He discusses Kanji's dungeon and suggests that the steam in it represents " concealment and uncertainty . " He added, " As the player moves through the dungeon, her spatial experience mimics the larger confusion of Kanji s sexual needs : objects appear and disappear, bodies are harder to locate . " He felt that the stage became a " body itself for the player to queerly experience via the avatar . " The use of the word " queer " by Shadow Kanji was described by Youngblood as a word used to describe Kanji's " failure to live up to " the opposite sex's " assumptions of male identity " rather than a failure to live up to it to the same sex.
22.
A few years after Lodwick's death, Anthony Burgess wrote : " He is not afraid of rhetoric, grandiloquence; his knowledge of foreign literature is wide; his mastery of the English language matches Evelyn Waugh's . " He warned, nevertheless, that because of his early death he was " in danger of being neglected ", and indeed D . J . Taylor has written that in the post-war years Lodwick's " doomy romanticism sat queerly alongside the comic realism of a Waterhouse or an Amis : Lodwick's reputation did not survive the 1960s . " He has been described as an " odd-man-out " among his literary contemporaries, and credited with a " picaresque and romantic " imagination.
