Переводчик Костин Михаил

Spanning sculpture, video, text and sound, Angela Bulloch’s work is concerned with systems and ordering principles, be they astronomical, aesthetic, mathematical, or cultural. In other words, her work often addresses structures and patterns that organize our surroundings and our perception of the world in which we live. The unreliability of human perception, easily tricked by visual illusions, also is of particular interest to the artist.

The recent series of wall drawings bring together her interest in systems, patterns and rules, and the artist’s preoccupation with the history of shapes with her recent engagement with digitally distorted basic geometric shapes–polyhedra which she has also explored in her series of sculptures known as stacks.

— Командир, мы находимся в радиусе действия Ореи и Деи. Эти Земли уже обжиты нашими сородичами, там есть станции космической навигации и связи. Но в настоящее время они находятся очень далеко от нас. Гораздо ближе новая, ещё нами неисследованная Земля — Серединная.
Тарх взглядом включил бортовой кристаллоскоп* и перед ними появилась звёздная межгалактическая карта.
— Садитесь поближе, — обратился Перун к членам своего экипажа.
Экипаж вайтмары «Расич» состоял из заместителя командира Световита, штурмана Тарха Даждьбога — сына Перуна, бортинженера Семаргла, мага Велеса, кибернетика Макоши, специалиста по взаимодействию с тонкими мирами Мары, биолога Живы, исследователя-космолога Тары — дочери Перуна, астролога Лели, парапсихолога Спаса. Каждый член экипаж, в свою очередь, имел своих дублёров и группу профессионалов по соответствующим специальностям.
На борту вайтмары располагалось несколько десятков межпланетных кораблей-вайтман типа «Луч» и «Орёл»

Nier: Automata

An office favorite, Nier: Automata is bizarre open-world RPG with PlatinumGames' signature speed-comboing combat—but that can seamlessly transition into twin-stick shooting whenever it wants. The combination works, as does the mournful, weird story and all its quirks. "Automata is a remarkable game with an incredible amount of style, personality, and flair," said Andy in his review.

Verdict: "A beautiful, melancholy action RPG that’s effortlessly stylish and utterly unpredictable."

Mass Effect: Andromeda

Andromeda is a contentious game, even—or maybe especially—among PC Gamer's staff and writers: some despise it, some enjoy it. It was burdened by high expectations, and didn't succeed at everything we hoped. But BioWare games are nearly always unmatched in certain aspects, and Andromeda is an accomplishment in scope, with some great missions and moments buried within its hours of dialogue and exploration.

Verdict: "Marred by inconsistency and in need of a polish pass, this vast new sci-fi frontier nonetheless rewards dedicated exploration."

Resident Evil 7

A reset for the Resident Evil series, RE7 moves away from the action movie stylings of the last few games for a creepier, first-person horror adventure. " It takes an industrial pressure washer to the series, blasting off years of accumulated filth and grime," wrote Andy. "And you’re left with a lean, polished survival horror that borrows from its legacy, but isn’t afraid to look to modern horror games for inspiration too."

Verdict: "Not the dramatic reinvention I expected, but this is tense and refined survival horror with a brilliantly bleak, grimy atmosphere."

Abandoning several other ongoing art projects so he could work on 'Jane Doe' exclusively for a month, Bannon applied the same meticulous process in creating all of the companion images that appear in the album's 28-page CD booklet."Once I had the basic images completed, including the cover, I worked on type treatments for the release,"he says. "At first I used old Letraset type but later switched to contemporary typography as the project progressed. My goal was to continue the same kinetic feel of the imagery and make them one and the same."

Released on September 4, 2001--a week before the Twin Towers fell--'Jane Doe' had an immediate impact both sonically and visually. Since then, a number of bands and graphic designers have shamelessly bitten Bannon's style; a handful of clothing companies have actually appropriated the 'Jane Doe' image without permission (all have been served with cease-and-desist letters) and a large counterfeit 'Jane Doe' oil painting even surfaced in a Los Angeles punk-rock shop in late 2002 (it turned out to be an homage, not a rip-off). "Since the release of the album, there have been countless attempts at emulating that style of artwork," Bannon laments. "The attempts are both flattering and insulting. I feel that if you are putting that much effort into creating something to represent your band visually. you should do something original. Use your own artistic voice, not ours."

Since her debut, the woman known simply as "Jane" has become Converge's de facto icon, a version of Iron Maiden's mascot, Eddie, or Motörhead's album-cover sentinel, Snaggletooth. "People relate music to a time and place that is meaningful to them, and I do the same," Bannon offers by way of indirect explanation. "I am flattered that my work and out collective album has been that for a variety of people. Or any of our albums, really."

According to her creator, no original version of the ubiquitous mystery lady exists. "I still rarely keep originals of anything," Bannon explains. "Not sure why, really--an emotional hangup, I guess. These days I'm trying to be better about keeping things."

Deafheaven may not wear corpse paint—and their crowds may include a significant number of people who otherwise have no interest in metal—but they still put on a very real metal show in terms of volume, energy, and theatricality. Clarke describes his stage presence as a combination of Freddie Mercury and onetime Pantera frontman Phil Anselmo; he’s constantly prowling and gesticulating, conducting the audience with his arms in a way that occasionally gives people the wrong impression. Naturally, opinions on the Deafheaven live experience are intense on both sides. The punk parody site The Hard Times once wrote an article entitled “Deafheaven Bassist Falls Asleep On Stage” that naysayers truly wanted to believe was legit. But the gigs I’ve seen tend to be more like one in Moscow that drove a particularly rabid fan to climb on stage to lick Clarke’s boots.

After seeing them numerous times, Anti-’s Gurewitz admits he was afraid to meet Deafheaven in person. “I was a little intimidated by them,” he says. “I thought they were going to be these super intense, cult-like personalities.” If the band was truly concerned about how they would be viewed by the metal community, signing with Anti- is a wonderful way of telling it to fuck off. Anti- is a sister label of punk rock institution Epitaph Records, and both have recently been rebranding themselves as strongholds for ambitious rock due to recent signees like Title Fight, Desaparecidos, and The World is a Beautiful Place and I Am No Longer Afraid to Die. But for most people, it’s known as the house the Offspring built and sustained by long-running NPR faves like Tom Waits, Neko Case, and, most recently, Wilco.

“If you're truly a metal guy, the label is probably not even on your radar,” Gurewitz admits. It’s worth noting that Anti- came into the picture after talks between Deafheaven and indie stalwart Sub Pop came to a standstill; Clarke and McCoy were troubled by what they felt was a lack of urgency from that label, and were also concerned about the band’s fit on their roster. (A representative from Sub Pop writes in an email: “Though we don’t publicly discuss contract negotiations, we’re great fans of Deafheaven and wish them all the success in the world.”) “George didn't want to be pigeonholed as just merely heavy music,” according to Gurewitz. “But he also told me that part of what was appealing to him about Anti- was that it was an indie-rock label that had an experience of heavy music because of Epitaph