David Bowie - Lazarus

Blackstar won’t tell you how to die

I spent a lot of time this week listening to “Subterraneans,” the last song on 1977’s Low, by David Bowie. I didn’t know what else to do. Like a lot of other people, I had a feeling—this response to death we all have, with varying degrees of terror and/or sadness attached to it—combined with the uselessness of just being on the internet, looking for something to do. And so we (I) look for more David Bowie, or we (I) listen to more David Bowie, because all of it’s still right there, right where we (I) left it. We sort of…

Orchids to Dusk

Orchids to Dusk lets you find a quiet place to die

Be warned: This article spoils all the surprise of Orchids to Dusk that is so crucial to the first-time experience, so it’s best played before reading. /// The fallen astronaut in Orchids to Dusk is not eager for adventure. You can see this in their hands, which are timidly held together, head shyly dipped towards them to create a tight prism of safety. It’s a pose familiar to shut-ins and the timorous. How it came to be that this person got as far as becoming an astronaut without the necessary confidence is unknown. Nor does it matter. Everything is ending now. Typically, this…


Experience the slow crawl toward death and decay as a lonely old lady

I watched the movie Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles in a film class during college and it brought me to the brink of insanity. For those who are not familiar with the three-and-a-half-hour Belgian movie released in 1975, it predominantly consists of the mundane activities of a single mother’s life caring, cooking, and providing for her son. Divided into three acts that take place over a three day period, the movie depicts Jeanne Dielman going about her daily routine: making breakfast for her son, preparing dinner, setting the table, bathing, grocery shopping, eating dinner with her son, prostituting…


Dark Souls III’s new trailer shows us the face of death

There’s a giant skull fella leering out of the darkness towards a pale light in the new Dark Souls III trailer. As it has no flesh, you can’t tell if the facial expression it might pull as the torch-bearing knight walks up to it would be a sneer of anger, or a less hostile and quizzical one. All we can see is its enormity; it’s as if a colossal icon for death. It’s this that the trailer seems hell-bent on showing us, over and over. This is undoubtedly a post-Bloodborne effort.  We get it: everything is dying in Dark Souls III. “Only…


Fragments of Him multiplies its tragedy to reflect how death affects us all

This is a complete coincidence, but a year ago—to this exact day—I reached into my gut to pull out feelings I’d forced to exist down there for a long time. Today, I’m doing the same, as I wrote about Fragments of Him then, and I’m doing the same now. It’s a first-person drama that explores how a guy’s death affects the people closest to him. For me, it’s a narrative with a personal sting, due to my two-year-old brother dying when I was four, and consequently having to watch as my parents somehow dealt with that for the next 20 or so years.…