I watched the world flash by through the backseat window of a four-door sedan.
Shadow of the Colossus grasps how slowness and inaction can give rise to contemplation, perfectly underscoring the quietude of solitary travel and hardship.
Plenty of column inches and minutes of video will be allotted to cover this past PlayStation Experience (PSX) 2017, that is of no doubt.
Asemblance, part one of a planned anthology series from developer Nilo Studios, takes repressed memories as its central theme.
How does EA Black Box's final Need for Speed title, Need for Speed: The Run, stack up against the rest of the series, and the genre as a whole?
How Driver: San Francisco internalizes a pulpy crime story and infuses it with a surreal dream logic that frequently subverts videogame conventions.
Is the largely forgotten Wet worth a second look? Miguel Penabella considers the game in relation to grindhouse films and the phenomenon of the "B-game".
A study of the characters and lyrical themes of Kane & Lynch 2: Dog Days.
The aesthetic strategies of Kane & Lynch 2: Dog Days in expressing a documentarian style and commenting on our relation to images.
The Order: 1886 never really stood a chance on its release earlier this year. Miguel examines whether it received a raw deal critically, and if it deserves a Second Shot.
When stepping into one of the many taverns and inns in Skyrim, all I want for my protagonist is to retire to a comfortable corner of the room.
My dreams often consist of unpopulated, vaguely familiar spaces half-remembered and fading quickly from memory.
I once heard that videogames embody the very essence of noir storytelling, perfecting the genre’s constricting narrative voice.
Rumbling out of the dingy nightclubs and bars of a nocturnal New York City easing into the early 1980s, the no wave artistic scene offered a perversion of Debbie Harry and David Byrne, rebuking new wave music at large with a nihilistic criticism bordering on parody.
Lara Croft’s eyes shine in the bonfire, portending a hellish warpath to come.