Archive for Videogames

Social Media and the Creative Arts

The advent of social media changed everything for the freelance creator. Suddenly there was a whole new way to be seen. You could show off your art, your writing, your code, your cooking, to thousands of new faces who were all hungry for something just a little bit different. If you didn’t have the scratch to travel to tradeshows or major entertainment watering holes, you could still meet people, you could still establish connections that would allow you to bring in new work without that massive cost outlay. Your career could, in a word, become viable. AND as a bonus, it was something you could control.

There’s tasty stuff in here, but is it worth navigating all those thorns?

You didn’t have to rely on a big-name artist or producer noticing your work. (The famous scene in Bill & Ted’s Excellent Adventure about getting Eddie Van Halen in their corner comes to mind). You didn’t have to consider shoving your script under the bathroom stall door or arranging for your art to get hung on the walls of Superstar #5’s hotel suite or any of the other really off-the-wall ways in which creators have tried to be seen.

As online media took off like a rocket, social media gave you this tool to add to your pitch. An audience. Having 25k+ pairs of eyeballs on Twitter, or MySpace or Facebook or *any* social media platform became part of your “secret sauce”. As a creator, in particular as a freelance/contract creator, it gave you an edge over other creators of equal talent. Skill + Eyeballs became the new equation when trying to land a gig. And it worked okay for a while. Authors/Artists/Designers could all bring parts of their audience with them, boost sales for whatever new project they were working on and everyone got paid a little closer to what they were worth.

But now the worm has turned. Big Brands want those new fans, they regard getting access to those fans part why they hired creative A over creative B. They reap the benefits, they get all those lovely new eyeballs, but when a freelance/contract creator comes under attack, they walk away. They throw up their hands and say “Well, clearly they’re *your* fans. You handle the hate, you handle talking to the cops about doxxing and changing your phone number, that’s all on you. It’s against our policy to make a statement of support for non-employees.” And at the end of the day, if the vitriol outpaces the support, they wash their hands of the whole thing and go find a shiny new creator to work with. “Sorry, man, you’re just too toxic. You’re baiting a bad element.”

The creators are being thrown under the bus as a front-line defense against angry fans and bad publicity.

Which means that having a social media presence, having a fan following is now becoming a liability for any given creator, rather than an asset. Creators are being encouraged to keep their heads down, to avoid feeding the trolls, to no do or say anything that might upset the brand they’ve been hired to enrich. They are being asked to be good little girls and boys and take the hits and bags of sh*t and Your Tube rants and swatting with a smile because nobody wants them to hurt the Brand.

But, look, if the Brand is going to ask for that. If they are going to ask you to just let the sh*tstorm roll over you in service of their content, then they need to pay up for that service. Just like a Brand has to pay extra for exclusivity, for you to create content just for them alone, or not allow your personal marketing to cross the streams, they need to start ponying up for hazard pay, especially if the toxic elements of their fans are an established quantity.

Anybody who dips a toe into creating for some of these established Brands becomes a target. It doesn’t even matter if they create something the fans don’t like, the harassment systems in place, trolls and bot-farms and protest groups, now kick in the moment you announce you’re working for Brand A or Brand B. You put your feet in the water and the sharks start to let you know they’re watching, that you better not f*ck up their childhood because WATCH OUT.

But, like so many new things, the solutions are still to be hammered out. Creatives (myself included) are notorious for following our passion, for jumping at a chance to create for something we love. And there are a lot of us out there. On any given project you might have twenty equally-talented creatives waiting in the wings and the only way you get that contract is if you don’t ask for that support, if you agree to keep quiet, to take those hits for the Team without complaint.

We all need to work together to fix this, and it won’t come quickly. It might even take a couple of years for creative support to come together under contract. But the more creatives who insist on it, the more commonplace it will become until, eventually it will just become boilerplate and included in every contract.

Story is Essential in Game Development

This post was written in response to Ian Bogost’s article here: https://www.theatlantic.com/technology/archive/2017/04/video-games-stories/524148/.

Let me point out that I highly respect Ian and his work, but since my bailiwick leans toward narratives and visual development, I felt he missed a few points and would like to respectfully respond.

Story is essential to games.

The linear progression of an idea from point A to point B to a logical conclusion lies at the corner of almost every single type of gameplay. In order to build a game structure, a progression that most people will understand right out of the box, you’ve got to structure it as a narrative of some stripe.

Most games have a beginning, a middle and an end.

When Ian sketches out the difference between the “narrative” of the game and the “environment” of the game he seems to be putting forth the idea that, by building your story into the world you are thereby doing away with the need for narrative.  But that story is still needed to inform those design decisions, in order to maintain consistency throughout the design of multiple environments, multiple levels, a narrative is required.  The artists and designers need a story that will steer the design choices they make so that the entire game fits together in the mind of the player.

Even when it comes to the mechanics of the game, the key component that makes a game “fun” and “compelling” the narrative is important with regards to how the mechanics are presented to the player.  The player, ideally, never sees the math.  They see the UI, the visual (and story-centric) elements that allow them to run those mechanic.  Without an overarching narrative to guide those decisions, you get a series of “really cool” mechanics that may never quite come together into a whole.  You get a “meh” experience that loses it’s lustre fairly quickly.

Even puzzle games like candy crush benefit from the addition of a story. As cheesy and clunky as that narrative may be it’s still provides an essential path for the player to follow. It allows them to get the satisfaction of “completion” in a game that will truly never have a conclusion.

