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by G. Christopher Williams

14 Dec 2016


I have found myself obsessed for the past several weeks by Kingdom Death: Monster. I’ve been reading reviews, Googling images of its miniatures and artwork, and watching playthrough videos.

I really shouldn’t be, though. It’s a tactical-battle miniatures game, and while I am an avid board gamer with faiy eclectic tastes, that’s simply not a genre that appeals to me generally speaking.

by G. Christopher Williams

7 Dec 2016


Mafia III (2K, 2016)

I just started playing Mafia III. It’s the first big budget game that I have played in over a year. The last such game that I played was Metal Gear Solid V, a game that released in September of 2015. Prior to that I can’t remember what big budget title I played.

This is pretty weird for a guy who spent the 2000s and much of the early 2010s playing nearly every big budget release that came out, from Assassin’s Creed to Call of Duty, from the Batman: Arkham games to every Grand Theft Auto since Grand Theft Auto III (including the Tales from X City titles to Chinatown Wars).

by G. Christopher Williams

16 Nov 2016


I beat Zero Time Dilemma, a 20+ hour game, in five minutes.

This actually wasn’t hard to accomplish. Zero Time Dilemma‘s narrative structure is based on a series of branching storylines, the root of which is a choice determined by a coin flip. I won that coin flip. The nine potential victims of the maniacal Zero were saved from having to experience his series of puzzles and death traps as the result of my lucky guess. The credits rolled.

by G. Christopher Williams

12 Oct 2016


The board game Posthuman offers its players two potential win-states, the first, a fairly common one, the victory of the individual, the second, an extremely unusual one in a competitive game, a communal victory. This is a really strange tension in a competitive game, and one that seems at odds with our expectations about the principles of competition. Essentially, Posthuman suggests that if a player can’t win, then they can damn well make sure that everyone wins.

This idea seems at odds with competitive play, perhaps even more so, since more often than not when folks do compete knowing that they can’t win, then it’s our expectation, perhaps, that they will choose a scorched earth strategy: if I can’t win, then no one should win. In both instances, the ideas that a single player should win a game or that “if you can’t win, then no one should win” both seem like ones that lean heavily on the central importance of individualism to the competitive experience.

by G. Christopher Williams

5 Oct 2016


No! I am not Prince Hamlet, nor was meant to be; 
Am an attendant lord, one that will do 
To swell a progress, start a scene or two, 
Advise the prince; no doubt, an easy tool, 
Deferential, glad to be of use, 
Politic, cautious, and meticulous; 
Full of high sentence, but a bit obtuse; 
At times, indeed, almost ridiculous— 
Almost, at times, the Fool. 
—T.S. Eliot, “The Love Song of J. Alfred Profrock”, 1915


The premise of Westworld is made clear pretty early on in its first episode. Westworld is a kind of theme park, whose visitors lay out a big chunk of change to visit. Westworld simulates the Wild, Wild West through the creation of an environment that resembles our conception of 19th century America and a host of robots that appear like the citizens of an Old West town.

//Mixed media
//Blogs

Stone Dead: Murder and Myth in 'Medousa'

// Short Ends and Leader

"A wry tale which takes in Greek mythology, punk rock and influences of American suspense-drama, this is an effective and curious thriller about myth and obsession.

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