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Assassin's Creed 2: Renaissance and (is?) Science fiction.

Louis Brown

Finally the show aesthetic meets the irreproachable game pace. It comes with a raw, no-nonsense Italy, revenge cloaked in a particular emphasis on prophecy and claimed critics of the first chapter.

this is the game of the murderer.

will be the fault of the 1400 San Gimignano, Venice of the villages attacked by the appearance and historical ripping more and more of a smile, the fact remains that the Assassin's Creed is well established as a science fiction surrounded by the past, and lace psycho-powers, ancestral and historical setting of digital science together.
And that's a feature of the game is back with arrogance: the trip settled. We are in Damascus, Jerusalem, Florence, Venice ... and we are in front of our console.
very high levels of detail, writing ludo-aesthetic superfine and completely soaked with sick secret teams of the Church, the Vatican, religion and Simoni. The Italian Risorgimento setting will leave you flabbergasted. Sensations of light that sits in warm layers of Florence, leaden sky and humidity in Forlì. But this time is not only the sun that you can bathe. In addition to the hive you are immersed in the sense of power exploded, the fruit of knowledge that kidnaps How does the ring of Mordor.
The Assassin is a recurring theme: Nothing is true, everything is permitted
So Ubisoft can fire poison arrows in the face of the Church, the Creation, the Cosmos and the first truth, rather than last. Everything is rewritten, the story of a Florentine family, the history of Renaissance Italy, the cosmogenesis the world. The fruit of knowledge is of gold, brass or precast pissing off fluorescent light. It does not matter. Shallots and sci-fi live, live with the power perpetrated over the centuries, in dictatorships, wars, inventions that would have destroyed the uneasy world who holds this power.
Message is one: The man must be protected from light and truth. Nikola Tesla is silenced like Mahatma Gandhi, that revolutionized the world of consciousness and knowledge is flanked by the control and killing the truth.
With religion the man is mistaken. E 'off-road as its creator.
usual, and few people know very little control. And people die in the meantime.
the prophet falls to earth, clothed with robes of Christ a Murderess, a Florentine family of the Auditor, and everything can change. There's no Allah or Buddha or Mohammed or Jesus There is only Ezio and the Creator, in the Vatican. The language
Tuscany Florence and Venetian dialect of course there are. Leonardo Da Vinci is an affable young man, who speaks modern. So the singers to rhyme mandolin are forced to bear shaking his head with a half smile. Then there is the sick obsession, that annoying slime in Hollywood showdown between a Go fuck yourself and Rodrigo Borgia, aka Pope Alexander VI, who at 73 moves and fights like a gazelle shit, almost an idiosyncrasy of the fund must Always elbowing with the sobriety of some passages that played until just before they play the story positively surprised.
do anything though. Because the action figure Ezio Auditore is sublime, rides on the roofs of clay living with music gasanti, and for the rest there is to live an adventure, a sense of freedom, discovery and complicity in Italy at the mercy of a whole which currently has no equal.

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It 's the Assassin's Creed, this one.
Playing is believing.

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Red Blue Wedding Lengeha

Demo Play. A life with the autopilot.

d the Louis Brown.

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The gauntlet has been thrown. Nintendo is ready to confront it openly, in single combat. I just do not there will be no duel because the challenge is dead in its tracks. Challenge in video games, (N) mean. After all, monopolies are not wrong when they say the famous phrase "If you do not win games." Nintendo forward-looking gaze made her the challenge, wondering if there is no way to win always, but without playing. impossible for it to be, is not a mystery what is innate in every gamer the desire to overcome any challenge, in spite of any tricky situation.

The colorful World New Super Mario Bros. Wii will be the turning point, the experiment, the test for the new option that will allow without the slightest effort to put the plumber in overalls on autopilot and his group of friends to see them hopping fight, win and then run around until the end of the level. No clumsiness, no contact depotenziante, no fatal slip: it seems to Play Demo can not "die" never.

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gaming so the mind does two plus two, call him the cheat codes, Infinite Lives, Infinite ammo, infinite time ... But here is different. Demo play is not a (dirty) trick, indeed, to call attention to this. We must rather regard it as a possibility, fully legalized, to attend a harmless walktrough, a longplay artificial, a IA autopilot of a pre-determined command, which, with advice, help and explanatory videos, may come to giocasi his playing alone, giving a good performance to ingratiate himself with those gamers refractory seeming impossible challenge.

