Posts Tagged ‘cameron kunzelman’

(I’m Not Sure) Wot I Think: Epanalepsis

Most of all, I’m not sure wot I think of Epanalepsis. I’ve played it through three times now. I still have very little idea what it’s about, both in terms of its cloaked narrative, and its reason for being. And yet I find myself looking at it somewhat fondly.

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In A Dark, Dark Wood: Spooky Story Marginalia

It was a dark, dark night...

What spooky use do you have for £3.13 this Halloween night? A bag of Haribo Fangtastics, a Screme Egg, and a can of Stella? Oh you could buy that, you could. You might also quite like Marginalia. It’s a spooky trip into some spooky woods with a spooky tale narrated by a spooky/quite pleasant man and spooky music. It’s got a few problems, but if let yourself drift along with the story, carried by the wailing ’70s horror soundtrack, it’s pleasantly unsettling.

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Cyberpunk Cityscapes For You, Cyberpunk: Epanalepsis

Hello, Cameron Kunzelman. Nice to see you, to see you nice. Epanalepsis is a figure of speech as well as the name of an upcoming game by Kunzelman, who last featured on RPS with the release of Catachresis. The new game, already funded on Kickstarter, is a ‘spiritual successor’ to last year’s short horror adventure, with a similar focus on exploration and narrative rather than puzzles and interaction. Like its predecessor, it won’t appeal to the majority but it might well make a specific minority group very happy indeed. That group will contain Philip K Dick, Gibson and John Dos Passos readers.

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The Whimpering World: Catachresis

Catachresis is a free horror game and you should play it as soon as you have access to a quiet, lonely room. You’ll know within five or ten minutes whether you want to stick with the story, and the whole thing takes less than an hour to complete. Terrible things are happening but, instead of jumping in your face and going ‘BOO’, the horrors reside in words and the gaps between them. It’s a side-scrolling adventure rather than a purely textual game, but most of the action takes place off-screen. This allows designer Cameron Kunzelman to suggest terrors both local and cosmic, and to toy with expectations. The writing reminds me of excellent British indie film Skeletons and the work of Charles Stross, a blend of humour, horror, paranormal investigation and bumptious bureaucracy.

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