Chris Priestman

You know what you’re getting with The Franz Kafka Videogame, right?

What I think I like the most about The Franz Kafka Videogame is that it isn’t faffing around. With a title like that you know what you’re gonna get when you play it. An all-singing, all-dancing pixel-art rendition of Franz Kafka’s works? Oh yes, I’ll take that, thank you very much. But, actually, th

The Irish mythology and music behind watercolor game Scéal

Sandro Magliocco spent his childhood playing around and exploring the medieval coastal town of Carlingford, Ireland. So when his Slovakia-based, multinational team at Joint Custody decided to set its debut title in Ireland, it made sense for him to revisit those early memories and set the game in a

Making videogames inspired by New York’s musical improv scene

Greg Heffernan (aka Cosmo D) is making videogames unlike anyone else right now. He attributes it to two things: his early efforts to visualize music, and his background among the New York music scene. The first game he made, Saturn V (2014), turned the track of the same name by Heffernan’s band Arch

A quick look at the landscape art of The Signal From Tölva

For most players, The Signal From Tölva will be a game about shooting robots and acquiring a range of whirring-and-whistling mechanical guns to do it with. But for some it might also function as an explorable gallery of sci-fi landscapes (just like No Man’s Sky has for some)—sparse wastelands, dingy