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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 
        2.3</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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              <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 3<br>
                November 23, 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"> 
                  Broken Earth</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>
              <p align="right">&nbsp;</p>
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              <p align="center"> <i><font face="Arial, Helvetica, sans-serif" size="2">&quot;earth 
                must have got stuck,<br>
                one sunless day&quot;<br>
                - samuel beckett</font></i></p>
              <p align="right">&nbsp;</p>
              <p align="left"> <font face="Arial, Helvetica, sans-serif"><img src="../../images/letters_new/t.jpg" width="19" height="38" align="left">he 
                idea of apocalypse and the turning of the millennium run hand 
                in hand. </font></p>
              <p align="left"></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif">The two 
                represent a kind of dark ideological evolution: &quot;apocalypse&quot; 
                is scrawled on a door at the end of the millennial hallway. What 
                seems inherent in the concept of apocalypse is a radical (read 
                final) disruption of perception, a point from which nothing can 
                be easily translated. </font></p>
              <p align="left"></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif">Following 
                this definition, the artwork of M.C. Escher is apocalyptic, the 
                starkly &quot;biological&quot; designs forcing a new revelation 
                of seeing on the viewer. Escher's work, however, has the necessary 
                disorientation but not the symbolic wiping away of the blood from 
                ones eyes. Apocalypse is not mere annihilation, but rather a wounded 
                awakening.</font></p>
              <p align="left"></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif">Artists 
                throughout time have made much of an apocalypse's adumbrating 
                &quot;violence.&quot; Where &quot;the composer&quot; of the Epic 
                of Gilgamesh saw a king running from the shadow of death, Pamela 
                Smith and Arthur Waite saw a deck of Tarot cards, where Medieval 
                painters saw skeletons cavorting at the hour of judgment, Alfred 
                Hitchcock saw James Stewart standing on the edge of a bell tower 
                staring down at the shattered body of the woman he loves in <i>Vertigo</i>. 
                It's quite a varied experience...all coming down to the same thing: 
                the revelation of the past laid waste and the future forever changed 
                because of it. The time between the eye closing and the eye opening 
                is the apocalyptic moment. The creators of <b>Fallout</b>, developed 
                by Black Isle and published by Interplay, approach it with a surprising 
                amount of grace.</font></p>
              <p align="left"></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif">The game 
                is set in the year 2077, after a two hour war in which most of 
                the planet has been destroyed. Life struggles to thrive on the 
                surface, while deep below, buried in the womb of a mountain, massive 
                Vaults house families spared the ravages of the nuclear aftermath. 
                The player is asked to identify with one of these sheltered survivors, 
                released back onto the broken earth for the first time.</font></p>
              <p align="left"></p>
              <p align="left"><b><font face="Arial, Helvetica, sans-serif">Fallout's 
                </font></b><font face="Arial, Helvetica, sans-serif">cinematics 
                are divided into two sections, a rather lyrical (in its own way) 
                evocation of the build-up to the disaster and a more narrative 
                guided tour (a quick note: having <a href="../../1.26/pixel/index.html">already 
                reviewed Fallout 2</a>, I find myself in the awkward position 
                of referring back to that game in comparison to the first one). 
                The narrator is the requisitely gruff cataloguer of man's downfall, 
                sounding like a cross between Clint Eastwood and Krusty the Clown. 
                &quot;War...War never changes,&quot; he stoically laments, almost 
                whispering as grainy black and white snapshots fade in and out. 
                Most post-apocalyptic films have this: the VOICE with the omniscient 
                perspective of God and the cracked vocal cords of a survivor. 
                The technique veers dangerously close to cliche but unlike in 
                <b>Fallout 2</b>, it doesn't overstay its welcome.</font></p>
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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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