Posts Tagged ‘video games’
March 21, 2013 | by Sadie Stein
- Over at Ploughshares, an interview with book artist Melissa Jay Craig.
- Putting his money where his mouth is, so to speak, writer Tom Bissell has written a video game, Gears of War: Judgment, the fourth in a military sci-fi series. This trend has endless possibilities. (Cue Joyce Carol Oates for Xbox 360.)
- An algorithm finds that the emotional content of books is on the decline. (Although there’s probably more sex.)
- Conversely! “Morn shows that he was not immune to the forces that had so dramatically acted upon his father, though his own political convictions would thrive within the rococo folds of his language.” Two new books allow us to see a new, less detached side of Nabokov.
- Horror writer James Herbert has died, at sixty-nine.
January 10, 2013 | by Arthur Holland Michel
One way or another, we’re all running away from Foucault. In this distressing online game, you can actually run away from Foucault with your fingertips, rather than by merely existing in society. It’s scary, all but impossible, and totally futile. Well, of course; that’s the whole point. But who, apart from some people I know back at my upstate New York small, progressive, liberal-arts college, would actually play it? Real life is punishment enough.
November 6, 2012 | by Jillian Steinhauer
Much has been said and written about New York Comic Con. It’s weird, it’s magical, it’s overwhelming, it’s hell on earth, it’s the best event in the world. If you’ve ever attended, it’s easy to see how all of these things could subjectively be true. Only one thing seems objectively true, however: Comic Con is utterly unique (unless you count San Diego Comic-Con, which seems to be the only comparable event in the United States, and which I’ve never attended).
Here is a list of things you can buy at Comic Con: the video game Just Dance 4, anime DVDs from Japan, K-pop posters, books titled How to Be Death and Victorian Sexual Positions, your zombie portrait drawn for $19.99, your superhero portrait photographed for $10, a steampunk corset, potions, comics-related earrings, sriracha-themed boxer briefs, “premium” (the seller’s word, not mine) hugs for $2, a photorealist painting of superheroes for $2,495, Nancy Drew manga, the Bible as manga, an autograph (free), and a picture of a girl dressed as hipster Hitler (also free).
One thing they don’t sell yet: strollers. But it’s only a matter of time. As a man I overheard on Sunday afternoon astutely observed, “Yo, they should sell strollers here! They’d make a killing.”
At Comic Con—and for many blocks north, south, and east of the Javits Center, which hugs the West Side Highway—you can see adults and children alike dressed up as Batman, Robin, Batgirl, Superman, Captain Marvel, Mario, Luigi, Transformers, and at least a hundred other characters I couldn’t identify. People attend discussion panels while painted blue or stroll the aisles in their underwear.Read More »
February 18, 2011 | by The Paris Review
The other evening at East Village Books I picked up a used copy of Dawn Powell’s 1936 novel, Turn, Magic Wheel, stopped at Second Avenue and Seventh, and settled in to the opening scene ... only to realize that I’d been walking in the footsteps of the writer-hero, Dennis Orphen—and that he, too, had just come to a halt at Second and Seventh. I half expected him to walk in the door. Powell has a way of collapsing the decades between one literary New York and another. Orphen’s sin, to have used a friend as material, is as old as his profession and feels as fresh as Thursday night. —Lorin Stein
I’ve been playing a lost Nintendo video game that was supposedly found at a yard sale and purchased for fifty cents. (In fact, it was recently created by San Francisco-based developer Charlie Hoey.) Why the mention? It’s modeled after The Great Gatsby. Says the Web site: “You’re not in the middle west anymore, son. Welcome to the Wild West Egg.” The Atlantic writes, “At least now we know why Gatsby couldn’t make it to the blinking green light: Sand Crabs.” —Sam Dolph
It seemed like a good idea at the time: the full publication archive of Spy magazine is now available via Google Books. —David Wallace-Wells
I’ve been thumbing through the pages of Lauren Redniss’s Radioactive, an illustrated biography about Marie and Pierre Curie. There’s a show of the book currently at the New York Public Library (where Redniss did much of her research as a Cullman fellow). Not long ago, Dwight Garner praised the book in the Times, saying, “Her people have elongated faces and pale forms; they’re etiolated Modiglianis. They populate a Paris that’s become a dream city.” Spooky and beautiful—Redniss’s work is worth taking a look. —Thessaly La Force
October 21, 2010 | by Miranda Popkey
Paul Murray’s second novel, Skippy Dies—recently longlisted for the Booker Prize—is more than six hundred pages long and tackles subjects ranging from string theory to World War I. Set at an Irish boarding school, the darkly comic tale (Skippy actually does die in the first chapter) is populated by a sharply drawn cast of confused, self-destructive teens and self-involved, irresponsible adults. Recently, Murray spoke to me from his home in Dublin.
