Archive for October, 2008

Folklore – “Interactive Art Museum”

"Folklore" is an experience like no other, and one that deserves all my love.Its sheer artistic value is enough to capture the spirit of any art enthusiast, and make him dream profusely with such delectable and delicate artwork. However, there's a price to pay for its ambitions: to suffer the tedium of the game's poor combat and mediocre game design, which constantly shatter the otherwise virtuous 3D art museum of "Folklore". But hell, is it a ride worth dying for[ READ MORE ]

Silent Hill Homecoming – “The Chasm”

If you don't understand the fundamental differences between the conceptual nature of the "Resident Evil" and "Silent Hill" series, then "Homecoming" is surely a great horror game for you. It's not scary, but it's entertaining. But if you understand that which separates both series, than you will arrive at the same conclusion as I have: "Homecoming" is a "Silent Hill" game destined to fall[ READ MORE ]

“The Essence of Fear – a Prelude to Silent Hill Homecoming pt.2″

The problem now, is that all of these aspects which make "Silent Hill's" so interesting as horror games were built on a Japanese conceptual frame, which makes me look with skepticism to the departure of the series to American studios, that are bound to interpret "Silent Hill" in a different way than the original Team Silent... something I'll get to in the upcoming review[ READ MORE ]

“The Pain of watching Max Payne”

The lesson here, as in other adaptations, is if you're gonna translate a story from a game, might as well try to be faithful to it, because apparently, Hollywood writers commissioned to translate these adaptations can do a worse job then the allegedly mediocre videogame writers, and "Max Payne" is a text book example of this[ READ MORE ]

“The Essence of Fear – a Prelude to Silent Hill Homecoming pt.1″

It's been repeatedly said that the videogame medium presents the ideal tools to create a horror piece. Imposing fear, stress and panic, is always a matter of inducing what characters' feel unto the audience, in essence channeling the experience from the stage unto the spectator's mind[ READ MORE ]

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