Category: Audio&Games

Overland is a strategy, turn-based game in which you take care of a bunch of travelers on a road trip in a post-apocalyptic world.

The core loop doesn’t allow for much. You’re immediately overrun by monsters, whatever your plan is. So you die a lot, constantly anxious. Reaching the next level is less a victory and more of a “fuck it” moment, knowing that the next level will be next to impossible.

Overland has been hard and getting harder ever since its inception. I think that is a tragic mistake.

Overland, from its aesthetic to its theme SCREAMS that this is a “doable” game and not a hardcore fest. I know, Cuphead does it but that’s the thing, it goes all the way: ultra-ultra cute and ultra-ultra hardcore. The dissonance works because it’s unapologetic. It’s part of the game’s identity. Overland with its road trip theme suggests a way more laid back vibe. That it has. And that it doesn’t want to follow.

This game should be able to be completed in 2 hours by a not so good player. And then, because it’s procedurally generated in many ways, it would offer very good replayability. You should be able to make a run in one evening session, go to sleep, dream about your little crew, especially the dog you named yourself, and want the next day to have another run.

Instead Overland, like far too many games, owes its development to fans, people who want the most hardcore shit all the time because they are –and it’s a little bit unhealthy- obsessed with said game.

I understand that that fanbase is very important when selling games. But if it’s basically closing the door to the rest of the audience, that’s a failure to me. Games take too long to be made and can’t be dependent on a small subset of an audience. That’s an incredibly fragile position to be in.

Game developers need to craft their experiences around time spent, respecting players. I’m sorry but the reality is that there’s tons of entertainment out there. You want to attract people, not deter them from having a good time.

Okay, I read most articles on guns and games in the past weeks. None satisfied me.

I did a little research. I’m part of the first generation that grew up with those games that have become incredibly popular: first-person shooters. Wolfenstein3D at twelve, blablabla. Something has changed through the years.

1990-1999: 190 first-person shooter games came out. The technology used is just born and is very limited. Games are cartoon-looking.

2000-2009: 314 first-person shooter games came out. The technology is improving every nine months. Games are janky-looking.

2010-2019: 160 first-person shooter games came out. The technology is extremely mature and complex. Fewer games come out because development costs are now extraordinary. Games are very good looking.

The number of mass shootings increased in the 2010s. Between 1982 and 2002 (twenty years), there was over 10+ fatalities three times. Between 2002 and now (seventeen years), nine times. Including some horrible numbers (2017: 117 killed).

Just correlation, of course (it correlates with 2004 assault rifle ban going away as well). But it’s interesting to me to see the snowballing happen.

I wish I could see the total number of players playing FPS from 1990 to now. Because it went from a few thousands in the 90s, potentially a few hundred thousands, to hundreds of millions.

One or two orders of magnitude more people shooting people in games, which are more and more realistic –to the point of being used as background pictures in the news, don’t forget– is not a trivial thing. Simply by the numbers involved, coupled with other facts (like parents checking out on parenting), gun normalization through games has to distort pre-teen and teenagers’ perception of violence. We try not to disclose the pictures and names of shooters to not influence potential souls. We can’t then say that the constant display and normalization of violence and firearms use in FPS –hundreds, thousands of hours- doesn’t affect young people.

We can’t have it both ways.

So it’s worth pondering on what we’re doing as game developers. Especially when reports, if you read them, are basically saying, “we’re not sure; there’s definitely a connection between violent games and aggressive cognition but no *direct* link between playing violent games and killing people and also all that research is super new, give us more time”.

Meanwhile we know that online multiplayer communities are formed around those games. Sometimes around those virtual, real weapons. It’s not about a direct link. It’s about the climate we’re complicit of setting up, at very large scales.

But games don’t make people violent, it’s been demonstrated. I am myself, fine.

Like I said, It’s not about that or about you. It’s about how much our environment fuels violence and to the question “is video game culture participating into making violence and brutality something normal and easy?”  the answer, with first-person shooters is pretty clearly, yes, it does.

