Tuesday, March 31, 2015

War Has Changed
Review
Valiant Hearts: The Great War, Ubisoft (PS4)

Abstract: Valiant Hearts: The Great War is a fantastic side-scrolling puzzle adventure game. The game explores love and loss during World War I in a story that follows four protagonists through the brutal first years of the conflict. The team at Ubisoft Montpellier shows a great respect and knowledge for WWI, which permeates every element of this beautiful game. Valiant Hearts’s simple gameplay left me with some mixed emotions and a little more could have been done to improve the story. That said, Valiant Hearts is still a powerful game in which I connected with the characters, learned a little about WWI, and left feeling totally satisfied. I recommend checking it out.

As with all my video game reviews, I would like to run you guys through the history leading up to my acquisition, and play through, of Ubisoft’s Valiant Hearts: The Great War. During the late spring and early summer of 2014 Ubisoft released a pair of downloadable titles, each created by a small team within the development studio. The first of these was Child of Light, a 2D sidescrolling role-playing game (RPG) with a beautiful children’s storybook aesthetic and plot. Child of Light paid homage to some of the best RPGs of the 90’s, with excellent turn-based combat, a likable cast of party characters, and some fantastic music. In many ways Child of Light pared down the often grind-heavy RPG experience, creating a delightful 15-hour fantasy romp. Child of Light just barely missed the cut for The Impact Factor’s Top 5 Games of the Year in 2014. Needless to say, I really liked it. The second of these two smaller games was Valiant Hearts. Unlike Child of Light, which came out during a slow point for new game releases, Valiant Hearts came out during the summer when I was busy with a lot of different games. Just like I wrote about in my review for Rayman Legends, as more games came out, Valiant Hearts unfortunately fell further and further down my backlog. My patience was rewarded once again, though, and this time it took the form of Valiant Hearts being released as a complimentary PlayStation Plus game. Score. Game in (digital) hand, I was so happy to finally take the time and jump in.

I was initially attracted to Child of Light because I am a big fan of the RPG genre. In much the same way, I was interested in picking up Valiant Hearts because a handful of games have recently reignited my infatuation with adventure games. I’m not sure you have noticed a trend by this point, but I cannot get enough of the genre. Telltale has been making extraordinary adventure games recently, from The Walking Dead to Tales from the Borderlands to The Wolf Among Us. I also excitedly picked up, played, and reviewed the remastered version of an old school adventure game, Grim Fandango. I really enjoy the ways in which adventure games allow for deep character exploration and stories in which the player is so intimately involved.  Valiant Hearts looked to do something new and fun with the genre, set within a compelling world.

