The Horror of an Unfinished Story[link][archive] PopMatters, Nick Dinicola (May 8, 2015)
This is the second time that I have recently played a game in a horror series that has ended without an ending, the second time that the final chapter has been more prologue than conclusion, the second time that I’ve been left feeling confused, annoyed, a little ripped off, but also a little impressed.
Horror Stories (H.P. Lovecraft)[link][archive] This Is My Opinion, Bob Tortuga (September 26, 2015) Published in Spanish as Historias de Terror (H.P. Lovecraft) (Esta es mi opinión)
I present two horror stories, one by Lovecraft and one based on it. Both are extraordinary, although the graphic adventure is less well known. Both were created in Spain and, as always, I support quality productions from this country. Not for the nonsense of patriotism, but to demonstrate that in audiovisual respects (video games and cinema) Spain has great studios that work wonders.
Inevitable Regret for “Half-Game” Games[link][archive] Game Over, Kutarck (September 29, 2016) Published in Korean as 반쪽짜리 게임들에 대한 어쩔 수 없는 아쉬움 (쿠타르크의)
Recently, a lot of “half-game” games have been released on Steam in the form of “Chapter 1” or “Episode 1” games.
The main problem, however, lies in the fact that this game is extremely triggering. Within the first minute, there’s already a stunning event that may be harrowing for some people. Many of my friends stopped playing right after it, and honestly, that’s probably a good sign. If you’re not able to stomach the opening, then don’t play the rest of the game.
The Last Door Alt Text[link][archive] Trite Observatory (April 14, 2016) Published in Turkish as The Last Door Alt Metin (Basmakalıp Gözlemevi)
Jeremiah Devitt's mother is dead. His father warns him not to write to him. He does not want to see him again. Jeremiah is upset. Jeremiah is motherless. Jeremiah is fatherless. Jeremiah is asocial. And Jeremiah has turned to philosophy. Philosophy is nourished from the heart.
The Last Door in the Context of the Works of Edgar Allan Poe[link][archive] Time of Culture, XXXI, no. 02 (2015): 130–35, Piotr Kubiński Published in Polish as The Last Door w kontekście twórczości Edgara Allana Poego (Czas Kultury)
The article examines the game The Last Door in relation to the works of the American writer Edgar Allan Poe. It identifies and considers the functions of specific intertextual references. The literary allusions in The Last Door vary widely with respect to their concealment, with each allusion demanding its own degree of literacy from the player. Analysis of these allusions facilitates the exploration of mechanisms that are used to build a mood of terror as well as the relevance of techniques that were developed by Poe in the first half of the nineteenth century.
'The Last Door: Season 2' Explores the Horror of the Forgotten[link][archive] PopMatters, Nick Dinicola (October 14, 2016)
When we shun the victims of horror, we only invite more horror upon us all.
Literature Move[link][archive] Cloud: The Digital Culture, Oriol Ripoll (April 29, 2015) Published in Catalan as Literatura Jugada (Núvol: El digital de cultura)
The emergence of graphic adventures was a breakthrough in the relationship between the narration of stories and games. Now, almost half a century after the first Choose Your Own Adventure books were published, there has been a resurgence in the genre thanks to the emergence of mobile applications and games with powerful narratives.
Literature vs. Video games: Are Both Formats Equally Suitable for Storytelling?[link][archive] The Mechanical Dragon, Rafael de la Rosa (August 2016) Published in Spanish as Literatura vs. Videojuegos: ¿Son ambos formatos igual de aptos para contar historias? (El Dragón Mecánico)
I conducted a Twitter poll that asked: Are video games comparable to literature as a storytelling art form?
Point, Click, and Escape![link][archive] New Nerd, Evelyn Trippo (December 16, 2013) Published in Portuguese as Aponte, clique e escape! (Novo Nerd)
I have always been attracted to point and click games. The adventure, exploration and interaction that they offer has enchanted me, not to mention that each game tells a story.
The Tenth Art # 3 | Aesthetic Simplification[link][archive] The Phalanx, Mãe Serpente (Mother Serpent) (May 19, 2016) Published in Portuguese as A Décima Arte #3 | Simplificação Estética (The Falange)
While the mainstream video game industry invests in games that make use of detailed graphics, many indies use aesthetic simplification in the creation of electronic games. In the latest edition of The Tenth Art, we discuss how pixelated graphics are often used to take advantage of the nostalgia that some older players have for ancient games. But this is not the only reason to choose an aesthetic production that moves away from the ideals of photorealism.
Terror a Click Away[link][archive] Zehn Games, Gurpegui (July 22, 2016) Published in Spanish as El Terror a un Click de Distancia
When we were children, and we were terrified in our beds with our sheets pulled up to our noses, we were afraid of what might be under the bed, or in the closet in the corner. We believed—or knew with certainty—that something was there. But we did not see it, so it might not have existed, even if it existed in our minds. Children's monsters may be a bit like Schrödinger's cat, which exists and doesn't exist at the same time. However, there was an empirical way of checking if there was something under the bed: peeking out. Playing The Last Door takes us back to the sheet, the bed and the monster. Click on the bed. Black screen.
