Search Results for “killing” – Page 9

May 6th

…space: it’s a multi-agent control problem with imperfect information (given the fog of war) and a large state space given the number of possible actions and world configurations”

God of War

People continue to talk about Kratos – this week, with more pointed criticism concerning his character depth.

“Killing Gods, Feeling Great,” by Reid McCarter – Bullet Points Monthly Reid McCarter argues that Kratos should not be taken at face value.
The Meaninglessness of Maturity in God of War | Unwinnable David Shimomura poetically critiques the underdeveloped moral frameworks undercutting the dadgame’s pursuit of…

May 13th

…method in videogame narrative that I haven’t seen discussed elsewhere – filter effects that change the tone or delivery of text!

Complexities

Two critics look at how accessibility is affected and represented by games.

killing a goldfish: magical capitalism Jesse Mason articulates some of the problems rooted in capitalist structures of production that blight Magic the Gathering.
‘Frostpunk’ Treats People With Disabilities As Complex Humans, Not Gimmicks – Waypoint Kevin Snow gestures towards videogame worldbuilding informed by disability activism.

“I want a scenario where the explicit goal is to build…

October 24th

…‘Medal of Ice Cream’ [mirror] advocating a more pragmatic attitude towards the FPS genre’s likelihood to convey meaningful messages. Davis argues, quite persuasively I think, that:

…we look too hard for insight in a genre that is fundamentally about pointing a gun at something and killing it; a genre defined by the immovable presence of a lethal weapon aimed at anything you happen to be looking at; a genre defined by the shooter, not the first-person.

Fraser Alison at RedKingsDream hits one out of the park this week with ‘The biggest problem facing the games industry’…

November 18th

…• Eurogamer.net Cian Maher touches upon Sean as a jumping-off point for a wider discussion of Irish stereotyping in games, as well as the quest for more authentic representation.

“A Good Man,” by Reid McCarter – Bullet Points Monthly Reid McCarter threads together fleeting moments of tenderness in a vast, messy, colonial hellscape.

“These horse interactions are the “hug button” or the “chat with demons” absent from lots of games primarily about killing people. At first, they seem like a minor quirk—Arthur is great at murdering, but he loves his horses!—but, over time, the system and…

November 25th

…shooters go under the microscope this week: one popular and rising, one old and forgotten.

Shooting without killing: the cozy cult of Nerf Arena Blast • Eurogamer.net Jennifer Allen, via foam darts, muses on the enduring, colourful charm of nonlethal shooters.
On Warframe and Late Capitalism – Historian On Games Seva excavates sharp statements about labour rights in Warframe‘s latest expansion.

“Not only does it dissect the rot of late stage capitalism by exposing how workers suffer under unchecked oppression, but it also reaches the only logical conclusion in the way it tells the

…

This Year In Videogame Blogging: 2018

…– Will Partin Will Partin goes down the rabbit hole of metagames and how Steam’s new digital card game works. In it he finds a rather cynical game whose economic metagame perverts whatever it could have hoped to be. It’s not any more exploitative than other card games, so much as it’s better at obfuscating it and becomes more insidious as a result.

magical capitalism | killing a goldfish – Jesse Mason Likewise, Jesse Mason, explains in extensive step-by-step detail how capitalism distorts the design of Magic: The Gathering which itself leads to the company grasping for top-down control…

God of War (2018)

…by Alex Navarro for GameSpot. Navarro talks at great length about this “ultimate anti-hero” who would “kill anybody” and has “no mercy for anyone”, and praises the game for how it doesn’t “take itself very seriously”. By the end, we are promised, “you are stoked to be killing the god of war”.

Writing for IGN, Ivan Sulic describes God of War 2005’s story as:

… so satisfying its culmination left me in a giddy stupor… an ever evolving, ever more breathtaking collage of brutish cutscenes and critical twists… If ever there were a more consistent, uncompromising

…

February 10th

…my lust for hunting, thanks to The Bear • Eurogamer.net Jennifer Allen puzzles out the dissonance between the emotional responses we have killing people in games versus hunting animals.

The Serenity Prayer and Rakuen – ZEAL – Medium Priya Sridhar guides us through grief, redemption, and acceptance in Rakuen.

“Rakuen is about accepting the things we cannot change, while asserting that our little actions make a difference. By this I mean we should take time to grieve when we fail, but also know that our actions aren’t futile in the face of a cruel, uncaring world….

April 28th

…for gaming with the increasingly-connected ecosystem that games inhabit.

“Gaming used to be my escape from the real world and a welcomed space of isolation from human interaction. Being called a whore by some twelve year old in Iowa because my fragmentation grenade ended their killing spree isn’t my idea of fun.”

Lost Artifacts

There’s a reason there’s such a loud and vocal call for more coordination in preserving the artifacts of the industry: games move fast, rapidly obsolesce themselves, and are all-too-frequently left behind. Three writers this week take different looks at the

…

Assassin’s Creed II

…you ever got to know the man under the white hood. Ezio is far more appealing, for he’s not just quick with a secret blade, but he’s a fully realized protagonist. He isn’t at the mercy of the plot, but rather, the narrative evolves from his need to uncover the truth behind his sorrows. It’s the personal nature of the narrative that makes Assassin’s Creed II‘s story more compelling than its predecessor’s.

Above all, AC fans loved Ezio. If Altaïr was a badass hood-wearing killing machine on a mission, Ezio gave the iconic (playable) assassin a face and…