Side journal is with previews and experiences on a constrained variety of video games throughout all videogaming codecs. part journal contains information at the most up-to-date expertise and interviews with the creators of video games and is a very good made magazine.

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- November 2013 -

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Extra resources for Edge (November 2013)

Sample text

After some tutorials on how to use the totally unexplained aural superpower I have somehow acquired – I can ‘see’ zombies and humans through walls by listening carefully – I find myself in some prettily decrepit venues, randomly murdering a lot of men. If I’d paid more attention to the dialogue I might know exactly why I am murdering all these men; in any case, murdering them I am. Like I said, it’s a videogame. I’m not saying it’s not fun to be introduced to all these new ways of murdering men.

Com DISPATCHES PERSPECTIVE LEIGH ALEXANDER Level Head When it comes to telling stories and getting emotional responses from games, sometimes less is more W hen we consider the advancement of games and the maturation of their storytelling, we always assume that more tech, more tools and more space will be what lets us refine the experience into something more mature, complex and sophisticated. Something more affecting. Whether or not the videogame is a good medium in which to tell stories is one of the discipline’s most common debates.

They’re not bots,” says McCoy. “They’re not meant as a human replacement. They’re a different class of people. Pilots are these super-awesome soldiers that have the gear to do double jumps, the weapons to take down Titans, but the AI are the low-level guys that are always on the ground – they’re not double-jumping and they’re really weak, but the purpose they serve design-wise is multifaceted. They show new players where to go. And once they start fighting, they’re usually fighting other AI because all the experienced players are fighting on walls and rooftops.

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Edge (November 2013)


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