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Dai impatient players on Sunday that the children clamoring after yet another defeat and then give up, tears in his eyes, the wiimote in hand to his dad - "I kill you the dragon?" - how am erso last E3 Demo Play will be sufficient to enable to solve these problems.

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According to Nintendo mediation between accessibility and challenge should thus be definitively resolved, because of the difficulty in balancing Easy Medium Hard will be a thing to laugh about it, which is almost like saying that video games can not be end days are numbered.

However, as more or less seasoned gamers, it is rather difficult to evade some questions of principle.

E 'for example, natural to ask whether all this will change the habit / attitude of mind to play games, as well as physiological and wonder if, for the gamer, can be more rewarding or dequalificante support so marked.
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What is inevitable is that it is impossible not to think that such a possibility is not going to threaten the entire genetic system of the game, which until proven otherwise is to immerse you in another reality using precisely the factor challenge / discovery / progression as an incentive founding.

Watch or play, is not this the real dilemma of the gamer? When the video player and the protagonist ends up feeling less than a spectator, when everything magically turns into a rolling demo from the cab waiting for token, the game can and should continue to call this? With which eye should then look at the walktrough, the strategy guides and the same community of fans who today ncora discuss strategies for gameplay?
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E ' probabilmente questo l’interrogativo più drammatico insito nelle possibilità schiuse dal Demo Play: la ridefinizione del senso, per non dire del significato stesso del videogiocare: n on muore forse l’arte del videogioco quando, volendo raggiungere i titoli di coda, ci è data la possibilità di far fuori buona parte dell’esperienza di sfida?
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A ben rifletterci con Demo Play il problema per gli sviluppatori non è tanto quello di bilanciare tale possibilità all’interno di un videogioco affinché i gamers non ne abusino, quanto la possibilità di mantenere integra l’emozione della satisfaction with life without undermining the integrated gaming experience.
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Fearing the worst, however, is an obvious feeling, human being, however, that gamers know well. Nintendo has pushed the accelerator of the games for the whole family, coming powerfully into the homes of such sacrifice on the altar of technological something.

After burning its casual appeal with the whole competition, the same is certainly not been watching, and the run-up to the sensory remediation has just begun, with both Natal the Motion Controller for Sony (Wand), and becomes increasingly difficult to provide for the originality and exclusivity of the motion-sensitive applications in the near future.

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But if you start with the Demo Play the New Super Mario Bros. Wii, and then on to Pikmin, then Zelda, Metroid, and then, until landing the games for DS maybe, it is not absurd to think that such a feature could reach the shores of Sony and Microsoft to become like the "Pause" button, a standard in the grammar of the game. In fact, when I write the news is present. This is the next Bayonetta Sega, with its Very Easy Automatic Play . It 'just squeeze the buttons that appear on screen as a Quick Time Events, and you're done, or rather, it is done alone.

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It 's so that the distinctions are dying by the late Bruno Fraschini theorized in his Elective Affinities - the language of film in video games (2004) , in turn borrowed from the analysis of categories of text submitted by Umberto Eco. Nothing più co-autorialità del testo videoludico, niente più regia e assolutamente nessun senso d’interpretazione.

Muore il creatore modello (game designer) che “chiede” ad un giocatore modello di “collaborare” affinché il testo possa esser completato/attualizzato. Con Demo Play la creatura prende vita, si muove da sola, guarda in faccia il giocatore sconfitto e s’alza in piedi con un sorriso cinico, spocchioso, forte its array of pre-established rules, sure to overwhelm everything and everyone by cutting away the unpredictability of a purely human gameplay.

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Continue the aforementioned Bruno

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" Try an experiment: playing a recorded one of the titles just mentioned on a tape and show it to a friend. The effect that we will bring will be minimal, if any. The same images that excite the player the viewer bored and this is because, when you participate in a video game non si sta semplicemente osservando. Anche se un’elaborata messa in discorso può sembrare l’aspetto cruciale per riuscire a suscitare specifiche emozioni nel giocatore, non è affatto così. Nel videogioco cinematografico è ancora la possibilità di interagire, la componente essenziale, come in qualsiasi videogame ”.

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Come in un qualsiasi videogame, afferma Bruno.

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Metal Gear Solid, Ikaruga o Super Mario… la differenza è più sottile di quanto si possa immaginare.

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What is certain is that activating Demo Play is the protagonist to survive.

not the gamer.

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Who Bought Who Out Stover?

Business and Gaming. Gaming and social networking in the enterprise network.

Chronicle feature of a meeting.

