For more than two years, Ryan Kuo has edited for Kill Screen. As he heads off to pursue an M.S. at MIT, he reflects on the life of iPad gaming that is now ending when he gives back the tablet to the company. When is an app more than an app?
Nintendo's new gaming console, the Wii U, has already been dismissed by gaming experts and fans. Is their skepticism warranted, or are they missing the forest for the trees of Hyrule? Jon Irwin thinks the latter.
Since its release in March, Mass Effect 3 has come under fire for everything from its ending to the inclusion of a gay male Commander Shepard. But what really made the game's fans and critics so upset? In honor of Pride Day, we examine the series' finale and the complicated sexuality of its protagonist in light of recent developments in queer politics to find out.
Videogames are rarely above an inside joke. But can cheeky self-reference become a wolf in sheep's clothing? Lana Polansky on why good satire is hard to find, except when the game stars Charles Barkley.
The University of Manchester has had amputees healing their pain by controlling avatars with Microsoft's Kinect motion interface. Michael Thomsen argues this has implications for the creative potential of videogames, which might one day privilege physical pain over competitive challenge.
In 1999, Black Isle Studio released Planescape: Torment was released to wide critical acclaim for Chris Avellone's rich story-telling pulled from the world of Dungeons & Dragons. In this Reset column, we explore once more how the game pushed the boundaries of imagination.
While much of modern gaming revolves around success or achievement in its various forms, Rich Clark argues that a clearer vision of what games could be comes from the well-known Beatitudes, preached in Jesus's Sermon on the Mount. After a week of grasping hell, Clark offers a differing view of heaven.
What are the roots of free-to-play capitalism? Michael Thomsen argues that in-game commodities and microtransactions are not new ideas so much as the latest ways that videogame companies instrumentalize us.
The raw materials of New Marais, the setting of Infamous 2 based on New Orleans, tell a story both longer and more pressing than their digital textures suggest. Nora Khan climbs through its multilayered history.