The third article in my series Walking the Planes has just been published over at The Ontological Geek. It’s about the Planescape setting and how its emphasis on diversity and plurality has affected me, both in discovering the setting as a teen, and nowadays. I’m not really sure yet what the next episode is going to be about, as I have multiple half-finished ideas bouncing around in my head. You’ll have to wait and see!
This one took a bit longer to write, but finally the second article in my planar series is out, in which I give an overview of the planes in the history of Dungeons & Dragons. Next time, I’ll be diving into Planescape properly for the first time.
After a hiatus, we’re back with Ontological Geek podcasts again. This time, Aaron Gotzon and I had former editor-in-chief Bill Coberly and Amsel von Spreckelsen as guests, and our main topic was bodies as a locus of morality in games, particularly sections where control in taken away from bodies and they are destroyed in a spectacle, which at the same time is the outcome of a moral judgment, such as at the end of a duel, like in Mortal Kombat’s ‘finish hem/her’ sections. Besides that, we talk about Darren Korb’s music in Bastion and Transistor, and a variety of other games.
As promised, my series about Planescape and the Planes in Dungeons & Dragons kicked off this month. The first instalment is only an introductory piece, in which I set out my ideas for the future of the series. Hopefully it will whet your interest; check back here or on The Ontological Geek soon for the second piece!
I had been wanting to write something about Cameron Kunzelman’s little game On August 11, A Ship Sailed Into Port for some time now, but recently I sat down to do it and it turned into a vague textual and audiovisual meditation on death, choices, and getting by. It’s a bit of a loose, experimental column, but maybe you’ll enjoy it. Please do check out Kunzelman’s game, as it takes only five minutes, and if you’ve never seen Werner Herzog’s Nosferatu before, here’s your chance to see some scenes.
Since early last year, The Ontological Geek has been my main outlet for writing about games. The site is the brainchild of Bill Coberly, who stepped down as Editor in Chief this week because he’s going to law school. Congratulations, Bill! You can read his goodbye post here. Our new helmswoman is Hannah Duvoix, who has been a contributor to the site for a long time as well. She wrote some words of introduction as well.
Over on The Ontological Geek, I’ve written a small column about the little things that can make games come alive to me. I love it when designers take some time to put in some details, even if they aren’t essential or functional in the ‘core’ of the game.
On the second Ontological Geek podcast episode, Aaron and I are joined by Amsel von Spreckelsen and Rowan Noel Stokvis to discuss the portrayal of mental health asylums in videogames, as well as some other related topics. Among the games discussed are Amnesia: the Dark Descent, the Thief games, Batman: Arkham Asylum, Dark Souls, Outlast, Brothers: a Tale of Two Sons, and To the Moon.
For The Ontological Geek, I wrote a short piece on different ways games can represent space exploration. I take a look at Star Control 2, MirrorMoon EP, Noctis, and Space Engine, and try to explain why the last two make me feel most at ease.
My latest blog post on games is my third for The Ontological Geek, and my first as a regular contributor to that fine collective. In it, I explore some of the ways in which games can tap into the tools and trappings of the horror genre. I use the theory of art horror as posited by Noël Carroll and discuss how games can evoke fear and disgust in players, not just by using monsters, but also light, darkness, and spaces. The article is part of a series of articles on horror in games, and connects to many other recent and older writings on the genre, so there’s a lot to read.