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by Aaron Poppleton

8 Mar 2011


In a book, the first person narrator is always difficult to trust.  We read a story as told to us by one of the characters, who may or may not be telling the truth.  Things are emphasized that may not actually be important, while other seemingly more important events are ignored.  The narrator may even outright lie to the audience, seeking to elevate his or her own importance.  (This is one of the fascinating things about The Sound and the Fury, for example.  The narrators of the first three parts all carry their own biases into the mix, which makes it difficult to figure out what is going on until the introduction of an omniscient third person narrator in the fourth and final section.).  A similar trick can be used in a movie, as the camera may follow one character’s version of events only to go back and contradict that very same version of events (such as in Fight Club or really any movie with a twist that involves a trusted friend’s betrayal).  The narrator of a story mediates between the world of the story and the world of the reader/viewer. 

Suda 51’s divisive masterpiece Killer 7 chooses to throw additional levels of mediation into its gameplay beyond merely seeing the game world through one character’s eyes (or more accurately the seven characters’ eyes).  Killer 7 utilizes several sub-layers of mediation as the game progresses, including changes in art style during some animated sequences that add to the confusion of what the world of the game really looks like.  The reality of the game demands that the player engage it through these additional levels of symbolic mediation in order to not just play the game but to understand what is going on in the narrative.

by Nick Dinicola

7 Mar 2011


With one Chris out and another Kris in, this week the Moving Pixels crew travels to Ferelden to discuss the world of Dragon Age: Origins and its many expansions. Do these downloadable prologues, epilogues, and side stories add anything to the diverse and complex world of Origins? Or are they just recycled levels splashed together to make a quick buck?  Join us as we dig into everything from the game itself to the demo for the sequel.

by Nick Dinicola

4 Mar 2011


Medal of Honor was supposed to be EA’s big salvo against Call of Duty, an attempt at bringing down Activision’s juggernaut of a shooter at least a little bit. While I think the single player portion of EA’s game is far better, the multiplayer is surprisingly derivative for such a high profile game. It tries to marry elements from Battlefield: Bad Company and Call of Duty, making what probably sounded like the perfect shooter on paper. But Medal of Honor only borrows the surface trappings of these elements and none of the depth, resulting in a multiplayer mode that feels as if it was made by people who don’t understand why its peers are so popular.

by Jorge Albor

3 Mar 2011


A modern rendition of the extremely popular and competitive Warcraft mod Defense of the Ancients (DotA), Riot Game’s League of Legends (LoL) has maintained an admirable pace since its release late 2009. Riot displays an incredible commitment to the game and its fan base, updating the game at an almost frenetic pace. Originally launching with forty playable “champions” (the game’s player-controlled avatars), LoL’s total roster at time of writing reaches 69 with number seventy, Jarvan IV, just around the corner. The developers are constantly tweaking the game’s balance, adjusting items, abilities, and layouts—including a new soon-to-be-implemented cooperative mode against AI opponents.

All of this is great content, and still it is not enough. LoL players, unsatisfied or simply restless, have started making their own custom game types. With the help of LoL’s custom game creator, players are establishing their own game concepts and adhering to generally agreed upon rules based entirely on honor alone. Most notably, ARAM (or All Random All Mid) has risen in popularity and exemplifies why LoL is one of the most satisfyingly nuanced multiplayer games on the market.

by G. Christopher Williams

2 Mar 2011


If Bulletstorm is intended to be deliberately stupid, it really needs to get a whole lot stupider.

When I first saw some gameplay teasers of Bulletstorm coming out of E3, all I could really think was, “Man, that game is fast.”  Images of wanton violence from a first person perspective is, of course, not anything all that unique, but the frenetic quality of the action, mixed with more than just bullets flying, but bodies being whipped, kicked, exploded, and sometimes all three at once with such fluidity and rapidity seemed fresh and kind of amazing to watch.

//Mixed media
//Blogs

A Chat with José González at Newport Folk Festival

// Notes from the Road

"José González's sets during Newport Folk Festival weren't on his birthday (that is today) but each looked to be a special intimate performance.

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