A few weeks ago David Cage, head of game developer Quantic Dream and creative lead on fascinating-if-flawed games Fahrenheit (aka Indigo Prophecy) and Heavy Rain, gave a talk at the DICE summit in Vegas in which he lamented the games industry’s “Peter Pan syndrome” and unwillingness to mature as an art form/entertainment medium.
Though I’ve barely played past the first proper mission, I feel compelled to write about Dishonored. Or Dishonoured, to spell it correctly.
I’ve written enthusiastically about both Mass Effect and Mass Effect 2. Despite flaws, they were both games that fired my imagination and lingered in memory long after the end credits rolled.
If I were to boil down the essential ingredients of what makes me like a game to just two elements, it would be: 1. They need to be fun. Sounds obvious but it’s remarkable how many don’t achieve this. 2. They need to conjure an interesting world.
LA Noire is coming out on PC sometime soon, which means that PC devs will have the opportunity to experience the terror of being a generation behind the curve.
In narrative games, what comes first? The story, or the game?
Mass Effect 2 has a sub-plot so heinous, so wrong, that it very nearly derails the entire game. It won’t seem that way to everybody, though.
Bioshock 2’s release on Steam for pre-order has prompted mass outcry from its fans, as the game’s Digital Rights Management came under intense scrutiny in a 61-page thread on the game’s official forums.