Editors' Picks

Best of 2013 (Part One): Music, Videogames and Podcasts

by Marika , December 18, 2013Leave a comment

In the first of a two-part series, some of our favourite Killings contributors highlight their top cultural moments of 2013 – in music, videogames and podcasting. Have they missed any?

Best Music – Chad Parkhill

The Knife

The album that towered over my 2013 was The Knife’s monumental Shaking the Habitual, which saw the Swedish duo eschew the finely-crafted electro that made their name in favour of an experimental, process-oriented method that could generate near-impenetrable polyglot pop (‘Without You My Life Would Be Boring’), anxiety-inducing industrial techno (‘Full of Fire’) and patience-testing ambient interludes (‘Old Dreams Waiting to be Realised’).

Bill Callahan’s Dream River continues where 2011’s Apocalypse left off, and furthers his reputation as one of the very best songwriters in the North American indie scene, while another songwriter operating at the same level, Destroyer’s Dan Bejar, took a break from his own melodies and words by recording a beautiful EP of hispanophone Sr. Chinarro covers, Five Spanish Songs. Both Fuck Buttons’ Slow Focus and The Drones’ I See Seaweed were welcome returns to form after long absences. Kanye West’s ‘Bound 2’ may have one of the most controversial videos of any pop song from this year, but its deliberately disjointed production, overt sentimentality, and unblinking self-criticism have made it linger in my mind longer than any other song from Yeezus.

Finally, 2013 delivered two perfectly-crafted nuggets of pure pop bliss: Haim’s retro-oriented ‘The Wire’ (complete with the year’s best West Coast guitar lick) and Miley Cyrus’ surprisingly deep ‘We Can’t Stop’, which captures the melancholia inherent in the heart of compulsive hedonism better than any song since Sade’s heyday.

Read more from Chad Parkhill here

Best Videogames  — Dan Golding

Assassin’s Creed IV

With the looming inflection point of next generation consoles, 2013’s mainstream videogames felt like punches pulled. Big releases like BioShock Infinite, Grand Theft Auto V, and The Last Of Us were only the greatest achievements of an outmoded system, unable to transcend insular gaming culture. By now, the big studios have been left behind — critically, at least — by independent or semi-independent videogames. 2013’s included Gone Home (a game of atmosphere and family crisis), Papers, Please (border policing and responsibility), and The Stanley Parable (surrealism and Britishness). Some highlights came from Australia, too — Antichamber (an impossible maze), Stickets (really hard Tetris), and Duet (really really hard Tetris) all did well. Even more exciting was the ongoing explosion of low profile, punkish games, like those at Forest Ambassador, which curates games that are free, that require low time investment, and no specialised equipment or familiarity with games to play.

Yet for my 2013, this familiar story — the decline of the mainstream and the rise of the independent — found a wrinkle in Assassin’s Creed IV. For a series defined by the financial year (a new iteration is pumped out annually, and 2012’s was particularly cynically received), the latest was a creative triumph like something from the golden age of Hollywood — an Errol Flynn simulator on the high seas of the Caribbean, all rope swings, man-‘o-wars, and sea shanties. I have spent more time in Assassin’s Creed IV’s world than I care to mention, and it overcame my own scepticism to prove that there might just be life in mainstream videogames yet.

Read more from Dan Golding here.

Best Podcasts – Jessie Borrelle

99percentinvisible

I’m a podcast monogamist. I like my radio shows one at a time thanks, single file, or I get a kind of mental rash. I’m also greedy, so most don’t last long in my speakers. I gobble them up really quickly, because when they’re good and perishable, it gets quite compulsive doesn’t it. Like it is with those television shows, it’s hard to stagger them and take it slowly.

So, in my headphones at least, this year really belonged to Roman Mars and his modestly described ‘tiny radio show’, 99% Invisible. Critics call it smug but I don’t really care, I think calling something smug is smugly, and I don’t go in for that, because what a real luxury to call something so artfully crafted and executed smug. But then again, our ears are all tuned separately so I do respect that Roman’s tone won’t suit every listener, but to get stuck on that would mean losing out on a very considered and captivating earworm.