Did you draw any of the characters and themes from your own experiences? Were you bullied at school?
I went to quite an illustrious school in Ireland called Blackrock College, and Seabrook College, the school in the book, physically resembles the school that I went to. But other than that, it wasn’t hugely autobiographical. I wasn’t bullied or anything; I wasn’t brutalized in any way. There were much nerdier kids in my school, and they would draw more of the fire, but I could see it going on around me. It wasn’t an evil place. But there was such a limited view of the world. It was a big rugby school, and I was incredibly bad at rugby. They would make you play it until you were about fifteen, no matter how incredibly pointless that was. So if you weren’t any good at rugby, then you sort of didn’t really have any kind of standing in the school.
I think being a teenager is really, really hard. You’re caught in this double bind: You’re struggling to establish your own identity, and at the same time you have absolutely zero of the tools that you need. You’re completely dependent on your parents, you have no money, and your day is mapped out for you from beginning to end. My school was a boys’ school; there were no girls, so life really felt kind of pointless in that regard. You’ve got these huge sexual transformations happening, but if there are no girls, obviously all the energy is just going to be turned into brutalizing whoever is smaller than you.
There was also a real emphasis on grades. The school would push students to perform well on exams and get a lot of points and get into good universities and so forth. The education system in Ireland is a real sausage factory. You go into class and you learn as many facts as you can and you regurgitate them in your exams, and there’s not a huge amount of respect for learning or a huge amount of respect for education. And because a lot of the kids were quite wealthy, some of them looked down on teachers. And the combination of a might-makes-right brutality and also getting a glimpse of the economic hierarchy that held sway in the country—all those things were really disappointing lessons to learn as a kid. It felt like my life began as soon as I left school.
August 17, 2010 | by Colin Nissan
A modern tale of heartbreak and video games.
For years I’ve enjoyed a mildly successful career as a voice actor. Specifically, an advertising announcer, which means I get paid to say things like, “Get into a Saturn for just $299 a month.” I’ve hawked everything from cars and credit cards to hotels and beer, all with a tone that rarely deviates from that of a pilot announcing a plane’s gradual descent over the intercom.
I recently asked my agent if I could try auditioning for video game character voices. I thought it would be fun and maybe even legitimize the fact that I play more video games than a forty-year-old who has been laid probably should.
I went on a few auditions. Regrettably, and I’d like to think, understandably, I failed to convince anyone that I was a Latino mercenary, a Korean soldier, or a homicidal Midwestern drifter. I frantically practiced accents in anticipation of what might come next. My German sounded like Arnold Schwarzenegger. My French, like Pepé Le Pew.
Thankfully the next audition turned out to be for neither, but for an old, foul-mouthed lawman in a game set on the American frontier called Red Dead Redemption. My agent called. I got it.
A week later, I went into Rockstar Games in Soho for the recording and screamed two hours of lines as Marshall Leigh Johnson. I threatened, chased, arrested, and killed people. I even died. I didn’t just die, I died with an accent. I was in the freaking zone. After signing my paperwork, I left, sweating, voiceless, and thrilled to bid farewell to my voice-over innocence. A new day had dawned for me and my badass larynx.
A month later, New York City was covered in promotions for the game. Subways, buses, sides of buildings. It was the most highly-anticipated game in years. I couldn’t contain my gravelly chuckle as I walked past posters of myself, or the under-my-breath “hee-ya” when a police horse crossed my path.
I imagined kids rushing toward me at Comic-Con begging me to do the voice.
“Sorry, I can’t,” I’d say. (in the voice)
“It IS you!” They’d scream.
“That’s right,” I’d reply, “Now go on and git!”
I’d sign posters right across the yellowed whiskers of my beard. I’d sign the breasts of the kids’ moms. I’d draw the barrel of a pistol as the “i” of my signature. It would be my thing.
I monitored the game’s Web site for the latest news. With the release two months away they put out a trailer that, to my confusion, didn’t feature my voice when the Marshall spoke. I asked my agent about it, she told me not to worry and that it was typical to use different voices specifically for the trailers.
A month later another trailer came out. Still not my voice. IMDB released credits for the game. I wasn’t listed. My agent maintained her position. They must have used the name of the trailer voice actor by mistake, she said. I no longer shared her optimism, but knew where I needed to go for the answer: the GameStop in Park Slope, May 18th at midnight.
I passed by the store early that day to confirm the pickup time for the big release night. During an extremely short lull while chatting with two whitehead-ravaged clerks, I succumbed to a confusing urge to tell them who I was.
“You’re the Marshall?” they said in disbelief.
“That’s what the badge says.” Dear God, celebrity had already wreaked havoc on me. Read More »