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Friday, Oct 31, 2014
The Last Door is Lovecraftian in every way that a story can be. It captures the mood, the intellectual curiosity, and the slow burn escalation of dread that typifies the best of Lovecraft.

Usually, when someone uses the term “Lovecraftian” to describe a work of horror, it’s meant to describe the antagonistic presence that drives the story. It’s shorthand for “ancient unknown evil.” But there’s more to Lovecraft than Cthullu, and The Last Door, a point-and-click adventure game by Spanish developer The Game Kitchen, is Lovecraftian in every way that a story can be. It captures the mood, the intellectual curiosity, and the slow burn escalation of dread that typifies the best of Lovecraft.


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Thursday, Oct 30, 2014
Horror is probably one of the toughest genres to pull off in video games, partly because of traditional video game conventions.

It’s that time of year when everyone’s looking for a little recreational fear. Over the past month, I’ve made an effort to play some scary games and think about how effective they are at creeping me out. It’s convinced me that horror is probably one of the toughest genres to pull off in video games, partly because of traditional video game conventions, because of the medium’s fundamental traits, and partly because of nebulous definitions of concepts like “horror.”


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Wednesday, Oct 29, 2014
by Brian Crecente / McClatchy-Tribune News Service (MCT)
If backed through crowdfunding, Hell Mountain will be the world’s first feature-length horror movie that can be watched from inside the film with the Oculus Rift.

Despite what I’m told repeatedly, heart attacks are likely not going to be caused by this latest experiment with the Oculus Rift virtual reality headset.


But that doesn’t make a foray into immersive horror film creation any less tantalizing.


If backed through crowdfunding, Hell Mountain will be the world’s first feature-length horror movie that can be watched from inside the film with the Oculus Rift.


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Tuesday, Oct 28, 2014
by Erik Kersting
In games that feature perma death, by melding narrative consequence to mechanical consequence, a great deal of meaning is added to even the most routine of skirmishes. Death makes play matter.

We like consequences and death in art, they create tension and meaning in situations that might otherwise be devoid of them. This is a large reason why Game of Thrones is so massively popular. First, the permanence of character death is fully actualized multiple times in the series, meaning that from one season to the next there is change far greater than “he and she are now in a relationship” or “the detective’s investigation goes deeper.” Instead between seasons and episodes there is the backdrop of now missing characters, incomplete plot lines that may or may not be picked up as new goals and motivation for surviving characters. Second, a character’s permanent death in a series makes living characters’ lives uncertain. While watching the penultimate episode of this last season of Game of Thrones, I was earnestly worried that Jon Snow might not make it, regardless of whether this actually happens is informed by previous episodes in which major characters die and exit the series prematurely. Thus, there is tension not present in many other dramas too afraid to take out popular characters.


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Monday, Oct 27, 2014
In anticipation of Halloween, the Moving Pixels Podcast discusses a couple of indie horror games, The Cursed Forest and One Late Night.

October is the month that traditionally big publishers have attempted to get something horrific out on the shelves for gamers to play (see, for example, offerings like this year’s Alien: Isolation or The Evil Within.


This year in anticipation of Halloween, we decided to take a look at a few games that currently have no publishers attached to them that may have flown under your radar, The Cursed Forest and One Late Night.


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