Category: Gaming

Is VR the next 3D? (maybe) Kinect? (maybe) Wii? (maybe)

Virtual Reality is a pretty magical experience under the right set of circumstances. Having tried now all of the big players in the space between Vive, Oculus, HoloLens etc, I can say without question that VR and Augmented Reality have finally broken through to the consumer.Yet I have begun to figure out some of the obstacles that are going to seriously impede adoption, and they aren’t new ones.

Let us, for a moment, skip the cost of the actual hardware and supporting hardware. Eventually this entry point will come down and it’s low hanging fruit to start there because the technology is so new. Suffice to say for the moment that it’s incredibly expensive compared to other “good enough” technologies that are focused on entertainment as the gateway for broad adoption.

Let us further for this discussion skip the virtual store/User Interface. Much like phones and operating systems this will eventually solidify when someone hits the right metaphor or construct that makes obtaining apps/games and navigating between them easy and (more or less) simple.

So let’s assume you have brought home Bob’s Amazing VR platform, and Bob’s Amazing VR platform once properly setup and connected leads you to magical experiences.

There’s a massive gap in the middle of these two things that could kill VR as dead as 3D Blu Ray, or Kinect games, or even the fact few play the Wii anymore (arguably the most successful of these technologies from a usage standpoint).

That gap is the friction involved to enter the experience.

3D Blu Ray exposed the same complaint I often heard about the Kinect: “I can’t just sit down and get into it.” First you must make sure that your Blu Ray player supports the latest firmware, your glasses are available and not in a dusty corner somewhere, they are charged and/or have fresh batteries, they are properly synced to your TV, that you have enough glasses for everyone, that the TV and the Blu Ray player are in sync on the 3D signal, that you upped the brightness on the TV to compensate for the dimming effect 3D has, and lastly that everyone has a proper viewing angle. You perform all these actions and pop in your Blu Ray only to find you accidentally popped in the non-3D copy and have to get up to go back to the case to get the 3D one. Never mind the fact the primary way you consume movies or TV now might be streaming for which there is little 3D content. Add to that, I hope you don’t get a headache from the 3D syncing.

Let’s look at Kinect. Similar problems arise. The idea of motion activated gaming seems like a winner on paper, and the Kinect sensor is a marvel of engineering. But its utility is really limited to gaming experiences for which you have to rearrange your living room, calibrate the sensor (sometimes even in between games) to properly sample the game space, and deal with situations that typically confuse the sensor like the family dog entering the space or someone in the background going to get a drink from the kitchen. A few magical moments don’t really compensate to overcome wondering if you really want to move the couch and coffee table out of the room again to play Dance Central.

The Wii managed to keep the entry to experience friction low, but content was limited to Tennis. Or Bowling.

Now let’s look at VR. Depending on how Bob designed the VR rig you at the very least have a headpiece to wear. It may or may not be tethered to a base unit that is not meant to be moved. The headsets are a long way from an uncomfortable motorcycle helmet but are also a longer ways away from feeling like no headset at all. It’s Yet Another Thing ™ you have to take the time to get right before you can experience what you want to experience. It may require calibration. The magical experience you had over at a friend’s house might be completely different because he has Joe’s Amazing VR Platform not Bob’s but you didn’t know there was a difference. Like the 3D glasses, you probably feel a little goofy wearing the setup, and your friends video’s of you flailing around on Youtube don’t really endear you to your investment. Once done with your experience you have to stow everything away, which means finding a place for the helmet and equipment.

The friction point here is time.

We’re all competing for time. Microsoft isn’t competing against Sony with the Xbox. Sony isn’t competing with Nintendo. Everyone is competing for time. Because between movies, streaming, phone games, casual games, console games, going out to dinner, reading a book, and the fact there is more quality content above the “garbage” bar than at any point in history, there is no time. So much so I’m convinced I have past the point in my life where even if the content stopped tomorrow I would not have enough hours left in my life to experience it all when combined with work, sleep, and food.

Each of the scenarios I described above involves time. And remember, we already gave a free pass to the cost of entry and the ease of accessing content. That adds even more time.

Those problems will get solved with volume and maturity. Smartphones were along long before Apple solved the entry point and ease of use problems. Technology for the moment limits VR until miniaturization can get us to a societal point that contact lenses or even simple glasses make the friction points easy. That is where VR needs to focus its user experiences.

Make your VR platform goal to make the technology as simple and easy to enter into as an iphone app or launching Netflix and VR/AR will reach it’s potential so fast “Screens” as we think of them today will be a thing of the past. It might also avoid going the way of 3D.