The Unnameable Essence: What Makes a Game Lovecraftian?[link][archive] A.V. Club, Alexander Chatziioannou (September 12, 2016)
With the term being increasingly diluted, the question is worth considering: What are the essential themes of a truly Lovecraftian game?
Using Suggestion in Video Games: The Case of The Last Door[link][archive] Akihabara Blues, Alberto Venegas (June 20, 2014) Published in Spanish as La sugestión en el videojuego: El caso de The Last Door
“Suggestion” is the name given to psychological processes by which people, media, books, and other entities use the transmission of information to guide and direct people’s thoughts, feelings, and behaviors.
The Wasted Land and the Cthulhu Mythos in the World of Games[link][archive] Andwhatablog, Árnyék (Shadow) (May 6, 2015) Published in Hungarian as The Wasted Land teszt és Cthulhu mítosz a játékvilágban (Megamiblog)
In addition to The Wasted Land, the article discusses the effects of H.P. Lovecraft and the Cthulhu mythos on popular culture, especially in the world of video games.
Deaf Destiny Player Petitions Bungie for Captioning[link][archive] Kotaku, Ethan Gach (September 18, 2016)
The creators of The Last Door explained how putting a caption option in their game improved it for everyone.
Episodic Crowdfunding: The Ingenious Financial Model of The Last Door[link][archive] Gamezebo, Jillian Werner (October 9, 2013)
Less than a year ago, The Last Door surpassed its humble Kickstarter goal of £3,852. The crowdfunding pitch promised a heavily pixelated horror experience set against an enthralling, orchestral soundtrack. The series would be episodic, with each new entry coming to life only if the community willed and made it happen.
Kickstarter Picks: The Last Door[link][archive] Gamezebo, Dant Rambo (December 12, 2012)
The Game Kitchen, developer of The Last Door, is taking a very unique approach to the horror genre with the game. Most notably, it will be a free-to-play title playable in your browser. Furthermore, it will be episodic, with those who back the project on Kickstarter receiving early access to each episode.
Open For Business: The Last Door Season One Ends[link][archive] Rock Paper Shotgun, Adam Smith (February 19, 2014)
I never thought I’d write something like this, but The Last Door’s approach to crowdfunding is elegant. Seriously, it is. Good for the game and great for the audience. By releasing episodically, The Game Kitchen are effectively telling a story and shaking the can for tips at the end of each chapter to see if people are willing to pay for more. And the audience is happy to cough up the cash.
Smart Phones, Tablets, and the Cthulhu Mythos[link][archive] The Black Aether – The H.P. Lovecraft Online Magazine, Tomasics József (May 6, 2016) Published in Hungarian as Okostelefonon és tableten a Cthulhu-mítosz és szörnyei (The Black Aether - Online H.P. Lovecraft Magazin)
Smartphones and tablets have developed dynamically in recent years and are now considered a natural part of everyday life. As mobile games and applications have become affordable and universal, they are taking more space from the PC and console markets. The Cthulhu mythos and Lovecraft's heritage have not avoided this fate. Dozens of games and apps in digital stores (Play, iOS, Win) are related to H.P. Lovecraft.
Spanish Development on Steam: A Look at the Data[link][archive] Zehn Games, Raul Factory (January 20, 2017) Published in Spanish as El desarrollo español en Steam: Una lectura desde los datos
The sales figures suggest that the famous “boom” in the Spanish video game industry over the last few years was real. There has been a significant increase in number of games that have been made in Spain. However, there has not been a corresponding increase in Spain's share of the worldwide gaming market.
A Survey of the Pay-by-Chapter Revolution[link][archive] Sohu, Nine Nights (九夜) (April 23, 2017) Published in Chinese as 手游之章节付费启示录 (搜狐)
Pay-by-chapter is clearly a benign, win-win business model. However, it increases the demands of the design and development cycles and it puts players in an unfavorable position. In the long term, the investment is worthy of promotion, but it can be psychologically taxing on both developers and players.
Video Game Programming: Much More than Gameplay[link][archive] indie-o-rama, Dev ++ (October 19, 2015) Published in Spanish as Empezar en la programación de videojuegos: mucho más que gameplay
Most of the programmers I've met who intend to work with video games would like to do gameplay programming exclusively, or they think that most of the work involved in a game focuses on gameplay. But the reality is that there are other areas of programming, and in many cases the sum of their workloads exceeds that of gameplay: interfaces, monetization, advertising, backend, tools, complementary applications or web presence.
Why Game Accessibility Matters[link][archive] Polygon, Richard Moss (August 6, 2014)
Meet the people pushing to make video games more accessible to those with — and without — disabilities.
AKB Podcast 1x09: The Game Kitchen and Psicogaming[link][archive] Akihabara Blues, Jordi Tudela (July 4, 2014) Published in Spanish as AKB Podcast 1x09: The Game Kitchen y Psycogaming
In Akihabara Blues we bring you a podcast to enliven the sunny July afternoons with a couple of interviews with the guys from The Game Kitchen and Psicogaming.
