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07 AUGUST 2012

PIXELS: invasion of New York by 8-bit video game pixels

New York invasion by 8–bits creatures ! PIXELS is Patrick Jean' latest short film, shot on location in New York. Written, directed by : Patrick Jean Director of Photograhy : Matias Boucard SFX by Patrick Jean and guests Produced by One More Production www.onemoreprod.com

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TAGS

8-bit • 8-bits creatures • animationAtari • Brooklyn Bridge • cloudCommodorecreaturecultural literacy • cultural reference • digital culture • Donkey Kong • formal conceit • Frogger • invasionKing Kong • Matias Boucard • New York • NYC Subway • One More Production (agency) • Pac-Manparodypastiche • Patrick Jean • pixelpixelartpixelationpixellation • PIXELS (film) • Pongself-referentialSFXshort filmSpace InvadersTetrisvideo gamevideogamesvisual conventionsvisual vernacular

CONTRIBUTOR

Simon Perkins
05 AUGUST 2012

A Game with No Rules: rear projected Kiwi short film melodrama

"A trio of future Kiwi screen stars smoke, smoulder, steal – and worse – in Scott Reynolds' serpentine short noir. Kane (Marton Csokas) and his Zambesi–clad woman on the side (Danielle Cormack) set about ripping off Kane's rich wife (Jennifer Ward–Lealand) with bloody results. Writer/director Scott Reynolds and longtime partner in crime, cinematographer Simon Raby, serve notice of their talents – and inspirations – with heady lighting, deliberately shonky back projection, and opening titles right out of Hitchcock [Saul Bass inspired]. Muso Greg Johnson supplies the horns."

(NZ On Screen)

Fig.1 Scott Reynolds/Zee Films (1994), "A Game with No Rules" Aotearoa New Zealand, 35mm 16 minutes.

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CONTRIBUTOR

Simon Perkins
09 APRIL 2011

The death and rebirth of Duke Nukem Forever: a history

"Duke Nukem Forever was announced in 1997, after its predecessor, Duke Nukem 3D, had rocked the PC market with a hero who liked kicking ass, hanging out with strippers, and murdering alien police officers that were, literally, pigs. It was inappropriate, raunchy, and amazing.

It was also one of the games that gave 3D Realms the success that brought its destruction. Duke Nukem Forever began life as a completely self–funded game; its developer wanted nothing less than perfection, and would chase every update in technology in order to deliver it. The game saw monumental delays, suffered the slings and arrows of a gaming world that was first angry and then tolerant of its favorite whipping boy, had its home taken away, and has since risen from the dead.

Is the public still interested in Duke Nukem? Hell yes it is. This is the story of the gaming industry's favorite joke, and how Duke may finally have the last laugh."

(Ben Kuchera, 7 September 2010)

Fig.1 'Duke Nukem Forever | History of a Legend Episode 1', 2011

Fig.2 trailer from Electronic Entertainment Expo, 1998

Fig.3 video capture of 1991 side–scrolling 'Duke Nukum' version

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TAGS

19911993199619972011 • 3D Realms • action heroalien invasion • Allen Blum • anti-hero • Apogee Softwarecharacter designcomic bookcomputer gameconsolecultural literacydeveloperdigital cultureDuke NukemDuke Nukem 3D • Duke Nukem Forever • Duke Nukem II • Duke Nukem: Manhattan Project • Duke Nukum • E3Electronic Entertainment Expo (E3)first-person shootergames • Gearbox Software • George Broussard • graphic representationheavy metalhistoryhomoeroticismhumour • Joe Siegler • Jon St. John • kick ass • kick ass and chew bubble gum • lair • Los AngelesmisogynyparodyPC gamesPlaystation 3point of viewpop-culture • Randy Pitchford • renegade • run and gunScott Millerself-fundedself-referentialsequel • SHMUP • side-scroller • spectaclestory • Todd Replogle • video gameviolencevisual depictionWolfenstein 3DXbox 360

CONTRIBUTOR

Simon Perkins
21 FEBRUARY 2006

WarioWare: video game pastiche

"Wario Ware is a game about games. Some of its micro games are straight re–implementations of earlier Nintendo classics, but WarioWare also parodies older games such as Super Mario Bros[7]. and The Legend of Zelda[8]. WarioWare exhibits and distorts many game design conventions we take for granted.
...
WarioWare's most obvious departure from conventional game design is its discontinuities, which illustrate the effects of continuity on game experience. Wario Ware's ultra–compressed games contain only a minimum number of ingredients. These miniature games illustrate how complex games are generally built out of simpler ones. WarioWare?s nonsense and absurdities also explore the relationship between fiction and rules.

In a sense, WarioWare is an Understanding Comics[4] of video games: a text that uses the representational strategies of a medium to reflect upon that same medium. But where Understanding Comics is discourse on comics, written in the language of comics, Wario Ware is more like Chuck Jones's meta–cartoon Duck Amuck[2]. WarioWare and Duck Amuck violate convention, and in doing so draw attention to how cartoons and games are both constructed and interpreted."
(Chaim Gingold)

[2] Duck Amuck. Director: Chuck M. Jones. Warner Bros, 1953. 7 minutes.
[4] McCloud, Scott. Understanding Comics. New York: HarperPerennial, 1994.
[7] Nintendo, Super Mario Bros. Sept. 1985. NES game.
[8] Nintendo, The Legend Of Zelda. 1987. NES game.

[Gingold talks about the Nintendo (Gameboy Advance) game called WarioWare. He reveals it to be a pastiche of earlier video games, clustered together and played as a single master game.]

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TAGS

cartoonconstructionconventionDuck AmuckgameGameboygenre • Gingold • hommageNintendoparodypasticheself-referentialself-reflexivetributevideo gameWarioWare
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