In the late 1930s and early 1940s Matta had produced works he called “inscapes,” imaginary landscapes that he imagined as projections of psychological states. The Vertigo of Eros evokes an infinite space that suggests both the depths of the psyche and the vastness of the universe.
I caught this morning morning’s minion, king- dom of daylight’s dauphin, dapple-dawn-drawn Falcon, in his riding Of the rolling level underneath him steady air, and striding High there, how he rung upon the rein of a wimpling wing In his ecstasy! then off, off forth on swing, As a skate’s heel sweeps smooth on a bow-bend: the hurl and gliding Rebuffed the big wind. My heart in hiding Stirred for a bird,—the achieve of, the mastery of the thing!
Brute beauty and valour and act, oh, air, pride, plume, here Buckle! AND the fire that breaks from thee then, a billion Times told lovelier, more dangerous, O my chevalier!
No wonder of it: sheer plod makes plough down sillion Shine, and blue-bleak embers, ah my dear, Fall, gall themselves, and gash gold-vermillion.
“Best looking Doom so far” isn’t really glowing praise, in fact it suggests a game that is, at best, a good looking clone of another game.
…But then again, the first-person shooter was still a relatively new concept in 1996, with Doom popularizing the genre only about three years prior. FPS games were at the time called Doom clones, or were often described as “Doom with an X” where X is whatever twist they tried to put on the title.