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by G. Christopher Williams

15 Apr 2015


The premise of Titan Souls, while unusual, is not entirely unique as anyone familiar with the 2005 cult classic Shadow of the Colossus should know.

While both Shadow of the Colossus and Titan Souls take place in fantasy-inspired universes, composed of magic, monsters, and men, a la Legend of Zelda and countless other games that have come in its wake, the actual living population of the worlds belonging to the aforementioned games, though, is much more sparse than that of a Zelda game.

by G. Christopher Williams

8 Apr 2015

Risk of Rain fanart by
LordKaniche (DeviantArt, 2015)

To be honest, I just don’t think that Risk of Rain is much to look at. Screenshots simply don’t do the game’s aesthetics any kind of justice (hence, my decision to go with fanart for the splash image above that captures the scale of the game, if not it’s exact look). The graphics in the game are pixelated, muddy, and old fashioned, featuring a tiny little spaceman in a great big, ugly world.

However, that doesn’t mean that the choices made in the art design for this game are mistakes, though. What Risk of Rain gains at the expense of slick, stylish visuals is a sense of scale, and scale is probably the most important visual quality in conveying the game’s mood, tone, and interest to the player.

by G. Christopher Williams

1 Apr 2015


A synopsis of the content of PUNKSNOTDEAD, an indie game made in 12 hours in 2013, is explained by mooosh, the game’s developer: “12HOURS/1979/GET PUNCHED/PUNKS NOT DEAD/EAT SHIT.“ To which, I can only respond that if punk’s not dead, then, well, fair enough. I hear you.

by G. Christopher Williams

25 Mar 2015


I’m not especially bothered by violence in media. I’m a huge fan of the films of Quentin Tarantino. I play a lot of video games. Hell, I teach a course every few years called “Violence in Literature & Film.”

However, I find watching the movie American Psycho uncomfortable. There’s something I find upsetting about Christian Bale’s performance of the psychotic yuppie killer Patrick Bateman .I think it has to do with the posing and preening that he does when in contact with his victims. The way that he fawns over himself while taking advantage of his underprivileged victims makes the violence that he perpetrates against them seem all the more detestable.

by G. Christopher Williams

18 Mar 2015


White Night is not the only horror game of recent years to use light and darkness as inspiration for its game mechanics. Both Shadows of the Damned (an action-horror game with more emphasis on the action portion of the equation) and Alan Wake (also probably more of an action-horror game, though probably with more emphasis on provoking scares than on pure combat) used light and darkness to drive their combat mechanics.

Since both games concern confronting supernatural horrors, it seems reasonable to associate darkness, and the terror that it presents by making things unknowable and obscure, with evil, and light, with its ability to make knowable and to clarify, as a means to combat evil. In both instances, darkness within the environment signals a lack of safety and security in the world, and darkness is also intrinsic to the nature of the enemies in the game—along with the need to purge that darkness with some form of light before making those enemies vulnerable to mundane weapons. In other words, light needs to make the dark things into something that can be combated with things we know and understand, firearms and ammunition.

//Mixed media
//Blogs

A Year in the Life of 'Mario Kart 8'

// Moving Pixels

"With a year having passed since the start of Mario Kart 8, it's time to look back on 12 months of roaring engines, hairpin turns, blue shells, and a whole lot of swearing.

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