James Stephanie Sterling

It’s hard to divorce David Cage, the public figure, from the games Quantic Dream makes. He is, after all, a man who put himself in Indigo Prophecy‘s tutorial, immortalized as the movie director he’s always dreamed of being. The self-styled auteur fiercely believes in being the one man with the one vision, and gladly takes credit for his games’ success in doing so.

Writing an introduction to a Grand Theft Auto review seems unnecessary. If you know videogames, you know Grand Theft Auto. Hell, even if you don’t know videogames, there’s a better than low chance you know Grand Theft Auto. The “bad boy” of the games industry for many years, few titles have generated as much controversy — and sold as many copies — as Rockstar’s premier crime series.

In the past five years, the notion of a zombie apocalypse has grown from cult horror amusement to worldwide mainstream fascination. The videogame industry latched onto it with eagerness, and this generation has drowned us in undead adventures. Dead Rising, The Walking Dead, Plants vs. Zombies, Dead Island. It’s been all about the zombies this generation.

A game of exceptional quality is exceptionally rare, rarer than generous review scores and excited praise in the high profile videogame market may indicate. There are games of unquestionable caliber that, while few in number, become games that define a generation. BioShock was one such game.

A game of exceptional quality is exceptionally rare, rarer than generous review scores and excited praise in the high profile videogame market may indicate. There are games of unquestionable caliber that, while few in number, become games that define a generation. BioShock was one such game.