It’s hard to know what to make of the weird gold rush of FMV games during the early 90s; rail shooters weren’t exactly popular outside of arcades. At the time, it probably seemed like an obvious choice to combine the digital powerhouse of cutting-edge special effects with interactive media like games… until it flopped, hard. Enter ROCKET SCIENCE GAMES, a company that, no joke, literally employed Elon Musk at one point.
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A cracking sound penetrates the calm atmosphere and gentle darkness, a ray of hazy blue light breaks through the shell’s newformed gaps. Your fledgling eyes adjust to an ancient world, and a wise elder gazes on in sympathy with a small word of advice.
With no bearings, only an inner yearning to explore the horizon, you embark on your blurry-eyed journey. It will be tiresome, a test of your patience, but worry not young and weary traveler: life is both harder and easier than it seems.
Often in life we become trapped by the things important to us, our love, our careers, our ambitions. Painted into a corner, our desires and commitments turn into the very cages we fear, only gilded with gold.
Like a Good Canary, we must sing to please our benefactors, employers, loved ones, audiences, and friends. Will we remain frozen in place by our machinations, or is there a way out of here and towards a life past the confines?
The relaxing radio music cuts to a report of a Russian Attack Submarine off course in the pacific. You’re sitting in your living room as the muddy audio of the TV drones on, and now anxiety starkly washes over you.
Is it just another false alarm? Will anything come out of it this time?
(Content Warning: Doomsday scenarios and the associated nihilistic topics.)
Oh dear, 1000 Followers on Twitter. It may not seem like a huge benchmark to many sites, but it is the main metric by which we have measured our work for the past year.
RE:BIND started as a gentle homage to Indie Critique greats of the past decade, and an experiment in alternative media. With the challenges facing indie coverage in today’s industry, we asked what would be the most effective means of adapting to the ever transforming and intimidating landscape:
Finally, we have our answer.
It’s a cute, small experience that draws some hefty questions on how we frame dialogue in games and how we frame the idea of a non-player character
Bryce Bucher & Ayden Machajewski‘s “1Boss1Battle1Button” came out of nowhere, a visually striking reminder of a long lost era in once cutting edge graphic design. Built for the Game Maker’s Toolkit 2019 Jam, the dynamic duo set out to put a fresh rhythm twist on the competition’s theme of “Only One”.
The result is a passionately clever minimalist platformer that stirs the imagination and demands a reflection on the bold stylings of a design trend known as “Factory Pomo“.
To the northwest of France is a peculiar island, inextricably with a history linked to Europe yet somehow insistently apart from it. It’s a land known for it’s modest social sensibilities while being driven by imperial ambition ever since the Romans receded from its sandy shores. This desire to be recognized, to be known and respected, to be tame without being tamed is deeply entrenched within the culture of Britain.
And while the invaders may have left, it seems the Empire never did. The wounds inflicted by Julius Caesar’s violent invasion continued to fester underneath the land, infecting the course of British history from that point on. Long before colonizing the world, England needed to unify and consolidate its own back yard in order to power it’s conquest of the globe.
Moshe Linke‘s latest entry into interactive media is the sort of thing that level design zine Heterotopias was made for. A euphoric cavalcade of harsh lines and the gentled nuanced pores of concrete drench the senses in pure joy. In many ways, it’s a digital museum, in others, an icon to aspire to.
It’s always a strange moment when a new customer shows up at your bar and asks for a recommendation. You get a read of their personality, the sort of food they ordered, then finally ask them their preferences, a question inevitably followed by the old familiar phrase: “I don’t drink much coffee, what would you recommend?”
After offering a few options, they pick one or simply ask you to, and you get to work. There’s a certain mixture of emotional high and terror as you slide the drink across the counter and wait to see if their capricious tastes find it satisfactory. In that second, the only thoughts running through your mind are, inevitably, “Did they like it? Did I mess this one up?”