After some fanzine work, I was first published in seminal videogames magazine Amiga Power, which I still rip-off on a daily basis. Writing under the pseudonym “C-Monster”, for reasons that I’ll save for an inevitable FAQ, I acted as cheery tips money for the final Byzantine year of the magazine, as well as prodding the occasional game.

After graduating as a Biologist, I put the extensive and expensive training to good use by getting a job as Staff Writer on PC GAMER. Here I stayed for just shy of five years, climbing the ranks to Deputy Editor. I also found myself winning the PTC New Consumer Specialist Journalist of the Year Award, against clearly bemused entrants from proper magazines like Health and Fitness and the NME.

Growing bored of working in an office and feeling burnt out, I left in favour of the quiet life of a freelance games journalist. After about a year of that, I grew bored of the quiet-life thing, came home post-pub one night and hammered out a piece called The New Games Journalism that caused a new literary movement. Sadly, not the movement it not-so-secretly wished, but that of New Games Journalism Journalism.

I currently primarily write for PC GAMER, PC FORMAT and Eurogamer. Though if commissioning editors of the world are wondering, my allegiances can be easily swayed by the tall-dollar. Like, obviously.


Well, “portfolio” is probably over-egging it. Here’s some pieces which people tend to comment on, which I’ll add to over time. In terms of recent work, I link to any of my reviews which appear online on the blog and clicking the videogames option from that will find them all. All are as they were when I handed them in , so aren’t graced by the hands of a production editor. This will swiftly reveal why people employ production editors.

The New Games Journalism.
The New Games Journalism: Year One.(Or how not to herd cats)
Deus Ex (Review).
All the Fun of the Fear.
ZangbandTk: Confessions of a Dungeon Hack.
Journey Into The Cradle.
The Girl Who Wanted To Be God


Very much a secondary field, especially now, but something I enjoy keeping as a secret mistress. I like it that way: when I was offered an in at the NME a year after I started working for GAMER, I was at first over-joyed then realised that I had no real interest in working for the NME then. I was very much a Melody-Maker style writer, in love with the “I”, so would have to entirely mutilate my writing to work there. And while I could do that, since I was financially fine thanks to working in games journalism, why would I, bar careerism?

Since then, I’ve wandered into increasingly esoteric corners of thought, doing stuff on a whim for the websites that grew out of the mid-nineties fanzine-boom. Pop is Love begat Bleedmusic begat New Noise, which is where you’ll find sporadic words which don’t really fit on this blog. Bleedmusic also helped supply several key persons for underground music magazine Plan B, where you’ll find my print-based persona.


a.k.a. Some old Bleedmusic reviews I fancied lobbing back online.

Highly Evolved — The Vines
Mooz — Cellar Bar, Bath
The Oliver Twist Manifesto — Luke Haines
Manic Street Preachers – Forever Delayed