Our Home is Our World

When Homeworld released in 1999 it was a revelation. A fully 3d real time strategy game of space fleet combat with in incredibly rich backstory, races, ship design, and game mechanics. My even saying the words doesn’t give it justice, just watch the opening few minutes, and the jaw dropping use of a choral version of Adagio for Strings.

Homeworld 1 opening scenes

 

I remember right off the bat sitting in my chair in front of my computer and I did something I don’t think I had ever done before: I exited the game and restarted it solely to watch the opening again. The Homeworld saga (I include its mission pack Cataclysm as well as Homeworld 2 to be one storyline much like Halo) is easily in my top five game experiences of all time. It sits comfortably alongside Half Life, Halo, Mass Effect or Bioshock as richly created alternate realities that, when you weren’t floored by the gameplay, you were gobsmacked by the story.

Which brings me to today’s news that Gearbox software has acquired the rights to the franchise. Homeworld will be coming back.

Right off the bat there was Internet skepticism, due to the recent efforts by Gearbox on Duke Nukem Forever and Aliens: Colonial Marines. I played the former, I have not gotten a chance to play the latter between writing and looking for work. DNF’s problem was that it was a perfect sequel to Duke Nukem 3d, had it been released in 2002. Story, and game mechanics, have moved on dramatically from that time. The game that was released was fine for a Duke game, but bringing back a tone and humor from 1997 fifteen years later is tough to pull off when the basis of the tone is around the humor. I remember Leisure Suit Larry fondly, but there’s no way that game is going to work today.

Why wouldn’t the same problem apply to the game mechanics and story of Homeworld, a game from 1999? I’ll answer in two parts.

The gameplay of the original game was ahead of its time, and is seen mimicked today in EVE Online and Sins of a Solar Empire. Designers of modern 3d space tactic games routinely cite Homeworld as their inspiration. The game itself broke stylistic convention with use of wonderful ambient or orchestral music before Halo perfected the formula. The spaceship designs draw obvious influence from famed science fiction artists Chris Foss and Peter Elson. They even contracted with the rock band Yes to make an original song for the game!

Yes: Homeworld (The Ladder)

 

Second, the universe laid down in the story is rich and deep. Prophecies are described and fulfilled. Alien races are interesting and their politics are intricate. The first time you encounter the Bentusi is one of my favorite moments in any video game ever. You play the role of a race who never knew they had been subjugated thousands of years before, and that your world is actually not your home. And even that that plotline is resolved you pivot to play along the (reformed) antagonist in an add-on set fifteen years later. Homeworld 2 advances the story to a galactic one, and at the conclusion it is revealed we have entered the age of Karan S’Jet, the scientist who melded her body to the mothership and the Pride of Hiigara. The prophecy of the Sajuuk is revealed to be completely different than what was expected, and the ending is satisfying and makes you want more of this universe.

It’s safe to say that outside of triumvirate universes of Star Trek, Star Wars, and Halo, I know more about the Homeworld universe as presented through the games than just about any other sci fi video game, even Mass Effect.

I’m to understand that this was a personal mission on the part of Brian Martel, the Chief Creative Officer of Gearbox, to secure this for Gearbox. I want to see a whole new generation get introduced to the Homeworld story and universe on iOS, PC, Android, Mac, whatever. I want to see comics, web episodes, and all the things Gearbox has been doing with Borderlands.

I want to see prequel games about the Taiidan Empire, or the original war with the Hiigarans, or even the formation of the Taiidan Republic just before Cataclysm.

More than anything, I want to see a Homeworld 3. Will the Bentusi return? Do the events at the end of Homeworld 2 bode well or ill for the Hiigarans? And what of the Galactic Council? What if the Sajuuk-Khar is attacked or destroyed, what does that do to the hyperspace gates?

There’s so much there. I can’t wait to see what they do with it.

So color me more than pleased.

Why Bioshock Infinite Probably Isn’t As Good As We Think It Is

My mind’s bouncing a bit around the Buddy shaped hole in our lives. But I wanted to say this about Bioshock Infinite since I finished it last week.

Let me state right off the bat, Bioshock Infinite is a must play game. It’s worth your money and you should play it. No, really I’m dead serious. Stop reading this and go play it then come back so we can talk about it. I’ll wait.

Second point, this post is going to be more spoilery than that sandwich the creepy eye transplant doctor fooled Tom Cruise into eating in Minority Report.

I mean it, I am going to spoil the living hell out of Bioshock Infinite if you keep reading.

Ok?

Ok.

I’m serious though.

Ok.

