Lev Grossman is one of my favorite authors. The first two books in his Magicians trilogy, The Magicians and The Magician King, are right up my alley. They’re Narnia meets Harry Potter with a macabre twist. The series is scary, realistic in its own way and has a protagonist whose voice matches my own at times. It really does feel like it was written for guys just like me; obsessed with fantasy and not exactly sure what to do in life. The third book was released recently, The Magician’s Land, and it, too, was spectacular. Some scenes were so beautifully written that I will never forget them. But something wasn’t quite the same. READ MORE

The cynical part of me rears its annoying head once in a while, reminding me video games are a business first and always. The industry has expanded since the NES launched in 1985, bringing us unmatched content for nearly every digital desire we could possibly imagine (within reason, holodecks are yet to come). People have become deservedly rich from creating, distributing and selling games and consoles.

Most of us are willing participants because we feel games are, mostly, a strong product. They can be played as many times as you wish, and many have multiple reasons to return. They can be discussed in great detail, played with others in the same room or even around the world. They are constantly evolving, bringing new ideas, challenges and artistic interpretations straight to our living rooms. They are truly a marvel, and we are lucky to be in a position to play games so often when others are much less fortunate. READ MORE

I am sitting in my boring room, not listening to anything at all. I put myself in a blank stasis, to figure out if silence can be deafening and seeing nothing can be a beautiful sight. I fail to answer those questions, quickly. Whether it’s because I’m a slave to stimulation, or thoughts of gorgeous aesthetics and catchy tunes are too much to resist, I’ll never know. Specific songs creep in and force me to remember things that matter, things that don’t and all things in-between. READ MORE

Serotonin’s criteria are simple: did a video game connect with me on an emotional level? Did it make me happy? Sad? Angry? Confused? Bored? Thrilled? As long as I remember it in a meaningful way, it doesn’t matter what the game is. I’ve been pondering lately if the emotional connection is tied to a specific aspect of a game. Am I more moved by musical scores, or do I find peace in gazing upon a particularly beautiful level?

I used to think the ultimate satisfaction came through gameplay. Was I comfortable with the jumping sections? Did the controls help or hinder my progress? How did beating each level make me feel? These are questions I ask myself frequently. It’s a sign of a great game when it connects with me purely through its gameplay. Isn’t that what a video game should be? Games are an experience you control; you are in charge of the progression. You tell your own story, you create your own struggles and triumphs through your own, personal input. Nothing else matters if the gameplay is subpar.

But then came  Telltale’s The Walking Dead, and my supposed unshakable foundation of game philosophy was disrupted in a wonderful way.

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