A good horror experience will ask the important questions: what is the nature of evil? Is death ever truly final? What kind of hospital needs a zodiac sign puzzle-operated door? Amongst the various preoccupations of the horror genre is a longstanding fasination with children. Children are scary precisely because we expect purity and innocence from them, and yet they exhibit many of our worst traits unfiltered (cruelty, jealousy, narcisscism, idleness, fickleness…). I didn’t know I had been waiting for a game that explored the psychological dimensions of young girls’ friendships… until I played Rule of Rose. Continue reading
This post came about thanks to an argument with my partner over writing about videogames. Is there a way to speak about games that takes into account its uniqueness as a medium and doesn’t rely on ways of analysing films and books? Previously on this blog I’ve written about Ocarina of Time, and its links with The Arabian Nights and Disney’s Aladdin, but in doing so I was forced to ignore the gameplay of Ocarina of Time, which is by far the dominant way players experience the game. So how can we talk about games as games and not as anything else?
The first two Silent Hill games I see as two major milestones in gaming. Many critics, reviews and fans compare Silent Hill games to films: Jacob’s Ladder and David Lynch films are perhaps the most frequent examples. And they’re not wrong – there are definite links and influences being passed on. But at the same time no film can be seriously compared to Silent Hill (not even the Silent Hill films).