Digital gore has a come a long way from its ridiculous, spine-ripping roots. When used properly, it can even be used as an effective storytelling mechanic -- or as a way to make someone lose his or her lunch.

I like blood and guts. Part of that, I have no shame in admitting, comes from my gib-tastic experiences playing Quake and Half-Life as a kid. Another part of me isn't quite as juvenile, however. It yearns for maturity in video games and to see them taken more seriously as an artistic medium, but it still wants more pixilated viscera.
For example, games like Half-Life 2 and Grand Theft Auto IV reward you with a humorous display of ragdoll physics after you shoot a baddie with a rocket launcher. The recently deceased goes flying across the terrain, but where’s the meat? A guy who’s just been hit square in the chest with a rocket launcher should have his entrails strewn all over the place, an arm here and a leg there, and a severed head in the gutter.
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The 
On October 5, 1962, Sean Connery 





