For more than two years, Ryan Kuo has edited for Kill Screen. As he heads off to pursue an M.S. at MIT, he reflects on the life of iPad gaming that is now ending when he gives back the tablet to the company. When is an app more than an app?
The popular airline simulator Pocket Planes may not provide goals, direction, or even motivation, but it does demonstrate the importance of being bored with a videogame.
When Borderlands 2 is released on September 18, it will expand on the comic-book wasteland setting of its predecessor in more than a fictional way. The first game, a combination of first-person shooters, role-playing games, and massively-multiplayer online games like World of Warcraft, set itself ap
Kill Screen contributor, comics artist, academic, and high-concept game maker Pippin Barr debuts a new game today. It’s called Epic Sax Game and it’s a glorious feat of keyboard jamming, Guitar Hero spoofage, paint-by-MIDI, and Eurovision homage. Check out this video (at your own risk) to see/hear t
Everything looks wrong at first about BioWare’s final space opera. It turns out the makers gutted Mass Effect 3 to make it right. Here are their conclusions about humanity.
With apps, games, multimedia, multitasking, and online functionality galore, Sony’s newly released PlayStation Vita wants to be everything to everyone. Ryan Kuo argues that it is definitely one thing for one person: the hardcore gamer, whatever that looks like.
In our second Flash column, the joys of landing butt-first on gelatinous bears. Ryan Kuo gives three talking points about Juicy Beast’s cannonball game.
A rumination on the effects of rationality and irrationality on videogames big and small, including Skyrim, Dark Souls, Passage, and Braid—and why it’s important that game systems come out of culture.
Cheap and easy iPhone games are a dime a dozen. How do they affect us on a deeper level if they’re meant as distractions? Quantum Sheep’s monochromatic space jumper tackles the dilemma head on.
Lovely. I love watching Battleheart move. Because screenshots on Touch Arcade make the thing look like shovelware, but it’s lovely in motion. The knight pokes an orc with his stubby sword and the orc flops onto his back and blinks in and out of oblivion.
“What does the Like icon really communicate?” As teenagers we spoke in likes. We would articulate our thoughts about a new interest, and we would fail. We used the word “like” to cover up our mistakes. This Radiohead album is like, like, um, kind of a—it’s like, you know, those electronic undercurr
