|January 8, 2013|
3D Monster Maze, J. K. Greye Software, 1982
A videogame corridor is possibly the simplest way to create epistemic suspense through spatial engineering. You can look down the corridor, thanks to games’ adoption of scientific perspective (the ‘firstperson’ view), but you don’t know what lies on the other side of the door at the end, or around the corner (as with the trailblazing corridor-horror 3D Monster Maze), or perhaps the end of the corridor is shrouded in sable shadow or cordite smoke. Corridors are inherently mysterious – in Resident Evil as much as in Gothic fiction of the 18th century, with all its dark, secret passageways in cursed ancient castles. Even more suspenseful are corridors with covered skulking points or several entrances feeding in from the sides. It’s no surprise that a whole genre came to be described as the ‘corridor shooter’, although if any bright digital satirist has made a game where all you do is literally shoot the corridors, I am tragically unaware of it.
The corridor is inherently authoritarian, seeking to corral unbounded biological movement into unnaturally linear paths. Early man did not grow up in corridors but on wide savannah plains, which is posited by some evolutionary anthropologists as the reason why our field of vision is wider than it is tall. To put a human being in a corridor, then, is to create a tension between our sensory equipment, tuned to one environment, and the artificial new surroundings. It is to say to us, with a sneering challenge: ‘Adapt to this!’
The phenomenon in videogames of what I like to call the ‘jungly corridor’, then, may be taken as a sophisticated joke about man’s struggle to negotiate modernity using his woefully inapt primate heritage. What looks like lush, natural rainforest or tropical island vegetation turns out to be a series of corridors no less soul-destroying than your local council offices. The Uncharted series has lately taken the jungly corridor to new heights (or at least new lengths), and the newest entry in that series’ inspiration, Tomb Raider, showed a competitive playable level at the Expo: a one-way limp through an extremely jungly corridor, punctuated by scripted scenery breakages and a bit where you have to walk carefully across a log. (When was the last time you had to walk carefully across a log in a videogame and thought, ‘Wow! This is really fun! I hope I don’t fall off’? No, me neither.)
The Death of Romance in the Shadow of the Colossus
These are the two modalities through which you engage the world of Shadow of the Colossus: In the journey, you are the lost soul; in the encounter, you become the lover and the warrior, carried by your passions into mortal struggles with the Colossi. These guardian monsters, your adversaries, fill in the emotional frame established by your travels through the Forbidden Land.
I Know You Ain't Perfect, But I Like You To Try
DMX’s lyrics have always been excessively violent, even within the standards of the genre. As a performer, DMX gave his all to his audience, sharing his darkest thoughts, psychological troubles and drug abuse struggles. Beyond his darkness, the singer also shared with his listeners his desperate quest for God, by featuring a prayer – usually delivered a cappella – on every one of his albums.
Penny Goring & Rauan Klassnik jst spk, woa
words or pics, it’s all the same to me, i don’t draw lines. my exes mum, after reading a poem of mine, he told me she sed to him: ‘someone needs to get her to stop. will she ever draw the line?’ but i won’t. because i don’t want to. if something happened to me it is mine. i can do what i like with it.
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Asked for his response to those critics who saw in The Wolf of Wall Street an undiluted celebration of the bad life – drugs, sex, money, jewels, a very large yacht and expensive suits – Leonardo DiCaprio said: ‘If they don’t get the irony of it, sorry.’ He was right to refute the idea the film is a simple celebration, but there isn’t any irony either.
So long as discontent and unrest make themselves but dumbly felt within a limited social class, the powers of reaction may often succeed in suppressing such manifestations. But when the dumb unrest grows into conscious expression and becomes almost universal, it necessarily affects all phases of human thought and action, and seeks its individual and social expression in the gradual transvaluation of existing values.
When the video for Miley Cyrus’s pre-album “We Can’t Stop” dropped last summer the immediate reaction was that the bitch was going crazy – that what we were witnessing here was yet another public display of hysteria, that special kind of madness reserved for the onset of a female sexuality decoupled from the logic of reproduction and domesticity.