without one. But love stories assume not only that direct, sensual connections between beings is possible, but that such relations are our ultimate goal. Mountain imagines Her as if the film been titled It instead. It offers a subtler version of what a life attached to unfamiliar things might feel like. Not comfort or intimacy, but estrangement and confusion, mixed with curiosity and wonder. But most of all, while Her depicts a future on an alternate timeline we must struggle to believe, Mountain reminds us that we need not wait to commune with things. They’re everywhere, overwhelming us, sticking to us, piling up around us. And they are here not to save you, nor to destroy you. They are just here. What if that were enough?