『The Killscreen Podcast』のカバーアート

The Killscreen Podcast

The Killscreen Podcast

著者： Jamin Warren
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Join host Jamin Warren on conversations with someone of the most unique and experimental artists, designers, and thinkers in the worlds of games, play and culture Jamin Warren founded Killscreen and has produced events such as the Versions conference for VR arts and creativity, in partnership with NEW INC. Warren also programmed the first Tribeca Games Festival, the groundbreaking Arcade at the Museum of Modern Art, and the Kill Screen Festival, which Mashable called "the TED of videogames." Additionally, he has served as an advisor for the Museum of Modern Art's design department, acted as cluster chair for the Gaming category for the Webbys, and hosted Game/Show for PBS Digital Studios.© 2025 The Killscreen Podcast アート
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  • Can a Dating Sim Say No?

    Can a Dating Sim Say No?
    2026/10/23

    I open with Sagan Yee's Last Call for the Redding District, a 3D narrative game that asks what would happen if mermaids had the life cycle of Pacific salmon. You swim home to a town modeled on Saskatoon, catch up with everyone you went to school with, decide who to spawn with, and then everyone dies. Danny Snelson, who advised Sagan's MFA thesis at UCLA, joins me to talk through clips from my interview with Sagan.


    We get into the dating sim as a power fantasy, a game that won't show you the meter behind someone's affection, and a surface meter that works like an oxygen gauge for desire. Along the way, Angela Washko's The Game: The Game, Jessica Hopper's "Emo: Where the Girls Aren't" and Ted Chiang's lesson from Clarion West that world-building is one premise followed all the way to its end.


    Then three pieces from the site: Studio Oleomingus's new work for the 8th Anyang Public Art Project, Is it any wonder that I hesitate even at the gates of paradise?; You+Pea's book Videogame Architecture: Building Virtual Spaces, which draws Doom and Elden Ring as building plans; and Palestine Skating Game, where the soldiers can now surround you and you can fight back.


    We close on Dann Beeson's sticky-note storyboards for Messhof's Blood Dungeon and Dave Shuff's Big Steel Battalion Box, the refrigerator-box cockpit we first climbed into in 2014, now in the permanent collection of The MADE. Plus the new Killscreen events page.


    Links

    Fish Make O-Faces, and Other Lessons From the Redding District

    Studio Oleomingus Shows a Game About Mapping Paradise

    You+Pea Redraw Doom and Disco Elysium as Building Plans

    In Palestine Skating Game, the Soldiers Can Surround You

    Sticky Notes Storyboarded Blood Dungeon's Animated Intro

    Dave Shuff's Big Steel Battalion Box Wins Editor's Choice

    Here's What It's Like to Play Steel Battalion in a Tricked-Out Refrigerator Box (2014)

    Killscreen Events


    Hosted by Jamin Warren. 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 ★

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    1 時間 1 分
  • What Does Fear Sound Like?

    What Does Fear Sound Like?
    2026/10/15

    I sit down with two composers who make audiences flinch for a living. Ryan Holladay scored Zach Cregger's Weapons and this year's Resident Evil with his brother Hays. Jason Graves wrote the music for the original Dead Space trilogy, Until Dawn and Still Wakes the Deep. This is the first of Killscreen's Cross-Conversations: Horror, three free talks presented with MUBI that put people who make horror films and horror games in the same room.


    We start with Bluebrain, the location-aware album Ryan and Hays made for the National Mall in 2011, which grew out of the way sound changes as you walk through Myst. Jason explains how a drummer's background carried him through his first audition for EA and into Dead Space, and both of them trace the vocabulary horror still borrows from Penderecki, Psycho, Jaws and John Carpenter.


    Then the difference between scoring a film and scoring a game: Wwise and FMOD, and stingers that have to wait for the player. Jason walks through The Rig, the metal sculpture Matt McConnell built for Still Wakes the Deep, and Ryan talks about Abelina, the game he is scoring now. We close on audience questions and the tools they actually use, from handheld recorders to iZotope RX and Ableton.


    Links

    Scoring Fear: The Composers Behind Weapons and Dead Space

    The Killscreen Horror Collection

    Teenage Sex and Death at Camp Miasma on MUBI, 30 days free


    Hosted by Jamin Warren. 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 ★

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    1 時間
  • Can a Game Be the Work of One Genius?

    Can a Game Be the Work of One Genius?
    2026/10/08
    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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    58 分
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