It looks, feels and runs like a mobile game.
It's a game that isn't a game that's trying to be more than a game. And fails. Also Phil Fish made it.
Wherein I try to convince myself I'm as stealthy as a ninja as I reload my save for the 60th time.
This game made me realize that god is real, and he hates us all.
One of 2016's most financially successful games is an "indie" Harvest Moon... and about as badly designed as you'd expect.
A very educational game that teaches you the concept of false advertising, as well as the consequences of pre-ordering videogames. "Indie" messages strike back!
A thought-provoking and poignant narrative experience that fully explores what it means to smash a demon's skull with his own foot.
Another Jonathan Blow puzzler with also-ran mechanics, stupid story, pretentious "message", and decent graphics: only this time in 3D. You've been warned.
One of the prettiest videogames ever... but still a Final Fantasy.
The future of the adventure game is here.
Excellent stealth mechanics and a decent free-roaming implementation are marred by uneven mission design and the crappiest story ever in an MGS game. Play it but don't expect miracles.
Sprawling, bloated, offensively easy and worse than its predecessors, Witcher 3 is almost bad enough to have been made by Bethesda.
Just about as bad as any Bethesda game ever, and even slightly worse than its immediate predecessor, Fallout 4's lack of quality will not surprise anyone.
The problem is that neither Josh nor Recap offer any constructive criticism. The flaws they point out are there, but they say nothing about how to correct them, which really is the ultimate objective of criticism. Let's think about that then.
The "indie" scene continues its uncontested dominance of the walking-around-bland-environments simulator genre.
Somewhat inferior stealth and D-grade melodrama aside, this is a worthy sequel to 4A's franchise that targets graphics- and immersion whores.
A flawed but severely underrated addition to the venerable Biohazard saga that's great to co-op with a friend.
Insomnia: Toppling false idols since 2005.
What I am getting at is that adventure games sold themselves almost exclusively on the strengths of their aesthetics. The puzzles were merely there to detain you in the individual rooms for a little while so you could take the atmosphere in.
An expert fusion of Dead island, Mirror's Edge and Far Cry that provides an atmospheric, frenetic zombie experience not for the faint of heart.
Years behind schedule, leagues beneath S.T.A.L.K.E.R.
There are times when parts that aren't special come together to form a wonderful whole. This is the way in which Wanda is good to me, because when you break it down, a lot of it... just sucks.
PoE's creation was funded by nostalgia for the Baldur's Gate series and Planescape: Torment, but much of the work on it was done by the people who made Icewind Dale, and it shows.
Eventually, I grew tired of LoL, and most of the features I found attractive at first were the ones to blame.
...it is no exaggeration to say that Planetary Annihilation is more or less the first REAL real-time strategy game ever.
It boggles my mind as to how a game such as this can win an award labelled "Game of the Year".
Hotline Miami is the Super Meat Boy of overhead action games, with the same quicksave checkpoint pacing, except not as offensive aesthetically.
The result is a micro-universe full of possibilities that gradually opens up ... an enormous qualitative leap compared to the majority of the genre's representatives that had appeared before.
Taken as a whole I couldn't call it much more than a mess, but it's a mess just redeeming enough to be worth struggling through for the parts that shine.
The internet's definitive guide to the "independent" gaming scene.
Repetitive, boring, and hideous. A rubbish Flash game wrapped in edgy novelty.
I got 20 hours out of it, but I got to say that I doubt I'll play the game again, simply because the only "fun" lay in figuring out how the shallow, obfuscated mechanics work.
Gotta admit, initially I was positively surprised by how similar to the Souls games Lords of the Fallen actually felt.
Divinity: Original Sin is one of this year's big success stories — a rewarding, addictive and unapologetic hardcore WRPG brimming with complexity, mechanical depth and breadth of content.
Tatsuya Egawa's work, Magical Taluluto-kun, was one of Shounen Jump's standard series during the early nineties.
Every single element of this game is a grind for grinding's sake and it is terrible.
Here, give me your hand and let me sing to you the gospel for one of the best shooters ever made. It's my current 2014 Game of the Year.
