Cody Mello-Klein is a reporter at the Alexandria Times and a freelance games journalist.
Whether he's writing about politics, business or video games, Cody emphasizes the people at the heart of a story, localizing large-scale issues. Other than the Alexandria Times, his work has been featured in Wireframe Magazine and online at Kotaku, IGN, Heroes Never Die, VG247, Game Informer and Rock, Paper, Shotgun. He's interviewed industry veterans, like Ken Levine, and indie upstarts, like Steve Gaynor, always with a focus on the ways games intersect with culture at large.
Cody is currently one of three hosts on the weekly gaming news podcast PVA Radio.
Cody has worked in publishing and game design, reported on culture abroad in Greece, and done investigative work in partnership with WCVB in Boston. He's a creative, friendly, and curious writer with a great work ethic and a constant drive to improve his skills.
When Gone Home came out in 2013, it was in the middle of the lion's den. With a release date nestled right between Naughty Dog's post-apocalyptic, emotional roller coaster ride The Last of Us and Rockstar's open world billion dollar blockbuster Grand Theft Auto V, The Fullbright Company's freshman release looked like it would get lost in the AAA shuffle.
Story by Cody Mello-Klein Video by Gwendolyn Schanker KATO SCHOLARI, Greece - Tucked away in the hills and valleys of Kato Scholari, a village south of Thessaloniki, is a small house where color and sound collide. Walk inside, through the narrow, bookshelf-lined hallways and hear the warm, deep tones of an acoustic guitar plucking out "Thallasaki,"...
Ask players what makes a good boss battle, and you'll likely get responses like 'gruelling difficulty' or 'challenging attack patterns'. A fair amount of boss design involves both of these things. If the levels leading up to the big bad are class assignments, a boss is the test at the end of a lesson.
"Who is your hero?" It's a question that comes up during job interviews and college essay writing, and every time I'm asked, I always answer the same way: my grandmother. But I'll never tell her that. My grandmother has a complicated relationship with the word "hero".
Survival games demonstrate how to adapt and thrive in the age of Twitch and Let's Plays. Online content creators are now, more than ever, the avenue through which many games are able to rise to success - or plummet to failure.
The iconic lighthouse that players encounter in BioShock's opening moments stands like a beacon, ushering lost souls to Rapture's doors. Symbolically, It's like an art-deco Statue of Liberty. Except instead of inviting the huddled masses with words of welcome, Rapture's opening sonnet poses a question:
Without a time machine, the world of ancient Egypt that most people know is a half-finished puzzle pieced together by egyptologists. Until now. The sun-dappled streets of Alexandria, ancient temples dedicated to long-forgotten gods, even the nose of the Great Sphynx, long swallowed by the sands of time, have been unearthed by a surprising tool: a video game.
It's an unseasonably cold night in March and the weather has chilled the energy that usually radiates from the many sports bars that line Boston's Canal Street. Normally the go-to spot for pre and post-game revelries, Canal Street is dead. However, towards the end of the street, nestled in the shadow of "The Garden," there's one bar that's still alive.
The intense contrast between how two recently released games - Monster Hunter: World and Shadow of the Colossus - treat the idea of monster slaying points out interesting moral issues at the heart of one of gamers' most cherished virtual activities.
When Rainbow Six Siege launched two years ago to mixed reviews and somewhat lackluster sales, it would have been fair for Ubisoft to write the game off. However, the team at Ubisoft Montreal wasn't content to leave it alone. Instead, the launch was just a rocky first step in what has become a remarkable evolution for the tactical online first-person shooter.
Aloy rushes between trees and through bushes, the massive jaws of a robot dinosaur snapping just a few inches from her back. Just as its teeth are about to rip into her flesh, she turns around, pulls out her bow, takes aim, and snaps a photo.
Story by Cody Mello-Klein · ATHENS, Greece - Four figures hunch in front of a television at GROW Games Expo - Athens' first showcase for Greek game developers - silhouetted by the light from the screen. They can't take their eyes off "Moribund," a violent, multiplayer brawler developed by local gaming company Traptics.
Story by Cody Mello-Klein · THESSALONIKI, Greece - On what should be a calm, warm night in Thessaloniki's city center, the streets are blocked off and the police are out in force. The anarchists are out tonight. Dressed in dark colors and carrying massive banners with arched red lettering, close to 100 Thessaloniki anarchists march down...
From ride-sharing services to social networking sites, apps have become a part of everyday life. They can make life easy, but at what point do privacy and protection concerns overwhelm the convenience of using an app? Last November, Dave Lishansky learned that when it comes to apps, convenience doesn't always pay off.
Swimming through Abzu's gorgeous underwater environments is one of the most peaceful and meditative experiences I've had this year. In many ways, Abzu is the perfect summer game: a short but sweet game that, while light on gameplay, uses beautiful visuals and amazing music to immerse you in its wonderful underwater world.
Something feels off about the city in A Place for the Unwilling, a narrative adventure game from the Madrid-based indie developer AlPixel Games. Black smoke spews from the chimneys of homes and factories, friendly faces hide secrets, and a sense of mysterious, unknown dread permeates the streets of this Dickensian city.