WHAT I DON’T FEEL ANY MORE

There are certain things that have happened to me or that I have done that I have never particularly dealt with, at least, in any kind of non-therapuetic, unassisted, completely-coming-from-myself kind of way. I think it’s that I feel embarassed. I have been told, almost trained in fact, to not feel as if there is

TANGENT ONE

There is a natural and universally accepted hierarchy of videogame weapons, going back, as far as shooters are concerned, at least to the original Doom and perhaps earlier — I’m using Doom as an example because I know it well and so does basically everybody else. The bottom of the hierarchy is your melee weapon,

CHAPTER FOURTEEN: THE FLESH TRAP

As James runs after the shadow from the street he passes a small area on his right that is behind a waist-high chainlink fence, and within there is a red save square, which can be seen from outside of the chainlink fence. To enter this area and use the save square, you have to pass

SPLINTER CELL: CHAOS THEORY

Amon Tobin’s soundtrack is usually, I think, the first — sometimes the only — thing that people remember about Splinter Cell: Chaos Theory. It’s good music. There are a few tracks that I still listen to even nowadays, especially when I want to feel kind of cool and brooding and confident. It’s good music for

RESIDENT EVIL 4

I asked someone once who had worked on BioShock Infinite why the game had so much shooting combat even though to me and I think a lot of people who played the game was largely at its best during sections without shooting combat, and the person explained how when a game studio has invested money

CHAPTER THIRTEEN: CONSTRUCTION AHEAD

Musical accompaniments for this article: https://www.youtube.com/watch?v=uXmZWN079JI and https://www.youtube.com/watch?v=fOK1AEQ-3CQ&list=PL81PCiZWVPTDOvs588fT5Nk08oagI1_17&index=18 We’re nearly at the town now and we walk past a a chainlink fence and a streetsign that both broadly say the same thing: ROAD CONSTRUCTION AHEAD DETOUR/DANGER CONSTRUCTION AREA KEEP OUT. They have a straightforward, literal “meaning” — Silent Hill is in one sense, or at

CHAPTER ELEVEN: CAM

It’s darker when you leave the church and the fog is much denser. Compared to the initial downhill section, the road towards Silent Hill at this point becomes even more featureless, just wire fences and brown mud and a few small sections of pavement. More distinctive here is the camera — so much as a