Blue Nexus #71 - Man With Machine

Previously on "Blue Nexus": With a renewed sense of courage and a burning drive, Kyle and Brenda dove headfirst into battle against two of the Six Pillars. Sandy soon joined and the three overwhelmed them, furthering their confidence. However, a distress call from Phoenix told them the day wasn't won yet: one of the Six Pillars was attacking the Cube, and the only one left to defend it is former super villain Professor Boomer!

Bloodborne and the Context of a Duel

Some of the most iconic images or moments in movies, video-games, and television come out of a duel. It's that moment where the hero and villain are finally clashing swords, or shooting each other down. It's almost impossible to count all the great duels we've seen over the years; from the Mexican standoff of The Good, the Bad, the Ugly to Luke facing Vader on the reformed Death Star to Oberyn Martell fighting the menacing Mountain. Bloodborne, though, manages to exemplify the very best out of a duel time and time again throughout the game, taking characteristics from past, iconic duels and possibly forging the path for new ones to be made. 

Blue Nexus #70 - Once in a Blue Eclipse!

Previously in "Blue Nexus": The Sentinel of Pacific City fought hard against Axel, the Pillar of Combat, but was ultimately defeated. Kyle, dejected, tried in vain to convince himself that he could avoid the fight ahead. He went to Brenda to check on her when an ethereal form of the Grand Elder appeared and inspired them to fight back, sending them toward John and Axel, starting the final battle against the Six Pillars!

Bloodborne and the Context of a Scare

One of the most prominent tropes in modern horror flicks is the jump-scare. Every horror movie now, it seems, attempts to have a jump-scare in one way or another. Perhaps it’s meant to jolt the audience into being awake, and being alert; or, perhaps, it’s meant as a momentary beat of pure fascination and horror at what was just seen, and not being able to comprehend it. Quite the opposite of a jump-scare is a long, winding bit of tension. Perhaps a long pan down a hallway, creeping and creeping toward something. It’s Danny riding his bike in The Shining; it’s the truck from Jeepers Creepers tailing our two young heroes. But without context, both of these elements fall flat. Something jumping out for no reason is senseless, and a long bit of nothing can be just that: nothing. The context behind a scare is often more important than the scare itself.