There’s a normal life to consider. This is where Drake resides during his time off. Reaching near death in the deserts of Uncharted 3 must have slowed his adventurous sense, forcing him to reconsider what matters. He now dives for treasure as part of a salvage company. A video game protagonist with a playable day job—how odd. The Mario Bros. may be plumbers, but they’ve never unclogged a residential toilet in-game.
“Sony’s San Diego Studio has been working on The Show since 2006; they’ve spent years building up these details. Their organic approach to sports simulations is unparalleled, enough to oust their rival 2K Sports from the world baseball games entirely as of 2013. San Diego Studio’s baseball has matured into an unpredictable, dicey, and irregular sim. Otherwise, this wouldn’t be baseball. 2K couldn’t catch up, so they dropped out.”
“Few will consider Devil’s Third a landmark. It’s a real world anachronism, beginning development in the late 2010s, looking and playing as if it’s from ten years earlier than that, and not coming out until 2015. Storytelling rolls out as if a parody of Itagaki’s style: ninja warriors at the government’s employ, the essence of a spaghetti western, lots of bad guy Russians, and the fantastical involvement of political subtexts such as Guantanamo Bay.”
In the after effects, Room explores the morbid curiosity which follows – lawyers, gawking neighbors, and media. It’s about how families reject and react, but without any sensible means of dealing with such unfathomable trauma. Relationships tear, mental health deteriorates. And yet, perspective does not change – there is Jack staring on, simply trying to cope. His blank stares are debilitating.”
“A vocal computer AI calls out bad people as targets. Markers aim predominantly at people in hoodies, UbiSoft socially blind to the real world stigmas they’re perpetuating. Then they make The Division’s government-led vigilantes equally villainous. Men in hoodies are killed for looting dead bodies; Division members loot their victim’s corpses. No one comments on the ethical paradox.”
“Garden Warfare’s sequel is $60, runs on the technical background of EA’s multi-million dollar Battlefield series, needs a $300 console or super charged gaming PC, and has no tutorial. After five hours of play, it’s still unclear what Garden Warfare 2’s stars are for. Being connected online for a thin solo campaign, you cannot pause – you play when EA says you can. You can’t play on your bathroom break because you’re not allowed a bathroom break.
This is PopCap’s output now.”
“Attendees such as the cosplayer skew younger, but generations can be equal. A child next to me in Toledo, 11 years old at the most, was lost in his own head trying to stay interested in Castlevania tracks from the ’80s. He failed and skimmed the free program they handed out at the door. An elderly gentleman on the deck below never moved, stood, or clapped, seemingly confounded by the laser lights, fog machine, and special guest metal rocker “Viking Jesus.”
Note these specific instances were visible solely for their inaction in a sea of action. Those who get it—and to be clear, it’s a staggering majority of the near 1700 seated in Toledo—are as jazzed as Tallarico. They’re hollering, they’re clapping, they’re screaming, they’re yelling for songs. An even younger child below the balcony section sent his hand into the air and head banged through a heavy metal rendition of Pokemon.”