The Descent to Silent Hill

The world of Silent Hill 2 is defined by James Sunderland. He’s fixated on sex, so he is attacked by fetish nurses. His search for his dead wife is all he has to live for, so the roads out of town have collapsed, blocking him inside, giving him purpose. The player is party to his subjective vision: He sees what James sees. If James’s character is reluctant to abandon his search and return home, then the player is made to feel that, too.

Two Weird Ideas for MMOs

There’s no conversation more boring than the one that hashes out what’s wrong with massively multiplayer online games. Everybody has an opinion, based mostly on having played one or two or a shit-ton. I tend to take these game design critiques with a dump truck of salt. Gamers only know what they want. And often that desire is what makes the game fun. Designers, on the other hand, I am terribly interested in how they think they can save the MMO. Back in 2007, I went to a conference for independent MMO designers. I was somewhat amazed to meet a

On Flappy Bird, Games Culture and the Problem with ‘Innovation’

This is how Flappy Bird‘s time in the public eye should’ve occurred: it should’ve been just another lo-fi, challenging mobile game with an immediate and obsessive, albeit niche, following. People would download it, having seen other iOS players mention it on Twitter. Personal high scores would be tweeted back and forth in unofficial challenges. Game Center Leaderboards would be refreshed as everyone tries to beat out their friends. A few people would tweet, just once, how they don’t ‘get it’ and how they are slightly baffled by its success. Just once. Then they would move on and talk about something