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Most Recent: Insert Quarter
Insert Quarter: Everyone Loves Overwatch… But Why?
Insert Quarter is our showcase for some of the best and most interesting writing about video games on the Internet.
Blizzard’s Overwatch unveiling got the game industry and gamers everywhere buzzing like they haven’t in a long time. But what’s the source of all this good will? Kotaku’s Luke Plunkett believes that it’s due to the fact that Overwatch, above all else, looks like fun. When so many other so-called “AAA” games are exploring the darkest recesses of the human mind, Blizzard is running in the opposite direction to deliver a game that evokes the best Saturday morning cartoons without being childish:
Consider the vast majority of blockbuster video game releases. They usually star men. Those men are scowling. They’re involved in bloody violence of the grimmest sort. The lighting is dark, and smoky, and hostile. From Call of Duty to Battlefield, Assassin’s Creed to Far Cry (and most games in between), the big games from big teams share a very similar tone. And that tone isn’t very fun.
Now consider Overwatch’s reveal. Happy kids, a talking ape, a very chirpy British girl. It didn’t really seem like a video game trailer at all, did it? People compared (wrongly, I think) the art design to Pixar, but they’re close: it felt like a Pixar movie, with a youthful sense of joy and excitement.
In this business, that’s pretty rare!
You can read the rest of the article at Kotaku.
Posted in Insert Quarter, PC
Tagged Overwatch
Insert Quarter: What’s the Best Way To Introduce Halo (or Any Game) To Your Kids?
Insert Quarter is our showcase for some of the best and most interesting writing about video games on the Internet.
Geeky parents have long wondered what is the best way to introduce their favorite geeky media to their children. It’s definitely a universal thought that I’ve even caught myself having. I don’t have kids yet and I’ve wondered when will be the right time to introduce them to the Star Wars trilogy (and in what order). With this week’s release of Halo: The Master Chief Collection, Polygon’s Ben Kuchera ponders this predicament as it relates to the game industry’s premiere first person shooter series. Aside from a baffling adherence to inverted controls, Kuchera wonders what parts of the game he should show his son and what parts he should let him discover on his own:
We’re pretty strict about what games the kids play, and for how long, and this is the first time my son and I have played a mature-rated game together. He lacks rudimentary skills when it comes to first-person shooters, and I begin to feel like I’ve been failing him by not teaching him this stuff earlier.
You can read the rest of the article at Polygon.
Posted in Insert Quarter, Xbox One
Tagged Halo: The Master Chief Collection
Insert Quarter: A History of (Video Game) Violence
Insert Quarter is our showcase for some of the best and most interesting writing about video games on the Internet.
The video game industry’s fiercest critics will always say that games have never been more violent and that it is doing horrible damage to our children. But the game industry’s fiercest critics have always been saying that. In fact, many of them were children themselves when the first round of panic gripped parents during Death Race‘s 1976 heyday.
Vice’s Mike Diver examines this legacy of violence, citing everything from the obvious (Mortal Kombat and Carmageddon) to the obscure (Barbarian: The Ultimate Warrior and Battle Chess). I never thought of Battle Chess as particularly gruesome, but your primer on pixelated gore awaits:
If you came to games fresh during the previous console generation, where once-grainy graphics made the switch to full HD, you don’t know how easy you’ve had it. There was a time, long before the gushes of crimson coloring contemporary offerings of extreme violence–Gears and God of War, Dead Rising, and the more recent Resident Evils, Max Payne 3, the Dead Space series, Bulletstorm, and BioShock (to name but a few)–where you had to lean on your imagination to bring scenes of disgusting dismemberment to life.
You can read the rest of the article at Vice.
Insert Quarter: Is Borderlands: The Pre-Sequel’s Season Pass a Good Value or a Rip-Off?
Insert Quarter is our showcase for some of the best and most interesting writing about video games on the Internet.
Gearbox supported 2012’s Borderlands 2 with a bevy of downloadable content including four campaign expansions (which were included as part of the game’s Season Pass), five Headhunter Packs, two level cap upgrades, and two additional playable characters. It was the most ambitious post-release DLC schedule for a game ever.
Perhaps it’s due to the developer switch or maybe it’s because the latest Borderlands game is still living on the PS3 and Xbox 360 in a new-generation world, but Borderlands: The Pre-Sequel‘s DLC schedule isn’t nearly as expansive. 2K Games is once again selling a Season Pass for The Pre-Sequel, but Destructoid’s Darren Nakamura is concerned that 2K is being intentionally vague in their promotion of the Pass to hide its less-than-stellar value:
So even though no promises are technically being broken, and 2K plans to deliver four digital additions to Borderlands: The Pre-Sequel for the price of three through the season pass, I cannot blame any who bought it for feeling cheated. The content fits the requirements laid out, but the value is not there. Even if the plans were to change from here onward and the season pass ends up including one new Vault Hunter and three story DLCs, the value of the pass over purchasing content piecemeal hinges on the quality of all three packs, and the series does not have a perfect track record on that front.
You can read the rest of the article at Destructoid.
