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Call of Juarez: Gunslinger, or “The Good, The Bad, And The Ugly Sides of a Modern Shooter”

There is a scene early on in Gore Verbinski’s 2011 animated western, Rango, in which Johnny Depp’s titular chameleon is attempting to endear himself to the townsfolk after bumbling his way into town. Through a display of increasingly frantic and outrageous dramatics, he weaves a fantastic tale of his fight with a band of notorious outlaws, an account which the townsfolk have completely bought into by the end despite being fabricated on the spot and held together with the thinnest of logic. Though the scene’s primary purpose is to position Rango as a respected member of the town, as well as to play off his insecurities and reliance of acting in all his social encounters, it also feeds into one of the most persistent and engaging tenants of spaghetti westerns: a stranger’s tale told over a glass of whisky at the town saloon. Continue reading Call of Juarez: Gunslinger, or “The Good, The Bad, And The Ugly Sides of a Modern Shooter”