Archive for Videogames

Alternate Lenses in Limitless

As a visuals geek, I have been delighted with the symbolic language that they have been employing in Limitless. So naturally when I heard they were going to give us an episode from Rebecca’s point of view, I was hugely interested to see if they would take the look in a different direction given a different characters point of view.  We’ve already had different characters on NZT (Piper, Casey, Morro) but the story has still stayed true to Brian being the primary character and hence, it’s to be expected that we continue with his bright worldview and artsy-craftsy problem solving techniques.  In the case of this weeks episode, we are inside Rebecca’s head, which should (I expected) give us a dramatically different outlook on the world.

The look and feel was much subtler than I expected.  With Brian as the POV character, the difference is brighter, the character almost glows during those first few seconds of camera-shift.  We get a similar shift in Rebecca’s case, but it is nowhere near as dramatic (befitting her character’s personality).  I’m not yet sure if that is some kind of foreshadowing but I suspect the next episode will answer this for us.

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Rebecca before NZT

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Rebecca after NZT

See the color shift?  Everything develops a warmer, orangish tint (it’s particularly noticeable around the whites of the eyes).  This color change sticks (in both Brian’s cases and in Rebecca’s solitary case) thru the entire episode.

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The biggest difference between the two characters (which suits them quite nicely, by the way) is that, while Brian’s thought processes and illustrations are on the wildly creative side of things (puppets, houses made of sticks, crayon drawings), Rebecca has fixated on the linear h*ll that is…  The Etch-O-Sketch.

(Please note, I loved my Etch-o-Sketch as a kid, but I had one of those parents who interrupted me every half hour or so because PARENTING, so my experiences with it always came up wanting).

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Rebecca’s NZT Etch-a-sketch.  Lady gotz skillz

And the thing about the EaS (because I’m tired of writing “Etch-a-Sketch” over and over) is that to work with one, to really get a proper result like the one you see here, takes forethought, it takes planning.  You can’t erase, not one single line.  This is a linear progression and one that requires a complete and total do-over if you muck it up (or some extra creativity to recover).

One of the reasons all of this is so much fun is that, when Rebecca is not on NZT and Brian *is*, she’s very nearly a match for him.  Brian gets all the obscure stuff, what color a high C-note smells like and other bits that are beyond the norm, but when it comes to the actual case-solving, Rebecca is on a par, sometimes even one step ahead.  So seeing that character outclass Brain when they *both* are on NTZ is something to behold, and the people behind the look and feel of the show are supporting that by carrying over the same visual language normally used in Brian as the main POV character.

 

Fallout was the Future

The thing about Fallout 4, for my generation this was the future that was dangled in front of us. We had movies like Mad Max that codified this post-apocalyptic world in such a way as to make it easier to deal with. It became less of a boogie man as our TV, movies, our books dug into the idea and familiarized us with the potential outcomes.

This game is riddled with touches, with background moments and still life’s that are like getting an ice pick in the ribs, emotionally. There are lots of things to shoot, there are lots of unreasonable enemies who never seem to fall their morale checks, but they’re all set against a visual backdrop of unspeakable tragedy.  By and large Fallout 4  is a slow game, it’s an exploration RPG at its heart and it gives you plenty of time to mull over the state of that game world in comparison to the state of the real world.

The artist in me goes so far as to note this is reflected even in the brightening of the color palette. We are given an option to play in the pre-apocalypse world, just for a time. This 1960s that might have been, were all the colors are bright and the sky is clear. That hopeful imagery, that feeling of immortality, those bright colors underlie all of the texture development, all of the environment development in the game. There are very few places so blasted and destroyed that you can’t help but be reminded of that Utopia that the game began in. Bright blue shelter in place pods are scattered throughout urban environments, few of them contain corpses, but all of them contain reminders of the people who sheltered there, protected and preserved until you open them to take a look.

And as a parent, because by now many of us Cold War Kids are, you can’t help but place your family in the scene. You can’t help but look at the well preserved, scattered toys inside of a shelter and think, that could have been my kid in there.

If you couple the emotional devastation of the world with the agency of being a player, it can double down.  The attraction of being a player in a world like this is that you can do something.  You can save the town, you can eliminate the Raiders, you can actively engage to make the world a little bit better. But at the same time you are constantly reminded of the tragedies you could not affect. It’s an implicit failure, one that underlies every action you take in the game. And when the adrenaline rush from mowing down super mutants is over, you are still left with the world that may never recover.

Unnecessary Apology

https://www.washingtonpost.com/news/the-switch/wp/2015/10/15/amid-the-adblockalypse-advertisers-apologize-for-messing-up-the-web/

I think this may not be apology-worthy.  I mean, I can appreciate that the advertisers seem to have, essentially, shot themselves in the foot.  Sucking up bandwidth, chewing through the battery on mobile devices, ensuring that users are so darned sick of video ads that they are now willing to pay EXTRA for pop-up blockers, as opposed to having their browsing experience infringed upon.

Okay, yes, they may be apologizing to EACH OTHER, or maybe to new and upstart ad companies out there, but this overreach on their part is going to have broader ramifications.

More than a few science-fiction writers have given us a vision of the future in which branding and advertising pay for everything, where the primary currency becomes, in effect, the user’s attention-span.  Which has, ultimately, been the progression we have seen here on the internet (I happily pay of all kinds of things by letting ads play through).

But what this may herald is a shift in the way advertising handles things and that might mean that, in the future, our eyeballs might not be worth quite so much.

