Xbox 360

The guys at Extra Credits discuss mechanics as a metaphor or "mechanics with meaning" and for a visual aid, they use an interesting game or non-game called Loneliness. A description wouldn't really do the game justice, but it is well worth your time to try it for yourself considering the game is free.

One of the more interesting things brought up in this two-part series though is the lack of trust game creators show the player. Modern game creators simply do not trust the player to fail, experiment or uncover any meaning (assuming the creators intend for there to be any) while playing. After playing Loneliness you might understand why. It is a pretty gutsy thing to attempt in a free game, imagine how it would be received should you require payment for a similar experience.

Make Mine a Double

HIGH The sense of style is pitch perfect throughout.

LOW No online co-op.

WTF There's no way in hell that Skullmageddon earned his helicopter pilot's license.

If you knew me back in 2005, I was a lot different. I was genuinely excited about console gaming, as I had been for decades before. I was still a big Sony guy, as I had been since the original PlayStation launched and won me over. I was also getting into the original Xbox, though late. A new generation of consoles was coming, and I was looking forward to it while also enjoying what was currently available. I was alternating my time between the Internet and reading video game magazines to stay as current as I could.

The End

HIGH The walkie-talkie resolution wasn't a total disaster.

LOW The conflict in the final scene felt too staged.

WTF Where's the obvious dialogue option in the alley?

Bad Girls

HIGH "Time to find allies... The story of my life."

LOW Coming back to Mass Effect 3 for pre-ending DLC felt more than strange.

WTF Where the hell was Aria's couch?

World War Z and The Walking Dead take a similar conceptual approach to the zombie apocalypse, but have fundamentally different views on human society. The basically optimistic World War Z suggests that social problems are a surface malady that the zombie apocalypse would strip away, letting the moral strength of mankind ultimately show through triumphantly. The Walking Dead, on the other hand, sees social order and altruism as artifice, a contortion of natural human behavior that falls apart once the zombies consume the social mass that held it in place.

It's a special 1/5 British edition of the Gamecritics.com podcast. This week we tackle Wreck-It Ralph, Thanksgiving shout outs, and what we've been playing during our long hibernation. Featuring Chi Kong Lui, Brad Gallaway, Mike Bracken, Richard Naik, and special guest host Sinan "Redcoat" Kubba.

Download: Right click here and select "Save Target As..."
Subscribe: iTunes | Zune | RSS

Please send feedback and mailbag questions to podcast (at) gamecritics (dot) com.

Like many people who played Telltale's episodic game, The Walking Dead, I had read and enjoyed many of the comics beforehand. I appreciated that they took the subject seriously. I don't mean that in the sense of a John Romero film, where the zombies themselves are rather silly but serve to illustrate serious social questions. Rather, like World War Z, The Walking Dead decides on a set of rules about zombies and a premise about people, and unflinchingly follows those principles into the abyss.

Paint by Numbers

HIGH Nailing the perfect sequence of scythe combos and dodges during a fight.

LOW Having my reaper form cancelled out by a boss cut-scene.

WTF This game literally put me to sleep in the early hours.

GameFly sent me Playstation All-Stars Battle Royale the other day, and while I haven't had a whole lotta time to get into it, I did play a few multiplayer sessions with my youngest son. The time we spent on it basically amounts to me standing still while he beats on me with a variety of different characters, but he enjoys it and that's good enough for us.