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by G. Christopher Williams

22 Apr 2015


Mark Danielski’s novel House of Leaves is a horror story that begins with one of the novel’s protagonists, Will Navidson, discovering that his house is slightly larger on the inside than it is on the outside. This off putting detail, a bending of the laws of the physical universe, signals that which provokes fear, that which we can’t know or fully understand. As the novel’s story expands, of course, so too does the interior of the house, leading to a seemingly endless labyrinth that is undetectable from the outside of Navidson’s home, a space that defies the rules governing architecture and thus what we understand about spatial laws and mathematics.

Of course, the clever thing about the novel is that its title, which alludes only in part to Navidson’s house, is also a description of the thing held in its readers’ hands. The physical space of a book is defined by an architecture of its own. A book is two walls wrapped around a series of leaves (“leaves” being the term that bibliographers use to describe the front and backside of a page within a book), a house of leaves of a different sort. A book, then, metaphorically parallels Navidson’s house. Its interior (since it contains a whole world, its characters, its objects, etc.) is indeed “larger on the inside than it is on the outside.”

by Nick Dinicola

17 Apr 2015


Battlefield: Hardline opens with a brief shootout in a tiny room, and a frantic car chase that ends when the fleeing suspect crashes his car. Battlefield 4 opens with your team jumping/falling out of a building as a helicopter shoots it to pieces, and a frantic car chase that ends with you hanging out an open door and blowing up said helicopter with a grenade launcher before the car flips off the crashing wreckage and into the ocean.

One of these openings feels like an introduction, a brief tease of action that leaves plenty of room for escalation throughout the rest of the game. The other feels like a climax within itself.

by Scott Juster

16 Apr 2015


Unless you’re some sort of professional video game savant, you’ll be spending a lot of time staring at Bloodborne‘s logo. Surprise attacks, traps, one-shot kills, and just plain sloppy play means that you’ll have plenty of time to consider your actions while staring at the Game Over text and subsequent loading screen. Bloodborne‘s unusually long load times enforce this period of reflection. Apparently From Software is trying to cut these times down, but during the last few weeks if you have played Bloodborne, you may have been staring (and seething) at the loading screen for the better part of a minute.

by G. Christopher Williams

15 Apr 2015


The premise of Titan Souls, while unusual, is not entirely unique as anyone familiar with the 2005 cult classic Shadow of the Colossus should know.

While both Shadow of the Colossus and Titan Souls take place in fantasy-inspired universes, composed of magic, monsters, and men, a la Legend of Zelda and countless other games that have come in its wake, the actual living population of the worlds belonging to the aforementioned games, though, is much more sparse than that of a Zelda game.

by Eric Swain

14 Apr 2015


There’s been a lot of digital ink spilled over the faults of Valiant Hearts, most notably concerning the game’s inconsistent tone and the overall direction of the game. On the one hand, the game wants to be a serious examination of the horrors of war through the eyes of those affected by the first major conflict of the 20th century. While on the other, it wants to be a rollicking, pumped up action ride of pulp sensibilities, mustachioed villain and everything. It’s not so much that the fun, action-oriented pulp storyline featuring Baron Von Dorf is terrible, just that it should have been a separate game from the melancholy “family torn apart” storyline. It’s the back and forth between these two plotlines that let diminished Valiant Heart‘s promise.

That’s all well trodden ground and is material that would be quite easily excised from any potential remake. I feel the game suffers from another division of purpose, one that is more subtle and not quite easily extracted from the whole. It’s not so much a single element or series of elements, but a matter of one element that exists throughout Valiant Hearts. It’s a pattern best exemplified by this one overly pandering element: the narrator.

//Mixed media
//Blogs

'Staircase' Is Gay in a Melancholy Way

// Short Ends and Leader

"Unfairly cast aside as tasteless during its time for its depiction of homosexuality, Staircase is a serious film in need of a second critical appraisal.

READ the article