Notes on THE PARSER AT THE THRESHOLD: LOVECRAFTIAN HORROR IN INTERACTIVE FICTION
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> there is as much horror to be found in the suburban streets of David Cornelson's > *Cattus Attrox* as in the antiseptic laboratories of Ian Finley's *Babel,* or in the 
> ante-bellum backwoods of Adam Cadre's *Shrapnel.*
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I'm assuming the *s are to denote other forms of emphasis (italic), but if not, shouldn't you put the closing asterisk before the punctuation?
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> these set the story from more conventional flavors of horror
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'Set ... from'?  Away from?  As being distinct from? Not a major issue, but mildly nagging to the eye.
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> One can too easily get so lost in the trappings at to forget
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Two things: firstly, s/at/as.  Secondly, this sentence is a little heavy on the modifiers - perhaps removing either the 'so' or the 'too' would make it more comfortable to read.
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> Don't be afraid to supply the character's motivations and even, to a certain extent, > the character's thoughts feelings in response to events in the game.
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This needs an 'and' or an 'or' between 'thoughts' and 'feelings'.
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That's pretty much all my notes there.  Aside from that, I did think the quotes were a little overused - my eyes flitted over them after the first or second one.  Perhaps just an opening and a closing quote.  Also, I found the shifting of third person pronoun ('the reader') from 'he' to 'she' quite distracting.  Sticking to one or the other would be less jarring.