(Louise Brown)

Italy Commissioned by Sony Computer Entertainment (SCEI) and entrusted to the Faculty of Communication Sciences at La Sapienza University of Rome, Business and gaming. Gaming and social networking in the enterprise network is the first study which has as its objective the investigation of the dynamics of social interaction mediated by networked environments, linked to social networking sites and interactive participation in simulations related to gaming.
Research, associated especially with the purposes of the business world, has made clear on their methodological points through the presentation took place Wednesday, March 4 at the Congress Centre of the University of La Sapienza University in Rome, which were present as spectators, the undersigned and the journalist Lorenzo Antonelli (associate of AIOMI , Italian Association of Multimedia Works Interactive ).
Among the guests at a press conference in the first round of the day included Mario Morcellini (Dean of the Faculty of Communication Sciences), Gary Ruvolo (General Manager SCEI), Gianfranco Beijing (Dean of the Faculty of Sociology, University of Naples Federico II) and Marco Mele (journalist for Il Sole 24 Ore).
The main reason for the investigation of the Faculty was to understand how to increase marketing through the modalities of fundraising on the net (online fundraising ) and research work ( corporate recruiting).
But what does the last game with this research?
Everything, according to Sony and the researchers involved.
The playtime is indeed confirmed as a "gateway" to the analysis of the relationship between the world of business and new ways of interacting online, and censuses carried out on social networking sites, national and international, with results still to be received , emphasize the centrality.
The game, incensing identification and involvement, promotes the internalization of content while increasing the efficiency of sensitization. It 'also e-recruiting tool , evaluation of staff through analysis of cognitive, experiential and strategic (business game company) and recruitement tool for recruitment and training virtual (America's Army).
view of the personalities present at the conference as "protagonists" of cultural discourse about the games, it is interesting to make a quick assessment report for each project individually. E 'to be noted that the press conference was quite contradictory results on the actions raised, not for what concerns the main subject but rather the lack of consistency between the different professional roles held by these

Being was the theme of communication and social identity as a catalyst the main interest, the Beijing Gianfranco appreciated, author of the splendid Games and Culture of Simulation. The birth of the 'homo game " stressed by the difficulty of the game to emerge as a cultural object. The same professor, an expert in the investigation of the cultural identity of the gamer in contact with the object gaming, has focused attention on the widespread insistence that it is now to analyze the social phenomenon of the game so dramatic and too deterministic (Cases social violence, use of time stolen from real life, etc.) without having to reflect on the transformation of the social and cultural del soggetto dopo il passaggio all’interno dell’avatar (e di se stesso) permesso dalla vita-altra del videogioco. Puntando l’attenzione sul concetto di “Responsabilità sociale” e sul conflitto generazionale fra gli attori di un tempo e quelli di oggi, l’intervento del professore è stato tra i più lungimiranti dell’intera giornata.
Memorabile la sua chiusura con la consapevole affermazione “Il videogioco è qualcosa di serio”.

Gaetano Ruvolo, General Manager SCEI, è stato invece direttamente interpellato da un ragazzo presente in sala il quale, presentandosi quale videogiocatore/utente di PS3 ha gentilmente evitato, quasi fosse tabù, di nominare Microsoft quale diretto concorrente di live social networking.
Il ragazzo ha chiesto come mai Sony, visto il tanto parlare durante la presentazione della centralità della Sony stessa sul ruolo del social networking in Italia (Home) e della comunicazione fra gli utenti iscritti su PSN, non snellisca i protocolli di comunicazione sullo stesso PlayStation Network. L’intervento, del tutto comprensibile e dovuto, era mirato a notificare quanto sia ridicolo oggi non poter comunicare tra videogiocatori che giocano su piattaforme differenti e, implicitamente, a non poter comunicare agevolmente mediante chat private con altri utenti/amici su PSN (PS3 difatti non permette la chat vocale se non si sta giocando in co-op nello stesso gioco e senza dover necessarily quit the game to enter a private chat room, as is instead smoothly thanks to the Xbox 360 Live, for example).
Faced with the limits of the PlayStation 3 on this issue, Gary Ruvolo at first did not open any window of mediation on the issue, but he peremptorily dealt with the "long-range diffusion of the PS3 system over investments" on the grounds that the companies are based on law of profit for which Sony has always placed the technology (DVD, Blu Ray, multimedia, etc.) in its favor as a distinction in the marketplace.
It was a completely out of line to answer detailed questions about inherent limitations of the communication online on Playstation 3.

