It’s only right that sci-fi point-and-clicker Samorost 3 gets a physical version. It’s a game that emphasizes tactility through its biological textures: from the gnarled knots of a planet made of tree bark to the soft sprigs of moss on one of its greener planets. The “Samorost 3 Cosmic Box” addresse
A year ago, when Rich Vreeland (aka Disasterpeace) said that the work on his score for Mini Metro (2015) would be around 90 percent coding, not many knew what he meant. At the time, the only insight he shared was that the results of his work would create procedural audio for the subway system manage
Without giving anything away, there are definitely some freaky experiments going on in Inside, the latest game from Danish studio Playdead. At times, these experiments are depicted through the game’s eye-popping stagecraft, but in other instances, players take the helm as experimenters, tinkering wi
Samizdat—literally “I self publish” in its native Russian—is a term that buzzes with connective meaning. First used by the poet Nikolai Glazkov, it describes the banned political essays, literature, music, and poetry that were circulated by makeshift independent presses in the Eastern Bloc. A respon
Bad news: Deep Space is a game you will never play. It doesn’t exist except as an implication. It’s the invented backstory for a new record by Joel Williams (also of Wavves-affiliated acts Sweet Valley and Spirit Club). Under the name Kynan, Williams wrote the soundtrack to an imaginary game, which
My anticipation for the recently released Street Fighter V probably came from a different place than most people. I’ve only ever really followed the series as an observer who watches tournament matches, and as a listener of the games’ soundtracks. For me, then, Street Fighter V’s release held two po
“It needs to be ancient, epic, and mysterious.” These were Marty O’Donnell’s only instructions from Joseph Staten, who’d asked him to write the music that would accompany Halo’s (2001) unveiling at Macworld four days later on July 21, 1999. The melody that resulted from Staten’s minimalist direction
Resident Evil, released in 1996 for PlayStation 1, is hilarious—it’s so funny. The voice acting is ridiculous, the plot is sensational and the live-action cutscenes look like they’ve come from a porn parody film. In fact, that’s Resident Evil in a nutshell: from the campy character and costume desig
Rain gently pours outside the window. The detective crosses the room, bottle and glass in hand, and sits on the couch. He stares at the portrait of a beautiful woman. She’s the victim of the crime he’s investigating. A sense of mysterious infatuation permeates the room, emphasized by David Raksin’s
Battletoads was released in 1991 as an effort to rival the success of the Teenage Mutant Ninja Turtles. The game features three humanoid toads named Rash, Zitz, and Pimple and—while they do share some aesthetic similarities with their amphibian contemporaries—the series couldn’t be more different. B
When Patrick McDermott of LA-based label Ghost Ramp first told me that two tracks from Drift Stage‘s soundtrack would be available on a car-shaped vinyl I didn’t fully grasp the idea. It’s to be a “shaped picture disc 7″ that’s the shape of one of the race cars from the game,” he said to me eagerly.