Endings are tough. As a writer they are incredibly daunting. Sometimes you get lucky and you come up with an ending before you even have a story. That’s the best scenario from a work perspective because you already understand how things turn out. Working backwards is just a matter of giving your ending some justice.

Then sometimes you come up with an ending in the middle of the story, which is harder but also a bit of a relief.

The absolute worst is starting off without an ending. Because holy shit, where is this all going?

And yet the best stories, at least in my mind, are the latter ones. Sometimes when you start off with an ending, you often can’t do it justice because in the working backwards you concentrate too much on that wonderful ending.

Bioshock Infinite has, in my opinion, a bad ending. One that it feels like someone thought was a wonderful ending.

Now, I don’t mean that the ending is cheap, or that it didn’t involve a lot of thought, or that it’s a cop out or anything.

If anything, it’s just a bridge too far. The story builds up to it backwards in a way.

Let me explain, and here is where I will TOTALLY GO INTO SPOILERS.

During the third act of the game it’s beating you over the head that all this time you are Father Comstock. They even mix Dewitt’s voice into Comstock’s voice at a couple of intervals. The Voxaphone extras are equally blunt. As I was playing, I actually said out loud once “Ok I get it I’m Comstock. Jesus, stop already.”

Then at the end, Elizabeth takes your hand and shows you the lighthouses. I was a bit annoyed because at this point I was waiting for her to just go “SURPRISE YOU’RE COMSTOCK!”

But that didn’t happen. That didn’t happen at all. Instead I spent the next few minutes gobsmacked as the game walked me through the alternate worlds and the fact that Elizabeth was my daughter, a daughter I had sold to Comstock years ago to erase my debt. What debt? Well it could have been my debt of guilt over Dewitt’s participation at Wounded Knee, or a financial debt, or perhaps even a dimensional debt required to balance the alternate universes.

I was floored, here I thought it was just going to be this cheap twist ending that I was the bad guy the whole time (which didn’t make sense that Dewitt was Comstock given his guilt over Wounded Knee but ok whatever) and instead I was offered this amazing tantalizing ending that would leave me with philosophical questions and something to ponder. What debt was I paying? The emotional payoff of Elizabeth losing her finger was deep and satisfying. The idea of the amorphous debt, the twins’ manipulations, the baptism metaphor, Dewitt killing Comstock in a rage, and the thrilling final battle sequence before the game’s end reveal left me reeling and thinking I had just played one of the best games ever written.

They had head faked me into thinking I was Comstock with the obvious voice tricks and dialogue and the baptism metaphor etc etc. I mentally congratulated the writers in their ingenuity at giving me a much more satisfying ending than just making me the villain all along and fooling me into thinking they were taking the easy way out.

Then the game continued and NOPE! SUPER DOUBLE TWIST YOU WERE COMSTOCK ALL ALONG!

I don’t think I’ve ever been more let down in a game in a long time in just a few minutes, which is a testament by the way to how good the vast vast majority of the game is.

It just makes no sense that Dewitt is Comstock, even in the multi-universe sense. It’s deeply unsatisfying. Guilt ridden Dewitt over his massacre of innocent Indians at Wounded Knee is, in an alternate universe (or maybe even the same one), racist Hitler-esque Comstock? Comstock who in at least one universe is sterile yet still Elizabeth’s father? Or bounces around dimensions made him sterile but Dewitt isn’t, so what’s the point of that except to make you think you’re not Comstock? I….there’s so much…what? Yes the baptism created a different person yet the drowning at the end…makes Comstock? Or not?

I’ve now played the ending two or three times over again and tried to make sense of it and sorry, it doesn’t work. And what’s worse is that it’s constructed in such a way that it’s somehow proud of its insights. And what are we to make of the coda at the end of the game’s credits? Dewitt is alive? Elizabeth is in the crib? I…what?

Dewitt being Comstock robs the game of some emotion and, I think, is a bridge too far. The coda at the end of the game’s credits compounds the issue.

I hate the ending of the movie Wall-E. It’s one of the best films I think I have ever seen but its ending is a cop out. When Wall-E suddenly for no reason regains his memory it negates the emotional impact of his previous sacrifice for Eve. What would have been a better ending? He loses his memory and then during the credits sequence (which features the story of humanity reclaiming the Earth), we see Wall-E slowly becoming who he was again over time and with Eve’s help. Wall-E is probably the best example I have of a movie that faltered fatally in its ending, for the payoff of not wanting to make the audience work too much. It’s almost like Bioshock Infinite failed in the same way, because the writers felt like the dimensions, the lighthouses, and how Elizabeth lost her finger just wasn’t enough twist.