If I have managed to clamber though this post without actually, pragmatically reviewing the radio show then good, and if I made you a little frustrated for not getting a sense of what 99% Invisible is about at all, then I’m glad. Because really, reviews should be done by listeners as they’re listening. Not by writers as they’re writing. Though I did review it this year so you could read that. Or you could just listen.

Read more from Jessie Borrelle here.




marilyn-ulysses

Reading Marilyn reading Ulysses: when celebrities are photographed with books

In 1955, photographer Eve Arnold snapped a now-iconic image of American actress Marilyn Monroe, in her bathers on a Long Island playground, reading James Joyce’s Ulysses. In the sixty years since, the photo has prompted continual suspicion in those who see literature and celebrity as mutually exclusive – was she really reading it? Read more »

capote-dog

The Outsiders: The early stories of Truman Capote

The recent publication of The Early Stories of Truman Capote – a collection of newly-discovered short stories from the archives of the New York Public Library – reveals the preoccupations of the adolescent Capote, drawn to drifters, exiles, and others living on society’s fringes. Read more »

CAROL

You Could Burn a House Down: Todd Haynes’s Carol

For many years, lesbians in fiction were punished for their social transgressions, condemned to a life of solitude, insanity, feigned heterosexuality and/or suicide. Radically, Carol portrays a lesbian love that doesn’t destroy or diminish its subjects, but enables them to transform, to grow and to be free. Read more »

21EMMYJP6-master675

Killings Columnists Pick Their Best of 2015

As 2015 concludes, we also farewell our fabulous 2015 Killings columnists. They’ve entertained and delighted us all year with fortnightly columns on culture, politics and society, and now they offer us a wrap up of their highlights for 2015 across their respective fields. Read more »

18-gilmore-girls.w1200.h630

Tim McGuire

Progressive to a Point: Homophobia and Gilmore Girls

You can’t watch a TV show over and over again without picking up on a couple of its flaws, much as you might prefer not to see them. In the case of Gilmore Girls, the hamartia I didn’t want to find was a troubling and weirdly homophobic one, layered over with pithy dialogue, pop culture nods, and the small town charm that made the show’s seven seasons such a success. Read more »

ROSEANNE - On set in New York - 10/16/93 
Sara Gilbert (Darlene) on the ABC Television Network comedy "Roseanne". "Roseanne" is the story of a working class family struggling with life's essential problems.
(AMERICAN BROADCASTING COMPANIES, INC.)
SARA GILBERT

Rebecca Shaw

Out of the Imaginary Closet: Fictional characters who should have been gay

When you are part of a group that isn’t portrayed in the same way (or only negatively, or not at all) you become desperate for that glimmer of recognition. Here are several characters that I loved as a young person, who became stand-ins for the openly lesbian characters I wanted to see so much. Read more »

SPEAR_0014_Edward_Mulvihill copy 2

Lauren Carroll Harris

Eyes Open Dreaming: Spear and the potential for an Australian art cinema

Commercial success has long been prized as Australian cinema’s salve, and the values of that commerce-based vision of success have deeply permeated the national conversation. Spear sets this conversation aside entirely, raising in its stead the possibility of an art cinema in Australia. Read more »

CAROL

You Could Burn a House Down: Todd Haynes’s Carol

For many years, lesbians in fiction were punished for their social transgressions, condemned to a life of solitude, insanity, feigned heterosexuality and/or suicide. Radically, Carol portrays a lesbian love that doesn’t destroy or diminish its subjects, but enables them to transform, to grow and to be free. Read more »

