“‘This is the eighth year in a row we’ve been doing this,’ opened moderator Jonathan Blow (Braid), introducing the Experimental Gameplay Sessions at Game Developers Conference 2009, before claiming that this was the ‘most interesting year yet.’

The reason? A ‘drastic, discontinuous change’ had occurred in the games industry in recent years – an explosion of creativity that had led to ‘the most consistent collection of designs that push the boundaries in the most interesting and thoughtful ways.’ After briefly introducing each, he allowed the designers to speak for themselves.”

In-depth coverage of the wonderful, Jon Blow-curated session that included such greats as a real-time strategy title that encourages you to abuse time travel and a platform game in four dimensions.

“Sounded like another week of largely unimpressive films on offer—from the ridiculous Nicolas Cage flick Knowing (called “the silliest apocalyptic pot-boiler of all time, edging out even M. Night Shyamalan’s The Happening” by Eye’s Adam Nayman) through the depressingly formulaic Miss March (absurd, considering it comes from people who made their name on YouTube, of all things)—until we remembered that this week saw the release of I Love You, Man.”

I like Paul Rudd.

“We’re all sick of “torture porn” by now—and just as sick of using the phrase—so the new remake of The Last House on the Left shouldn’t even be worth mentioning as an “also playing…” in this column. Except we saw the trailer and—as much as we hate to say this—we were captivated.”

Street Horrrsing could well be my favourite album of last year.

“One of the films that Stephen McHattie is in this week is going to make hundreds of millions of dollars (well, it’s likely to) after a blanket marketing campaign and on the strength of the source material; the other one isn’t.”

You should all see Pontypool.