I’m no expert on ending stories. I have taken that tone here I know. But at the end sequence of Bioshock Infinite when the multiple versions of Elizabeth kill Dewitt through the baptism metaphor I rolled my eyes and put my controller down.

So let me stop and remind you that if you made it this far and yet have not played the game GO PLAY IT. I might hate the ending, but I love the care that went into the game and it is, above all else, fun and beautiful and a piece of art that deserves support.

But having talked to a number of friends who have played it and were blown away by the ending I just wanted to express I think it would have been cleaner and more satisfying to stick solely with the Elizabeth emotional payoff. It feels very much that since Bioshock had a wonderful twist, they needed to one up themselves. Like a third movie from M. Night Shyamalan.

I’m saying all this only because I care about it. For sure if you hate the endings of my own stories please feel free to tell me how I don’t actually get endings at all.  Open-mouthed smile

Oh and one more time, yeah buy this game. I do want to see more like it.

Why Bioshock Infinite Probably Isn’t As Good As We Think It Is

My mind’s bouncing a bit around the Buddy shaped hole in our lives. But I wanted to say this about Bioshock Infinite since I finished it last week.

Let me state right off the bat, Bioshock Infinite is a must play game. It’s worth your money and you should play it. No, really I’m dead serious. Stop reading this and go play it then come back so we can talk about it. I’ll wait.

Second point, this post is going to be more spoilery than that sandwich the creepy eye transplant doctor fooled Tom Cruise into eating in Minority Report.

I mean it, I am going to spoil the living hell out of Bioshock Infinite if you keep reading.

Ok?

Ok.

I’m serious though.

Ok.

Endings are tough. As a writer they are incredibly daunting. Sometimes you get lucky and you come up with an ending before you even have a story. That’s the best scenario from a work perspective because you already understand how things turn out. Working backwards is just a matter of giving your ending some justice.

Then sometimes you come up with an ending in the middle of the story, which is harder but also a bit of a relief.

The absolute worst is starting off without an ending. Because holy shit, where is this all going?

And yet the best stories, at least in my mind, are the latter ones. Sometimes when you start off with an ending, you often can’t do it justice because in the working backwards you concentrate too much on that wonderful ending.

Bioshock Infinite has, in my opinion, a bad ending. One that it feels like someone thought was a wonderful ending.

Now, I don’t mean that the ending is cheap, or that it didn’t involve a lot of thought, or that it’s a cop out or anything.

If anything, it’s just a bridge too far. The story builds up to it backwards in a way.

Let me explain, and here is where I will TOTALLY GO INTO SPOILERS.

During the third act of the game it’s beating you over the head that all this time you are Father Comstock. They even mix Dewitt’s voice into Comstock’s voice at a couple of intervals. The Voxaphone extras are equally blunt. As I was playing, I actually said out loud once “Ok I get it I’m Comstock. Jesus, stop already.”

Then at the end, Elizabeth takes your hand and shows you the lighthouses. I was a bit annoyed because at this point I was waiting for her to just go “SURPRISE YOU’RE COMSTOCK!”

But that didn’t happen. That didn’t happen at all. Instead I spent the next few minutes gobsmacked as the game walked me through the alternate worlds and the fact that Elizabeth was my daughter, a daughter I had sold to Comstock years ago to erase my debt. What debt? Well it could have been my debt of guilt over Dewitt’s participation at Wounded Knee, or a financial debt, or perhaps even a dimensional debt required to balance the alternate universes.

I was floored, here I thought it was just going to be this cheap twist ending that I was the bad guy the whole time (which didn’t make sense that Dewitt was Comstock given his guilt over Wounded Knee but ok whatever) and instead I was offered this amazing tantalizing ending that would leave me with philosophical questions and something to ponder. What debt was I paying? The emotional payoff of Elizabeth losing her finger was deep and satisfying. The idea of the amorphous debt, the twins’ manipulations, the baptism metaphor, Dewitt killing Comstock in a rage, and the thrilling final battle sequence before the game’s end reveal left me reeling and thinking I had just played one of the best games ever written.

They had head faked me into thinking I was Comstock with the obvious voice tricks and dialogue and the baptism metaphor etc etc. I mentally congratulated the writers in their ingenuity at giving me a much more satisfying ending than just making me the villain all along and fooling me into thinking they were taking the easy way out.

Then the game continued and NOPE! SUPER DOUBLE TWIST YOU WERE COMSTOCK ALL ALONG!