I was really excited when this game was announced at E3. Following the demonstrations and interviews, it looked to be a fantastic game, but I had my doubts about their claims with the much touted political system. Turns out that I was right.
You've probably heard about all of the DLC, tie-ins, and technical nonsense that has been plaguing the launch. But even looking past those things, it's hard to find the silver lining here.
I can say that Lichdom: Battlemage has to be one of the most repetitive and unsatisfying games I have played in a long time.
Insomnia now has a Twitter feed serving sounds that bite from the world's leading videogame criticism and theory publication.
The highest level of immersion in art can indeed only be achieved when the player is motionless. So motion controls are by definition a dead-end, as it says in the title of the essay you've been reading.
In videogames, then, we want to AMPLIFY movement — that is our goal here. So that if I move my finger, Marcus Fenix cuts a Locust in half. We don't want to do the OPPOSITE, which is cut something in half in real life so that a few pixels on a screen will change color. How can you not see that that would be RETARDED?
As the completion of Alex Kierkegaard's Videogame Culture essays draws near, and the End of Videogame and Art Theory approaches, Insomnia inaugurates a space dedicated to those seeking answers to their remaining questions and clarifications.
What's extremely interesting, however... is that it's easier to believe in the reality of what your TV is showing, than in that of your computer game, even though the latter is, undoubtedly, a far more immersive medium than the former.
Because it's time we understood that emotions triggered by videogames can be so powerful that they become DANGEROUS to the person who's experiencing them.
Life is impoverished, it loses in interest, when the highest stake in the game of living, life itself, may not be risked.
Insomnia now has a Discord server. Drop by for a chat.
Sony knows you're losers. Microsoft knows. That's why they offer you wine coolers and women dressed like Lara Croft. Because you're fucking dorks.
Insomnia now has a Facebook page connecting the world's leading videogame criticism and theory publication with the world's leading hardcore gamers.
Wherein Planetary Annihilation's premier competitive event is compared with the one Alex Kierkegaard is designing, and some important insights into the nature of videogames and art are arrived at and examined.
In an astonishing turn of irony, Kickstarter has proved, beyond a shadow of a doubt, that MULTINATIONAL CORPORATIONS ROUTINELY RISK FAR MORE AND INNOVATE IMMEASURABLY MORE THAN A RAGTAG RABBLE COMPOSED OF SICK, RESENTFUL COMMUNIST CHANDALAS.
Imagine the following: you're playing Hitman, you've got the sniper rifle, and you're heading to snipe the mark before he gets into his limo, when you realise the clocktower doesn't have wheelchair access.
Play games with me if you want, or don't. Either way, I am on a mission here, and I am not willing to jeopardize it in order to protect anyone's fragile feelings.
It all boils down to one reason: democracy.
Changing the aesthetics does not change the "Politically Incorrect" mechanics. It doesn't matter how many niggers you slap in World of Warcraft, it'll never be Utopia.
Because functional autonomy is put before ergonomics; ease of use, before experience; the Machine, before the Game.
Jaffe doesn't get it, and this affliction runs deep for many developers (and devoted fans): reviews aren't objective. The single criterion upon which a game is to be judged is whether or not the judge likes it. End of story.
In short, there is no longer the hardcore game to attract the hardcore gamer; good games are usually popular now, and popular games are usually good.
And that's why Nintendo has become irrelevant today. NOT because they fell out of the hardware race, but because they fell out of the ARTISTIC one...
Once per cycle, internet nerds feel they have enough audience to declare themselves "done" with gaming, or "done" with a company, or some other bold, yet inconsequential, proclamation.
Alex Kierkegaard explains why Roosh's new gaming site will in the long run prove worthless, but why you should support it nevertheless.
And the bottom line of this essay and of our theory of videogames with regards to these categories of games and methods of playing games is that we are interested in neither META- nor MINI-gaming, we are interested in GAMING, and all the rest are for fagets.
Alex Kierkegaard delivers the first and last word you'll ever need to hear on this sorry (non-)issue.
