Are you a Tap Trainee™? Follow my wonderful guide and I, Lucas Bert, shall show you the way into a magical world where you’ll no longer have to stumble through the App Store, playing games which are more in-app purchases than anything else. Indeed, I will point you through to the best games on iOS, and it will be a beautiful experience for all.
Well, Electronic Arts has announced that it’s no longer going to pay to licence guns and accessories from manufacturers. Gun control advocates cheered, and most gamers didn’t care. All in all, it wasn’t so much a careful step or public relations coup so much as it was a brief pause in a seemingly endless parade of stupidity. 
For those not in the know, EA licensed weapons from real-life manufacturers for use in Medal of Honor: Warfighter and other games. Now, aside from the ongoing debate in the US over gun rights, why does this matter? Well, for one thing, it’s the reason your games are expensive. Continue reading
It’s a well-known fact that publishers and developers have a simple if effective manner of dealing with discontent with their player bases: if they don’t say anything, eventually the ire will ebb away. Players will be distracted by other releases, placated by out-and-out bribes, or simply calm down and just be bitter. It’s not that these publishers and studio’s don’t deserve to be forgiven for things like Aliens: Colonial Marines, Diablo III and Duke Nukem Forever- they need to do things to earn that forgiveness, forever. If they don’t, players need to remember the actions of studios when making their next purchase.
So what does any of this have to do with one of the strangest, loudest communities in gaming?
This goes without saying, but heavy spoilers for Bioshock: Infinite. You have been warned.
When this is your protagonist’s biggest claim to fame…
Pictures are worth a thousand words, which means if we link two images, we basically don’t need to write one whole article, right? Which means if we posted a whole gallery, we could just stop working forever. This is beginning to sound appealing.
So, in the spirit of never working again, here’s Michelle’s excellent gallery of photos from Conpulsion 2013. Did her lens-shaped lens find you?
A lot of the debate at Conpulsion 2013 revolved around the future of tabletop gaming and RPGs and it was fitting that these debates should take place when Sam Richards was attending. Sam, you see, is in the perfect position to be considered an expert voice on the subject. He’s taken the traditional RPG format and merged it with Twitter to create Tweet RPG, the first RPG that was created for and is intrinsically entwined with social media. I managed to grab some time with Sam before he ran off into the Future of Gaming talk.
This article contains minor spoilers about Bioshock Infinite and Silent Hill 2.
It’s a disappointing time to be a fan of horror games. Those of use who grew up on frightening classics like Resident Evil, Silent Hill, Fatal Frame and Dead Space have watched our beloved franchises languish, morphing into boring, action-oriented shooters or devolving into uninspired, mundane fan service and schlock.
It’s been a while since I played a game that’s genuinely frightened me. I was ready to give up the ghost (pun very intended) and be content to have seen the heyday of horror gaming come and go.
There’s a warming sense of inclusion when you walk through the imposing front door of Teviot House. This weekend, the stately corridors forgo student life for the reverberation of d20 scattered on oaken tables. Hundreds of like-minded folk have come together in the pursuit of a common goal: the rampant acquisition not only of joy, but of experiences shared.
Bioshock Infinite is a game that plays with your expectations. Bad is good, up is down, and no one is quite what they appear. The game does a masterful job of it, as well.
Like the previous article Bioshock Infinite article, I’m going to have to insist that people who haven’t completed the game not read past the jump. Trust me, you’ll thank me in the end.
When the gramophone was first introduced to the public in the late 1800s, American composer and conductor John Philip Sousa had few good things to say about the new technology. He predicted:
“a marked deterioration in American music and musical taste, an interruption in the musical development of the country, and a host of other injuries to music in its artistic manifestation, by virtue – or rather by vice, – of the multiplication of the various music-producing machines.”
Sousa wasn’t the first or the last person to eye new technological advancements with suspicion. With each era there are usually critics who rush to nay-say whatever current innovation placed before them.
Radio was criticized as an unnecessary distraction, as was the telephone. The television was initially laughed off as unable to compete with radio. Arcade machines and home videogame consoles were derided as passing fads, brain-rotting children’s toys, and are blamed for everything from falling grades to mass shootings to this day.
