The descendants of role-playing games like Dungeons and Dragons exist in the physical and virtual worlds, and even though they might play very differently, they're still influencing each other.
Gone are the days when you just bought a game and then played it. With the pre-orders, rushed productions and all the patches, the relationship between producers and customers is becoming ever more adversarial.
One of the many post-release fixes for Total War: Rome 2, Daughters of Mars, has involved the addition of female soldiers, and a very vocal minority of players are suddenly very concerned with ancient history.
Escaping into video games is something that people have been doing since video games were first invented. But is it time wasted, or valuable escapism?
What began as an addictive game soon became more than that – and it was the friendships, not the quests, that kept players coming back for more.
These phenomena tend to occur when video game players become so immersed in their gaming that, when they stop playing, they sometimes transfer some of their virtual gaming experiences to the real world.
The breakdown of trust between the public and the police has been reflected by how comfortable we are killing them in games.
The dominant story of this video game-making generation is the one about the struggling artist who made a breakout hit and never needed to work again, and that’s limiting the kind of games that are getting made.
The International e-Sports Federation has reversed their men-only policy in favour of one competition for women, and one for everyone else including women. What kind of message does that send?
As the first-person shooter has evolved to be bloated in terms of costs and production requirements, its game play mechanics have atrophied over the years.
In this game, driving between two points on the map in order to transport some logs becomes a gruelling, fascinating expedition.
Tackling ideas of sanity, darkness and fear is a welcome effort to move away from the violent and emotionally withdrawn stereotype of a video game hero.
In real life, we abhor terrorism and everything associated with it. So why do so many games manage to convince us that playing at it is fun?
Ubisoft's much-hyped Watch_Dogs isn't about shooting people - instead, it's all about hacking the world around you to control the city and trip up enemies. Yet this ambitous premise falls flat.
Much like that difficult second album, the sequels to video games are easy to get wrong, so what's the best formula for a successful remake or sequel?
With the cancellation of World of Darkness, the chances of a second good vampire game seem small.
Plane shooter Lufthausers has players fighting on the side of a team that looks suspiciously like the Third Reich - a design choice that's left some players feeling uncomfortable.
Facebook don't want to make great games. They want more users, more metadata and more adverts. Whatever the Oculus Rift could have been is now dead.
It’s tough to be “game positive” when your son is addicted to Skylanders, a game in which a mostly male cast of fantasy heroes have to smash and bash their way through a mostly male cast of fantasy baddies.
In a game where players can act out any kind of sadistic fantasy on each other - from taking hostage to force-feeding poison to breaking kneecaps - what incentive is there for humans to express their humanity?
While there hasn't been a good Alien movie for almost 30 years, the games of the franchise have been steadily churned out for decades.
Development is an evolutionary process, and newer games end up objectively better than the older ones they replace – yet 1993’s iconic game Doom remains as fun and unique today as ever.
It's not the most original title, but Warframe's sneaky space ninjas make duck-and-cover shooting fun.
I come here today not to bury Ken Levine but to praise Irrational Games. When they were good they were very, very good, and when they were bad they made <em>Bioshock: Infinite</em>.
The latest “viral” game is a decent take on a tried and tested formula. But is it really that good, or has it just piggy-backed on our love for <em>Super Mario</em>?
Games like <em>EVE</em> can result in players suffering big financial losses in real-world money. As in-game purchases become more common the problems of balancing what can be bought against what can be worked for will only become more complicated.
The modding community around Skyrim shows that fans can be just as creative as developers - and that a thriving set of mods for your game can benefit everybody.
Virginia Woolf wrote that the most striking sentence she read in literature was "Chloe liked Olivia". In games, what would the equivalent be?
<em>Star Citizen</em> has raised well over $35m already, and you can't even play it yet. Is this crowd funding gone mad?
It's not been a great year for gaming (the PS4 and XBox One launches have taken up a lot of developers' time), but there have been some good releases worth celebrating.