Long ago, in the era of Netscape and Internet Explorer, I would spend hours surfing the net trying to find any sort of MMO that, A) could run on my brick of a computer, and B) was free. World of Warcraft and Everquest were the biggest thing around, the novelty of online communities uniting so many around common goals. I would pore over articles on Asheron’s Call, Star Wars: Galaxies, Final Fantasy XI, Ragnarok Online… For every game out there, it had another ten beside it, veritable hydras housing universes inside of them.
Browsing category: Overviews
In a far-flung future, cyber-laden Vapor Trails from developer sevencrane (@sevencrane) presents a sidescrolling action game oozing with style. Weaving a plot of intrigue and mystery, the player fills the shoes of Val, part of a robotic line known as Valkyries, thrown out to waste away in The Deeps for being too adaptable. Your abilities take you far, though, as you find yourself working your way back to the surface for revenge.
The basic premise thus far is that you pan around a single-area point-and-click environment, looking for characters or artifacts, ultimately in the service of acquiring musical instruments. You then go through the magic door in a free-standing wall, back to your boundless isometric white room, where you set down these instruments and configure them. Some allow you to write a melody. Others are droning instruments where you just select a pitch; others yet are drums, which let you tweak their sound and step-sequence them. They all sync up, and the general course you take is finding one instrument, setting it how you like, and returning to the point-and-click environment, where the means to uncover yet another instrument have just been unlocked. You go back to your room, make your loop a little more interesting with another instrument, then repeat until you’ve found every instrument the game offers thus far.
The instruments themselves sound quite pleasant, although the granularity of sequencing is a little limited if you’re trying to do anything rhythmically complex. Then again, this is just a toy, and a truly charming one at that. Beyond the fun that can be had composing, and nearly anything with a little thought put into it sounding decent since the instruments are almost all in the same key, it’s such a delightful world to poke around on the other side of the door. The way interactable elements animate under your cursor, the strangeness of the conversations and of the characters’ desires for trades, the faint hint of your loop that you can hear coming from the door when you’re outside, and the stylistic contrast between the grayscale “outside” and the stark monochrome “inside” all make for an experience that’s candy for the eyes as much as it is for the ears.
It’s a great little prototype so far, and I look forward to what may come of further iteration. If I had to give one piece of feedback, it would be that it could do with some optimisation, as even natively it has a tendency to lag, which can really suspend disbelief when the animations of the instruments desync from the audio.
Among legendary shows that have become fixtures of pop culture, Hideaki Anno’s Neon Genesis Evangelion is a beast in a league of its own. Airing nearly 25 years ago in 1995, it maintains status as a foundational mainstay for anime fans and something of a go-to for those who wish to explore the “mature” side of the medium. Exploring themes ranging from what free will truly is, to transhumanism and the mental ramifications of religion, Eva plunges deep into its characters’ psychologies and the plight of the human condition.
Of course, this is all well-documented and understood at this point. End of Evangelion has long since come and gone, leaving us stranded in an LCL-drenched liminal space, waiting on Anno to finish the Rebuild series, a reimagining of the show as he (supposedly) originally wanted it to be, unconstrained by technical limitations or budget restrictions. Regardless of opinions on the three entries thus far, it’s hard to deny the fact that they have fueled the hype train of Eva‘s insanely devoted fanbase like nothing else. Not unlike the original show, Rebuild has spurred all sorts of spin-off material, including but not limited to: pachinko machines, an expansive section at a Japanese theme park (complete with giant Eva-01 statue and Lance of Longinus), crossovers with Godzilla and Transformers, and, of course, video games.
So many video games.
Oblique et coupant l’ombre un torrent éclatant
Ruisselait en flots d’or sur la dalle polie
Où les atomes d’ambre au feu se miroitant
Mêlaient leur sarabande à la gymnopédie
Slanting and shadow-cutting a bursting stream
Trickled in gusts of gold on the shiny flagstone
Where the amber atoms in the fire gleaming
Mingled their sarabande with the gymnopaedia.
J. P. Contamine de Latour, Les Antiques.
Excerpt published alongside Erik Satie’s Gymnopédie No. 1.
Modus Interactive has a way with destructive architecture, with digitized runoff and detritus left over from the transmutation of deterritorialized cityscapes. With A Broken City comes yet another imaginative vignette of comfortable desolation, where Satie’s Gymnopédies haunt you distantly as you traverse urban esoterica.
Networking, whether you do it consciously or as a side effect of enduring social work events, is something we’re all familiar with – or at least the concept is. Often seen as a necessary evil, it has routinely demonstrated that it doesn’t have to be so craven. Our complacency with common structural vulgarities like crunch, poor planning, and fearful avoidance slowly and gently acclimates us to unsustainable modes of being. The industry is, and has demonstrated that it is, capable of doing better. When used tactfully, jaded dark humor can be the very signal flare we need to draw our attention to the desperate need for change.
@corpsepile‘s Networking Event Simulator takes that idea and warps it into a deliciously hellish liminal space. One part cynical piss-take on mundane repetition and one part exhausting omnipresence of cookie-cutter social behaviors, it’s a game that puts you in the position of climbing your way to the top through one of the most passive-aggressive sports known to humanity.
Approaching exit velocity, my tiny body spirals wildly as I desperately hope I can catch the orbit of the platform across the void. Mice have it rough out here in space, unable to travel the stars properly any longer, they resort to flinging themselves from destination to destination, floating the gaps alone. mouse sector has the player tackling the minutiae of this, showing the player a sliver of the galaxy that they can delve into, jam-packed with secrets.
The Dismount games are… something, all right. The brainchildren of Jetro Lauha (@jlauha) of Finnish demogroup tAAt, they lie at the intersection of puzzle games, stress toys, and simulators. They both meet this intersection in about the same way; they distinguish themselves from each other in their execution.
Need For Madness is the brainchild of one-man Egyptian studio Radical Play (Omar Waly). Simply put, it’s a cartoonish driving game where every stage can be won as a race or as a demolition derby, at the player’s discretion. Its current iteration is grand and ambitious, a comprehensive single-executable package including the original game, the sequel, multiplayer functionality, car and stage designers, and updated graphics. This is all well and good, but today we’re focusing on what kicked this all off: the 2005 original, in all its low-poly, childhood-forming glory.
I never finished Vampire: The Masquerade – Bloodlines, much to the chiding of my social circle. Despite this, it was still a very memorable and formative experience for me. When other ImmSims and RPGs were showing me fantastical realities I had difficulty relating to, Bloodlines was different: a painfully familiar drama, full of petty street politics and demographic struggle I recognized from day-to-day life.
Parasocial relationships are a hot topic right now, but something we don’t discuss is how we often form those relationships with some setting. We are very fond of taking a fetishistic snapshot of a city’s culture, gleaned through second-hand anecdotes or romantic portrayals in media. More than just a fan tribute to bloodlines, Santa Monica By Night, made by Outstar and 8bitmemories for the Vampire Jam, is a meditation on this concept.