J. Stephen Addcox examines the importance of poetry in videogames like Gone Home, Ni No Kuni, Skyrim and Brothers: A Tale of Two Sons.
This week Josh crawls some dungeons in Persona Q, Jay climbs some trees in AC: Rogue, and Rowan makes some friends traveling with his 3DS. Plus, a tale of pc woes, CK2 Way of Life dlc, Demon Gaze, vanilla vodka reviewed, a whole lotta Dragon Age Inquisition spoilers, and more!
The following is a reprint from Unwinnable Weekly Issue Twenty-Seven. If you enjoy what you read, please consider purchasing the issue or subscribing. ——— The modern BioWare phenomenon begins with a choice. Part of the way through the first Mass Effect game (released in 2007), you and your party land on a planet called Virmire and you’re tossed into a big action sequence. At its climax, two of your party members leave to do two different things, something goes wrong and you have a choice: save Kaiden, or save Ashley? One lives. One dies. That’s not how big-budget games were supposed to
Garrus Vakarian is the Mass Effect series. All right, that’s a strong statement, and obviously not literal. So to put it another way: more than any single component of Mass Effect, Garrus embodies the tone, theme and characterization of the series. Garrus is one of two characters who’s a full party member in all three Mass Effect games, alongside Tali. (Unless, of course, you let him die in Mass Effect 2 and import that save into Mass Effect 3. It’s also apparently possible to reject him if you time things right in Mass Effect 1, but I’ve never even seen
We are excited to have freelance pop culture critic Rowan Kaiser on a very special Unlistenable!