Valiant Hearts: The Great War, created by Ubisoft Montpellier and released for PS4 in June 2014, is a side-scrolling adventure puzzle game. The game takes place during World War I, set in the highly contested boundary between France and Germany. You follow the story of four characters (and a dog, Walt) as they are thrust into the brutal conflict of the Great War. The game is split between these four perspectives: Karl, a German citizen deported from France at war’s onset separating him from his wife and son, Emile, father-in-law to Karl who is recruited into the French army, Freddie, an American fighting for France after the tragic loss of his wife at the start of the conflict, and Anna, a Belgian student who serves as a battlefield nurse. Each of these characters is likable and distinct, creating a compelling narrative that moves briskly throughout the roughly 8-hour experience. Their stories are all interconnected, creating a narrative that weaves several moving parts into one cohesive narrative. Central to the story are the themes of camaraderie, love, and the sacrifices so many endured during WWI. The events of Valiant Hearts were inspired by actual letters written during the war, which gives this great sense of authenticity to the story it presents. Valiant Hearts has some great set pieces and moving emotional moments, and I connected with the characters and the story in a way I never expected.
The cast of Valiant Hearts. Left to right: Emile, Anna, Freddy, (Walt) and Karl.
I want to take time to commend the team at Ubisoft Montpellier for creating a game set during WWI. We have had so many titles that focus on the events of World War II and perhaps even more set during “modern” warfare, but only a precious few set during the Great War. This is of course generally reflective of our society, as I can remember covering WWII in school in a much greater extent than WWI. Having taken the time on my own to learn about WWI, I really appreciated the motifs and historical moments represented in Valiant Hearts. One of the most significant takeaways for the entire world following WWI was that war had changed. Essentially every major European military conflict prior to WWI was fought using Napoleonic tactics. This style of warfare involved placing large regiments of infantry onto the battlefield who move in lines, rush towards the enemy, and fight in close quarter skirmishes. Horse-mounted cavalry units were used charge into groups of soldiers to break ranks, flank enemies, or secure a strategic position on the battlefield. With the advent of new and devastating tools of war, like mounted machine guns, bomb-dropping airplanes, and chemical agents, the early years of WWI were a massacre. Charging infantry were no match for machine gunners, who mowed down hundreds upon hundreds of soldiers in a single belt of ammunition. Each side had to adapt to the new style of warfare, by digging trenches, using barbed wire, grenades, and more. More so than any war before it, WWI was hell on earth. It was physically and psychologically devastating and resulted in the deaths of over 5 million people. And Valiant Hearts captures so much of this so well. Battles take place in the game in which you can see dozens of your companions gunned down, large piles of bodies littering the battlefield, and whole cities under a cloud of the poisonous chlorine gas. Valiant Hearts explores the tragedy of WWI in other ways, too. Similar to the American Civil War, WWI tore apart families with brother fighting brother or, as the case is in Valiant Hearts, father fighting son-in-law. For many of those along the boundary between France and Germany, or those living in Belgium, you might have to fight and kill your neighbor, your teacher, your baker.
The trench warfare in WWI was hell on earth. Valiant Hearts captures this so well.
Valiant Hearts is a game that wants you to know more about WWI. The genuine portrayal of the violence, tragedy, and devastation is just one of the ways in which the team at Ubisoft demonstrates this. Within each level the player can discover hidden trinkets that give insights into the people and world of the Great War. At the start of each level you can open up a menu that contain historical facts, which contain descriptions of the battle, location, and people in the scenario you are about to play. Historical photos accompany each of these facts, adding to further heft to their inclusion. The combination of the in-game items and facts give Valiant Hearts a certain educational nature, one that I really appreciated throughout my time with the game. While playing the game itself you are taken through a greatest hits of the events and battles of WWI. Your characters are involved in an assault on Fort Douaumont at Verdun, The Battle of Somme, and the suicidal Nivelle Offensive. It was great to get to experience these definitive moments from the perspective of the game’s protagonists, and fascinating to see any of these major events in video game form.
The historical facts were quick & informative reads. I loved their inclusion in the game.
Valiant Hearts, in spite of its depiction of horrific warfare, is a beautiful game. Powered by the UbiArt Framework, the entire game features animated hand-drawn characters and environments. The game has a terrific aesthetic, which successfully combines comic art and contemporary WWI iconography in a way that, even as I am writing this, sounds like it would not work. But it does, and it is gorgeous. Each character in the game has a comic book feel to them. This helps to soften some of truly terrible things that take place during the story and help to highlight their striking personalities. The look of the game manages to blend this comic book-like lightness so expertly with the darkness and heaviness of the source material. Environments are great to look at and explore, ranging from the bucolic French countryside, to body-strewn trenches, to POW camps and more. A powerful title theme and all around successful soundtrack enrich the visual presentation. The characters in Valiant Hearts communicate via pictorial speech bubbles and characteristic vocalizations, but not dialogue. An interesting choice for sure, but one that works within the confines of the game. Overall, Valiant Hearts is a solid visual and aural package that is memorable and distinct.