But it’s just the same as rock n roll and comics.

There’s a huge difference between listening to extremely angry dudes brutalizing their musical instruments, and participating into a raid in HD on a big TV where you actively press a trigger and see bodies fall as a result, hear screams, with weapons coded and designed as close as possible to the real deal, to the point of having weapon manufacturers consult with game companies.

I mean the US army uses FPS to recruit and keep their troops in “soldier mode” ffs.

If you tell me that it’s the same as rock n roll back in 1950, you need some rest. It is very different.

But it’s the guns that kill people.

Thank you for reminding me of this, I had forgotten. So yes, guns kill. And guns exist. They’re usually made of very durable material and can be operational for decades. There’s like four gazillion of them in the US. Unless the government takes the initiative of confiscating all weapons to go to Hawaii to dump them in a volcano, we can’t change that. What we can change is pushing people not to use them against other people. What we can certainly shift is the culture. What we can do is seriously reduce normalizing shooting people. As game developers, considering the trends,  I think we have some room to do something.

But plenty of games are non-violent!

I know that. Farming Simulator and Stardew Valley for instance are about growing stuff and are selling very well, making their developers really happy. But in terms of popularity, shooters dwarf the fuck out of those and y’all know this. Shooters regularly beat sales records. PUBG is 5th on the best-selling game of all time list. It came out 2 years ago (it has sold more than Super Mario Bros in 34 years!). They sell millions of units on the day the game launches. One had 8.3 million concurrent players shooting at each other at its peak. That’s absolutely staggering.

You just hate FPS and developers.

Not at all. I know what it takes to create those games. I understand and appreciate developers’ work far more than the average gamer or non-playing person. I also am in game audio and it’s funny and hard work to record guttural horror, simulated pain, and gross flesh-y stuff.

It also takes a toll on us. So it does to players as well. You guys are no different.

So you want to ban all violent games??

No Jesus effing Louise chill. I would like to use this occasion to point out that any game talking about say, cannabis or eroticism is IMMEDIATELY, with the quickness banned from being talked about and blocked from being sold on any store as if the game itself had killed someone or a dog. Why?

But anyway. It’s not about the general public, bans, measures, or the politic layer. It’s about game developers having to have a conversation about our responsibilities and how we can/should slow our roll with in-game brutality. There are other things in life and if not, we can definitely be more subtle about elimination-based games. It’s an internal discussion that we need and completely, consistently avoid all the time. So we end up with an industry that’s either about dark shooters or ultra cute whatever to counterbalance the grim. 20 years of that, I’m a little sick. We need to recognize what we’re doing, turn it down a notch or five and make games less serious and grim. But considering how much money all that violent entertainment makes (BILLIONS), and how everyone forgets everything after 24 hours of social media, and how reactionary game culture is, game developers will not do shit, not even talk. We don’t have to.

And that’s a shame.

The 1993 CD “talkie” version of Day of the Tentacle is a perfectly flawless adventure, the rarest of rare games, that which did nothing wrong. Nothing. There is no weakness in this game, no sieve. Stop waiting for the “but” because it won’t come. This is the perfect adventure game, the one adventure that brought every aspect of great adventures together and created such an enjoyable masterpiece, it almost seems to transcend the level of computer games.

filfre.net (give Jimmy Maher money, he more than deserves it)

This game was perfect. I was waiting on it. I have two boxes in my hands at the store in my Parisian suburbs: Day of the Tentacle and Wing Commander Academy. I love spaceships stuff but the Academy thing was a spin off and smelled like it wasn’t so great, looking at the screenshots and missions (I played it a few years later: it was a turd).

On the other hand, I had this irresistible green box with funny looking characters with a story happening at three different time periods. This sounded amazing.

And it was. I loved every single second of it. True, the puzzles were quite vague sometimes –design wise, how to make a puzzle work for a kid living in France with a quite different set of values and culture must not have been in the designers heads- but I would play and try things out until I was bored and then look up a magazine walkthrough pages to unlock the thing I couldn’t understand. I thought that “Fony” television was hilarious and inspiring. Subversion was king in the 90s.

