By Michael A. Cunn... on February 13, 2013 - 4:25pm.
We Battle Together with Friends… but Why?
HIGH Replaying classic Final Fantasy moments with the accompanying soundtrack.
LOW Having to play the same tracks over and over to unlock new features.
WTF The nonsensical phrases characters say before a stage begins: "Friends, now we joke eternally in vain…"
By Peter Skerritt on February 11, 2013 - 5:35pm.
I've learned a few things after reading about what's happened during the DICE Summit and Awards event that's taken place this past week. The industry seems to be crying out desperately for maturity. David Cage (Heavy Rain, Beyond: Two Souls) says that games need to grow up. Warren Spector (Epic Mickey) says that games like Lollipop Chainsaw shouldn't be made. The industry wants more Journey and The Walking Dead experiences, as evidenced by these games winning 99.5% of the awards given out. The definition of "fun" is changing.
By Dylan Collins on January 25, 2013 - 9:13am.
We are reaching into the listener mail bag again! We learn Brad's favorite food, and what game is like Amelie...if Amelie could fly! Also, Special guest Christopher Floyd stops by to talk in his Irish accent. Oh yeah, we also talk about what we've been playing and have a lively discussion about the Steam Box! With Chi Kong Lui, Brad Gallaway, Mike Bracken, Richard "Sexiest Thumbs Alive" Naik, Special Guest Christopher Floyd and Dylan Collins.
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Please send feedback and mailbag questions to podcast (at) gamecritics (dot) com.
By Dale Weir on January 18, 2013 - 10:38am.
There is a surprising downside to video game demos. With fewer and fewer options available for those that might want to try a game before buying it, demos are the default option. But demos have the adverse effect of underselling a good game or demonstrating how bad a bad game really is. Understandably, many developers and publishers aren't willing to take that chance. Where does that leave us? The guys at Extra Credits take a look.
By Brad Gallaway on January 16, 2013 - 3:01pm.
So in the last post, you saw my top ten games of 2012. However, I think the last twelve months were fabulous for gaming overall. It seemed as though there were a neverending stream of titles that ranged from "pretty good" to "pretty great,"and I never had much trouble finding something that was worthwhile.
By Dale Weir on January 16, 2013 - 2:23pm.
Extra Credits comes with another interesting game design breakdown. It is, as they readily admit, a bit heavy in game theory, but being aware of this aspect of game creation can go a long way toward a gamer understanding how limiting our current genres actually are. We might also see how limited our game creators are and why some titles simply miss being that breakout hit.
By Brad Gallaway on January 12, 2013 - 9:00pm.
Without fail, every single person I've ever asked about Damnation said it was utter trash, but the box was so intriguing and the subject matter (Steampunk/Wild West/Civil War/Robots/Magic) was just too much up my alley to ignore. I think I got it for something like $4, and at the time that I picked it up, the clerk literally told me that I shouldn't buy it.
By Peter Skerritt on January 11, 2013 - 7:24pm.
When I think back to my 20-something self, during the 16-bit era, I remember how starved for video game information I was. We had monthly magazines to keep us in the loop back then, and information was relatively limited. "Oh, this game looks cool!" I would think to myself, but after reading a few paragraphs and seeing a couple of images, that was it.
By Dale Weir on January 11, 2013 - 6:20pm.
The guys at Extra Credits ask if the video game industry can move beyond games that are simply "fun." Where are the tragic gaming experiences that don't provide a happy ending? Where are the deep, thoughtful experiences that can't be summed up in a catchy subtitle on the box or communicated clearly via box art? We've seen this question pop up frequently during the last few years and we've even seen the creation of a category of games called "serious games" come out of that discussion. As the name implies, it includes games that provide gamers with something other than entertainment. We've also seen the indie games industry pick up the mantle and releasing promising experimental games across the various platforms.
But efforts like that do not reach the mainstream and Extra Credits argues that it is well past time for the industry as a whole to head in that direction. Without true breadth of content, games will never escape the children's plaything or disposable diversion stigma. An entertainment medium seen as having little to no value cannot fight censorship attacks as we are now seeing in the aftermath of the Sandy Hook massacre. The Obama Administration and Congress might not be so quick to act if there were anything more than grey military shooters and primary-colored wish fulfillment populating store shelves.
By Dale Weir on January 7, 2013 - 6:51am.
Extra Credits talks about hooking the player within the first five minutes. Honestly, this sounds like something all developers would understand to be necessary in capturing the attention of the average person. Television, movies, music, texting, the Internet and other games are all waiting to steal a consumer's attention (and dollars) should a game fail to immediately hook a gamer. But it's hard to argue that this isn't the case. Why else would we still hold up older games like God of War, BioShock and Call of Duty 4: Modern Warfare as examples of doing it right? Why else would so many great games languish on "To be Played Later" shelf and sit there long after the hardware they were made for has been discontinued?
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