Valiant Hearts’ gameplay consists of light side-scrolling exploration and classic adventure game puzzle solving. Puzzles range from figuring out how to move obstacles out of your way, move a bomb into location, or navigate poison gas filled trenches. Puzzles are made to feel different between different characters, as each one has a special ability they can use. For example, Emile has a trench shovel that allows him to dig through the environment, Freddie has a wire cutter to move past barbed wire fences, and Anna can heal injured characters. Many of the standard puzzles involve your character throwing an item to knock something free or distract and enemy. With a simple button press an arc appears on screen when you have a held item, which made aiming your projectiles frustration free. I enjoyed the puzzles present in Valiant Hearts. Each felt at home it and game and fit the scenario you were placed in well. The game incorporates a clever hint system to assist you with puzzles should you ever get stuck. After a certain (small) amount of time passes during a puzzle, your character will receive a carrier pigeon holding a picture that hints at your next step towards solving the puzzle. This is a great addition, which removes a lot of frustrations caused by many of the hint-less adventure games of yesteryear. That said, the puzzles are all very easy to solve. This is both a good and bad thing. I understand why the team at Ubisoft Montpellier would want this from a game design perspective. Easy puzzles allow the player to move past them quickly, which keeps the narrative going. Story is so essential for Valiant Hearts, so having easy puzzles is not necessarily bad. The ease of solving puzzles did leave me wishing for a little more, however. I completed them so quickly I am having a hard time remembering them as I write this review. Further, the quick completion of puzzles made the actual gameplay of Valiant Hearts feel decidedly secondary to the plot, characters, and setting. Thankfully, Valiant Hearts also included gameplay that moved beyond its traditional point-and-click styled puzzles. One section involved racing a taxi away from a zeppelin, dodging obstacles along the way. Another involved rhythm-based mini games used when Anna is healing the wounded. These instances, though small, helped to invigorate the gameplay and see me through to the completion of the game.
Gameplay in Valiant Hearts is fun and simple. Maybe a little too simple.
 Also pictured here: hint pigeon!
As I just mentioned above, Valiant Hearts places a heavy emphasis on its characters and its story. For the most part, I enjoyed what Valiant Hearts presented me with. The characters have vibrant personalities, interesting backstories, and are likeable. The story covers love and loss in WWI predictably, but not poorly. Where I was left wanting was in the depth of the two. The characters and story in Valiant Hearts are fun, but fairly shallow. You are able to experience some character development as the plot moves forward, but not as much as is demanded by the story the game is trying to tell. Further, Valiant Hearts wants to cover so much historical ground that the story suffers. “Simple” is probably the best way to describe it: not terrible by any means, but filled with predictable moments, reliance on standard war tropes, deus ex machina moments, etc. Because of this, Valiant Hearts comes across almost like a dark children’s storybook. Part of this storybook feeling emerges from each of your four characters very minimally participating in the violence—not a single one ever uses a gun. While I get that gunplay might have been wonky in game and its absence potentially makes the characters more likable, it removes them from the reality of the war happening around them and weakens some of Valiant Hearts’s strong depictions of trench warfare. Overall though, I liked this storybook feeling and I liked the savvy depiction of WW1 violence as I described above, but just wished the two synergized better. Still, by a very early point in the game I was invested in the characters and rooted for them to succeed. A tragic moment at the end of the game had my eyes tearing up, too.
A very dark storybook indeed.
Valiant Hearts is a wonderful and powerful game. Where it succeeds, it does so with a confidence that is beautiful to behold. Perhaps more could have been done to merge the storybook feel with depictions warfare, or add some more depth to the plot, but it affects the final package in only a minor way. Playing Valiant Hearts is an experience. One that has stuck around with me for a while following its completion. I hope you all get to experience it too.

Valiant Hearts: The Great War
4/5

Friday, March 27, 2015

News & Views
3/21/15-3/27/15

I’m back in the Bay and ready to give you all some more great pieces from around the web. Now that I am back, I have finally gotten the chance to dive into Bloodborne. Only a couple of hours in at this point, but it is so good already. Expect a review here on TIF, but probably not for quite a while—the game looks to be massive. Anyway, onto the articles! This week had some huge news about Hideo Kojima leaving Konami, big game releases, and more. I have pulled pieces together discussing body horror in The Binding of Isaac, talking about designing death in virtual reality, and how a huge mobile IP is in some serious trouble. All that and more in this week’s News & Views!

Spotlight
Javy Gwaltney, Paste

Worth Reading
Gregory Avery-Weir, Ludus Novus

Anna Anthropy, Destructoid

Patrick Lee, AV Club

Maddy Myers, Metroidpolitan

Emanuel Maiberg, Vice Motherboard

Clint Hocking, Click Nothing

Ben Kuchera, Polygon

And the rest!
Rich Stanton, The Guardian
I have been playing MH4U for almost a month now, and it is such a great game. Expect a review here on TIF in a couple weeks (the game is massive, so I want to get through more of the game first). Stanton provides a compelling argument how this 3DS title is worth remembering in GOTY discussions in the months to come.

Charlie Hall, Polygon
Not super video games related, but this little short is so damn cool. Looking forward to learning more about a potential feature length film.

Adrian Chmielarz, Medium
I certainly do not agree with everything Chmielarz has to say, but his perspective is certainly one I had not seen elucidated before. Worth considering in the discussion about women and video games currently taking place.

Rob Price, Business Insider
For the longest time, Angry Birds was THE game to beat on smartphones. Now, though, the franchise seems to have completely fallen off the map. This means big trouble for the once gargantuan IP.

James Plafke, Geek
I had my fun with Destiny, playing it solidly for a little over a month and a half. The game has a lot of flaws, and Bungie’s approach to handling the community is a big one of them. Going to war with a dataminer is a clear representation of this.