Remember when Computer Generated Imagery first became a big THING for film?  It stumbled and staggered quite a bit.  It INHIBITED storytelling in a great many cases, it broke the suspension of disbelief that decades of practical effects had honed to a believable experience.  Filmmakers leaned on the tech too hard and gave up good narrative in favor of vertices and ray-tracing.  It took Toy Story finally push through the idea that you can’t take the narrative design out of an experience.  You can’t rely on the tech to tell your story for you, you can’t rely on the mechanics to make a game that will last longer then ten minutes.

The argument has been made that “narrative” games tell stories poorly, that they cannot compare to the experience that one gets from cinema, or television, or even reading a book. Games as storytelling art-form are still in their infancy. The technology has advanced, absolutely.  We can build you worlds that absolutely look and feel as real as the one you are sitting in while you read this blogpost.  But the use-cases for that technology always take longer to catch up.  They need a breakthrough.  We are still trying to find ways to keep a player’s focus on a linear story in a world that is so much bigger than what you have in books or film.  Linear narrative is all about constraint and that is exactly where our problem lies.  How do you keep the player following and interacting with a story when they can go ANYWHERE in the world you built?

The current example of games as simply linear narratives with player engagement is far too limiting. It’s too simple of an idea. It’s the easy road out for an industry that needs to pay it’s staff.  The potential for games can, and will, go far beyond that point. We just haven’t made that next leap yet.  It’s coming, someone out there, some grad student or assistant producer or overworked QA tester has it in them to make that leap.  We are looking for our Toy Story, our IMAX, our Gertie the Dinosaur.

There are (as there always are) notable examples.  The Halo franchise being the shining AAA example, but also on the indie-games front we have experiences like Undertale and A Night in the Woods that use simple graphics, simple mechanics but strange and compelling narratives to pull the players in.  None of these games really have their “secret sauce” in the mechanics.  If you take out the story, you can simply reskin those exact same mechanics with another world, another time and have an equally serviceable game.  None of those titles would be the breakout hits they have become without a compelling story.  A story so strong (in all three cases) that players are continuing to tell their OWN stories, to build new narratives in those worlds, to fill in the blanks left by the constraints of game design.

Is it possible to have a game whose mechanics are so good that players will be compelled to play it?  Absolutely.  They will play *that game* and go home.  It will be swapped out by another mechanics driven title as soon as they get bored or frustrated.  They are as interchangeable as the sneakers you have in your closet.  But a game with a story drives loyalty, brings players into the world (and allows for multiple iterations) in a way that mechanics only games cannot.  Players will forgive not-perfect mechanics if the story is compelling, if they have a *reason* to keep going.  They will come back to a franchise and play something new even if those mechanics don’t get a significant update of change between story one and story two.

So, while games may not deliver pure narrative quite as cleanly as books or film or TV, I think saying that narrative is unnecessary is far too limiting a view.  From the overarching idea that drives the underlying structure and creation of visual assets to the final delivery of your shiny shiny game mechanics, games are built on a narrative experience, and trying to take that out limits the experience for everyone.

 

 

Pocket Recipes for the Pokémon Trainer – Pidgey

Pocket Recipes for the Pokémon Trainer
Kanto District:

So you’ve gone and done it. You’ve cast off the chains of your middle-school and have set out to become a Pokémon Trainer. Good for you! The open road, new and exciting creatures to discover and conquer. It’s going to be just like camping, except Dad’s not there to carry the cooler. And as jobs go, hunting Pokémon doesn’t really pay very well. But that’s okay, right? You can live off the land, collecting berries and making your own fabulous meals over the campfire. I thought so! So to help you on your way, we’re bringing you the best in Pokémon camping cuisine. Each recipe is easy to make (provided you’ve captured the right Pokémon, of course) and is tailored to the regions those Pokémon come from, so ingredients should be easy to find.

 

The Pidgey

 

Shōyu de Poppo

8 Pidgey (bone-in, skin on, split)
I know, it seems like a lot for just one person, but the little f*ckers are everywhere. You can bag a dozen per day if you have enough pokéballs. In their first evolution, they are pretty small, so you want to cook as many as you can fit in the pan.

1 cup of water
It’s clever, isn’t it? Pidgey is known for hunting over water (especially Magikarp, which explains why Gyarados are just so hard to find, the Pigey’s eat ‘em all before they can evolve!)

½ cup razz berry vinegar
If you’re still young enough to enjoy Pokémon Go, you may not yet have a bottle of this in your kit. Hip up a Pokéstop, they’re bound to have some to hand. Trust me, this makes everything taste good, they even put it on ice cream.

1/3 cup soy sauce
That’s about 25 soy sauce packets if you’re swiping them from your local Panda Express.

2 ½ Tablespoons sugar
About 8 sugar packets if, like me, you snag a couple extra when buying your morning latte.

1 Figy, split and the seeds removed.
Just remember, like the habaneros you find in the supermarket, it’s the seeds of the Figy that pack the real punch!

Put all the ingredients (except the Pidgey) into a saucepan and boil it for about 20 minutes. Add the Pidgey and cook, turning frequently until the liquid has been reduced to a sticky glaze.

Arrange on a serving platter (we may be camping, but we’re not savages!) and spoon the remaining glaze over the Pidgey before serving.

If you are going with a later evolution, you can feed a couple of people with just a single Pidgeotto, and if you are truly lucky and have managed to bag a Pidgiot, well you’ll need to quintuple this recipe and call the whole family to enjoy!