I've historically been an enjoyer of post-apocalyptic media, but as our actual times threaten to become as dystopian as our fiction, I'm finding it a bit
There are certain crystalizing moments that drown out all of life’s other tiny cacophonies to reveal essential truths. These arrive thunderously, yet the effect is akin to standing in
Everybody makes mistakes. Admittedly, the GDC trailer for ARK: Aquatica, a new undersea DLC for decade-old survival behemoth ARK: Survival Evolved, is a pretty big one. The one-minute reel depicts
Assassin's Creed Shadows is gorgeous, but does it succeed in the narrative it’s trying to tell? And how does it balance historical accuracy with having a good time? On the latest episode of Aftermath Hours, we talk about it.
In Assassin's Creed Shadows nature is, for lack of a better word, dense. This is not just a problem that games set in Japan have; it’s a problem that open world games set in nature have on the whole. Forests do not feel like forests, they feel like video game forests.
Today at the Game Developers Conference in San Francisco, Communications Workers of America (CWA) – the union that represents over 2,000 workers across companies like Microsoft, Activision, Bethesda, and Zenimax
Few series continue to influence entire industries three decades down the line – fewer still if we’re talking about relatively obscure Japanese role-playing games. Suikoden, however, fits that bill. The
As far as statements of intent go, it’s hard to make a more definitive one than what the Trump administration has done to Columbia student Mahmoud Khalil: snatching a
Saudi Arabia, a human rights abuse factory covered in signs that say “But wait, no, look over there,” continues to treat video games as the latest extension of a reputation-laundering