 

Veiled Alliances Release Day

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A little bit of studio-pluggery here.  As you may or may not know, I am the CEO of Bushi-go, a mobile game startup.  For some time now, we’ve been plugging away on building a mobile app based around “Veiled Alliances”, Kevin J. Anderson’s prequel novella to his bestselling “Saga of the Seven Suns” novels.

This first release is a little more app than game right now for a couple of reasons.  Bestselling books don’t always translate into bestselling games.  Now, historically you’re looking at really big games.  Stuff like LOTR online was what everyone envisioned when you tried to make a book into a game.  They focused on the world-building, it focused on BIG BUDGETS and BIG GAMES.  We think we have a solution that will give the readers the kind of re-imaginings they will love.

But just because you like a book doesn’t mean you’re going to change your entertainment preferences and suddenly become a gamer.  If you loved “Wheel of Time”, no matter how much you loved it, you’re probably not going to go out and drop the cash on a new XBoxOne just so you can play in that world (heck, you could probably buy a full set of those books in a hardcover archival format for the same price).

So Bushi-go decided to try something different.  We went small.  Tight focus, stay close to the book, make the product truly accessible to almost every fan. When the game-play comes in later it’s going to be slower, more thinky, not completely twitchy and shooty (but there may be some of that too). We built this app using the leading edge magic of the Unreal Engine, then took that and modified it so that the app can run on almost every mobile device we could test it against, across all platforms.  If you have a mobile phone, you can enjoy our app.

Because we get it, if you’re a reader, that’s your thing.  You might watch a TV show based on your favorite books (Bones, Game of Thrones) but games require a bigger commitment, both time and money-wise.

 

The “Veiled Alliances” App drops tomorrow.  Head to http://bushi-go.com/games/veiled-alliances and we’ll send you a direct email link when it’s live.  Tomorrow should be Android first (GooglePlay and Amazon) followed by Apple (phone and tablets) and WindowsPhone.

This first release is small, pretty and free.  Because we want to see how many of you like this format.  IF the download numbers look good, if we’ve chosen wisely, then we can move on to making the rest.

The Lens of your Lifetime

There is this ongoing problem that I’m (and most likely you) are aware of.  Because we do love to lament the “dumbing-down” of our current crop of kids (just ike out parents did, and their parents did on back through time).  It’s been brought back into focus for me by some of the recent goings on around the Hugo Awards, but also I just had a glowing, glaring example shoved in my face this morning by my own two kiddos (which was disturbingly topical).

The Things downloaded the newest Black OPS Beta this morning and are going through it, nitpicking every single thing they have ever seen in another game.  Thus far we have: Jetpacks being stolen from Halo, Giant Mechs being stolen from Titanfall, Supers/Specials being stolen from Destiny…  Do you see where this is going?

All of their references are from recent games they have played in their very short lifetimes.  They have no clear knowledge of the history of Mechwarrior as a tabletop RPG, or the many attempts to bring the Giant Mech Battle games to the videogame fold.  They have no idea that jetpacks in the FPS genre are decades old, in fact, you might as well say that Jetpack Joyride stole their jetpack idea from Halo, for all the sense that makes.

Now, because I’m a bit of a Legacy-buff, I’ll spend some time educating my kiddos on this (as I do on a number of topics, including the history of science fiction, robotics, spycraft, space exploration, etc).  I also know from experience that it will probably not stick as well as I’d like (or, they will continue to kvetch because it’s a power and control thing, rather than actual, genuine kvetching).  But it brings to mind the question, how do we, as fans, as developers, as CREATORS or a product, widen that lens of experience?

Historically (or so I am given to understand) this was the job of the previous generation.  The established would tell their stories to the new and the new could move forward with a better-informed fanview.  But there are a couple of key problems with this.

One, fandoms (games, pop-culture, etc.) are bringing in people faster than ever.  You no longer need an entre to become a part of fandom, you can hop online and find a group of new fans to join and even meet up with at conventions.  That means that the influx of new people is looking through the aforementioned lens of limited experience.  That’s not a BAD thing, but it means that those that went before have to spend extra time and effort to educate (which, granted, is annoying, I get that.  You don’t get to rest on your laurels, you have to show the color of your boxers every time you meet a newbie).

Two, no two people remember things the same way.  So what might be an insult to one party was a clever turn of phrase by another.  Yes, we should all be able to sort these things out, but when the grievance was decades old, reliable information may be hard to come by, and the “newfans” won’t know if a mistake has been made, if they are just listening to one piece of a complex issue, and where/how to correct it.

Ideally, there ought to be a frictionless way to sort this out (yes, I know EFFORT should genuinely be put in, but humans, all humans, are designed to be lazy critters, we need to work around that).  But barring that, I think a certain level of awareness might be the best, first solution.  If newfans are aware that they are missing something (because many of these fan-bases have stunningly and engagingly rich histories and a stunning number of fans seem to be unaware that fandom existed long before they were born) and the fanbase can find ways to make that information obviously available, then we might be able to reestablish a coherent, fully-shared experience.

Witness File 770, for example, which was established as a single-source record of the recent Hugo divide.  Almost every writer with a fanbase of their own has repeatedly referenced it so that newfans know, and that unified sourcing has made a very big difference.

Thing is, there’s no way around this yet without a metric butt-load of work on the part of one or more people.  This kind of thing has been tried before, with varying degrees of success.  And it does have to be a small, ongoing group, you can’t pass this kind of thing from one elected keeper to another because then you lose the purpose, and agendas get involved and eventually the whole thing goes down under a pile of bit-rot.  We have hit a point where those databases of memory can be easily searchable, the trick now is going to be making sure they contain the best (and preferably impartial) reporting on events, as well as including all the old histories as far back as we can go.