Chess is in an odd place, critically speaking. It’s seen as the best game ever made by a general public that plays few other games and doesn’t see the medium as having any cultural significance and yet it’s barely acknowledged by those that do. But Chess…Chess is a game like any other and doesn’t gain from blind praise nor obscurantism. It should not be taken for granted, but talked about, contextualized and compared. How does it work? What makes it different from other strategy games? Why is it good? Continue reading »
You have the power to travel through time.
How you got this power doesn’t matter. It could be the strange pocket watch you found at a mysterious antique shop or a magical diary or even the high-tech phone application your mad scientist father created. However it might be, what matters is that you’ve been using it; travelling back in time to prevent the tragedies that are increasingly involved with your life.
Because this time, someone, somewhere, is behind them. And they keep happening.
Overwatch is derivative, but fun. As a shooter it’s best described as a hodpodge collection of best hits, a melange of concepts from League of Legends, Team Fortress 2 and Call of Duty 4: Modern Warfare mixed, rekindled and polished. It’s perhaps a game whose main fault is being “good enough” yet also worthwhile for exactly that reason.
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I don’t trust game journalism.
I never have. By the time that shameful picture of Geoff Keighley surrounded by Doritos advertisments and reading lines for a commercial spread like wildfire two years ago, I was so desensitized by similar events that I barely reacted to it.
I was already tired of game journalists being flown to five star resorts or being pressured to the point of firing to give games a different score. Seeing another well-known figure sell his integrity on live TV was not so much a turning point as it was additional proof that something was rotten in game journalism.
This War of Mine is an insult. Implicitely set during the Siege of Sarajevo, it turns a still-fresh tragedy into little more than window dressing for a generic game of “survival”. Its uncaring depiction of civilian life during armed conflict trivializes the horrors of the Bosnian war and its shallow, nihilistic sense of morality not only makes the game uninteresting to play, but results in unintentional whitewashing.