Bowie - The Image  1

The Art of Immortality: David Bowie and The Image

With the news this week of David Bowie’s death at the age of 69 from a long battle with cancer, watching The Image is an oddly reassuring experience: the shared, mass hope that it can’t be true, that he’s not really gone, is played out in this grainy, almost haunted relic now almost 50 years old. Read more »

21EMMYJP6-master675

Killings Columnists Pick Their Best of 2015

As 2015 concludes, we also farewell our fabulous 2015 Killings columnists. They’ve entertained and delighted us all year with fortnightly columns on culture, politics and society, and now they offer us a wrap up of their highlights for 2015 across their respective fields. Read more »

18-gilmore-girls.w1200.h630

Tim McGuire

Progressive to a Point: Homophobia and Gilmore Girls

You can’t watch a TV show over and over again without picking up on a couple of its flaws, much as you might prefer not to see them. In the case of Gilmore Girls, the hamartia I didn’t want to find was a troubling and weirdly homophobic one, layered over with pithy dialogue, pop culture nods, and the small town charm that made the show’s seven seasons such a success. Read more »

PLM

Matilda Dixon-Smith

Family Matters: Please Like Me and the Aussie TV family

In a recent episode of Josh Thomas’s Please Like Me, the bouncy titles run over three little scenarios: Josh cooks dinner for his mate Tom and his boyfriend Arnold; his Mum cooks for her new housemate Hannah; and his Dad cooks for his wife, Mae. The three of them stir, sip wine and dance daggily around their kitchens in a neat metaphor for this season’s fantastic, cohesive new trajectory. Read more »

ss_8df8236403f5aad45eeedd33d2bd545e45435b39.1920x1080

Katie Williams

The More Things Change: Choice and consequence in Life is Strange

You can either be a benevolent hero or a monster, but few games deal with the multitudes contained by actual people. And what does it matter, anyway? There’s no such thing as regret when it comes to in-game decision-making – not when you can so easily restart the game to see what outcome will result from choosing Option B instead. Read more »

svfw crop

Katie Williams

Silicon Valley Fashion Week?: Fashion, technology, and wearability

Last week saw the inaugural Silicon Valley Fashion Week? (yes, with a question mark) unfold in San Francisco. The show promised ‘drones, robots, and mad inventions’, and tickets sold out swiftly; attendees were clearly eager to see more inventive clothing in this heartland of nerds. Read more »

AnimalCrossing copy

Katie Williams

Digging For Meaning in Utopia: Storytelling in Animal Crossing

Animal Crossing is a series of games in which – as my partner once remarked incredulously – ‘nothing ever happens.’ In its latest incarnation, Animal Crossing: New Leaf, you become the unwitting mayor of a town populated by anthropomorphic, bipedal animals. Read more »

Sydney - January 20, 2016: This Is How We Die perfomed during the 2016 Sydney Festival (photo by Jamie Williams/Sydney Festival)

Impossible Futures: Tomorrow’s Parties and This is How We Die

These two shows ask: how hard do we need to listen? In each, minutiae can be discarded, at least in slivers of time. Tomorrow’s Parties and This is How We Die each allow your brain to detach for a moment: to spin off into the different worlds they create, before returning once again, as best you can, to the work at hand. Read more »

Tom Conroy and Colin Friels in Mortido. Photo credit: Shane Reid

Jane Howard

A Shining Nightmare: Mortido‘s Sydney

Sydney is a city of shine and reflective surfaces. The glint of the harbour follows through to city high-rises clad in polished glass, bouncing off the wide windows of the mansions hugging the undulating land before it gives way to the impossibly deep and wide water. But this beauty that can betray the darkness of the city and its people. Read more »

_85072354_hamlet3-pa

Angela Meyer

Outrageous Fortune: Seeing Hamlet as a Cumberbitch

Jazz swells, hushing the audience, and the solid black gate of the theatre curtain opens. It reveals the lounging figure of Hamlet, playing a record, sniffing his father’s old jumper. But what I see first is not Hamlet: it is Benedict Cumberbatch. Read more »