Day of the Tentacle is one of those rare, everything-went-well cases. They had talent. The publisher hadn’t been through massive failures yet. Money was not a problem at all. There was no pressure like we have had for the past twenty years in game development. They worked their ass off, creative and accountable (polished and bug-free game!) through and through. It paid off.

Lucasfilm Games and LucasArts (same company, change of name) was probably the pinnacle of western game development. 25 years later and the game still holds well, like Batman the animated series or Animaniacs. Memories.

It’s a terrifying thing that’s happening in game development: people die. Early.

Game producer dies at 44. We lose a few every year and it’s starting to be a pattern.

It’s a young age but also, really?? He produced huge games for Sony, back to back to back. That’s got to leave some marks (he apparently died from heart failure).

How come we went from dying early because of body wear and diseases to dying early with virtually no body wear and quasi total absence of any disease and abundant nutrition? It defies nature’s laws.

How modern days healthy dudes who spent their lives in cubicles die earlier than medieval folks?

The out-of-this-world pressure, destroying our hearts and arteries at a velocity never encountered before? Possibly.

That’s scary as hell.

There are no right or wrong in fiction, only ideas that work or don’t. Sometimes, you need freshness.

In 1975, Moebius draw the biggest cyberpunk influence ever, a short-comic called The Long Tomorrow. It’s a classic police story only it’s happening in the future. The fruit of Dan O’Bannon writing and Moebius’ imagination, this short story influenced absolutely everyone from Blade Runner to Akira to the 5th Element to Cyberpunk 2077.

The Long Tomorrow describes a giant, high density city in part because mid 70s, this looked like the future of cities for their authors, men born right after WWII, who grew up thinking about reconstruction so much and who saw huge public housing projects being built all around the world in the 50s and 60s.

Cyberpunk 2077 is said to be "true" to the tabletop RPG game made in 1988, with the influence of Blade Runner, 1982, which in turn was influenced by The Long Tomorrow, 1975.

I mean, let’s ponder on the fact that a computer game scheduled to ship in 2020 is “true” to 1975’s anticipation of the future, when we’ve been having so many things that are drastically changing the vision, especially with fiction happening on the west coast of the USA.

– High density housing with very diverse population didn’t/doesn’t work.

– We have wireless-everything, delivery-everything-same-day, drones. Robots that jump, exoskeletons.

– Poor people don’t live in expensive “luxury” condos in towers, they live in their cars, on the curb, with 2 phones, 1 tablet and a blanket. They charge their phones in stores, malls and public spaces like libraries. Poor people live in small houses with 10 other people.

I think it’s kind of a mistake to act as if there was one and only one definition of Cyberpunk and Authorized Aesthetic and that it was coming from 75-88. There’s so much to re-invent in terms of cyberpunk universe considering what we’ve seen grow as tech trends in the past twenty years or so.

Cyberpunk would draw a lot more people into its universe if it wasn’t targeted only to 35-55 year old people who bought Blade Runner in every conceivable format.

Humongous Entertainment created a major wrinkle in that formula. The company, founded in 1992 by Ron Gilbert and Shelley Day, offered something different—a series of kid’s games that were based around narrative, character, and world-building rather than lesson gated modules. The two had come from LucasArts—Day worked as a games producer and Gilbert worked as a programmer and game designer—and specialized in creating adventure games aimed at adults. After seeing how much kids enjoyed playing adventure games, they decided to apply the same principles to games aimed at younger players.

Vice.

Ron Gilbert, who I had grew up playing his games, had this company and was making games to teach. I was in love with Humongous. I had already planned to be a game developer and my little sister was playing those games. I was studying her play and use the mouse. It was so cute. I was genuinely excited about the future of games and learning. There seemed to be so much to do. So much to re-invent.

The mid and late 90s were oblivious to financial pressure. Things were going well. By 2000 they had sold 16 million copies of their games. At a time when people didn’t have access to computers like we all do today. That’s amazing.

