murder

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American Psycho is a novel by Bret Easton Ellis, published in 1991. The story is told in the first person by Patrick Bateman, a serial killer and businessman. Bateman moves among the young and trendy in 1980s Manhattan. Young, handsome, and well educated, he earns his fortune on Wall Street by day while spending his nights in ways we cannot begin to fathom. Expressing his true self through torture and murder, Bateman prefigures an apocalyptic horror that no society could bear to confront.

(Source: Wikipedia, Amazon description)

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L.A. Noire (pronounced /ˈnwɑr/) is a neo-noir detective video game developed by Team Bondi and published by Rockstar Games. It was initially released for the PlayStation 3 and Xbox 360 platforms on 17 May 2011; a Microsoft Windows port was later released on 8 November 2011. In 2017 it was announced that a remastered version would be released in November for PlayStation 4, Xbox One, Nintendo Switch, and HTC Vive.

L.A. Noire is set in Los Angeles in 1947 and challenges the player, controlling a Los Angeles Police Department (LAPD) officer, to solve a range of cases across five divisions. Players must investigate crime scenes for clues, follow up leads, and interrogate suspects, and the players' success at these activities will impact how much of each cases' story is revealed.

L.A. Noire is an action-adventure neo-noir crime game played from a third-person perspective. Players complete cases—linear scenarios with set objectives—to progress through the story. The game also features a mode which allows players to freely roam the open world. In this mode, players can also engage in optional activities. The game assigns players with cases that they must solve. After each case, players receive a rating of 1–5 stars depending on their performance in both interrogations and searching for clues. Suspects and witnesses in a case can be interrogated for information, when the interviewee responds, players are given the option to either believe them, doubt them, or accuse them of lying. If players accuse them of lying, they must submit evidence to prove it. When interrogating two suspects at the police station, players may decide who to charge with the crime; charging the wrong suspect affects players' end rating. 

The game draws heavily from both the plot and aesthetic elements of film noir, stylistic films made popular in the 1940s and 1950s that share similar visual styles and themes, including crime and moral ambiguity. The game uses a distinctive colour palette, but in homage to film noir it includes the option to play the game in black and white. Various plot elements reference the major themes of gum-shoe detective and mobster stories such as Key Largo, Chinatown, The Untouchables, The Black Dahlia, and L.A. Confidential.

(Source: Wikipedia)

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Heavy Rain is an interactive drama action-adventure video game developed by Quantic Dream and published by Sony Computer Entertainment exclusively for the PlayStation 3 in 2010. The game is a film noir thriller, featuring four diverse protagonists involved with the mystery of the Origami Killer, a serial killer who uses extended periods of rainfall to drown his victims. The player interacts with the game by performing actions highlighted on screen related to motions on the controller, and in some cases, performing a series of quick time events during fast-paced action sequences. The player's decisions and actions during the game will affect the narrative. The main characters can be killed, and certain actions may lead to different scenes and endings. There is no immediate "game over" in Heavy Rain; the game will progress to a number of different endings depending on the sum of the player's performance even if all the characters become incapacitated in some manner.

Heavy Rain was a critical and commercial success, winning multiple Game of the Year awards and selling over three million copies. In 2016 a remastered version was released for the PlayStation 4. 

(Source: Wikipedia)

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The first part of this horror story about a series of identical houses is told in a series of emails received from Mark Condry, who has received a newspaper clipping in the mail describing a double murder and suicide committed by an old friend, Andrew. Mark decides to investigate, but disappears after sending a series of text messages from a house that may have changed Andrew completely. The second section of the story is told in a series of "updates" on the website with links to various blogs, with extensively interlinking comments.

Heisserer sold a version of the story to Warner Bros. in 2005.

By Stig Andreassen, 25 September, 2013
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Limbo, released in 2010, is a puzzle platformer that features a player character who awakes in Limbo, on the edge of hell. He must traverse a world of bear traps, giant killer spiders, and spinning gears. As with any game, the player of Limbo will necessarily fail while solving the game’s puzzles; however, this game makes those failures especially painful. The player character is decapitated, impaled, and dismembered as the player attempts to solve each puzzle. The game’s monochromatic artwork, its vague storyline, and these gruesome deaths meant that Limbo, predictably, found its way into various “games as art” conversations. However, this presentation asks whether Limbo can serve as a different kind of boundary object. Given its complete lack of text and its minimalist approach to storytelling, what is the status of Limbo as a literary object? Given Katherine Hayles’ arguments that the field of electronic literature is best served by expanding its perspective to the “electronic literary” and Noah Wardrip-Fruin’s research on how both games and digital storytelling can be examined in terms of their expressive processes, it is relatively uncontroversial to consider Limbo in the theoretical context of electronic literature. However, what would such an approach yield? What are the literary traits of such a game, and how might we analyze such traits while ensuring that the game’s procedural expressions and computational expressions are given their due? In short, how might we consider Limbo as having one foot in each world, videogames and the electronic literary, and what would such a consideration provide scholars in electronic literature and game studies?

(Source: Author's abstract at ELO 2013 conference site: http://conference.eliterature.org/critical-writing/limbo-and-edge-liter… )

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This British mockumentary consisted of a (fictional) website documenting a (fictional) tv crew who were making a documentary about the solar eclipse in 1999. Readers who signed up in 1999, could see the web site develop from day to day, and were "accidentally" also signed up to receive private emails between the characters. As the eclipse approached the story became more and more mysterious and frightening. Murders happened and readers were able to join in the detective work. After the initial run, the website and emails were archived, but the website was no longer available by 2003. The Internet Archive has the cover page archived but no more. When the website was still online, readers could access the emails by clicking the "admin only" link which gave access to mock unix accounts for the tv crew.

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A character is murdered, returns to earth to relive his last hours and tries to avoid death. This hypermedia uses the myth of Faust, which helps in tracking history. The issue of disorientation is thus treated since the narrative itself, which eliminates the need for an interface apparent. [Source: http://www.olats.org/livresetudes/basiques/litteraturenumerique/9_basiq… ]

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Un personnage, victime d’un meurtre, revient sur terre pour revivre ses dernières heures et tenter d’éviter l’issue fatale. Cet hypermédia utilise le mythe de Faust, ce qui favorise le repérage dans l’histoire. La question de la désorientation est ainsi traitée depuis la narration elle-même, ce qui évite de recourir à une interface apparente. [Source: http://www.olats.org/livresetudes/basiques/litteraturenumerique/9_basiq… ]

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From the publication web site:

The bizarre and tragic deaths of Margaret Chandler and Gib Bogle on the banks of the Lane Cove River in Sydney, 1963, remain an elusive and intriguing Australian mystery. This website explores the theme of inconsistent and impermanent memory, allowing you to shift forward and backward through time, space and point-of-view, and so compare eyewitness accounts of the deaths. The story is represented by a montage of sound, image and text, and is controlled via a map/graph interface. As you progress through it, the project becomes less about solving the crime and more about revealing the enigma of individual experience and interpretation. It is also about how a time and place, in this case Cold War Sydney, inescapably shapes the perceptions of the people who live within it, and how people who suffer an unexplainable tragedy are often blamed for it. It is the story of an improbable murder or an implausible accident; a puzzle without a solution where objective truth becomes impossible to grasp because it does not exist.

 

 

 

Technical notes

Requires Flash 9 Player

Contributors note

Markus Kellow, sound and music