A few months ago it was announced that Austin Wintory’s soundtrack for the spectacular game Journey for the PSN has been nominated for the Grammy for “best soundtrack for a visual media.”
Now I know this is old news, it was announced as long ago as November, but I’d like to touch on just how big a deal this is for not only Mr. Wintory himself but for the video game medium as a whole. Read the rest of this entry
I’ve spent hours trying to figure out what makes Dark Souls such an engrossing game, trying to find out what new feature utilized by the people of From Software that created a game so difficult, yet so inherently rewarding that its garnered a cult fanbase devoted to subjecting themselves to the murderous rampage of this game playthrough after playthrough after playthrough. Strange thing was, every aspect I explored was met with examples that already existed in other games. Simple controls, flexible battle system, cooperative gameplay, an immersive world to explore, and the incredible difficultly that has become an internet fad with games like Super Meat Boy, I Wanna Be the Guy, and Splosionman.
Get the sand out of your eyes, two new downloadable titles are coming to PS3 and XBox this year and are must plays for anyone looking for wide open worlds to explore.
Limbo has been out over a year now so there’s little reason to review it for its entertainment value. Besides, there are plenty of websites that’ll give you a score or grade for you to evaluate if that’s what you’re looking for. Instead, I’m going to try and explore what Limbo seems to say from a creative standpoint. You’ll never see a number or letter judging a game here so if that’s all you’re interested in you best try elsewhere. This is the exploration of gaming as an art form, so if that interests you read on. However, in order to be able to fully explore Limbo, I need to be able to discuss portions of it uncensored. So consider this your spoiler warning.