One of the reasons why getting into game design right now is so interesting is the fact that part of the business, of the creative process and of the production is still forming – and in a constant state of flux.
While on one hand, game production teams have grown larger in order to produce even more content (after all, many AAA titles boast to have 50+ hours playtime – which is 25 times as much as a normal action film), other people reduced their teams and are producing awesome games with teams of three or four people.
Horror should be a key facet in the video game armoury – the unique element of interaction is seemingly purpose-built to drag us into nightmarish experiences. But, mostly, horror games are merely blood-soaked adventures or shooters, which borrow the clothes of successful horror movies without ever occupying the body of terror within.
This is the article that got me into wanting to play Silent Hill 2:
In the ongoing evolution of computer games towards a mature art form, we see many blips on the radar that fade away after some time. But there is one game that never goes away. Silent Hill 2. There’s something about that game that is so intensely inspiring, beautiful and moving that it continues to give hope to everyone on this path.
p>I am totally in love with indie flick Socket, a kind of body horror/scifi tale of people who get addicted to electricity and mod their bodies to suck up current better. Apparently when you get struck with lightning (at least in this movie) you are left with a hunger for more. Unfortunately, the most pure and complete feeling of voltage satisfaction comes only when you get that electricity while making a circuit with another person.
Woah. I just saw the latest episode of Smallville: Noir. I enjoyed the series for its oversaturated, light-blooming imagery before, but this episode beats it all: the creators prove that they can even fake a great "Film-Noir-Look".