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Moving Pixels

August 2012

The Extremes of Human Systems

I see systems everywhere I look, but games contain too few of the ones that really matter.


Wii-U Impressions and Why It’s Okay to Forgive Nintendo

The problem with feelings of nostalgia is that they invoke such polar reactions. After all, when you feel let down by such a revered icon as Nintendo, it feels like an attack on your very childhood.


The Implicit Promise and the Uncharted Series

Setting our expectations about what a story is going to be is important to storytelling. The Uncharted series sometimes fails to meet the expectations that it establishes for its players.


Moving Pixels Podcast: Why Do We Love Shooters?

Doom, Space Invaders, Contra, light gun games, the variations on how we can murder pixels on a screen seems nearly limitless.


The “Payoff” of ‘Spec Ops: The Line’

Spec Ops: The Line avoids a predictable payoff.


Missing the Point in ‘Metroid: Other M’

Metroid: Other M captures the look of other Metroid games, but it fails to capture their spirit.


Moving Pixels Podcast: Physicality and Video Games

We aren't talking about how games test your reflexes. What we discuss this week is how games simulate physical experiences and how those experiences add to our immersion in game worlds and heighten the drama in video game storytelling.


First-Person Memories

Dear Esther and Assassin's Creed DLC use similar tricks to create tension even when there’s no danger of failure, since the stories revolve around stuff that's already happened.


Exploring the Episodic Nature of ‘The Walking Dead’

The Walking Dead is a well told piece of storytelling, regardless of its length, but the short episodic form makes the game's features that much more interesting and engaging.


U Mad?

It’s a very satisfying experience to kill in an online competitive video game. It makes one aware that one’s efforts are significant in, perhaps, the clearest, most visceral metaphor possible. I just made someone else dead.


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