There’s a subtle beauty to being able to capture a moment, framed forever in the language of film. As if frozen in time, the camera, aimed true by a master of the craft, can share an eternity within a single instant, halting the flow of time itself to center the universe on a single moment. In some sense, even hallways, bathrooms, the spaces we find ourselves flowing through to more important things, take on a kind of artistry, when viewed through the camera's lens.

I suppose that idea of captured liminality is at the heart of Interior Worlds, as much as it has a heart. The pulse flowing under the surface only makes the reality of the game hurt that extra bit more; Interior Worlds isn’t a photography game, not to a degree of allowing any real expression to the player, nor in giving you all that much of interest to look at it. No, here we have a work entirely fueled by a desire to copy creepy liminal space memes you’d see on Twitter.

There isn’t much to say about it, frankly. Gamified exploration of drab environments, viewable through a camera that drains all saturation, letting you capture that perfect spoopy-spirit with grainy, over-blown photos… There’s no real expression available to the player, so it’s kind of a bad photography game on principle.

Also, how is the 10-minute Vinesauce fangame hidden here so much more soulful than anything in the actual paid game-jam project they’re pushing? It feels like such a weird mix-up of priorities.