The protagonist of Death Stranding is no samurai, soldier or superhero. He has an ordinary job, and he does it doggedly well. This may very well make him the game hero we need for our time. (Partial nudity in this post, in case this matters)
Ejen Ali: The Movie isn’t just fun and thrilling, but the rare example that franchise-based feature films can challenge and intrigue.
Netflix’s The Witcher stays true to the source material and adds it’s own dash of magic into the formula. It’s quite an entertaining mutation.
Hideo Kojima’s Death Stranding is not shy about telling a grandiose political story, but its strength is in telling small, human ones.
How do we deal with the current climate of upheavals? We follow Elsa and Anna into the unknown.
Hideo Kojima’s Death Stranding gives our writer some wheels and a life lesson.
It’s not an exaggeration to say I have been waiting my entire gaming life for Death Stranding. Having only joined the global tribe of gamers a mere six years ago while I was already in my 40s, I used to lament how so few games out there are truly immersive and genuinely meaningful for players who find zero appeal in shooting, killing, and escaping into pure fantasy. I have no problems with grinding and doing repetitive tasks—heck, I have a real-world job so mundanity is my life—but I have always yearned for a game that finds poetry in the prosaic without forsaking the sublime.
Wira entertains. Wira also frustrates.
A movie with as much sweat and blood takes just as much sweat (and hopefully not as much blood) to make, as Wira director Adrian Teh shares.
Christmas is coming early for me, in the form of the rare and elusive hand-drawn animated feature film.