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The Atlantis Bestiary

By Stu Horvath and John McGuire • August 15th, 2022

Every once in a while, we stumble upon a true treasure.

Open World
A scientific drawing of John Calhoun's Rat Utopia, with diagrams of rats running around various paths and columns, living what was hoped to be their best lives

My Own Personal 25th Universe

By Edward Smith • August 12th, 2022

The emotional, psychological circuit catalyzed by videogames, and its inevitable dead end

Dimensions
A background shot of Lady Love Dies prison, the player's introduction to Paradise Killer, featuring palm trees, clear pools, and crystal scupltures of the Silent Goat and many giant skulls

Reaching for Truth in Paradise Killer

By Caroline Delbert • August 11th, 2022

Talking with Oli Clarke Smith of Kaizen Game Works about the design constraints on Paradise Killer, in a new column about how games use space of all kinds.

Nonhuman Meditations

A Dog and Her Friend and the Lockdown in Between

By Alyssa Wejebe • August 11th, 2022

Alyssa imagines Isabelle’s friendship with Doomguy while remembering the first year of lockdown.

Gingy's Corner

Spirit Hunter: NG

By Gingy Gibson • August 10th, 2022

Losing your team has weight and pain because you had time to develop attachments to this confused and scared band of kids. The game makes you care before it brings down the ax; you haven’t lost a random Joe, you lost people that mattered. It’s a tactic designed to hurt, and it works.

Friction Burns
Banner for Wholesome Direct 2022, featuring a pair of cartoon cats sitting on a stump and staring into a starry neon sky, with planets and game consoles floating about

Wholesome Games, and the Context Collapse of Branding Culture

By Ruth Cassidy • August 10th, 2022

Whether they meant to or not, Wholesome Games have staked unique ground, so their choices invite criticism about what is and is not included. 

Here's the Thing
The protagonist of DOOM Eternal fends off a horde of undead enemies.

The Nostalgia of “New DOOM”

By Rob Rich • August 10th, 2022

Rob ruminates on the unexpected way that the new direction for DOOM panders to nostalgia.

Keifer Sutherland is sidding criss-cross-apple-sauce in a room with high arched windows and afternoon yellow light with a lone lamp for company

Today’s a Good Day to Die: Reliving the Past with Flatliners (1990)

By Orrin Grey • August 9th, 2022

It’s no surprise that Schumacher made the campiest of Batman movies, because there’s an extravagance to the production design here that would have been right at home in Burton’s Gotham City.

Forms in Light
A hellish landscape populated with flowing rivers of lava and harsh towers and bridges constructed with bone-like materials.

Hell on Earth

By Justin Reeve • August 9th, 2022

The levels in DOOM Eternal provide a reminder that despite being the predominant forms of architecture for the better part of a century, internationalism and modernism are not without their problems.

Let Us In

By Stu Horvath and John McGuire • August 8th, 2022

Let me outta here!

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