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Gaming criticism, videos and humour with a narrative slant, made possible by you. www.therichardperspective.com
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My master, it seems, is an extremely unprepared gambling man...
80 Days is Inkle Studios’ new mix of adventure and rogue-style strategy for iPad and iPhone. And it’s good! But is it possible to totally wing it round the world in 80 days? There’s only one way to find out…
London, 1872. I had entered into the service of a new gentleman. Monsieur Phileas Fogg returned home early from the Reform Club, and in a new-fangled steam carriage, besides! I helped him down, and the iron-lunged, mechanical horses clattered away. “Passepartout,” said he, “We are going around the world!”
I paused. “You mean like in that old cartoon with the pompous lion?“
The air took on a rare sense of coldness. “Yes,” Fogg replied, tersely. “Only with more steampunk robots. And if I find that we are travelling with an adorable mouse, be told that I shall have it cooked and served as a delicacy.”
In the wake of its latest sequel's announcement, a quick nostalgic look back at a truly underrated gem...
“Underrated?!” I hear you think. “Doom? One of the most iconic, beloved, successful games of all time?”
Yes. Really. In the FPS hall of fame, Doom is as much a work of art as a classic game. That’s often forgotten for the ‘right’ reasons; that everyone has already used up their quota of being impressed at it effectively starting the FPS (it wasn’t the first by a long shot, but there’s no arguing it had more of an impact than games like Wolfenstein) or is distracted by thoughts of deathmatching, of the technological leap forward it represented.
In looking at the big picture though, many of the smaller details tend to go by the wayside – details that really help highlight why the original Doom was a classic that neither id nor the many, many games that followed in its lead have ever nailed. And one of the least talked about? Its surprising, openly spurned grasp… of narrative.
Stepping into a shadowy but profitable world that nobody wants to admit, but everyone seems to know...
The last few days have seen some much needed clarity and investigation into parts of the gaming press that have traditionally gone sadly unobserved; these fine, fine articles from Simon Parkin and Mike Rose for instance looking into the secrets that YouTubers would much rather be kept private, and thus maintain the illusion of independence and honesty that both they and their fans like to hold up as a difference from traditional outlets. It is however merely one aspect of a far more complex web of deals and expectations that look set to shape the nature of gaming criticism over the next few years, as well as posing a key operating question I feel is overdue being asked.
Specifically, why the hell am I never in on that good shit?