But publishers didn’t see it this way and coupled with the massive and drastic move from 2D and DOS/Windows 3.1 to Windows 95 and 3D in game development, edutainment was dead by 2003. Brutal.

I miss it. I miss the opportunity to teach with fun. I miss taking care of kids and respecting them.

We do the exact opposite these days in game development and we need to stop that shit.

This was my first RPG experience, ever.

We –my cousin and I- played this French game on my mom’s IBM PC XT. She’d just bought 2 for her freshly new independent accounting business. We played in the evening and my cousin played up late.

I still have the box goddaaaamn memories.

I just understood how unique that game was and how much it influenced my tastes. First person view? You bet. Procedurally generated gameplay? Check. Mix of fantasy, PSY powers and sci-fi? Triple check. That was almost unheard of at that time. 1986. I remember how pumped I was when we would do the “mental attack” and the IBM speaker would barf some weird square tone arpeggio while the NPCs would lose some health lmao.

Here’s the backstory, thanks to crpgaddict:

The backstory–recapped in a series of opening screenshots–sets the game on neighboring planets called Amarande the Black and Alfol. Once prosperous and unified, the planets are now torn between three factions: scientists and their technology, the religion (transcendance) of priests and vestal virgins, and sorcerers based out of the City of Skulls.

The strife seems to be the work of a demon named Aricoh and his unnamed ally. Followers of technology have entrenched themselves on Alfol, an inhospitable desert planet. The Pirates of Shaam menace the space between the two worlds. There are rumors that the priests have allied with telepathic beings made out of crystal who inhabit a parallel world called Meduz.

BRUH SPACE PIRATES. Even when I wasn’t playing the game, the backstory was just dope enough to trigger my imagination. I loved the fact that we didn’t know much. That things were rumored. That you could use a  “seduce/charm” command to get NPCs to join your squad, fly spaceships and share items. So much freedom and possibilities.

As crpgaddict notes, mapping zones was hard. I think it was one of the first exercise that developed my spatial brain like fucking crazy. I remember struggling to understand positions and movements because the game wasn’t easy on that. Later, Wolf3D and Doom would be easy for 12 year old me to navigate after that hardcore CGA bullshit.

I don’t know how, but my cousin beat that game. He leveled up and one night he went to defeat Arioch, the big boss. My mom was kind of mad because he had left the computer on all night long to show the final page –yes, the end was a page of text explaining that you were the Lord of Whatever and no, we couldn’t save or “resume” at that time-. The easy days.

What I realized earlier this week is that:

– Loriciels the publisher only released that game on MS-DOS. There’s no other version. Loriciels would release games on all platforms but very rarely on that one. That makes the game even more special.

– The developer, Grafmodcolor is unknown: 2 nicknames and that’s about it. They only made that game, apparently. More mystery, more legendary.

Chapeau bas, les gars.

What makes these issues worse is that the patches themselves aren’t meaningful. Apex Legends has only had about three total balance patches or adjustments outside of bug fixes and almost all of them have been nerfs. Two months after release, Apex has added just one new character and one new gun. Fortnite’s v8.10 patch had three major balance changes, reworked the game’s vending machines — an important way to get loot — and added a new vehicle along with reworked animations for healing.

1. Journalists have so much bad faith. I know, it’s business. That’s also why that career means less than ever.

2. Making multiplayer, fast-paced computer games with millions of people playing through a large variety of machine is an insanely complex task. Respawn is a small developer to tackle this and they’re doing amazing. That’s why they’re going slow. Focused.

3. The race to bottomless content is unrealistic and stupid: first it’s not economically sustainable, even for Epic. Second, pushing for novelty as incentive to do anything is so bad for culture and game culture! You can enjoy something that’s been cooked days ago. A music album that’s 21 years old. An 800-year-old cathedral. But not with computer games. We have to stop this.

4. The battle for audience and the winner-takes-all approach that everyone looks forward to, is our demise. Every. Single. Time.

It’s exhausting, that’s what it is.