When Sony was hacked in 2014, and the ugly underbelly of the entertainment industry was exposed to the internet at large, there were some interesting revelations about the Spider-Man franchise. This was still around the time Sony, and not Marvel, owned the cinematic rights to Spider-Man, and audiences had seen two iterations of the web-slinger on the big screen, with a total of five feature films, spanning two different universes of the same premise over the course of the early 2000s.
Having watched horror classics such as Clive Barker’s Hellraiser, Ridley Scott’s Alien, and Wes Craven’s Scream, all before the age of 10 (through sheer cunning and deft bypassing of all parental supervision) I often wonder if my early exposure to masters of the genre have left me somewhat desensitized to horror movies and games.
It is difficult to gauge to what degree one’s familiarity with horror classics actually prevents the fear response, the rush of adrenaline, the inadvertent scream, or at the very least, the noticeable thundering of one’s heart for a minute or two. What one inevitably develops a…
Very few video games can make people weep at their conclusion. That emotional gut punch, amplified by a profound soundtrack, is often the domain of cinema. So it was a welcome surprise when I found myself crying at the end of The Last of Us in 2014.
A masterpiece in its own right, that game had shook everything I had come to believe about video games, no easy feat to accomplish with the Playstation 3’s then-groundbreaking but now cringe-worthy pixel count.
The following article was originally published in The Oberlin Review on April 20, 2012, following the premiere of HBO’s hit series, Girls.
It is impossible not to compare HBO’s new series Girls, created by Lena Dunham, OC ’08, to Sex and the City. Any show that portrays the lives of young women struggling with relationships and life in the big city bears that burden. What sets Girls apart from previous attempts at carrying on the Carrie Bradshaw legacy — Lipstick Jungle, Cashmere Mafia — is something perhaps no one was expecting: awkwardness.
Obies might be familiar with the hilariously uncomfortable…
Five years ago today, I left Istanbul. Turkish people don’t like it when I tell them why.
I left Turkey because I am gay.
I left, and since then I have been accused of being part of the brain drain. At the age of 23, I am an artist who has shown work in many countries around the world, and I am also the youngest artist to be included in the permanent collection of the Istanbul Modern Museum.
With a background in Middle Eastern politics and photography, I am currently getting my Master of Fine Arts degree in the School…