A look at some small game design choices that were going into a previous build in Tusks: The Orc Dating Sim — a way of dealing with an issue between the NPC Autonomy system and making the story more accessible to players, and how Cennedig is the lynchpin in player interactions with the three chiefs of the clan.
Exploring dens, private spaces, and room to breathe in game design through The Legend of Zelda: Majora’s Mask and merritt k’s Soft Chambers project.
Messy queer teenage emotions, a conflicted religious upbringing and imbalanced relationship dynamics are all things that many LGBTQ people have had to learn to deal with as part of growing up. Thankfully, very few of us also have to deal with the literal devil on top of that – but the trio of teenage protagonists in horror visual-novel We Know the Devil have no choice but to contend with all of these things over the course of one fateful night in an abandoned shack near their religious youth camp.
The Silent Hill series draws upon a vast range of artists and media for the inspiration behind its macabre setting, its disturbing and suggestive monsters, and its unsettling stories; the work of David Lynch (especially Lost Highway and Mulholland Drive), Adrian Lyne’s Jacob’s Ladder, Stephen King’s “The Mist”, and many more. Of particular importance is Francis Bacon (1909 – 1992), a gay Irish/English figurative painter whose artwork frequently explores themes of dread, violence, sexuality and the human condition – there are strong parallels between Francis Bacon’s work and the monsters, environments and themes of Silent Hill – violence, punishment, redemption, sexuality, death and humanity.
A look at Dorian Pavus, and how he embodies queer narratives in Bioware’s Dragon Age III.
Monsters have always been a prominent part of the games we play; the moblins of Zelda, the demons and darkspawn of Dragon Age, the orcs of Shadow of Mordor, even the grues of Zork – creatures of disparate biology, origin and motive that are clustered together because they are the inhuman enemy – the Other, a concept that is prevalent throughout fantasy and sci-fi genres in all media.
However, there has been a great deal of interest in art, academia and other avenues of exploring what “monsters” really are, how we as a society construct them, and what their relationship to humanity is – which has led to complex understandings of monstrosity that move beyond a simple catch-all category for anything deemed inhuman.
The Netherhall Experiments is an ongoing adult fiction series featuring a team of researchers in 1899, situated in the Netherhall estate of Carnlochry, Scotland, who are sent objects of occult and erotic significance for use in experiments. The story takes the form of a series of research reports, written by Dr. Vishal Pasi, documenting his and his colleagues’ experiments with each “experimand”.
The Netherhall Experiments is available for patrons to read on Patreon. The next update will be Chapter II – Weyset’s Gaol.
In the quiet, abandoned places in the city, where the weeds grow tall and the vines hang low, it’s possible to detect traces of the hidden societies of wallflower firbolgs. Elusive and secretive, these firbolgs spend their days cultivating the growth of nature in between the cracks of urban life, their reclamations of space standing against the totalising influence of civilisation and the state. Wallflower Firbolgs are also referred to as urban firbolgs, or city firbolgs.
Sometimes reviled, but often envied, neapolitan gnolls are well known for their enticingly decadent lifestyles and outré appearances, and have carved a niche out for themselves in villages, towns and cities as unorthodox, foppish bohemians. These gnolls struggle with their supernatural hunger as much as any other, but have adapted a means of sublimating it into their eccentric, dandyish behaviour and satiating it with their hedonistic festivals. Neapolitan gnolls are also referred to as metropolitan gnolls, urbane gnolls, and burgher gnolls. Continue reading “Monstrous Lore: Neapolitan Gnolls”
“Our wish, our salvation, and our only hope is to end the historical crisis by becoming the alien, by ending alienation, by recognizing the alien as the Self, in fact – recognizing the alien as an Overmind that holds all the physical laws of the planet intact in the same way that one holds an idea intact in one’s thoughts. The givens that are thought to be writ in adamantine are actually merely the moods of the Goddess, whose reflection we happen to be. ” — Terence McKenna