Penguin Colony lets players control various penguins and pits them against Lovecraftian monsters tied to Nazi expeditions seeking Aryan relics; the playable roster includes a baby that squeezes into crevices, a teleporting adult, and other waddling characters indifferent to the human horror surrounding them.

Faulkner says the game’s story explores how colonial myth‑making is constructed and cites the pseudoscientific “Celtic New Zealand” narrative as an example, drawing a parallel between the Nazis’ quest for an imagined Aryan king and contemporary revisionist histories that claim Anglo settlers pre‑date Māori populations.

The game hides collectibles and uses wind direction to guide players, deliberately creating mystery and encouraging reflection on incomplete narratives.

This design choice mirrors the way historical accounts often omit inconvenient facts, leaving players to feel the absence of a “complete” story. Faulkner links the game’s critique to HP Lovecraft’s racist legacy, arguing that the author’s assumptions mirror the colonial myths the game challenges.

By marrying charming penguin avatars with unsettling cosmic horror, Penguin Colony forces players to confront the seductive simplicity of myth‑making, suggesting that the act of gaming itself can become a site of critical reflection rather than passive consumption.