“You’re crunching to death. You’re working all of these hours and you’re missing your deadlines. And then in addition to that, you’re being told to add these things in the game. It’s really frustrating because you’re just like, ‘I can’t work anymore’ and it’s like, ‘Why are we adding things? Why not make things fun that we already have?’” says Dubrofsky.”
Read my full story on Lair’s development at Polygon
“There’s an authenticity in rotating courtside banners and between-play chatter by the announcers, changing as the year moves on with new sponsors cycling in. The insistence on using Virtual Currency (VC) for everything compounds the issue, though. NBA 2K18 wants you to drink Gatorade, but it’s also interested in getting you to spend more real money in the game.”
Read my full review of NBA 2K18 at Polygon
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.
Read my full feature on Uncharted 4 on Playboy
“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.”
Read my feature on MLB: The Show 16 via Playboy
“Video games are treated as nothing more than a pop culture anomaly in Pixels. Played by nerds, played by geeks – the archetypes are decades out of place. Between the anachronisms of the portrayed games and the perpetual cycle of self-depreciation, Pixels’ goal is only to use video games as far as their failed public perception allows. It’s a cynical, cruel, sophomoric, sexist, and demeaning film.”
Read my full Blu-ray review of Pixels at DoBlu
“Unlike his theatrical progenitor, who punches indefensible Nazis in the early days of WWII, Nathan Drake ceaselessly murders those in a contemporary time. Between three games, the number rises to over a thousand lives ended in a search for wealth or personal gain. Drake shoots, people die. It’s normal to him. Rational concern is discarded for complacency. Uncharted refuses to provide necessary context. In all of the series’ well-groomed, brain-at-the-door entertainment spectacles, killing exists because it’s what video games do…
… Reality is often too difficult for this medium to confront. Then again, Uncharted’s goofiness may not be the proper discussion space. In three games – four counting the Vita’s Golden Abyss – Uncharted never addresses Drake’s special ops-esque gun use. He’s American. Apparently it comes natural at birth.”
Read my full review of Uncharted: The Nathan Drake Collection at GameSkinny
“Project Root’s world is a mixture of biological and mechanical. Its scenery is dotted with forests, which are interrupted by cavernous pits of machinery laid inground by Prometheus Corporation. The planet, it seems, is dying by their hand. There are no homes. No people. No activity other than pockets of resistance and bullets of many colors swirling across the air.
Prometheus Corp owns the Earth in 2068. How they gained their financial power is unclear. There is no one left to buy their materials anymore, let alone a stock market to support their girth. They exist to create weaponry for protection against their feisty rebel opponents, who named themselves Arcturus. These warring factions are the sole signs of intelligent life.”
Read my full review of Project Root at GameSkinny