Posted in Insert Quarter, PC, PS3, Xbox 360
Tagged Borderlands: The Pre-Sequel
Insert Quarter: A Profile of the Video Game Archivists at the Library of Congress
Insert Quarter is our showcase for some of the best and most interesting writing about video games on the Internet.
With more than 6,000 titles, the Library of Congress is home to one of the largest video game archives in the world. But the curation and management of the collection is in the hands of just four part-time employees. BuzzFeed’s Joseph Bernstein reached out to these four men to learn how the Library of Congress is attempting to preserve America’s gaming heritage and how much more still needs to be done:
No, the work of game copyrighting and archiving at our country’s signal institution for cultural preservation is not done by a dedicated full-time staff. Instead, it’s the passion project of a handful of archivists who want to be the new standard-bearers in the preservation of video games. Indeed, the state of video game collection at the Library is something of an expression of the liminal state of video games in American popular culture writ large. The Library recognizes the cultural importance of video games, but only devotes four people part-time to their archiving; Game companies insist that their products are the medium of the future, but don’t trust archives with their source code; Collectors sell their troves on Craigslist and eBay rather than considering donation.
Even to get to this point, though, has been a journey in and of itself.
You can read the rest of the article at BuzzFeed.
Insert Quarter: The History of Music Games
Insert Quarter is our showcase for some of the best and most interesting writing about video games on the Internet.
Almost 50 years ago, Paul and Art Garfunkel asked, “Where have you gone, Joe DiMaggio?” in their hit song, “Mrs. Robinson.” DiMaggio would later tell Simon that he hadn’t gone anywhere, even though his playing days were long behind him. Likewise, today’s gamers have probably asked themselves, what happened to all the music games? The conventional wisdom says that they just don’t sell anymore, but who can turn down an invitation to rock out with your plastic guitar out?
IGN’s Chris Reed dug in to the history of the music from its humble roots (1996’s PaRappa the Rapper) all the way through the Guitar Here/Rock Band rivalry and into the future of the genre:
Music/rhythm games have run a surprisingly dynamic path through gaming history. Some genres drift into popularity and gradually fade out as technology and popular taste change. You might not even realize it’s happened until one day you look around and wonder, for instance, where all the 3D platformers went. Music games, on the other hand, moseyed along under the radar for the better part of a decade before taking off like a shot, attaining meteoric success before drying up nearly all at once.
You can read the rest of the article at IGN.
Insert Quarter: Why Developers Still Make 2D Games… Because They Love Them
Insert Quarter is our showcase for some of the best and most interesting writing about video games on the Internet.
Why do developers still love to make 2D games? In this installment, USgamer’s Tyler Ohlew examines the relationship between developers and the two-dimensional worlds they create (often by hand). Speaking to developers behind modern 2D classics such as Shovel Knight, Guacamelee!, and SteamWorld Dig, he discovered that this relationship actually comes down to a love of the style and a universality that goes beyond simple nostalgia.
3D development is easier than ever now, with tools like Unity and Unreal Engine 4 available for very little cost or even free. So, in a landscape dominated by these 3D games, what compels a developer to look back and continue the work that was forced to take a back seat? Why does any developer work in 2D anymore?
You can read the rest of the article at USgamer.
Posted in 3DS, Insert Quarter, PC, PS3, PS4, Wii U, Xbox 360, Xbox One
Tagged Guacamelee, Shovel Knight, SteamWorld Dig
Insert Quarter: The Rich Lives of NPCs in Shadow of Mordor and Watch Dogs
Insert Quarter is our showcase for some of the best and most interesting writing about video games on the Internet.
In this installment, Austin Walker, writing for Paste, contemplates the rich lives of non-player characters found in Middle-Earth: Shadow of Mordor and Watch Dogs. Each game attempts to create a background for each NPC, specifically the Orc Captains that stalk Shadow of Mordor’s Talion through the game’s “Nemesis System” and the petty criminals of Watch Dogs that cause pain for so many of the game’s other citizens.
I’ve been thinking about non-player characters for four months now. I’ve been thinking about them ever since I stood over the body of the eleventh man I killed in Ubisoft’s Watch Dogs. He had a sneering face and a stuffed bank account. The game told me that he was listed on FBI watch list. His name was William Jones. I shot him three times: twice in the back and once in the head.
[…]
Monolith offers the player all sorts of ways to fail [in Shadow of Mordor]. As Talion, I regularly overcommitted to combat deep inside of Orkish strongholds only to find myself surrounded by dozens of Uruk-hai, including a few powerful enemy captains. The Arkham series of games taught me that if I could just counter enough attacks, I’d never fail. No matter their number, the Joker’s henchmen would always leave room for me to knock them around. That is not the case here. Even in the final hours of the game, with almost all of Talion’s abilities unlocked, I was once dropped to one knee by ranged attacks and then instantly killed by a particularly strong captain. I wasn’t sent to a “Retry?” screen. Instead, the Orc who killed me rose in rank, and when he saw me later, laughed in my face. My failure—the act of my death—was not erased; it was just made more complicated, more interesting.
You can read the rest of the article at Paste.
Posted in Insert Quarter, PC, PS3, PS4, Wii U, Xbox 360, Xbox One
Tagged Middle-Earth: Shadow of Mordor, Watch Dogs