Latest Blog Posts

by Eric Swain

31 Mar 2015


If there’s one genre of game I don’t get to play really anywhere other than at Indiecade, it’s the party game. Party games are made for large groups of people, often for the sake of an audience of onlookers. They are games that emanate fun through the spectacle of their chaos. They are challenge and competition, and in the same breath, they are light and harmonious. Nothing is worse than when a party game becomes serious. In short, they are the perfect sort of game for a gathering of fun loving people at a small expo like IndieCade East.

Doubly so, because I can’t get together a large group of people at my house to play a party game. It takes a lot to get just a single friend to to drop by to play a co-op game. So these aren’t games whose experience I can bring home with me. Still, there is that expressionistic joy that comes from being able to play these types of games that is worth experiencing, even if it can’t be any time I want.

by G. Christopher Williams

30 Mar 2015


Valiant Hearts is not another first person shooter set in World War II. Instead, Valiant Hearts makes players puzzle through the oft forgotten significance of World War I to European history.

This week we discuss its choice of presenting the Great Conflict through cartoon aesthetics along with its puzzles and how these still manage to express the very serious events and consequences of World War I.

by Nick Dinicola

27 Mar 2015


Braid made it look easy: Take one part platformer, one part puzzler, sprinkle in some “deep thoughts” between the levels, and presto—instant critical and commercial acclaim. But Braid only made it look easy. The puzzle-platformer may have become the indie go-to genre of choice in the wake of Braid‘s success, but that doesn’t mean that those kinds of games are easy to make, especially if they, also like Braid, aspire to be about something greater than their puzzles and platforming.

by Brian Crecente / Tribune News Service (TNS)

26 Mar 2015


As video games continue to soak into all aspects of modern society, often eyes are on how some form of gaming is become a sort of high culture: interesting, sometimes bizarre, often provocative interactions that delve into things like post-traumatic stress disorder, amputation and food as intelligent beings.

But the continued metamorphosis of gaming has a much more mundane side as well.

by Jorge Albor

26 Mar 2015


I remember my own childhood vividly… I knew terrible things. But I knew I mustn’t let adults know I knew. It would scare them.
—Maurice Sendak

Last week on PopMatters, Scott Juster described Earthbound as “bizarre and melancholy,” an element that he came to appreciate with new eyes playing the game now as an adult. I am playing the game for the first time myself. I have no sense of childhood nostalgia for the game, no memories of understanding its world any differently than I do today. Scott is right. Earthbound is at times sad, surreal, and deeply unsettling. I had no idea before I started playing that Earthbound would be quite so weird or would tackle some very adult themes. My perspective is, of course, that of an adult, but I think Earthbound might be the best children’s game ever made.

//Mixed media
//Blogs

Moving Pixels Podcast: Unearthing the 'Charnel House'

// Moving Pixels

"This week we discuss Owl Creek Games's follow up to Sepulchre, the triptych of tales called The Charnel House Trilogy.

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