This is how Flappy Bird‘s time in the public eye should’ve occurred: it should’ve been just another lo-fi, challenging mobile game with an immediate and obsessive, albeit niche, following. People would download it, having seen other iOS players mention it on Twitter. Personal high scores would be tweeted back and forth in unofficial challenges. Game Center Leaderboards would be refreshed as everyone tries to beat out their friends. A few people would tweet, just once, how they don’t ‘get it’ and how they are slightly baffled by its success. Just once. Then they would move on and talk about something
I. I’ve been reading a lot of critic Susan Sontag’s early essays of late. I’ve been motivated by a desire to have my own approach to criticism influenced more by that of other critics, and I’ve been influenced heavily in the way Sontag takes a work of art at face value. Explicit in her essays from the late ’60s, “Against Interpretation” and “On Style,” and implicit in the rest of her writing, is this refusal to separate an artwork’s “form” from its “content.” That is, she refuses to separate an artwork into what it “is” (a canvas, brushstrokes, colors, frame),
In a kind of post script to his book, Killing is Harmless, Brendan Keogh comes face to face with Spec Ops: The Line writer Walt Williams.
Brendan Keogh gets physimentally exhausted with Antichamber and Where Is My Heart?
Brendan Keogh teaches us about the language of videogames.
For Brendan Keogh, the intentions behind Far Cry 3 are clear. Too clear.
Unwinnable chooses the best games of 2012. It wasn’t easy.
Brendan Keogh engorges his Penrose Iontissue as he plays Spaceteam.