I’ve played some really fascinating games lately and have wanted to write about them, but have not had the time to do so.Instead of a post on each game (which each truly deserves), here are some quick and messy thoughts I’ve been having about three games. Continue reading
1. No Man’s Sky is a small videogame made by a tiny, indie studio that, like most small indie videogames, is clearly trying to achieve a very specific experience for a very specific audience. No Man’s Sky is a massive, triple-a videogame being released by Sony on a disc for a full sixty bucks that, like all triple-a games, has to please everyone who plays triple-a videogames. Both these statements are true, which, if nothing else, mostly highlights how categories like ‘indie’ are constructed more from a perceived sense of performed ‘indie-ness’ rather than any quantifiable factors. How you perceive No Man’s Sky is intricately tied up in whether you think it succeeds at being that particular thing for a particular audience, or whether you think it fails to be the next big triple-a open-world game for all gamers that it was set up to be (in part by marketing and in part by those gamers). Continue reading
My Studio 2 students have now finished their first game for the trimester. They had two weeks to make a short game about an experience that is personal to them. On the whole, I am really happy with how they turned out. Small things here and there could have been improved, but considering the timeline they were working on, they all went pretty good. Most importantly, I am excited by the sheer variety of directions they took the brief, with some creating very mechanics-focused sort of procedural rhetoric games and others making very experiential little vignette works.
While some initially overscoped their project (as everyone does), they all admirably worked out what was actually required for the experience they wanted to communicate to the player, and managed to really sharpen that core nugget. I’m really quite happy with how they went with the exercise.
I spent the last week pestering them all to put their games on itch.io so that I could share their games more broadly. If they’re going to have a game critic for a teacher, they might as well exploit that and actually get some exposure for their games. I was perhaps too optimistic to assume they would all create perfectly crafted itch.io pages for their game with builds for multiple platforms and gifs and all sorts of pretty things. Several of them also uploaded their games as zips; some even uploaded it as a .7z or a .rar at first, before I told them to re-upload it. All sorts of little issues that I hadn’t thought to consciously address but which create all these hurdles that might prevent a player bothering to check out your free little weird game This general self-promotion area is somewhere we could use more work.
But the games themselves turned out pretty well! So here is a little bit about all eight of the games: Continue reading
On Wednesday my students pitched their ideas for short games based on their personal experience. It was a really chill pitch session where we just sat in a circle and talked through our ideas. I’m pretty excited about the different ideas. All of them seem relatively well scoped and doable, and there are some legitimately interesting ideas in there. Hopefully the games match the ideas!
Before next week’s class, the students have been asked to analyse one of the games about a personal experience that was provided to them and to think about what it is about, how it is about that, and what they can learn from it for their own game.
One of the games on the list is Andi McClure’s He Never Showed Up, made for a dating sim game jam. Despite following Andi’s work for years, this is one of the few games on the list I’d never played before (a previous lecturer of Studio 2, Christy Dena, added it). It’s a simple and powerful short game about being stood up on a date. The player has a hammer and can smash apart the screens reality, knocking down buildings and the stars themselves if they want. Eventually, the player finds the elusive boy and smashes him, too—only to find out it was all a fantasy: the world was not smashed, the boy never showed up, and you were still stood up. Continue reading
This trimester I am teaching a studio class at SAE Brisbane. My students have to design games that focus on meaning, expression, and emotion. Up to this point in their degree they’ve been focusing on the bits and pieces that make up a videogame. Now, at this point, I’m to try to get them to think about just what they can do with that toolkit. My interpretation of this is to show them a whole bunch of weird shit and to encourage them to make equally weird shit.
My students need to keep a blog throughout the trimester, keeping track of what they are making and why and how. In sympathy with my students and in an attempt to pressure/shame them into actually writing these blogs, I thought I should write about the course as well.
I’m increasingly convinced that students should be playing and making the sort of stuff you would see on itch.io moreso than the stuff you would see on Steam. There’s several reasons for this. First of all, the sort of weird experimental games on itch.io are not necessarily ‘better’, but they are often doing more interesting things from a purely design perspective. ‘More interesting’ in the sense that most students have already played a first-person shooter and a moba and a platforming game and playing new first-person shooters/mobas/platforming games is only going to teach them so much. Whereas the sort of experimental stuff on itch.io is constantly pushing the boundaries of how videogames can say things. Continue reading
(All photos by Sofie from SK Games)
Back in January I wrote a post about how I would like to try running a public game event. A couple of weeks ago, thanks to SK Games and a whole heap of people, I was able to actually do this with the inaugural Trees Go Ping. It went really well! A bunch of people rocked up on a weeknight and people seemed to really enjoy the games and the atmosphere. It is definitely something I would like to do again. This post serves as both a reflection of how it went, and where I want to take Trees Go Ping in the future. Continue reading
(Minor spoilers for Superhot and Cibele.)
Late last year I had the opportunity to play Eurotruck Simulator 2 with a virtual reality (VR) headset. Generally I am pretty skeptical of the marketing promises of VR and the whole project of immersion-through-escaping-your-own-bodily-senses that it depends on. Partially, this is because we are being told the same things about how VR is just around the corner in 2016 as we were told in 1996. Mostly, though, this is because I reject the very premise of VR, that the player can ever truly have their consciousness and senses detached from the playing and situated body they are sensing with. Sure, I can use a VR headset to explore some alien battlefield, but I am never not sitting in a chair in front of a computer, and on some level my mind is always aware of this because my mind cannot exist separate from that body.
But Eurotruck Simulator 2 with a headset shocked me with its effectiveness. It was disorientating and fully encompassing. I had the stupidest grin on my face as I noticed my own senses being so successfully tricked by the illusion that I was really sitting in this truck. The only other VR experience that I have found nearly as affecting was when I played USC’s The Meadow at Indiecade. This was a VR experience about sitting in a virtual meadow while things happened. The visuals in no way attempted photorealism, but the illusion was, again, incredibly affecting
I remember semi-jokingly calling it a ‘sitting simulator’ at the time. Except this is exactly why both The Meadow and Eurotruck Simulator 2 made such powerful VR experiences: because they each accepted and reinforced the player’s own awareness of their sitting body, rather than stubbornly trying to distract the player away from that body. Players are bodies and that will never not be true. Where other VR experiences work to have you forget “the meat and all that it wants” as Neuromancer’s Case says, these two experiences reinforce the strength of their illusive worlds through the player’s own somatic awareness of being a sitting being.
I’ve played two games in recent weeks that in different ways draw attention to the player’s inescapable existence as a body sitting before a computer screen: Nina Freeman’s Cibele and Superhot Team’s Superhot. I played neither of these games through a virtual reality headset, but like the above virtual reality experiences, each of these games worked to use the player’s tacit awareness of their own body-ness as part of the experience of a virtual world. More specifically: each is explicitly conscious of the player’s context as a body sitting before a computer.