Killscreen

Intertextuality for interactive media. We cover the artists who keep coming back to play as their medium. Weekly newsletter ↓

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Nobody asks if a novel is fun.

Games inherited a rule that literature never had: be enjoyable or you've failed. UCLA professor Danny Snelson says that burden was never warranted.

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https://t.co/9IhA2DSnYH

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An artist built 24 AI versions of herself, different ages, projected life-size, and had a physiological reaction to seeing them breathe.

Not a tech demo. A question about whose face you're wearing.

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@Falafelkid @NintendoPopUpDE It's standard practice for legal to remove all logos without permission, but if they want to, I'm open to it!

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Eight years. One game. Two brothers. No screaming matches.

Toby Alden on making Love Eternal with their brother and why they count it as one of the things they're most grateful for.

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"The first two minutes should have something strange, something compelling then immediately let you start playing."

Toby Alden on how Love Eternal found its character in the back two-thirds.

Full conversation on Killscreen.

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Full conversation on Killscreen.

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"People are willing to accept this level of abstraction."

Toby Alden on why Love Eternal never explains its gravity mechanic and why that's the point.

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"I was basically just making it for my own enjoyment."

Toby Alden on why Love was unplayably hard on purpose and why that "self-indulgent freak energy" became the foundation of their practice.

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Welcome to our live show! https://t.co/zz2fE7aEYl

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https://t.co/Eyb2kwwN50

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"Black holes are fundamentally about the wavelength of desire" might be the best description of quantum entanglement I've ever heard.

Alice Bucknell made a game about it where you navigate by controller vibrations to find your antimatter half.

It's physics as romance!

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In Alice Bucknell's Nightcrawlers, the flower player moves as electromagnetic pulses through root networks.

This is based on real plant biology—how plants communicate through their roots.

The game that takes multi-species cooperation as seriously as a biology textbook.

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The reason people get "controller anxiety" in galleries and museums—but not arcades—has nothing to do with skill level.

It's because cultural institutions position games as precious objects to be observed, not systems to be broken.

It's why love artists messing w multiplayer.

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Full interview with Alice Bucknell on Killscreen.

We talk about: why plants make good dance partners, how black holes are about desire, and what bats can teach us about echolocation as love language.

https://t.co/Eyb2kwwN50

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Everyone's been making games about competition for 50 years.

Alice Bucknell made two games about love instead.

One where you're a flower seducing a bat.

One where you're antimatter searching for your other half in a black hole.

Here's what happened: 🧵

[Killscreen @KillScreen]

Games have predicted the future of joy for 30 years: social networks, VR, button design,
interactive TV.

Maybe they're about to predict the future of how we think about partnership, cooperation, and what it means to navigate the dark together.