‘Death Squared’ invites us to acknowledge and embrace the differences between ourselves and those we play with.
Player Unknown’s Battlegrounds demonstrates two of death’s redemptive values.
While ‘Arms’ is great fun, it is lacking in truly human moments.
The thrill of the rally is rooted in our mortality and yet death is absent in the sport’s greatest videogame.
Lost Odyssey testifies that to live is to love, and to love is to be vulnerable.
While games today keep trying to get closer, Tokyo 42 intentionally opts for a perspective that’s further away.
Sundered rewards the player’s attention to detail.
Just because E3 is a heartless celebration of capitalism that we’ve all been Jedi-mind-tricked into joining, doesn’t mean our nation’s largest videogame trade show doesn’t have its spiritual side.
In Outlast 2, religion is merely a prop for shocking the player’s sense of propriety.
RiME demonstrates that grief shouldn’t be suppressed or reveled in, but honestly and cathartically expressed.
Should games dealing with oppression require oppression to complete them?
Might playing roguelikes encourage a radically optimistic view of life?