Moving Pixels

March 2016

The Best Detective Is an Assassin

The most recent Assassin's Creed's games clearly understand the fun of playing detective.

‘The Flame in the Flood’: Gaming As Naturalism, Gaming As Romanticism

The Flame in the Flood provokes musings on the often troubling determinism of American naturalism.

February 2016

Best of the Moving Pixels Podcast: Getting Schooled by the Tutorial

Read a book, watch a movie, look at a painting, most artistic mediums assume you already know how to understand them. This week we discuss how games always have something to teach us as players.

I Finally “Get” ‘Hitman’

Hitman is a puzzle game. It has been described as such before, but there’s a difference between hearing that and understanding that.

Policing Behavior in eSports and ‘League of Legends’

How much would you charge someone for on-air bigotry?

Alone Together: Companionship in Single-Player Games

Is it silly, maybe even unhealthy, to expect genuine connection from fictional, artificial characters?

Best of the Moving Pixels Podcast: The Value of Death in Video Games

Death can have value in video games. It sets boundaries, serves to punish us and to teach us, and it might even be a source of pleasure.

‘Tharsis’ Reveals the Luck Inherent in the Roguelike

Tharsis can't fudge probability with a random number generator and that upsets people.

Teenage Suicide and the Extinction of Identity in the Persona Series

Sometimes growing up can feel a little like killing yourself.

‘Firewatch’ and the Case of the Much Too Obvious MacGuffin

In creating a plot device to motivate its characters, a MacGuffin, Firewatch competes against itself, with a story that it is a gimmick and a story that it really wants us to care about.

January 2016

December 2015

November 2015

October 2015

September 2015

August 2015

//Mixed media

TIFF 2017: 'The Shape of Water'

// Notes from the Road

"The Shape of Water comes off as uninformed political correctness, which is more detrimental to its cause than it is progressive.

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