As you probably know, Microsoft's Project Natal and Sony's Arc (rumored name) face inevitable launch this Fall. Given the Wii's extraordinary success bringing affordable motion controls into the family market (using cheap airbag-style accelerometers, no less), it's easy to see why Microsoft and Sony are putting so much time and money into creating the "next generation" of 1:1 motion controls. But did either company ever stop to think whether these peripherals are really going to change the way consumers view their products? And have consumers figured out what exactly motion controls add to the gaming experience?
Since my copy of Mass Effect 2 will be arriving in approximately 2 days (no same-day shipping? Bah!) I'm not playing anything lengthy or substantial... everything stops when the game gets here, so I'm keeping my slate is clean as it can be.
Perhaps you've seen Sega's recent commercial for the game Bayonetta?
It's an oddly subdued (well, considering the subject) and classy commercial for such a bombastic game, and what helps it to achieve this effect is the music playing in the background: Skream's "Let's Get Ravey" Mix of La Roux's "In for the Kill."
I love game commercials. They usually represent everything BUT the game that is being sold, and this eerie accompaniment is no exception. The real Bayonetta includes an earful of bizarre J-pop.
EA's Dante's Inferno started a Hollywood bidding war before it was even announced. Now, it's not only being adapted as a live-action film for the big screen, it's getting an animated feature as well. That's pretty impressive for a brand new IP…
This anime tie-in to EA's forthcoming God of War clone marks the second time in recent years that the company has taken a game title and released an ancillary cartoon in an attempt to drum up extra interest. They also did it in 2008 with Dead Space: Downfall (an animated prequel to the main game) and that turned out fairly well.
Unlike Downfall, Dante's Inferno doesn't appear to be a prequel, but instead is simply an animated version of the game's narrative. Despite my general disinterest in all things anime, this title has piqued my curiosity with its mixture of melodrama and violent death. If nothing else, it should serve as a pleasing appetizer to tide us all over until the Dante's Inferno feature film (already in pre-production) eventually releases.
The animated feature is set to make its DVD debut on February 9th—and in preparation, here's the new clip.
We're back! Our first show of 2010 offers looks at Divinity II: Ego Draconis and the Star Trek Online beta. Plus, we answer your letters about adventure games, lazy developers, insta-DLC, and games of the (last) decade. With Chi Kong Lui, Brad Gallaway, Mike Bracken, and Tim "Not Roy Scheider" Spaeth.
Imagine selling lightning in a bottle. It's a curious and somewhat paradoxical image, isn't it? Our heads can't quite wrap around the idea of packaging the intangible... of owning a fleeting moment in time that leaves behind nothing when it is gone. That's because lightning isn't an object. It's an idea. It's the way our eyes and minds make sense of natural phenomena, ionic polarization and discharge in the atmosphere. These phenomena exist in physical space, in our reality, but the visual impact of their interaction—the brilliant ghost image left in our heads, the multi-veined concept we call "lightning"—doesn't exist as we perceive it. Yet it exists for us.
How many lucky souls get the chance to do what they love for a living?
I love to teach. I love to write. And now I know for certain that I love to teach and write about video games. Teaching a Writing about Popular Culture course this past semester gave me my first taste of what it would be like to engage students on a topic that is truly meaningful to me, not just as a hobby, but as an intellectual interest and lifelong pursuit.
That guy with the earthquake move. The ice thing. The stupid jerkface that won't hold still. Whatever their form, bosses have been a part of gaming since the early days of Atari. Personally I've always been a sucker for boss battles-they can very heavily influence my opinion of a given game. However, based on many games I've spent time with recently, Tim's question from the most recent podcast (mentioned around the 39:00 mark) is a valid one-do they even make good boss battles anymore?
It's been suggested by critic emeritus Gene Park, staff critic Matthew Kaplan and others outside of the GC community, that adding more interactive choices/decisions to the popular PlayStation 3 title, Uncharted 2: Among Thieves, would change the very thrill-ride nature and universal appeal of its gameplay. The argument is that the inclusion of such choice would result in something that was "not the point of the game".
Gene insists that: "...I've followed the game's development through media and it's been said time and time again (even in the game's in-game documentary) that the purpose of the game was never going to be about player choice, but providing the same experience for all players."
I disagree with this logic of thought for multiple reasons.
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