A player like me moving through an open world lousy with absurdities would not be able to see the satirical forest for the parody trees. There’s far too much for a sendup. This is why I have journeyed all the way up here, facing this sunset, high above the city: I want to gain some perspective and assess the satirical message of the city as a whole.This demand for information, manifesting as repetitive body movement—whether it be the synchronized “doomscrolling” of a news mobile app, the rhythmic button-pressing of video game play, or a dancing mania—is amplified by compulsion loops that continuously increase information during social, political, and health crises.Five years before Karel Martens’ appointment as designer, between the tenth and eleventh issues, the journal changed its name from ‘O’ to ‘OASE.’ In a sense, then, even the journal’s name contains a history of itself – ‘O’ followed by ‘A’, ‘S’ and ‘E’ –an apt metaphor for Karel’s strategies of continuous experimentation. Those strategies are tirelessly committed to an engaged public, setting the social function of graphic design and typography within OASE’s production.