Brendan Keogh talks to David Kanaga about his Nuovo Award-winning game Oikospiel, dogs, philosophy, fractals and more.
“Luftrausers is not a game about flying; it is a game about falling gracefully.” Brendan Keogh on the tactile pleasures of Vlambeer’s arcade shooter.
The following is a reprint from Unwinnable Weekly Issue Two. If you enjoy what you read, please consider purchasing the issue or subscribing for the year. 1. In 2010, game critic and developer Tim Rogers wrote a review of the PlayStation 2 beat-em-up title God Hand. “God Hand is like being a professional chainsaw-wielding glacier demolisher at a party where the penguins are going to need a lot of ice cubes,” Rogers writes in the first paragraph. “Though God Hand is usually like poking holes in a watermelon with a chopstick for the best reasons… [it] is sometimes like using a pizza cutter to
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.