As a “dead” or abandoned city, we must encounter first the creeping terror of deindustrialisation, the horror-show of the City as a mausoleum which plagued both the Romantic and Modern imagination.
Kunzelman’s games are often focused on cycles and stillness and the feeling that big things are happening outside of your frame of reference - that you are not part of them but that they are bearing down on you, and that because of them your fate is already chosen
In an age where the screen is flatter, clearer and thinner than it ever was, where user and interface are as close as a touch, and where the reality that alienates our bodies from the image begins to dissolve, what is the point of the old, thick-glass CRT?
Glitchhikers asks us to drive on a highway late at night, listen to songs from fictional bands on the radio, and answer metaphysical questions about the meaning of life from the beings that hitch a ride in our car. Glitchikers feels quiet and pleasant – it becomes hypnotic once you realize how little your input matters
There’s an experiential quality to Rothko’s work that not only defies solid description, but also lends itself to the same kind of confessional criticism that became known in the games scene as New Games Journalism. There’s something about “the journey” that is crucial to understanding the work–how you come “face to face” with the image, and where the painting takes you afterwards. There is absolutely no substitute for Being There.
The false spectre of the 'predatory gay male', who violently oversteps boundaries and who ignores consent has long been used to justify violence, enforced medical, chemical and psychiatric procedures, and oppressive legislature against homosexual men.
“Glitch” was first used as astronaut slang to describe an overload in voltage in 1962. This definition is apt because many of the behaviors and aesthetics of early videogames would be determined by hardware limitations and their potential for overload.
These days developers are more connected than ever. We’ve heard a lot about how tools like Twine and Twitter let them create quickly and share widely. What’s less talked about is the culture of mutual aid which sees Twine users emulating the protagonist in Body of Bind.
In 1993, performance artist Joseph Ng infamously snipped his pubic hair in a series of public performances to draw attention to the country’s criminalization of homosexuality. In response, both performance art and ‘forum theatre’ became ineligible for government funding, as ‘spontaneous’ art with no script and the possibility of audience interaction posed dangers to ‘public order, security and decency.