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by Eric Swain

15 Oct 2013


Everyone has their limit in terms of what what they can tolerate in the horror genre. There is only so long that a person can play in a world defined by horror before the atmosphere begins to wear on them. Sometimes, the “creepiness factor” is just turned up passed someone’s personal threshold. For others, it is the type of horror that tests their tolerance. For one who can’t stand the site of blood, shlocky slaughter fests are more than they can, though others may find them fairly tame or even uninteresting. For that matter, for some members of an audience the simple inclusion of spiders may be enough for a movie or game to go unfinished.

It’s odd how much power in the moment that the fictional can have over our physical being. We know what is being represented isn’t real. We know that for a fact. We are holding the controller or mouse & keyboard in our hands. We are looking at a screen with borders. The graphics, no matter how realistic, we can see isn’t like the real world. Yet, there comes a point when a person just has to stop. Their limit has been surpassed. Maybe they stop for good or merely to regain their composure. Interestingly, this is the recognition of this need is a dynamic that Amnesia: The Dark Descent adopts in its design.

by Eric Swain

8 Oct 2013


Silent Hill 2 is one of those games that has entered the gaming canon as not only one of the scariest games ever made, not only one of the best games ever made, but also with the distinction of being one of the most aesthetically resonant games ever made. This last accomplishment is quite an achievement, especially for a game released nearly a decade before a sizable amount of gamers even cared about such things.

Twelve years later, games at all levels of the industry are created with an eye towards art, the discourse surrounding games has advanced quite a bit, and the craftsmanship of virtual game design has likewise advanced. The unspoken question in light of such advances is: “Has Silent Hill 2 held up over time?” Has it held up for newcomers to the title with over a decade of expectations to contend with? Is it only a product of its time and has it therefore aged poorly?

by Eric Swain

24 Sep 2013


Given recent events in the news, I figured now was as good a time as any to try out this little app that I had downloaded on my tablet several months ago. Endgame: Syria is a newsgame (a game that seeks to portray the situation of a news story by having the player work through competing systems) created by Tomas Rawlings. The term “newsgames” was coined by academic Ian Bogost in his book of the same name. It’s an exploration of journalism at play and using the grammar of a video game to convey an understanding of complex contemporary scenarios. Probably the most famous newsgame is September 12th, which depicts a Middle Eastern marketplace filled with civilians and terrorists, and the player making choices by clicking on areas to bomb. Bomb civilians and other civilians will turn into terrorists.

It’s a simple set up with a simple point to get across. Bombs cause collateral damage, and collateral damage will create new terrorists. That is what bombs do. Endgame: Syria is trying to explain an even more complex situation. The rebel uprising in Syria against Assad’s dictatorship has a popular analog, that of the Rebel Alliance against the Evil Empire. We like to root for the underdog. Endgame: Syria is no exception. It’s firmly against the regime, but instead of presenting a righteous cause, the game instead decides instead to look at the practical aspects of the Syrian rebels trying to fight a ground war.

by Eric Swain

10 Sep 2013


One of my favorite games of last year was Crusader Kings II. I hadn’t stuck with the strategy genre and grown alongside it as it developed into the hyper-complex entities that many of these kind of games have become. Those that have stuck with the genre and made it the center of their gaming diet are the same people who crave detail and complexity. The sad consequence of this is how many are put off from even trying them, seeing instead the seemingly insurmountable wall that the learning curve of these games represents. Fellow Moving Pixels contributors shudder whenever I bring Crusader Kings II up and suggest to them that they should give it a go.

For quite a while, I myself liked the idea of strategy games—for instance, I remember the epic LAN battles of Warcraft 2 and Age of Empires that I used to engage in with friends—but when I decided to dip my toe back in the genre a few years back (Sins of a Solar Empire), I found myself rebuffed by the tutorial. I gazed into the gaping maw of the difficulty curve, and it gazed into me. Things aren’t as dramatic in 2013. There are quite a few middle ground strategy titles, games between the simplistic iOS games like Triple Town and the high end stuff like pretty much all of Paradox’s output. Coming from the indie side of the industry to fill a hole present for almost a decade in the genre are games like FTL and Frozen Synapse. But the types of things that I heard about Crusader Kings II last year weren’t the usual topics of discussion that surround a strategy game, and the unusual responses to the game convinced me to take the plunge.

by Eric Swain

20 Aug 2013


This post contains spoilers of the plot of Gemini Rue.

Gemini Rue is one of the best sci-fi stories that I’ve experienced in the last ten years. And I don’t just mean in video games. Most science fiction nowadays concerns itself with the trappings initially spawned by earlier generations. Space ships and aliens, computers and conspiracies, ray guns and technobabble. These works are lost in the fabric of space opera or cyberpunk, usually with a healthy dose of Star Trek or Star Wars (or both) thrown in.

The core of science fiction with its fantastical premises and astonishing technology is to still engage with ideas that still concern life, the universe, or everything. At its best, science fiction is supposed to use its speculative nature to engender enlightenment or introspection, if not about the whole of human existence, then at least about one tiny corner of it. Now sci-fi most often seems more interested in calling back to either earlier iterations of itself or just earlier works in general. Superficially, it is meant to evoke nostalgia in its audience, hoping to improve that audience’s response by association or using the reference as a kind of club card to prove its membership in the canon of sci-fi, to say that it knows what it knows, and is, therefore, “in.” Gemini Rue does use such references, but it uses them in small ways to amplify the themes of the game as a whole.

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Ubisoft Understands the Art of the Climb

// Moving Pixels

"Ubisoft's Assassin's Creed and Grow Home epitomize the art of the climb.

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