Девятаев фильм —смотреть онлайн в хорошем качестве на нашем сайте >>>bit.ly/devataev-film-2021

…blog called Post-Hype, Chris Breault asserts that the oft applied metaphor for comparisons with Uncharted 2, that is that it’s like a film, is inaccurate. In fact, he says, ‘Don’t call Uncharted 2 a film’ at all.

David Carlton has been thinking about children’s and adolescent literature and comparing/contrasting the features of that genre with videogames aimed at children and teens. Like his previous application of the fiction/non-fiction literary categories to videogames, The Beatles: Rock Band in particular, I found Carlton’s line of reasoning both illuminating and persuasive.

At the Borderhouse this week, Rho writes about some of…

E3 2011 has come and gone. It’s been a really busy week in the game industry—not just for game developers, but for the game journalists who struggle to cover each and every facet of the big event. Personally, the entire week has had me swamped up to my elbows with writing non-stop coverage of the event.

Happily, the minute to minute reports of new games haven’t done much to distract games writers from dissecting videogames and providing us with plenty of reading material. Without further ado, here is the week in videogame blogging.

In the spirit of

…

…The Digital Antiquarian, Jimmy Maher performs a meaty retrospective on Activision’s seminal 1986 Alter Ego and its key developer, psychologist Peter J. Favaro.

Elsewhere, Kyle Kallgren’s usually film-focused video series Brows Held High goes for the interdisciplinary approach this week with a fascinating analysis of the interplay of the visual languages of games and cinema — taking as its starting point Gus Van Sant’s experimental ‘road trip’ film Gerry and its unorthodox source of inspiration, Tomb Raider.

Gonzogunk

We’re seeing an observable downward trend in the frequency of thinkpieces on The Hashtag Which Must Not Be Named,…

…of asexuality in games. Meanwhile, in Aevee Bee’s ZEAL magazine, developer and games educator Robert Yang muses on the way we model bodies in games, in which their dynamism (or possibly, embodiment) is frequently overlooked:

Animations are essentially flipbooks; when we flip through the individual pages or frames quickly, we create the illusion of motion. Computer animation helps automate this process by taking human-authored “keyframe” poses and generating the “in-between” frames, or even entire animation sequences through motion capture. Then game engines loop through these sequences of poses to transform bodies along predictable trajectories. When you walk in

…