Part 1: Images
Winter 201X. I was sitting in the 10 oclock area of an International Assembly of Literary Quakers Anonymous, when a desire to share an incomplete thought animated me. I stood and asked ourselves to embrace the mythic in life, likening it to a parallel rail to and from which we could jump as needed. Concretely, I asked that we might inundate our friends, lovers, and enemies with nicknames—that we might, as an exercise, view cloud formations and dissolutions as curtains punctuating acts in some divine play. I wanted for us a weapon against the ghostly tediums waiting outside the barrier of our communion.
Anyways, overtly through its title and subtly through its content, Sprite's works nods to graffiti, a concept that, in the 60s and 70s, was bound to a diffuse youth culture which grafted a parallel world onto a finite one, whether in addressable territory or economic options, with operators goal of being Known. These speed paints from the Dark Hour rippled out from walls to neighborhoods to trains consuming and cannibalizing the fresh skin of intra- then international infrastructure. What emerged from this second skin was a world thoroughly flattened and incoherent to those without access to the second rail, and for those with, a network of competing characters and regions, techniques and styles-attestations to the accomplishments of the most desirous. They birthed and nourished this beast pseudonymously weaving and constructing an identity with will through actions. So what are we to make of a project which invokes it, in a world of near *infinite walls/sites/canvases/accounts/money? States have painted over or tolerated it; art dealers have conferred it a pedigree; and real estate developers have commodified it. Relics of the monster persist, and yet the moment is over. Cut away from the conditions of its emergence and the substrate of the Public, all that remains conceptually is a loop in which impulse and compulsion grind against inputs, reproducing itself and obscuring the layer beneath. Painting and other similar forms of image making, though “dead” as ever, are an interesting place to explore the residue of this moment, not circumscribed by historicity but flowing unencumbered beside human activity; at this Level of digitization, they can paradoxically be more relevant to the material of life than sculpture, installations, participatory art, and immersive experiences. That is to say, a constellation of flat images mirrors a significant part of daily digital life, and in its poetry compresses the flux of portals, stills, texts, and animations to which we are increasingly aware and sensitive. .
The game was first released in PC-98 in 1994 and was re-released for Playstation in 1996.
Manufacturer's description:
Witch who fight, swordsman, archer, like sin, those who bother to sleep ...
Characters who battle royal with a variety of personalities, and sometimes more than 100!
Watch the characters fight at their own will, or give
instructions to the whole, to control the person, or rescued from the
melee, the user, a large army fight the war. This is the portable
version of the full game-winning # 1 chart long.
Features:
- Third person perspectives
- 2D graphics
- Medieval Fantasy theme.
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