Latest Blog Posts

by G. Christopher Williams

14 Nov 2016


Following up on our discussion from last week of Amnesia: The Dark Descent, this week we discuss that game’s follow up A Machine for Pigs.

Machine for Pigs was handed off from Frictional Games to The Chinese Room. As a result, we consider how the new developer handles a classic property and reconsiders what kind of horror the Amnesia franchise can offer.

by G. Christopher Williams

7 Nov 2016


This week we revisit one of our discussions of how difficulty contributes to the pleasure and pain of gaming.

by G. Christopher Williams

31 Oct 2016


Amnesia: The Dark Descent was one of the more well regarded games of 2010, but we recently discovered that none of our regular Moving Pixels podcasters had played it at the time.

So, this week we catch ourselves up and take a look at one of the most critically acclaimed horror games of the past ten years, Amnesia: The Dark Descent, discussing (among other things) its unique approach to provoking horror and player vulnerability along with its commitment to environmental storytelling.

by G. Christopher Williams

24 Oct 2016


The Deed‘s conceit is that it is a murder mystery in reverse, a kind of anti-procedural, in which you plot a crime, rather than solve it.

By playing The Deed we find ourselves in the uncomfortable position of inhabiting the mind of a murderer. This week, we consider the implications of this role reversal.

by G. Christopher Williams

19 Oct 2016


While staring into a mirror in the first-person, you are introduced to the character that you will be playing as in Virginia, a black female FBI agent named Anne Tarver. The first thing that you will do as Tarver is click on your bag in order to get out a tube of lipstick, which Tarver will then apply to her lips. This is the first of many indicators that one of the central themes of Virginia is identity and especially how we mask and reveal it.

This first scene precedes a ceremony initiating her into the FBI. On stage, she shakes the hand of her boss and receives applause for her inclusion in the group, an occupational identity. However, shortly thereafter, as Anne awakens for her first day on the job and readies herself in the bathroom of her apartment, she once again takes out the lipstick, hesitates, and then discards the tube in the trash can, choosing not to continue applying this feminine marker of identity.

//Mixed media
//Blogs

Playing to Lose: The Tragedy of 'This Is the Police'

// Moving Pixels

"Video gamers are not accustomed to playing to lose.

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