The Wii accumulated the absolute worst library of any major videogame console in history. It demonstrably, empirically has the most wretched, unplayable, unwanted, unsold roster of bargain bin fodder ever to be compiled for a major home game system.
That people are extremely timid.
And in all seriousness, the question must be asked — for it is time we asked it — that if these creatures reject some of mankind's greatest achievements, the hopes and dreams that it is precisely art's purpose to represent and glorify — if they reject mankind's dreams — in what way exactly, can they be said to be human?
Your game criticism is extraordinary and (assuming the videogame industry does not destroy itself) will no doubt go down in history as the only thing worth reading.
The so-called "metagame", as referred to by "competitive" gamers (which is to say by aspies), is merely a form of cheating. It consists of trawling FAQs, message boards and YouTube channels to learn of strategies which you are supposed to be DEVISING ON YOUR OWN BY PLAYING THE ACTUAL GAME.
Insomnia now has a YouTube channel featuring highlights from the latest hardcore digital exploits of The Cult.
Insomnia now has a Steam Curator page representing 100% Cutting-Edge Hardcore Gaming among a sea of "indie" and "quirky" abortion-peddling pseuds and casuals. Follow us and help us fight the good fight.
Insomnia now has a Twitch channel streaming the latest hardcore digital exploits of The Cult.
Insomnia now has a Steam group which all current and past subscribers are welcome to join.
The issue therefore is not so much that videogames are art, but that ART IS VIDEOGAMES. Hahahaha. Ebert must be turning furiously in his grave right about now. But, thankfully for us, no amount of turning in a grave can change reality.
It's a good thing therefore that the future envisioned by Johnson, wherein every critic has been replaced by "FAQ writers and Let's Players" (p.7) who lack all courage for even the simplest "Yes" or "No", is an impossibility...
A series of first-person shooters that eschews the narrative, scripting and free-roaming advances introduced to the genre by such titles as Half-Life (1998), Medal of Honor (1999), Deus Ex (2000), Halo (2001), and the Call of Duty and Far Cry series, and carries on the tradition of Wolfenstein 3D and Doom of 100% pure, unadulterated, balls-to-the-wall in-your-face shooting action.
It was while "studying" for one of those fluff "interactive media" pseudo-degrees that universities are increasingly peddling to dumbass middle-class losers these days, that Jenova Chen and Kellee Santiago met and conceived their masterful scam...
Only the great writers succeed in painting these mechanisms faithfully, without falsifying them: we have here a system of relationships that paradoxically, or rather not paradoxically at all, has less variability the greater a writer is.
Definition: Subgenre of the on-rails shooting genre in which the player fires his avatar's weapon by pointing at the screen an input device typically modeled on a ballistic weapon.
Definition: Subgenre of the turn-based tactics genre in which the player controls, among perhaps other units, several unique characters who persist and level throughout the game.
HFD says: Don't throw away games if you're losing.
Because dying is good.
Compiled by Alex "icycalm" Kierkegaard with help from the members of the Shoryuken forums community.
Compiled by Craig "BulletMagnet" Gabrielsen with help from the members of the Shmups forums community.
January 24: Biohazard 7: Resident Evil
February 7: Nioh
February 14: For Honor
February 21: Halo Wars 2
February 23: Nier: Automata
February 28: Torment: Tides of Numenera
March 3: Zelda: Breath of the Wild
March 7: Ghost Recon Wildlands
Fall 2017: Red Dead Redemption 2
Late 2017: Divinity: Original Sin 2
TBA 2017: Ace Combat 7
TBA 2019: Wasteland 3
TBA: Project Octopath Traveler
TBA: Spider-Man PS4 (Working title)
TBA: The Universim
Metal Gear Solid V: Ground Zeroes
Divinity: Original Sin
Dead Rising 3
Assassin's Creed IV: Black Flag
Wolfenstein: The New Order
Guilty Gear Xrd -SIGN-
Yaiba: Ninja Gaiden Z
Ryse: Son of Rome
Killzone Shadow Fall
Forza Motorsport 5
Age of Wonders III
Infamous Second Son