For journalist of Il Sole 24 Ore Marco Mele instead, "The game is not a medium, but a tool for entertainment which is given a full identity within the discourse of the mode of transmission , able to excite and stimulate you. In addition to the questionable interpretation of the journalist, although not clearly argued properly, for the same apple today is experiencing a crisis of representation of real systems, for which the failure of cultural renewal of the general media has an impact on the difficulty of the game emerge as a cultural object. The same Apples then resumed the conversation avoided by the General Manager SCEI Ruvolo, saying ironically, turning to the boy who had previously posed the question, he can now easily see that Microsoft also appoint the same Ruvolo left the room.
According to the journalist, Sony "afraid" to open the frontiers of freedom of communication on PSN which could prove counterproductive for the company itself as the Playstation could advise people on how to more easily "copied toys" and foment thus piracy as happened in the past. Each
opposition on this project is completely legitimate. In the afternoon the meeting

Wolf has moved in the Hall of the University, Beijing Gianfranco orphan, remaining on the list to participate but unfortunately restart.

The first to speak during the seminars and was Luca Giuliano, professor of hypertext narrative strategies at the same university, who has spelled out, from the beginnings to the present, the various stages of development of forms hypertext narrative present in virtual reality or not, with obvious references to the game. The route, which also covered the birth of the concept of cyberspace, has left out little things, calling into question books ( William Gibson all), film (eg. Brainstorm Douglas Trumbull), and of course video games (from Colossal Cave Adventure in World of Warcraft ). The intervention of the teacher was cool and pleasant, the only supported by iconographic presentation projected on a screen full of iconographic and textual references which facilitated not just the arguments. The only time objectionable by Professor Giuliano, probably influenced by the presence in the courtroom of the Director of Marketing of SCEI Andrea Cuneo, was to insist on the centrality of the Playstation 3 as a single converged platform that makes the idea of \u200b\u200bsocial networks, the 'idea of \u200b\u200b"Facebook" and the idea of \u200b\u200bsharing personal content to the service users in the past limited by their inability to communicate interpersonally congenital.
It 'obvious that it is a position widely clarification.

And 'interesting to finally bring the involvement of Alberto Mattiacci, Professor of Marketing at the same wisdom. Asked about development of video games in Italy, the professor stressed that the main cause of the lack managerial skills in managing the company by "creative" potential developers, arguing that the real "fear" by those who could work development of video games in Italy's plan business, profits, and marketing strategies fearing to remain stuck in the fabric of excessive taxation and financial implications. Inviting them to think more optimistically than the current crisis, according to Professor Mattiacci in Italy takes over the integrity of their creative figure the compromise of an entrepreneurial activity that takes into account the economic goals of a given project.
Andrea Cuneo, director of marketing for Sony Computer Entertainment Italy above, spoke on the subject by saying developers experience how Italians, or aspiring, it can adapt to develop small projects commissioned by then concentrate on the fringes personal projects more creatively stimulating.
is a direct question so raised, or how to seek funding sources in Italy and put on such a limited liability company that deals with the issue of a product video game business, without being strangled by its mesh tax.
E 'was at this point that, in contradiction to what was previously said, the professor Mattiacci, more seriously, which ironically has no qualms about encouraging fact that the call is answered, if well managed, Italy is a country that offers the best tool in the hands of the entrepreneur: the avoidance
tax.
A small example to emphasize the endogenous face difficulties in our country when it comes to designing a clear position for discussion on the development and deployment of a cultural object "serious" video games as they are today.

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Belly Button Jelly Blood??

AlreadyPlayed: to win, just watch. Product Placement

[r] i (n) volution play (a Joke?)

(Idea and artwork: Photon. Send Louis Brown)

Available in stores in a few days a series of video games AlreadyPlayed (lett. i Già Giocati), distribuita da WeakGamerToday .
Nata da una costola distorta di voyeur appassionati di walktrough e di sostenitori del concetto filosofico di tempo (prezioso) sollevato dalla pratica dello speedrun, l’antologia, o se si vuole l’ontologia degli AlreadyPlayed è semplice quanto brillante: per vincere basta guardare.
Già ribatezzati “ Watch to Win ” (guarda per vincere), si tratta di una serie dei più blasonati giochi disponibili sul mercato giocati interamente per gli appassionati (fra questi i capolavori della serie Metal Gear Solid, Zelda, Call of Duty, Metroid, ecc.) ed è in cantiere un piano di uscite future dedicated to the best games of the past for fans of retrogaming.

