As world design in games nowadays trends towards visions of vast, sprawling overworlds, intricately layered and impeccably nuanced, questions of mobility have risen to the forefront: how does the player get from point A to point B in the most efficient way possible? Questions of speed are of paramou
The first few moments in the online version of The Sprawl can best be described as overwhelming. Videos with bizarre eye-catching graphics shift around for just a second, there’s a moving shape in the background. The text that appears would seem to be an explanation, but explains very little, saying
The Internet is, by and large, an ugly place. This is a reality partially informed by the choices we each make (some more than others, granted) but largely attributable to choices made upstream, before websites arrive on our screens. To beautify the Internet, then, is to wrest control away from the
Everything we know and love virtually is the source of meticulous coding. Coding is the backbone of videogames. Coding is in the DNA of the websites we visit daily. In fact, coding can be the reason why some of our favorite creative endeavors exist at all. Coding all too often makes the impossible p
Hugo Arcier’s FPS is about last year’s attacks in Paris, though it is not immediately clear in precisely what way. We know this because the artist says as much on his website: “FPS is a post November 2015 Paris attacks art piece. The artist deals with blindness hijacking video game codes, in particu
