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5 Reasons Why Computer Game Adaptations Seldom Work

I love a good film adaptation, me. Although I do appreciate an original story, nothing gives me a greater cinematic pleasure than seeing something I love translated from another medium onto screen. I especially love comic book films – I’d go so far to regard The Avengers and Iron Man in my Top 10 films of all time – and I’ve been waiting for an adaptation of my favourite book, The Talisman by Stephen King and Peter Straub, for quite some time.
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Shadow of the Colossus: An Ode To The Conferences Of E3 2012

Shadow of the Colossus

I recently found myself recumbent, coffee in hand, musing and pondering how I could put my love for Shadow of the Colossus into mere mortal verse. It’s the game that swayed me into purchasing Sony’s second Playstation and to date the only software that I ever owned for the console. I’d never played anything like it before and I’ve certainly not played anything like it since. The empty, lonely and downright melancholic overtones of the narrative enforced a genuine compulsion to help the main character, Wander, succeed in his quest. And what a quest it was! Sixteen grandiose yet reticent enemies dotted around a technically titanic game-world, simply aching to be explored. But, putting down those rose-tinted bifocals for a second, my trip down memory lane was inspired by this year’s E3.

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What Makes a Good Video Game Villain?

(This article contains spoilerific spoilers for Baldur’s Gate 2, Final Fantasy 7 and Dragon Age 2)

“The pain will only be passing,” we are informed. “You should survive the process.” Should.

With David Warner’s masterfully delivered opening lines we’re introduced to the coldly detached and ruthlessly calculating Jon Irenicus. It’s not long before circumstance carries you away from his underground lab, but his far-reaching influence is felt again and again as the game progresses.
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The Virtual Impossibility of Death in the Mind of Someone Gaming


“All stories, if continued far enough, end in death, and he is no true-story teller who would keep that from you.”

Death is pretty final. Once it happens to you, you don’t get another go. Game over, so to speak. But in games, this is almost never true. For such an enormous concept in life, how have games got death so wrong?

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Digitiser: Video Game Journalism’s Finest Hour

Digitiser

“Moc-moc-a-moc.”

Those were probably the first words that I read on Digitiser. I say “on”, because they weren’t really “in” it in the same way that my ambitions are “in” a shallow grave. No, it’s better to use “on”, as in there are pictures of me “on” the internet.

Because Teletext video game ‘magazine’ Digitiser was very much on our television screens throughout a large part of the 1990s and into early 2000s, and those words were suspended there, soundtracked by Big Breakfast presenter-types Johnny Vaughn and Denise Van Outen’s blurted inanities in in the background, as I ate a bowl of Cocoa Pops before going to school.

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Valve is a Marxist Commune (But not really)

Valve is being uncharacteristically candid at the moment – confirming that it’s working on wearable computers, as well as this blog post from Michael Abrash, detailing how he came to work at Valve. It’s well worth a reading in full, but one section stuck out.
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Links, Links, Links

Here is what has been interesting this week:
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