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by Mark Filipowich

29 Aug 2011


Last week, G. Christopher Williams wrote an article explaining that games may not be art because the interactivity of games mutates the relationship between audience and work. The essay speaks better for itself than I ever could but an interesting point that came up was that those arguing games are “just games” should not be so readily dismissed.

Here at Popmatters we spend a lot of time talking about how games can be considered art or at least the artistic merits of some noteworthy games. However, for all the articles discussing how the relationship between player and game works or how a title uses a certain trope, there are few essays about “just games.” If there’s a modern instance of “just a game,” it’s League of Legends.

by Nick Dinicola

26 Aug 2011


Fellow Moving Pixels writer G. Christopher Williams already has a solid claim to the title of “Flash Game Guru.” I can’t compete, but perhaps I can try to stake my claim to a similar title, mine involving Xbox indie games. I’ve written before about some of my favorite indie games on the LIVE Marketplace, so in an attempt to claim my own title, here are three more games from my ever-growing collection of Xbox indie games that I can’t get enough of.

by Scott Juster

25 Aug 2011


Discussions about video games are routinely constrained by “spoilers.”  People go to great lengths to tiptoe around major (usually plot-related) components of games for fear they will negatively impact those yet to play them.  A couple weeks ago, a study conducted by Jonathan Leavitt and Nicholas Christenfeld of UC San Diego was published that suggested this focus on avoiding spoilers may be unnecessary and “giving away surprises makes readers like stories better” (“Story Spoilers Don’t Spoil Stories”, Psychological Science, 12 August 2011, p. 2).

In the spirit of the research, I guess I should say this up front: while the study is entertaining and provocative, I think its contention that “Story Spoilers Don’t Spoil Stories” is premature.  If anything, the study illustrates the difficulties of trying to empirically measure enjoyment and the dangers of imprecise definitions of pleasure.  Video games, perhaps more so than any other medium, are defined by the exploration, discovery, and the learning process.  Because of this, spoilers often detract from what makes video games special.

by G. Christopher Williams

24 Aug 2011


Okay, so we all know that that the list of launch titles for the Nintendo 3DS failed to provide the most compelling reason to make an early purchase of Nintendo’s most recent handheld. We also know that really no Nintendo hardware should ever be launched without at least one such title (that isn’t a port of an older game) that contains the word “Mario” in that title (or at the very least, “Zelda”).

That being said, what I really don’t understand about the 3DS launch line up is its complete (or near complete) ignorance of the heart and soul of 3-D as a medium: action and salaciousness and, of course, salacious action.  Now, I come to the discussion of this most recent round of the “3-D revival” (a revival that seems to occur at least once a decade, since at least the 1950s) as a skeptic. “They” tell me that this time is different, 3-D is here to stay in general (in the movies, on television, in video games) and this time it will not be a mere novelty. The tech is better, and, thus, it will integrate with various visual media and become a normative part of those media.

Sure.

by Kris Ligman

22 Aug 2011


A new puzzle game from the Atlus Persona Team, Catherine blends surprisingly difficult puzzle platforming with a strong narrative on masculine anxieties and adult relationships. Most interestingly of all, the game asks players to voice their own opinions on love, marriage, and children, but does it really demand a truthful answer?

Moving Pixels podcast regulars G. Christopher Williams and Kris Ligman are joined this week by Skyler Moss from Gamepad Dojo to discuss the game’s mechanics, characterization and gender representation. Disagreements over interpretation abound as we explore Catherine‘s morality system, multiple endings, and structural cohesion in attempting to marry gameplay to a very dissimilar plot—or is marriage even the appropriate metaphor to deploy here?

Secrets are revealed, plot twists are spoiled, and the titular Catherine receives a thorough deconstruction, along with several others of the game’s colorful cast. Can Skyler decide whether to agree with Chris or Kris and escape the podcast unharmed? When the night sky turns to glamor, anything could happen.

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