PAUSE: What can game designers learn about product placement from this St. Ides commercial?
Besides that awesome lightning bolt effect, we mean. – Drew Millard
Kill Screen Staff
1953 postsA video history of death in classic arcade games
Cattle die, kinsmen die; the self must also die. I know one thing which never dies: the reputation of each dead man. -Old Norse proverb [via]
How much time do you need to take to look at a painting? A photo? A game?
It’s a question we’re faced with any time we engage with any bit of art, from a game to an album to a painting-how long are you supposed to spend time with before you’ve digested the thing? This question was raised by the BBC regarding the new Leonardo da Vinci exhibit at the National Gallery in Lon
The new Madcatz mouse looks like an airplane
It’s meant for MMORPG play, but it looks you could fight terrorism with the thing. Buy it for the World of Warcraft head in your life this Christmas: It has a total of 78 definable commands via 13 programmable buttons, a 2-position shift button, a cycling MMO Mode Switch that cycles through three se
This Skyrim rap is better than it has any right to be
This guy can flow. He sort of raps like Wiley, in that he is British and this is insane. Too bad he didn’t mention eating anything. [via]
Should videogames lose all function?
This time Ico, pereninnal “games as art” go-to example, has managed to snare the New Yorker’s Chris Suellentrop. While the piece is mostly a review of the rerelease of Ico and designer Fumito Ueda’s most recent game Shadow of the Colossus, Suellentrop does touch on the enduring appeal of these games
George Romero played Space Invaders
According to Tom Savini, the O.G. of gore makeup, America’s favorite zombie enthusiast was a proto-gamer: “I had the first Space Invaders game that came out, and that was a miracle back then. When I was making Knightriders with George Romero, we would sit in the hotel room and play Space Invaders an
Monsters as icons: what zombies tell us about the Recession
The notion that monster figures reflect the collective unconscious is not exactly news. Mary Shelley’s Frankenstein made a bold statement about inherent alienation symptomatic of modernity while the 1950s Invisible Man addressed racial identity at the onset of the Civil Rights Movement. Even the ove
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