Chicago Express is a game of alliances. But they are not the kind of alliances made explicit through negotiation. Rather, they are the kind that naturally arise from shared interests.
Set at the height of railroad expansion through the Appalachians, Chicago Express is a challenging game of stocks and manipulation. Quick and heavily streamlined, its simple rules hide a tremendous amounth of depth and a degree of tension that it’s often missing from many other train games.
JRPGs were my favourite genre when I was a teen. I loved them all, from Chrono Trigger to Final Fantasy to more obscure series such as Shadow Hearts or Shin Megami Tensei. For a while, they were all I would play. To me, they were synonymous with gaming, a pillar of the medium.
Until one day, I stopped liking them. And never did again.
Since Magic: The Gathering‘s release in 1993 there have been hundreds of customizable card games. Covering different ideas, mechanics and themes the genre has gone far beyond its humble origins and grown increasingly diverse.
And I think one of the most interesting examples of this growth is the way different games handle card draw. Let’s give them a look.
It’s often said that critics enjoy writing negative reviews. At least, it’s a common stereotype of critics in media, which are often depicted as tearing up the protagonist’s work and enjoying every minute of it.
Of course, that’s a clear exaggeration. But still many people believe that critics have a particular liking for giving bad reviews or dishing out a rhetorical beating, perhaps because they are incapable of creating themselves or because they feel superior to the creators whose work they are reviewing. And I think that’s a belief worth discussing.