Cinema Bars

While the question of the artistic value of video games has always been a pointless and self-indulgent one, it’s hard to deny the impact of that ongoing debate on game productions from all levels of the industry. From the smallest independent creations to the most sprawling corporate behemoths, we see the same apparent insecurity, the Continue reading Cinema Bars

Defining the Box: ‘John Wick,’ ‘Hitman,’ and Systemic Spaces

There’s a shot in John Wick: Chapter 3 — Parabellum that epitomizes the series’ prime fixation. It’s a tracking shot following Halle Berry’s Sofia during a chaotic gunfight in Casablanca. The camera follows behind her back as she takes shots from behind the cover of a pillar. There’s a horizontal plane on which the action operates; she Continue reading Defining the Box: ‘John Wick,’ ‘Hitman,’ and Systemic Spaces

The Twin ‘Resident Evil 2’s and Video Game Cinematography

Why is game cinematography so much worse than it used to be? Last year I wrote a story about God of War’s single-take presentation. Though I spoke more to how that game suffered from a lack of editing, as well as how games have successfully utilized editing techniques, the problem of God of War’s visual element Continue reading The Twin ‘Resident Evil 2’s and Video Game Cinematography

No Man’s Sky Doesn’t Need Multiplayer

The game’s most-desired feature would spoil what makes it great. I want to tell you a story about an experience I had earlier this year playing No Man’s Sky, the 2016 space exploration game that became the center of a violent internet mob when it released without features that were supposedly promised by the developers. Most Continue reading No Man’s Sky Doesn’t Need Multiplayer

Copy of a Copy: Resident Evil and Digital Reality

We don’t live in the real world anymore. For decades now, we’ve shared our real lives with the internet and digital media, giving more and more of ourselves over to an alternate world-within-a-world. We like to pretend that the lines are distinct. There’s the real world, the one with our physical bodies, and the fake Continue reading Copy of a Copy: Resident Evil and Digital Reality

How God of War’s Long Take Experiment Fails, and How Editing In Games Can Succeed

There’s a running thread in the new game God of War, a reboot of a series that once exemplified the loud and frenetic action of mid-2000s entertainment, where main character Kratos finds himself unable to pat his son on the back. In classic rule-of-threes style, he twice reaches out his hand and then pulls back, Continue reading How God of War’s Long Take Experiment Fails, and How Editing In Games Can Succeed

Casting a Shadow: Why Did Everyone Forget How To Communicate Scale?

Recently I played the game Shadow of the Colossus for the first time. I don’t know if you’ve heard anyone say this before, but it’s very good. It’s at turns exciting and disturbing, hollowing you out and letting you stew in the emptiness. It’s the rare “modern classic” that lives up to its reputation. One Continue reading Casting a Shadow: Why Did Everyone Forget How To Communicate Scale?

These Are Our Woods: Wolfenstein II and the American Nazi

In The New Colossus, Nazism is as American as apple pie. Nazi General Engel speaks in front of the Lincoln Memorial Wolfenstein II: The New Colossus and the Amazon Prime TV show The Man in the High Castle operate from a similar premise. Both take place in an alternate America where the Nazis won World War II Continue reading These Are Our Woods: Wolfenstein II and the American Nazi