Thanks to the concept of AlreadyPlayed walktrough is obsolete.
nothing to do with laser-games, experiences, peppered with Quick Time Events passive or pure enjoyment. The games of the series AlreadyPlayed differ systematically from the video guides you step by step since it allows, from time to time, to interact with the screen image.
play action, which may initially lead to believe that it is apparently recorded, but is wonderfully responsive to the interaction with the pad, in some fixed points of the game are in fact allowed simple camera movements, strafe laterali del personaggio o pattern di suoni ambientali attivabili con il minimo sforzo alla pressione di un tasto, assicurando in tal modo al gamer l’illusione di aver in qualche modo compartecipato all’azione ludica, seppur questa prosegua appunto da sola, in auto-pilot.
Utilizzando il medesimo motore di gioco dell’esperienza originale, il gioco AlreadyPlayed ne permette tutte le funzioni principali: pausa, regolazione volume, salvataggi, checkpoint, skippaggio delle cut-scene e ovviamente non mancano i fatidici Obiettivi/Trofei che vengono automaticamente sbloccati man mano che il gioco fa il suo corso. Tutto questo senza affaticare troppo l’utente con l’interazione impegnata, even when, for those who want to experience adrenaline more markedly, the game itself has the ability to be enjoyed at the highest difficulty (eg Veteran in Call of Duty), giving the feeling of supporting our character that shall nevertheless unperturbed ( maybe some returning wounded from time to time) until the end of the game.

the video game as of now, has always had a desire to "live up to the end" to finally able to purchase their own store under the "already played" with the necklace AlreadyPlayed can do today.
No more video games waiting to be completed, no more Target pending, no more insurmountable boss to leave unpunished.

For those who do not want to waste time with the game-over for those who do not have more time to formulate gameplay to gamers that their wishes can not help but criticize before you buy and then gently play any the new market that have, for those who are simply weak and tired of being forced to play games, and especially for those considered unnecessary, having to play to win today, the great masterpieces of the collection AlreadyPlayed gamer to ensure the certainty of having lived any game experience is total.

Now there are AlreadyPlayed , the game for you, from WeakGamerToday . A physiological
purchase, smart, modern and indispensable.

For those who want to win every time, without playing. Why

to win today, just look.

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The Day the Earth, and Video Games: ideologies media in comparison.

(Louise Brown)

Essay published Screens Interactive

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The film in question is the Earth Stood Still (2008 - directed by Scott Derrickson), recently released in the Italian and remake of The Day the Earth Stood Still (1951-Robert Wise).
In 1951, the main function of the film was to reflect and indirectly alerting the viewer with respect to the power block has arisen at the beginning of the Cold War, through an anti-military message from an alien entity wholly anthropomorphic Klaatu (Michael Rennie) . The alien warned the powers of the Earth on the possible destruction of mankind if the men had not ceased with the nuclear threat that threatened the existence of the planet itself and the surrounding planets.
Today the message of the remake has Derrickson un tono più apocalittico, lasciando intendere che l’eliminazione del genere umano è ritenuta necessaria data l’impossibilità di estirpare l’egoistica violenza interpersonale connaturata all’Uomo, la quale si ripercuote ovunque, dalle risorse della Terra alle specie viventi all’ecosistema globale tutto.
Durante le prime scene del film lo spettatore può notare che nella camera del figlio di Will Smith (Jaden Smith) fanno capolino leziose inquadrature di una miniatura di Master Chief in bellica posa, World of Warcraft in azione sullo schermo del suo portatile (Lg) e un poster semi-nascosto dietro una porta ove si riconosce il famoso anello di Halo sospeso nell’universo.
are then immortalized the American secret services, a china Intelligence authorities to observe a large screen tactics. While the intelligence debate about what to do we see appearing the colorful Windows logo on the screen: that this is perhaps an ironic guarantee of stability and structural integrity provided by Redmond for the most strategically sensitive Defense systems in America?
Finally, the encounter between the protagonist Klaatu (Keanu Reeves) and another alien is none other than within a McDonald's, complete with a camera that lingers on the inveterate teaches.
Leaving hours by the two giants mentioned above, the remake of The Day the Earth ideologically founded with the intention of being a film explicitly moralizing, unable to shake the conscience of mankind through a message unquestionably voted to line up against the Man in the absolute sense : a survey conveyed on the morality of economic policy in the world and psycho-social consequences of selfishness of mankind.
The message is pretty clear what was planned: all men are called into question by their nature, anti-ecological conscience of the individual consumer to multinational corporations through the hegemony of capitalist power foment unbridled industrialization at the expense of land resources, the concept is inherently anti-globalization inherent in the core of the film directed by Derrickson.

