Welcome to part-two of my end of year reading list – part one was published yesterday. It’s a list that highlights the writers we’re really lucky to publish on Eurogamer, and without whom, the website would not be the same. I hope you saved some space after yesterday’s feast, and remember, if there’s a writer who really clicks with you, then return the favour and click on their name next to their author portrait, to go to their author page. There, you’ll find many more pieces by them. I hope you enjoy the platter before you.
Sir Clive Sinclair sadly passed away this year, and he leaves a legacy in gaming that will never be forgotten. From calculators to some of the first mass market home computers (that could play games), Dan Whitehead tells Sir Clive Sinclair’s remarkable life story.
Matt Wales really sticks with some games, and one of those is No Man’s Sky. He’s been on and off dabbling for the five years it’s been out – gosh has it really been that long?! – and it’s a game that’s changed a lot in that time. Here he explains why No Man’s Sky’s latest Expedition is a great re-introduction to the game.
Luke Kemp didn’t understand Eric Chahi’s VR game Paper Beast properly until he read Robert Macfarlane’s acclaimed book Underland: A Deep Time Journey. But to understand why, you have to understand Macfarlane, as Kemp attempts to.
Twine is free, open-source software for making interactive fiction, and it’s one of the few places in gaming where trans people have a strong and visible presence. Eli Cugini explores a blossoming creative scene.
Shenmue might be 22 years old, but for Aamir Mehar it still feels excitingly different and unique. Few games evoke life so strongly, he argues, as he slips back into Ryo’s shoes.
Is that a funny accent in Dragon Quest Builders 2, or is it Polari, a secret dialect? Edward Hawkes investigates.
‘Appreciating rock climbing’ wasn’t something Henry Stockdale thought he’d get from lockdown life. But through Crytek’s VR game The Climb, he did.
It takes courage, and perhaps a bit of madness, writes Thomas Nickel, to make a brand new game for a very old machine. But that’s what M2 did with the 30-year-old Game Gear, and Nickel tells the story of how.