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Что такие отношения больше в insta---batmanapollo

August 1st

I missed this because I was away last week at the snow, making snowpeople and snow forts and having an all around great time: Tim Stone invents a fanciful interview with The Flight Sim Genre (yes, the genre personified) in which some telling truths and interesting things are discussed. For instance – why was the genre so popular in its heyday and what changed? What would it take to see a resurgence of aeronautical combat games? I recently went looking for a copy of a flight sim game I played in my early teens called A-10 Cuba! as I

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August 8th

…exceptions and no rules.

Kirk Hamilton of Gamer Melodico also wrote about Limbo this week, but focussed mainly on ‘That one puzzle in Limbo’ [mirror] which seemed to give everyone grief and uses it to launch into a discussion of how much can be expected of a gamer, and how much they are able to draw on the knowledge of a community. Is it safe to assume, for instance, that everyone has access to the internet & gamefaq’s?

Andrew Kauz at Destructoid also wrote about Limbo this week in piece titled, ‘Violence, mystery, and meaning in the…

August 15th

Since last week’s instalment, Justin Keverne completed his annotated walkthrough-meets-examination-meets-deconstruction of Deus Ex’s first level – Liberty Island. Weighing in at six lengthy parts, it’s very thorough.

Missed this one in the shuffle last week but it’s too brilliant to omit; Auntie Pixelante teaches us some level design lessons by way of Castlevania [dead link, no mirror available].

After Leigh Alexander’s expose about Activision discouraging its developers from taking creative risks and, in particular, having female protagonists, Dilyan Damyanov at the Split/Screen Co-Op blog writes in defence of the much maligned company, in a post titled “Activision’s

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August 22nd

…in a conversation with a friend. Garratt has an interesting back catalogue of posts you might also like to dip into, like say ‘The Metaphysics of the Instance’ [mirror] or ‘Springtime for Helghan: the story of a Killzone clan’ [mirror].

At Game Set Watch, Jamie Madigan writes about ‘The Psychology of Immersion’, a topic which has been getting a bit of a run again over the past few weeks. What sparks this reinterest in immersion?

Jorge Albor at the Experience Points blog looks at player autonomy, what constitutes autonomy, and what prerequisites exist for making autonomous informed decisions…

November 7th

…of menus may have driven the simplicity of its latest title.

Rob Zacny writes about the powerlessness he felt throughout the first half of BioShock 2 and how his experience in Siren Alley changed his perceptions through empowerment, allowing him to see the narrative through a different lens.

On Kotaku, Leigh Alexander talks about fusing the effort of doing work in real life with playing videogames and how games get us to do normally unfavorable tasks through instant feedback and charted progress.

Cruise Elroy steps into the wayback machine and takes a closer look (sans rose-tinted glasses)…

January 30th

…series takes on “Amnesia and Story Structure” talking mostly about three-act structure.

At Groping the Elephant, Justin Keverne returns to his long running series of map-analysis meets walkthrough ‘Groping the Map’. In this, the fourth instalment looking at the tenth level from Thief 2, Keverne uses his intimate knowledge of the game to tell us things like this:

What’s not visible from this rooftop is the doorway behind the servant, and the guard waiting in the room beyond. Exploration will provide an alternate means of entry into that very room, and this one encounter is an example

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February 6th

…ever important problem of financing to your lofty goal of killing the bad guy. Normally, this kind of stuff is meta-gamed into the process. Items cost money, so go out, kill some monsters and come back when you’re not a broke chump. In this instance, however, the game itself is demanding the money from you. The side-quests are no longer some half-assed walk into the woods, but a way to earn dough, to literally move the plot forward.

According to Matthew Breit, the ever growing list of ‘People Who Were A Game Designer Include Harold Ramis’. I’ll admit…

March 27th

…only exist for a few seconds at a time. You need to lower your flow barrier, learn to ignore distractions and technical errors, to focus in on fun gameplay instantly before it slips away. You need to spontaneously create a polished form of the game through imagination and mental tricks like making your own sound effects and storylines. All so you can snatch up those seeds and grow them until everyone on the team can see them.

Nicholas Geist at the Saved Games and Lost Lives blog writes about the idea of treating the “Reviews as a Lens”…

May 22nd

…excellent writing, in the form of interviews, reviews-slash-criticism, and some interesting regular columns. Tom Armitage has started one of these columns just this very week, called the Game Design of Everyday Things. The first instalment is about buttons. One of those review-slash-criticism piece, and for my money a great example of Procedural Rhetoric (to use Ian Bogost’s phrase) is J. Nicholas Geist’s just-interactive-enough review of the iOS game Infinity Blade (according to one editor: “Josh conceived, wrote, and built the thing”). Don’t forget to push the buttons.

At the also excellent Rock Paper Shotgun Jim Rossignol wants a sequel…

May 29th

…readability is concerned (it’s an academic paper, what do you expect?) but it looks like it might interest a section of our readership. An excerpt:

…a particularly notable advancement has been the development of what I will call transitional space, moments in videogame play that process and demarcate advancement toward the achievement of the games’ overriding goal, such as the movement from a preceding to a successive level. Transitional spaces are those moments between the playing of levels, instances in which the computer processes the player’s successful completion of a micro-level goal as the player advances toward a

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