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      <h5><b><font face="Arial, Helvetica, sans-serif">//<a href="../../../index.html"><font color="#7C420E">loonygames</font></a>://<a href="../index.html"><font color="#7C420E">issue 
        2.2</font></a>://<a href="index.html"><font color="#7C420E">pixel obscura</font></a>://1, 
        <a href="index2.php"><font color="#7C420E">2</font></a></font></b></h5>
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          <td align="LEFT" valign="TOP" width="100%"> <font color="#000000" face="Arial, Helvetica, sans-serif" size="2"> 
             </font> <p><webdog><font face="Arial, Helvetica, sans-serif" size="2" color="#0022A8"><b><font color="#693A0C">What's 
           new today:</font></b></font> 
          
<p><b><font face="Arial, Helvetica, sans-serif" size="2"><a href="../../../index.html" target=""><b><font color="#00025E">New!!!</font></b></a><br></b>
  The archives have been cleaned up, dead links fixed, and the printable versions restored! Also, don't miss the new comments on the main page!</font></p>

 
<p><b><font face="Arial, Helvetica, sans-serif" size="2"><a href="../../2.15/feat/index.html" target=""><b><font color="#00025E">Livin' 
  With The Sims</font></b></a><br></b>
  theAntiELVIS explores the wild and wacky world that is Will Wright's <b>The Sims</b>, 
  asking the inevitable quesiton, &quot;is <b>The Sims</b> the first step toward a virtual 
  life where everyone is Swedish?&quot;</font></p>
<p><font color="#000000" face="Arial, Helvetica, sans-serif" size="2"><a href="../../2.15/pixel/index.html" target=""><b><font color="#00025E">Pixel 
  Obscura </font></b></a></font><font face="Arial, Helvetica, sans-serif" size="2"><br>
  Josh Vasquez on <b>Omikron: The Nomad Soul</b>.</font></p>
<p><font color="#000000" face="Arial, Helvetica, sans-serif" size="2"><a href="../../rl/index.html" target=""><b><font color="#00025E">Real 
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  Check out our newest comic strip, <b>Real Life</b>! Updated daily!</font></p>
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              <p align="left"><font size="-1"><font face="Arial, Helvetica, sans-serif" size="2" color="#0022A8"><b><font color="#00025E">Random 
                Feature:</font></b></font> </font> </p>
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<p align="CENTER"><img src="../../images/v_thumb.jpg" width="64" height="64" align="MIDDLE"></p><p><font face="Arial, Helvetica, sans-serif" size="-1">Hey <B>Half-Life</b> fans! Looking for some good reads? Check out Valve designer Harry Teasley's <a href="../../1.16/guest/index.html">guest editorial</a>, our <a href="../../1.16/topshelf/index.html">review</a> of Half-Life, or our interview with <a href="../../1.34/feat">Marc Laidlaw!</a></font></p>

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              <h5 align="right"><b><font face="Arial, Helvetica, sans-serif" color="#00025E"><img src="../../images/icons/pixel_final.jpg" width="193" height="245" align="left"><loonystart>Vol. 
                2, Issue 1<br>
                November 16, 1999<br>
                </font></b></h5>
              <h5 align="right"><font color="#00025E"><b><font face="Arial, Helvetica, sans-serif"> 
                </font></b></font></h5>
              <div align="center">
                <p align="center"><b><font face="Arial, Helvetica, sans-serif" color="#0000FF"><i><font color="#904C10" size="3">Pixel 

                  Obscura:</font></i></font></b></p>
                <p align="center"><b><font face="Arial, Helvetica, sans-serif" color="#0000FF"><i><font color="#904C10" size="6"> 
                  The Metropolis Haunted by Speed</font></i></font></b></p>
                <p align="right"><font face="Arial, Helvetica, sans-serif">by 
                  <a href="mailto:citizen21@hotmail.com">Josh Vasquez</a></font></p>
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              <p align="right">&nbsp;</p>
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              <p align="right"><font face="Arial, Helvetica, sans-serif" size="2"><i>&#147;The 
                multi-storey car parks - the top decks are empty in the evening&#148;</i></font><br>
                <i><font face="Arial, Helvetica, sans-serif" size="2">-J.G. 
                Ballard</font></i></p>
              <p align="left"> <font face="Arial, Helvetica, sans-serif"><img src="../../images/letters_new/t.jpg" width="19" height="38" align="left">he 
                art of subtlety is one of dissection. It is the killing blow delivered 
                when no one is watching, a strike under which the blood not only 
                blossoms but runs in augural patterns. Like dissection, subtlety 
                is a learning tool. You cut something up to watch &#147;the gears&#148; 
                spinning, to observe what is otherwise an intensely private ritual 
                made up of little movements that seem to hint at the secrets of 
                an otherwise infinite universe. The subtle art is the alchemical 
                one, an appreciation of hidden truths waiting to be revealed by 
                the manipulation of oracular elements. Little mysteries are perhaps 
                the greatest ones for they are forever pointing fingers down roads 
                that only lead to other roads, a beautifully untranslatable text 
                of intersections.</font></p>
              <p align="left"></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif">Sadly, 
                subtlety is lacking in most traditional art forms, let alone in 
                the hyperbolically grotesque melodramas of the vast majority of 
                video game cinematics. It&#146;s because of this lack, however, 
                that deviations stand out with such vehemence. Often these singular 
                pieces are paired with non-narrative games as if the demands of 
                story and coherence along a linear trajectory cripple the delicate 
                touch. A narrative has to be maintained some how, and the inherently 
                limited nature of video game cinematics too often results in a 
                colorful procession of stick figures endlessly tortured by clich&eacute;. 
                The non-narrative game is liberated from any plot considerations, 
                allowed to roam into more esoteric territory. </font></p>
              <p align="left"></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif">It could 
                be that because there is no overarching &#147;story&#148; anything 
                that these games do comes across as surreal and pleasantly free 
                of an agenda (pure expression for its own sake) and while this 
                may be true, the accomplishment is not diminished. Abstract art, 
                though abstract, can still be judged, although admittedly by a 
                different set of criteria. The same can be said for these non-narrative 
                games. In some ways non-narrative subtlety, the ability to create 
                a story where before there was none, is more impressive than working 
                in the traditional forms of myth making. The cinematics of <b>Wipeout 


                3</b>, a new racing game from the people at Psygnosis, walk the 
                fine line between the formal control of the coldly beautiful, 
                detached image and the subtle exploration of a mysterious &#147;narrative&#148;...and 
                they do so brilliantly.</font></p>
              <p align="left"></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif">The first 
                image is that of a stylized &#147;child,&#148; a figure built 
                of blue, red and white lines whose middle section revolves with 
                a hospitalic regularity. Next a sign appears celebrating &#147;the 
                designers republic&#148; followed by a metallic hued title: &#147;Intro 
                Sequence = Start&#148;...and then the scene shifts. </font></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif"></loonystart></font></p>
              </DIV>
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<p><i><font face="Arial, Helvetica, sans-serif" size="-2">Credits: Illustration 
  &copy; 1999 Dan Zalkus. Pixel Obscura is &copy; 1999 Josh Vasequez. All other 
  content is &copy; 1999 loonyboi productions. Unauthorized reproduction is prohibited, 
  you cartoonish villian, you.</font></i></p>
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