Not since Flimsy's Town of ZZT has such a potent attack against mudanity and the outdated structures of the world been raised. It's art that makes you think about the arbitrariness of the board/world structure, about the assumed structures of both Megazeux games and games in general. Why this? Why this big? Why here? Why not merge these sections? These questions are unanswerable, increasing the mysterious resonance of metatextual impact. It's very David Lynch.

If you analyze the intent of the artist and the context, you realize that the whole work, the way it fits into the larger world, functions as a Hypersigil, an occult artifact that reshapes the world around it. This represents a great turning, a hinge point. From here on out, Megazeux games will be different.

The closest analog to this would be something like The Invisibles or The Watchmen, psychic bombs that blast away old structures of thought and experience. This does for electronic computer toys what those examples did for the medium of comics.

In it's own way, it opens up a space of play. If noahsoft were a Situationist this would be a detournement, a complex of space and references to past techniques that destabilizes the quotidian.

It's megazeux in microcosm, as above, so below, the whole of the art represented and then changed. Ultimately, words fail.