Ben Kuchera, Polygon
I have to agree with Kuchera, as Jurassic Park is one of my favorite films. Everything about it is so perfect. Trailers for Jurassic World do suggest a more Frankenstein’s monster approach to the story, which could be hit or miss. Nothing is going to stop me from seeing the sequel on day one, though.

Justin Kroll, Variety
Part two of movie stuff! ‘Ready Player One’ is cited by many game journalists / personalities to be the best novel about / containing video games. I read it, and though it is certainly a compelling page-turner, its heavy pandering and overreliance on pop culture allusions (especially as THE central plot mechanic) left a lot to be desired. Here’s to hoping Spielberg can trim some of the fat and make a compelling summer blockbuster out of it.

Tuesday, March 24, 2015

“So Alex, why is TIF such a terrible blog?”: Aggressive Interviews and Appealing to an Outrage Culture
Article

Abstract: The culture surrounding video games is becoming increasingly antagonistic: to developers, to publishers, and to enthusiasts. This antagonism takes the form of outrage. Issues that arise in video games, big or small, are likely to transform into heated arguments laced with insults and threats. Harassment occurs via Twitter, Facebook and message boards. Much of this stems from a sense of entitlement when expectations are not met. An outrage culture shapes a lot of the current discussion of games and, recently, seems to have passed over into games journalism as well. Though they were possibly a well-intentioned attempt at hard hitting journalism, two recent video game interviews come off as adversarial and unprofessional, and appeared to exist solely to engender camaraderie between the interviewer and outraged game enthusiasts. I hope that these interviews are exceptions, and not indicative of the type of video game journalism to expect in the years to come.

It can be a trying act to keep up with video game news recently. As I mentioned in my article about the Evolve DLC controversy, news cycles today are rife with fiascos, scandals, controversies. Whatever you want to call it. It seems that a week cannot go by without heated arguments about, well, any topic. The week I am writing this, there still exists a sourness over The Order: 1886, concern that Sony is not focused enough on exclusive titles with Uncharted 4: A Thief’s End being delayed until 2016, and even message board threads about how new & unskilled game developers are ruining GDC. I suspect this anger stems from a central origin. Foremost is this sense of entitlement that arises when expectations aren’t met. As an entertainment industry, video games rely fairly heavily on marketing and PR. You need to sell your game to your intended audience. In the process of doing so, many find themselves backed into a corner. To get your game to stick in an increasingly competitive market, you have to bring something new and extraordinary to the table. To convince others you are doing just that, games are often “over-hyped.” Lofty goals and even loftier promises can come back to bite you when you are not able to deliver. These “promises” create expectations, and you erode trust with your audience when these promises are broken, leading to anger and frustration. Expectations do not have to be solely derived from developer or publisher promises, however. As the industry grows, the game playing community as a whole creates an unwritten list of expectations based upon industry trends. For example, when it was discovered The Order: 1886 was a 6-8 hour long game, people were mad because, when comparing The Order: 1886 to the slew of other recent $60 AAA single player only third-person shooter releases, the average length “should” be around 10-12 hours. This brings up a whole other issue in video games today, the notion of a game’s value proposition, but that is for another time.

There are whole groups of people really mad about everything. 
Regardless of the origin, what results is impactful and widespread. Fans complain on message boards, Twitter and Facebook. Deluges of e-mails are sent to publishers and developers, asking (read: demanding) them to address their concerns. Criticism is good for any discipline, but the extent to which many in the video game industry face is far beyond anything resembling constructive feedback. This anger usually becomes harassment. Twitter in particular has become home to some of the most vitriolic comments. There are whole movements of people who attack those who work in games. It has gotten so bad that some game developers have even quit working in games entirely. Sites like Polygon post articles with advice from game developers on how to get through harassment. All of this is a long winded way to say that outrage directed towards games and game makers has gotten so bad, and so saturated, I argue an entire culture has formed around it. It certainly makes up a sizeable portion of the conversation about video games that take place online.

The games media has certainly capitalized on this phenomenon. With every new controversy comes a slew of coverage. Video game sites around the web offer news stories, opinion pieces, and group conversations surrounding the heated topic of the day. Thankfully this kind of content, and the attitudes behind it, has not affected the way video game media interacts with game makers so far. As both an art form and an entertainment industry, video game journalism has taken a lot of inspiration from film writing. Game writers speak with developers and allow them to talk about their game: the plot, the gameplay, their inspirations, what they are doing that is new, etc. Essentially allowing the game makers to sell their product and explain their art. And this works. A cordial relationship with game makers does not mean writers cannot levy criticisms for the games, far from it. Critical hands-on pre-release impressions are par for the course, and video game reviews criticize and dissect impending releases. All of this can be, and has been, done while preserving a respectful approach to speaking with game developers. That was until I came across the two articles / interviews that acted as the inspiration for this piece.

