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      <h5><b><font face="Arial, Helvetica, sans-serif">//<a href="../../../index.html"><font color="#7C420E">loonygames</font></a>://<a href="../index.html"><font color="#7C420E">issue 
        2.10</font></a>://<a href="index.html"><font color="#7C420E">pixel obscura</font></a>://1, 
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          <td align="LEFT" valign="TOP" width="100%"> <font color="#000000" face="Arial, Helvetica, sans-serif" size="2"> 
             </font> <p><webdog><font face="Arial, Helvetica, sans-serif" size="2" color="#0022A8"><b><font color="#693A0C">What's 
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<p><b><font face="Arial, Helvetica, sans-serif" size="2"><a href="../../../index.html" target=""><b><font color="#00025E">New!!!</font></b></a><br></b>
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<p><b><font face="Arial, Helvetica, sans-serif" size="2"><a href="../../2.15/feat/index.html" target=""><b><font color="#00025E">Livin' 
  With The Sims</font></b></a><br></b>
  theAntiELVIS explores the wild and wacky world that is Will Wright's <b>The Sims</b>, 
  asking the inevitable quesiton, &quot;is <b>The Sims</b> the first step toward a virtual 
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<p><font color="#000000" face="Arial, Helvetica, sans-serif" size="2"><a href="../../2.15/pixel/index.html" target=""><b><font color="#00025E">Pixel 
  Obscura </font></b></a></font><font face="Arial, Helvetica, sans-serif" size="2"><br>
  Josh Vasquez on <b>Omikron: The Nomad Soul</b>.</font></p>
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              <h5 align="right"><b><font face="Arial, Helvetica, sans-serif" color="#00025E"><img src="../../images/icons/pixel_final.jpg" width="193" height="245" align="left"><loonystart>Vol. 
                2, Issue 10<br>
                February 1, 2000</font></b></h5>
              <h5 align="right"><font color="#00025E"><b><font face="Arial, Helvetica, sans-serif"> 
                </font></b></font></h5>
              <div align="center">
                <p align="center"><b><font face="Arial, Helvetica, sans-serif" color="#0000FF"><i><font color="#904C10" size="3">Pixel 

                  Obscura:</font></i></font></b></p>
                <p align="center"><b><font face="Arial, Helvetica, sans-serif" color="#0000FF"><i><font color="#904C10" size="6"> 
                  Saturn's in Retrograde</font></i></font></b></p>
                <p align="right"><font face="Arial, Helvetica, sans-serif">by 
                  <a href="mailto:citizen21@hotmail.com">Josh Vasquez</a></font></p>
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              <p align="left"><i><font face="Arial, Helvetica, sans-serif" size="2">&#147;Sometimes 
                we cannot believe that what is happening is real...pinch yourself 
                and you may find out that it is&quot; - Texas Chainsaw Massacre</font></i></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif"><img src="../../images/letters_new/o.jpg" width="25" height="39" align="left">ne 
                of the major obsessions of horror cinema is its placement of individuals 
                within the collapsing roar of a landscape gone mad. The once familiar 
                world is rendered alien and unknowable, a dark universe rearing 
                its head late in the day to cast everything into a twilight chaos. 
                Characters are left running through the ruins of what they originally 
                perceived as an ordered existence. Horror cinema destabilizes 
                the boundaries between what can and cannot happen and, as a result, 
                the world is pushed out of joint. </font></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif">Those 
                who survive can never be the same.</font></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif">The transformation 
                is a savagely swift one. The finest horror films move with a kind 
                of red velocity, a terrible and bloody speed at which space is 
                rapidly complicated. This environmental unraveling, however, tends 
                to fall into two basic categories: expressionistic and realistic. 
                Expressionist horror cinema, beginning in Germany with works like 
                Robert Weine's <i>Cabinet of Dr. Caligari</i> (1919) and Paul 
                Wagner's <i>The Golem</i> (1920) and continuing on into the early 
                sound period in such films as Dreyer's <i>Vampyre</i> (1932), 
                created landscapes based on the principle that the exterior world 
                was a reflection of the tortured interior of the individuals populating 
                it. </font></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif">Realist 
                horror cinema, however, builds its terrible momentum from an eruption 
                of nightmares into the daylight.</font></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif">In this 
                context, realist refers to the treatment of the landscape as </font><font face="Arial, Helvetica, sans-serif">something 
                existing independent of the individuals who dwell within it, an 
                objective space which is infected by the darkness rather than 
                being directly shaped by it. Films as wildly different as <i>Seven</i>, 
                <i>Night of the Living Dead</i> and <i>Let's Scare Jessica to 
                Death</i> are brought together by their depiction of the universe's 
                sudden decision to pull back the curtain, turning itself upside 
                down and inside out, only to embrace the individuals caught up 
                in its revolution with a glacial indifference. There is an implicit 
                statement being made that the darkness has always been present, 
                waiting in the angles and hidden folds. <i>Psycho</i> took the 
                first significant steps towards giving a nasty bite to this realist 
                bent. George Romero's late sixties zombie plague reached even 
                further than Hitchcock's tale of a lonely, psychotic boy in trying 
                to pierce the &quot;real&quot; with the nightmarish. Both <i>Psycho</i> 
                and <i>Night of the Living Dead </i>could be seen as the first 
                steps in a new evolution of horror cinema, a terrible realism 
                which would result in the creation of a film so ahead of its time, 
                so profound in its implications, that it still stands as a cinematic 
                landmark.</font></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif"><i>The 
                Texas Chainsaw Massacre</i> may be one of the most beautiful realist 
                horror works ever made. Tobe Hooper's film is an apocalyptic masterpiece, 
                a dark fairy tale about the ultimate impossibility of understanding 
                the universe. <i>Chainsaw</i>'s greatest effect is found in its 
                depiction of the most terrible violations taking place in the 
                most seemingly ordinary of worlds. </font></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif">Hooper's 
                direction emphasizes both odd angles and distorted perspectives 
                as well as unusually smooth camera movement for such a low budget 
                feature. Frantic cuts and sudden zooms struggle alongside graceful 
                tracking movement and still long shots as if he's trying to find 
                a way to portray the interlocking levels of this dying, schizophrenic 
                reality.</font></p>
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<p><i><font face="Arial, Helvetica, sans-serif" size="-2">Credits: Illustration 
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