Efrain
Efrain covers technology for MP1st, with a focus on the overlap between gaming hardware, software, and the big entertainment franchises built on top of them. He writes in a straight news style, centering concrete developments such as new builds, cinematics, and other game assets rather than opinion or commentary. His work shows how game technology stories can matter both to players watching a franchise and to people tracking how projects are built, cancelled, and preserved.
Cancelled Star Wars KOTOR remake coverage
A defining example of Efrain’s coverage is his report on a surfaced version of the cancelled Star Wars: Knights of the Old Republic remake, highlighting that the build includes the game’s opening cinematic. In that piece, he treats the appearance of the build as a news event in its own right, giving readers a clear headline-level sense of what has emerged and why it is notable in the context of the remake’s cancellation. The focus on a specific asset — an opening cinematic from a shelved project — reflects an interest in the tangible outputs of game development, not only in corporate announcements or high-level franchise plans.
By framing the story as a report on a particular version of the remake, he signals that the technical state of a project matters: which build it is, what content it contains, and what that content shows about how far development progressed before the project was halted. That approach is useful for readers who follow game projects at the level of engines, assets, and production milestones, not just release dates and trailers. It positions his work at the point where technology reporting and fandom history meet, documenting how a cancelled title still leaves behind code and cinematics that can surface later.
Video game technology and surfaced builds
Across his technology beat, Efrain’s work sits close to the production side of video games, paying attention to versions, remakes, and the digital traces that remain when plans change. The KOTOR remake report shows a comfort with stories driven by files and footage that surface outside official marketing cycles, which often means working from community discoveries and archival material rather than only from press releases. He writes these as concise, information-heavy updates, giving clear priority to what has been found, how it relates to the project’s history, and what form the material takes (such as an opening cinematic embedded in a resurfaced build).
That emphasis on surfaced builds and preserved assets makes him a useful read for anyone who needs to understand not just that a project was cancelled, but what still exists from it in technical terms. His stories help map the afterlife of game technology — how engine work, cinematics, and other components can outlast a project’s official status and re-enter public view. Within MP1st’s broader gaming coverage, this gives his bylines a specific niche: technology-fluent reports on the concrete artifacts of game development, especially when they concern well-known franchises and high-profile remakes.
4 more technology journalists.
Alex Co
Alex Co is a video game technology reporter at MP1st who specializes in live-service systems and online titles, with patch coverage as the core of his work. He tracks game updates in real time, documenting patch numbers, download sizes, platform differences, full or near-full patch notes, and the changes that affect everyday play. He also reports on server status, outages, and maintenance windows so players know if issues are local or on the developer’s end. His beat extends to console exclusives, PC ports, subscription services, and cross-platform features, with an emphasis on implementation details and player impact. He focuses heavily on multiplayer shooters and competitive balance, and also covers live-service calendars, seasonal events, and multiplayer stability, always prioritizing precise, timely, and actionable information for active players.
Alex Perry
Alex Perry stands out for turning consumer technology news into practical help for people using the hardware they already own. They cover consumer technology for the masthead, focusing on software support changes, platform policies, device updates, apps, streaming platforms, and online services. Their reporting shows what changes on screen, which settings matter, what stops working, and what workarounds remain. Perry writes in a direct, utility-first style and often treats news as a service problem to solve. They are especially attentive to aging devices, including older Kindles, and explain cutoff dates, affected models, offline use, sideloading, and account changes in plain language. Their work appears in quick news reactions, guides, and longer explainers, always aimed at readers who want clear, step-by-step answers.
Ali Hashmi
Ali Hashmi covers technology through the lens of video games, using individual titles to show how interactive systems feel and function for players. He writes for Prima Games. His work sits where game design, visual presentation, and user experience meet, with a focus on what it is like to inhabit the worlds that new releases create. He treats game criticism as a way into technology, breaking down how it appears in games instead of doing standalone hardware reviews. He looks at how technical choices support pacing, control, and readability on screen, weighing mechanics, performance, and audiovisual style together. In his “REPLACED” review, framed as “Tears in the Rain,” he shows how animation, lighting, and input responsiveness shape mood, storytelling, and immersion. Across his work, his through-line is the player’s moment-to-moment experience with the technology in front of them.
Andrew Agress
Andrew Agress stands out for covering technology through the lens of video games, with a focus on how new titles actually play rather than how they are pitched. He writes for The Outerhaven and works in a preview-driven format that foregrounds direct time with a game. His coverage of The Adventures of Elliot: The Millennium Tales shows his beat: hands-on previews of upcoming titles, with attention to combat, exploration, storytelling, pacing, controls, and presentation. He uses clear genre touchstones and straightforward comparisons, calling the game “Chrono Trigger meets classic Zelda” to place it in context. His reporting stays grounded in player experience and explains what a game feels like moment to moment, not just what features it lists.