It wasn't meant to last though, as even though the 32/64 bit era only barely blurred the party lines, with every subsequent gaming generation, it became harder and harder to separate one system from another just by looking at the games on the store shelves. By the time that Peter Moore revealed a "GTA IV" tattoo on his arm at E3, the message was clear that Triple A titles had become too big and too expensive to only commit to one system or another and, outside of some in-house and privately published development teams, the idea of big name exclusives was a dying light in the night drowned out by the dawn of a new day.

If you’re a gamer and you haven’t read Reality Is Broken by Jane McGonigal (you might have seen her on The Colbert Report ), head on over to Amazon and check it out. It’s a fascinating look into how video games are making the world a better place, but also how we look at games overall. In the first chapter, she illustrates four main components of any game, one of which being the "goal", that important drive that gives gamers incentive to continue. It’s essential to any kind of game because without it, the game doesn’t have a meaning. It’s generally pointless to play, and Stardew Valley Update 1.7 therefore, a gamer won’t play.

The story also deserves notice. Minecraft itself might not have as intense of a story, but Telltale was able to grab some of the more important factors of Minecraft and create a lore to follow and better understand what the characters with. Previously, your goal was to mine for enough materials and minerals to make a portal to the End to slay the Ender Dragon. Now, that story doesn't necessarily apply to everyone, because the ones who slayed the Ender Dragon were the members of the Order of the Stone. The members are essentially the people that you would have normally gone to the End with to help you fight the dragon, so it almost makes it seem like you were some kind of legendary hero for being able to do that if you were able to do so in the past. Everyone else in the episode doesn't have that same goal and, funny enough, don't look at all like the villagers that you sometimes wander upon in the original game. The storytelling and characters leave you with enough of an impression that leaves you waiting in anticipation for the next episode. You begin to make connections with your friends and build a relationship with them in the span of one single episode so it leaves you wanting to know what will come next for this party of builders.

Minecraft: Story Mode strays from the more mature content that Telltale normally associates themselves with and manages to create a fun, family-friendly world for one with no real story. The episode is expertly done and gives players a perfect standalone game to the critically acclaimed game from Mojang. With the new lore introduced in the first episode, it's hard to believe what other new content will be available to us in the coming episodes. By focusing on a new concept that strays from their normally mature games, this episode paves the way for what is hopefully a great series from a great developer.

The episode relies prettily on QTE (Quick Time Events) and gives you something next to decision making to worry about. While a lot of the QTE are really to avoid taking damage, some are just used for the sake of being there, like to build things, but they also add to your situation and count as something else to watch out for. You are given a set of ten hearts to have throughout the episode (and most likely throughout the series) and damage gets taken away every time you are either attacked by an enemy or fail to do a QTE. The QTE also acts as its own decision as some events can change how a person sees you. It isn't as effective as a regular decision, but something like which group of people you want to run with or how long it takes you to do something might have a much more of an impact in the future.

Now Minecraft has no overarching objective, so it instantly challenges McGonigal’s claim that a goal is required in a game. But actually, Minecraft ’s main goal is composed of multiple smaller goals. It doesn’t have a "grand" objective, but it has smaller objectives, little bite-size incentives that replace each other over time and take the role of a larger objective. First you collect resources, then you build a house, then you survive the night, then you wake up and continue, but each with steadier and steadier increases in scope and scale. Even better, there’s no one direction to go. Being able to explore in multiple regions and build whatever you feel is satisfactory is open-ended. You are given tools and no direction, yet you are still creating. You’re making the direction. This is a massive undertaking, one that changes everything that anyone knew about videogames before, and it’s a bigger embodiment of the "sandbox" mentality than Grand Theft Auto has even been.

VR Control mode has a number of options available for it, but the default is that turning is done by a series of instant changes, like teleporting in place but facing a different angle. Turn slowly and the jumps are tiny, turn fast and you get a much larger angle of change. Additionally, when you look while walking your "body" automatically changes direction to face the same way without the need to manually adjust it. The trick is to eliminate as much as possible anything that might cause dizziness, and although these changes wouldn't work on a game like Doom they're fine for something slower-paced like Minecraft. It may be weird and a little jarring but also surprisingly effective.