The first of these two interviews was done by John Walker at the gaming news site Rock, Paper, Shotgun. In the piece he interviewed Peter Molyneux, a big name in games who was behind titles like Black & White and Fable. The interview covered the subject of his game company, 22 Cans, and the tumultuous development of their new game, Godus. Controversy had arisen over its continued delays, not fulfilling promises to Kickstarter backers, and neglecting a contest winner promised a unique reward. Obviously, the situation is tense. But the resulting interview was just appalling. The first question Walker asked Molyneux was, and I quote: “Do you think that you’re a pathological liar?” Throughout the rest of the interview Walker went on to accuse Molyneux of the intentional misuse of Kickstarter funds, claim Molyneux treated development with an almost criminal negligence, tell Molyneux that he was not working hard enough to release the game, and more. Walker is combative, telling Molyneux “People gave you half a million pounds and you’ve taken their money—.“ Several times throughout the interview Molyneux has to cut Walker off from his tirade, and other times in which he tries to calm an enraged Walker down. The nicest way to put this interview is that it was aggressive—but in reality, Walker was completely unprofessional.
 
Godus, pictured here, the source of so much outrage.
The second was an interview performed by David Jenkins for Game Central on Metro.co.uk. during which he spoke to Jim Ryan, president of Sony Computer Entertainment Europe. The purpose of the interview is not exactly clear, aside from asking Ryan about all the controversies du jour (namely, broken games and the PlayStation Network Christmas outage). Again, bear in mind, Ryan is the president Sony Europe. While marginally less combative than Walker’s interview with Molyneux, Jenkins does his best to be outraged. Jenkins rants about how 2014 was a disappointing year for games, saying, “…to me it’s no wonder that smartphone gaming continues to expand given how shambolically the entire industry has handled this latest generational leap… there’s no point arguing about the quality of the games last year as we’ve discussed that before, although it’s clearly awful.” Over the course of the interview Jenkins accuses Ryan / Sony of not doing proper quality assurance testing, attacks Ryan for the instability of the PlayStation Network and makes sure to emphasize how better Microsoft handled the Christmas Day network outages, and demands Ryan force 1st and 3rd party publishers to limit day one maintenance patches for games. Much like Walker before him, Jenkins’ adversarial approach comes off as unprofessional and unnecessary.
 
It was a rough holiday for Xbox Live & PSN. Sony didn't get their network
back up until December 27th. Still, blaming the company for the effects
of malicious DDOS attacks hardly seems fair.
In my attempt to give both interviewers the benefit of the doubt, I can see where (I hope) they thought they were coming from. As I mentioned earlier, much of games journalism is cursory impressions, promotional pieces and friendly discussions. For the most part, there aren’t any hard-hitting journalistic pieces, where games writers stick it to the man and get them to divulge secrets or talk through the PR mask many wear. By being so combative, perhaps Walker and Jenkins thought they would get to the heart of the issues at hand. To find out the truth. Walker even says to Molyneux that, “My purpose is not to hang you out. My purpose is to get to the truth of what’s going on here.” But their approach simply does not work for games journalists. Or at least the style by which Walker and Jenkins conducted their interviews. Games are an art, and a piece of entertainment. Can you imagine interviews like these for a new blockbuster movie or album release? They might exist, but I certainly have not seen any. Games, like movies or music, don’t carry the same gravity that more serious journalistic subjects carry. Not for me, at least. I do not think we need to live in a world where game developers are as scrutinized and attacked as, say, bank executives who have stolen millions upon millions of dollars. And even if the criticisms Walker and Jenkins levy were valid, and many of their points were, the way by which they went about asking them was uncalled for. Other interviews have addressed similar questions but done so without leading off the interview by insinuating the interviewee is a pathological liar. That crosses the line.

