『Can a Game Be the Work of One Genius?』のカバーアート

Can a Game Be the Work of One Genius?

Can a Game Be the Work of One Genius?

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I open with a fan who has rebuilt P.T. from its own PS4 code, which raises the question under the whole hour: when a game can disappear, who is responsible for keeping it? Danny Snelson calls in from New York with a ZipDeck in tow, and we take a detour through Zach Cregger's Resident Evil, which Danny calls a faithful betrayal.The A story is my interview with Murlo, the Manchester producer Chris Pell, who left a decade of DJing to build Something Beautiful alone, a point-and-click rhythm game with an album inside it and jukeboxes made of flesh. I play three clips from our conversation: why he left performance, what a good interaction feels like, and the lineage he claims, from William Blake and Goya to the Luddites. Danny reads Blake as a printmaker who controlled every stage of production and finds a model there for the solo developer. Then two quick ones that rhyme with Murlo's sense of touch: Sahej Rahal's Atithi, which you play by dragging your hands across brass, and Berrysoft's CORPSE FARM, where the crop is flesh.In the news, Zhou Yichen is pressing GRANDMA onto 5,000 metal Game Boy cartridges because a story this permanent should not live in plastic, and Danny checks whether metal actually outlasts plastic. It does not. Walaber's Reason and Rhyme is built for exactly two players, and Unrelated Studio's Lofsöng turns the problem of marking a nuclear waste site into level design.Then Joseph DeLappe and Biome Collective's game about Guantánamo, made with Mansoor Adayfi, who was held there for 14 years without charge. We close on Christine Sun Kim's MacArthur, whose citation names a work you play. I have been waiting for that since 2014. Danny asks what the word genius does to work made by many hands.LinksMurlo Builds a World You Can Play, my interview with Chris PellP.T. is being rebuilt for PC from its own PS4 codeScoring Fear: The Composers Behind Weapons and Dead SpaceVadim Nickel on sound designBennett Foddy's Games Taste Like GasolineSahej Rahal's Atithi interrupts our sense of touchThe crop is flesh in Berrysoft's CORPSE FARMZhou Yichen's GRANDMA is coming to a metal cartridgeGRANDMA on KickstarterWalaber's Reason and Rhyme is co-op for exactly twoReason and Rhyme on SteamLofsöng hides a nuclear warningLofsöng on SteamA game about Guantánamo is being built with its survivorChristine Sun Kim's MacArthur brings games one step closerChristine Sun Kim, MacArthur FellowChristine Sun Kim, Up and Away, Hyundai ArtlabKill Screen in 2014: Will a game designer ever win a MacArthur "genius" grant?The Killscreen Horror CollectionDanny SnelsonHosted by Jamin Warren with Danny Snelson. Music by Nick Sylvester.Subscribe to Killscreen for unlimited access to Jamin's writing and the archive at killscreen.com, member-exclusive newsletters and events. I love hearing from you! Email your questions and thoughts to info@killscreen.com Please consider supporting independent media! ★ Support this podcast ★ CorrectionsI give the MacArthur fellowship as $500,000. It is $800,000.No Fun was Issue 1 of Kill Screen, published in Summer 2010, not 2011. The MacArthur piece I mention ran in 2014, twelve years ago rather than ten.Brian Gibson, who made Thumper, is Lightning Bolt's bassist, not its guitarist.Atithi showed at Basel Social Club during Art Basel week, not at Art Basel itself. Aviva Studios is Factory International's home in Manchester, not part of FACT Liverpool.
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