Carlos Viola: “I would like to focus on the kind of video games that treats your music like a movie”[link][archive] indie-o-rama, Ruber Eaglenest (October 30, 2013) Published in Spanish as Carlos Viola: «Quisiera enfocar mi camino hacia el tipo de videojuegos que tratan su música como lo haría una película»
One of the highlights of the horror series The Last Door is its original soundtrack. It was created by Carlos Viola, a musician responsible for a multitude of works - among them a dozen soundtracks for videogames. The music of this stupendous horror series was inspired by the works of Edgar Allan Poe and H.P. Lovecraft. It has been acclaimed by critics as a fundamental piece of atmospheric attainment: fear, melancholy, despair and loneliness.
The Day That Poe and Lovecraft Made Virtual Love[link][archive] Yorokobu, Carlos Carabaña (March 14, 2014) Published in Spanish as El día que Poe y Lovecraft hicieron el amor virtual
“So we decided to turn the tortilla around and use the lack of resources to benefit a more personal experience for each player.”
Enrique Cabeza Talks About The Game Kitchen[link][archive] The Other Seville, Adri Ortiz (January 1, 2016) Published in Spanish as Enrique Cabeza nos habla de The Game Kitchen (La Otra Sevilla)
The Game Kitchen is a Sevillian video game company that was formed in 2010. We interviewed Enrique Cabeza, who told us how to work in this world.
Fear and Suspense on the Screen[link][archive] Chrome, Noelia González (February 16, 2014) Published in Spanish as Miedo y suspenso en la pantalla (Cromo)
The Last Door is a fascinating graphic adventure in pixels that represents the best of the horror genre.
A Game With... The Game Kitchen[link][archive] indie-o-rama, Ruber Eaglenest (May 21, 2015) Published in Spanish as Una Partida Con… The Game Kitchen
I met with Mauricio García, company director, and with Daniel Márquez, who is responsible for programming.
Interview with Carlos Viola, Musical Composer[link][archive] Zehn Games, Machinet (February 24, 2016) Published in Spanish as Entrevista a Carlos Viola, compositor musical
I have always said that there are few musical composers in Spain who dedicate themselves entirely to video games, particularly indie games… Today I return with Carlos Viola, who is responsible for composing music for The Game Kitchen as well as for other independent studios of cinema and video games.
Interview with One of the Creators of “The Last Door”, a Lovecraftian Video Game[link][archive] The Lovecraft eZine, Mike Davis (February 3, 2015)
I recently spoke to Mateo Pérez, one of the game designers and writers for The Last Door.
The Last Door: An Interview with Indie Developer The Game Kitchen[link][archive] Just Adventure, Ray Ivey (March 22, 2014)
I managed to catch up with the scary guys at The Game Kitchen, a Spanish independent game studio, to ask them some questions about their upcoming episodic adventure game.
The Last Door: Exclusive Interview with Raúl Díez[link][archive] The Hellwinter Gates (April 4, 2014) Published in Italian as The Last Door: intervista esclusiva a Raúl Díez! (I Cancelli di Hellwinter)
I had the pleasure of talking with Raúl Díez, public relations manager for The Last Door. We discussed the game and its influences. We also discussed the production difficulties that indies are forced to face and how to survive in today’s market if you don’t have much money, but many good ideas.
The Last Door (2014): Interview with Raúl Díez, the Game's Developer[link][archive] Horror Database, Makson Lima (April 23, 2015) Published in Portuguese as The Last Door (2014): Entrevista com Raúl Díez, o desenvolvedor do jogo
The Last Door is quite ambitious in purpose and narrative, forming a delightful antithesis to the first impression that it creates.
The Last Door Interview with The Game Kitchen[link][archive] Capsule Computers, Zac Elawar (July 18, 2013)
The Game Kitchen are an indie studio responsible for the point-and-click horror adventure game The Last Door. Released in chapters, the project was Kickstarted back in the tail-end of 2012 and has seen the release of its first two instalments: ‘The Letter’ and ‘Memories’. The following is our interview with the Spain-based team.
The Last Door :: Narrative Fear with @thegamekitchen :: #MGW15[link][archive] GeekyGames, Kolduis3 (November 2015) Published in Spanish as The Last Door :: Miedo Narrativo con @thegamekitchen :: #MGW15 (GeekyJuegos)
Today I discuss my terrifying and very fun experience during four days of indie games and interviews at the Madrid Games Week.
We Interviewed Raúl Díez, a Member of The Game Kitchen, about The Last Door[link][archive] Fantasyworld, Luis Collado (January 20, 2014) Published in Spanish as Entrevistamos a Raúl Díez, miembro de The Game Kitchen, por The Last Door (Fantasymundo)
Fantasyworld had the opportunity to talk with Raúl Díez, a member of The Game Kitchen, the team responsible for The Last Door, a graphic adventure with a retro air and a dark and terrifying atmosphere.