If the two were hoping to come off as ruthless journalists doing whatever it takes to get the story, neither interviewer succeeds. Walker and Jenkins come off more as impassioned message board fans, the same people who post lengthy rants about how horrible Evolve’s DLC plans are or The Order: 1886’s length. Perhaps the reasoning behind each interviewer’s approach was something more insidious. The outrage culture surrounding games seems to be growing every day. Clearly, a lot of video game discussion covers these hot topics. By displaying this same frustration that so many of the enthusiasts online do, Walker and Jenkins throw their lot in with the masses. Their interviews, consciously or not, likely appeal to this culture of outrage. The two come off sounding exactly like their pissed off message board and Twitter counterparts. Interviews like this could engender camaraderie between the game journalists and the impassioned game enthusiasts, resulting in more page views and more discussion about the piece. Again, this was likely not intentional and more a result of Walker’s and Jenkins’s passion for the subject, but the secondary ramifications of these interviews should not be overlooked.


As a scientist, I certainly recognize an n of two does not make for a statistically significant trend. These could easily be two outliers in a year filled with conventional interviews with developers and producers. For the sake of everyone involved, I hope this is the case. I am hopeful for a future where controversy does not gobble up such a substantial share of video game headlines. Regardless of what is to come in the months and years following, the interviews performed by Walker and Jenkins left a bad taste in my mouth. Each reminded me of the current culture of hardcore video game enthusiasts, where hurt feelings and personal attacks run rampant. Video game writing is capable of levying criticism while maintaining professionalism and should strive to be better than these two interviews. I guess we will just have to wait and see.

Friday, March 20, 2015

News & Views
3/14/15-3/20/15

Games, games and more games! I have put together a lot for you all in this week’s News & Views. Nintendo made huge waves when they announced they had partnered to develop smartphone games using Nintendo IPs, and that they are working on a new gaming console! I also found some interesting pieces about a professional baseball player using video games to relax during spring training, a history and perspective on how video game breasts are made, and a whole country advocating for Minecraft to be banned. I have a lot of games stacking up on my plate too. I splurged and purchased Final Fantasy Type-0 since I have been hankering for a new JRPG to play. It didn’t hurt that it came with the Final Fantasy XV: Escape Duscae demo, either. And, perhaps even more importantly, Bloodborne comes out next week (!!!). Bloodborne is my most anticipated game of the year and I cannot freakin’ wait to jump in. Anyway, onto the articles! See you all here again soon.

Spotlight
Steve Lubitz, Pixelkin

Worth Reading
Ryan McCaffrey, IGN

Ben Kuchera, Polygon

Interview with Al Lowe, Nodontdie.com

Kayin, Kayinworks

Patricia Hernandez, Kotaku

Tim Rohan, The New York Times

Charlie Hall, Polygon

And the rest!
Luke Plunkett, Kotaku
Nintendo stole the news cycle this week with their two big announcements. I, as well as many others, predicted Nintendo would be jumping into the smartphone space eventually. Guess “eventually” is 2015. I am not as doom and gloom as others about this, and am cautiously optimistic for some quality releases.

Taylor Hoyt, YouTube
I am a huge fan of the Final Fantasy series (FF6 is the best one, period). XV’s development has been a long, arduous process. Hoyt covers the history of the game’s development quite well, from its early announcement to its transformation to its pending release.

Patricia Hernandez, Kotaku
Hernandez investigates a topic that I bet very few know anything about. It is fascinating to get insights from people who work in this field. Be warned though, the article has a lot of graphic content.

Mrtube, Reddit
Reddit user Mrtube goes through IGN’s top 25 PS3 games of all time, breaks down their release dates, and compares that to the PS4’s current library. There is a lot of outrage that this generation of consoles has not had a “great” game yet. Mrtube, through his analysis, demonstrates that this should not be totally unexpected.

Dave Tach, Polygon
A follow up on the story I posted in last week’s News & Views. Following its brief spotlight in House of Cards, Monument Valley sold like crazy. Cool to see this little title make such an impact.

Patrick Klepek, Kotaku
Klepek perfectly encapsulates the sheer joy of playing a Souls game. The perfectly titrated difficulty means every gain is earned, and beating some of the tougher bosses can induce some serious dopamine release. One of the many reasons I cannot wait for Bloodborne next week.

Hurriyet Daily News
Minecraft is a cultural & generational phenomenon. Pretty much every kid plays Minecraft in some capacity, whether it is on smartphone, computer, or console. The game can also be quite addictive. The overwhelming impact of Minecraft can be seen in this story, in which Turkey’s Family Ministry advocates for the game’s ban because of how much kids are playing it. Unreal.

Jessica Plautz, Mashable
I know it is not games, but I couldn’t help it. I love Breaking Bad. It is the best show ever made. I cannot tell you how hilarious it is that fans attempt to throw pizza on top of Walter’s house. Poor homeowners, though.