In the interest of integrity least ideological (and artistic) of the text, the big names were the last thing to be treated, if not the first to leave out. As a result, instead of those officers implicated in an ideological ends instead with self-promotion by a presence that is so contradictory as embarrassing.
Without discussing the relations of production and distribution that affect the cinema and the VG or the concept of authorship between the dynamics of dissolved expressive art and advertising, video games have a chance to report more understandable with the same ideologically.
in them at present ' Advertising (or advergaming) aims primarily to flash games for free download from the network, thanks to an agreement between Google and Mochi Media, a company that specializes in inserting advertising in games Flash.
its part, Microsoft has instead signed a deal with Electronic Arts to bring their own advertising on sports titles mainly, and understandably devoted to it ( Madden, Nascar, Tiger Woods, NHL, Skate ...). Thanks to technology
Massive acquired by Microsoft, which allows you to dynamically manage the space allocated to advertising in virtual worlds (billboards, television screens, shop signs, food and beverage containers), the images can then be updated in near real time where previously the Product Placement happened instead for VG in which individual brands, and products were included within the code itself (similar to the films, which invariably on film, with its resulting artistic aesthetic / visual data of taste ' definitive work).
Massive's technology applied to the VG clearly goes beyond, allowing you to change the ads based on user-supplied data (sesso, età, preferenze di gioco) nonché di rilevare dati utili durante il gioco stesso, come ad esempio il tempo di esposizione verso specifici annunci.

Se da un certo punto di vista la monitorizzazione delle realtà virtuali che presumono un advertising tende a “spiare” appunto l’attività del gamer, il fenomeno è tutt’altro che allarmante.
A differenza del cinema il videogioco è difatti Lo spazio dinamico video-interattivo per antonomasia entro il quale tutto ciò che avviene sensorialmente grazie allo stesso determina polivalenti significati. Il testo di un VG è difatti una entità fluida, una continua riscrittura che il gamer ri-definisce ad ogni iterazione e con la quale finisce invevitabilmente to "criticize" the reality itself through what he does in the game and can not do. The dimensionality
play (I. Fulco), or what you "can do" in a video game equivalent every time a re-definition of exegesis of reality itself refers to the game. Any chance of action on the gamer from the game, when these claims within the VG, in fact creates a topical sub-universe, a condensation exegesis of a given portion of reality (virtual) necessarily refers to the real one. Gran Turismo thus becomes a critical exegesis of driving in real life, Call of Duty killing in war (murder or killing fellow) Grand Theft Auto and possibly also that of the behavior (whether civil or not) of city driving or disparage the business of prostitution, for example. Anything done in a VG, even the same "jump" made from Super Mario, his clumsy slips or how to walk sexy Lara Croft critical information about the real world that need to be delayed through the Game of each verb its digital single event.
The avatars of the player are in effect the channels, vehicles with which to express, simultaneously, critical thinking and / or through exegesis refers to the virtual reality.

To As an example with the Earth Stood Still, if in a free roaming VG to the Grand Theft Auto and based on the universe of the film video player / Klaatu had a chance to shoot at the McDonald's sign, or even disintegrate, the possible sub-aspect semantic context created by this action would create a separate meaning diametrically opposed to the despotic Product Placement of the film, thus avoiding placing the principle of advanced control instead of the film in question.
The plot of the game narrative is in fact a paraphrase of free action video games, and vice versa.
This means that the ideological sense of the game is by its nature the freedom of action del videogiocatore, tanto più marcata quanto più viene concessa dai game designer e dalla creatività del giocatore stesso (fenomeno di gameplay emergente).
La libertà interattiva del gamer, vero e proprio co-autore del testo videoludico, attesta quindi già una ideologia di per sé, ontologicamente opposta alla fruizione passiva di un’esperienza puramente cinematografica.
Di per sé quindi l’esperienza videoludica scongiura intrinsecamente l’eventualità di un Product Placement indiscriminato, per i quali anche semplici spot fra un livello di gioco e l’altro, magari dopo l’ennesima cocente sconfitta con un boss di fine livello, produrrebbero un effetto di irritazione verso il gamer that would ultimately prove counterproductive for the same company promotes.

Unlike the cinema and then, the gaming activity is to all intents and purposes a (v) refractory ideology, far from indiscriminate advertising, the more freedom to determine how the text will be fundamental in the future as it is today.

From a standpoint of consistency purely artistic / expressive / conceptual rather, as the remake of The Day the Earth the original that is undeniably more.

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