I don’t think I’ve ever been more let down in a game in a long time in just a few minutes, which is a testament by the way to how good the vast vast majority of the game is.

It just makes no sense that Dewitt is Comstock, even in the multi-universe sense. It’s deeply unsatisfying. Guilt ridden Dewitt over his massacre of innocent Indians at Wounded Knee is, in an alternate universe (or maybe even the same one), racist Hitler-esque Comstock? Comstock who in at least one universe is sterile yet still Elizabeth’s father? Or bounces around dimensions made him sterile but Dewitt isn’t, so what’s the point of that except to make you think you’re not Comstock? I….there’s so much…what? Yes the baptism created a different person yet the drowning at the end…makes Comstock? Or not?

I’ve now played the ending two or three times over again and tried to make sense of it and sorry, it doesn’t work. And what’s worse is that it’s constructed in such a way that it’s somehow proud of its insights. And what are we to make of the coda at the end of the game’s credits? Dewitt is alive? Elizabeth is in the crib? I…what?

Dewitt being Comstock robs the game of some emotion and, I think, is a bridge too far. The coda at the end of the game’s credits compounds the issue.

I hate the ending of the movie Wall-E. It’s one of the best films I think I have ever seen but its ending is a cop out. When Wall-E suddenly for no reason regains his memory it negates the emotional impact of his previous sacrifice for Eve. What would have been a better ending? He loses his memory and then during the credits sequence (which features the story of humanity reclaiming the Earth), we see Wall-E slowly becoming who he was again over time and with Eve’s help. Wall-E is probably the best example I have of a movie that faltered fatally in its ending, for the payoff of not wanting to make the audience work too much. It’s almost like Bioshock Infinite failed in the same way, because the writers felt like the dimensions, the lighthouses, and how Elizabeth lost her finger just wasn’t enough twist.

I’m no expert on ending stories. I have taken that tone here I know. But at the end sequence of Bioshock Infinite when the multiple versions of Elizabeth kill Dewitt through the baptism metaphor I rolled my eyes and put my controller down.

So let me stop and remind you that if you made it this far and yet have not played the game GO PLAY IT. I might hate the ending, but I love the care that went into the game and it is, above all else, fun and beautiful and a piece of art that deserves support.

But having talked to a number of friends who have played it and were blown away by the ending I just wanted to express I think it would have been cleaner and more satisfying to stick solely with the Elizabeth emotional payoff. It feels very much that since Bioshock had a wonderful twist, they needed to one up themselves. Like a third movie from M. Night Shyamalan.

I’m saying all this only because I care about it. For sure if you hate the endings of my own stories please feel free to tell me how I don’t actually get endings at all.  Open-mouthed smile

Oh and one more time, yeah buy this game. I do want to see more like it.

Strange Days

[WARNING: This blog post contains minor spoilers regarding the D&D Next module The Mines of Madness. It describes the first portions of a playtest of the module before its release.  Do not proceed if you do not wish some minor spoilers]

A few weeks ago I got to go to Wizards of the Coast (WotC) for a very specific reason. To get eaten by a 15 foot wide poop worm in an outhouse.

Wait, wait.  I’m getting ahead of myself.

Scott Kurtz called me a few weeks ago to follow up an an email that Greg, Producer of Dungeons and Dragons at WotC had sent me. Would I like to participate in a recorded play through of the D&D Next (think next edition rule set) module Mines of Madness, written by Scott and Chris Perkins. It would be me, Scott, my friends Kris Straub and Molly Lewis, with Greg being our DM and Chris as a…well I can’t say any more about that at the moment.

I got my red box illicitly at the age of 12.  I was raised southern baptist and my family was firmly in the realm that Dungeons and Dragons taught children to love Satan, support marriage equality, think women deserve equal pay for equal work, and basically believe that the default position of humans should be to treat them well while not trying to threaten them with eternal damnation. The first part was the only fallacy.

This is all Tom Hanks fault.

As an aside there’s no saving throw against a 15 foot wide poop worm if you poke your head down the outhouse hole.

ANYWAY.

My friend Antonio bought the set, dice, and associated modules for us. I rolled wizard class generally, and D&D was a part of my life for a long long time.

When Scott called me, I had not played a formal game in ten years. That wasn’t due to any lack of love or “outgrowing” the game (I had played Neverwinter on PC and Delves of course) it was just that so many other games and real life had taken up my time.

But now I was being invited to play an unreleased module at Wizards of the Coast with my friends and record it for the Internet.

I picked up the phone and called 12 year old me.

“Dude.” I said.

“DUDE!” 12 year old me replied.

“Dude.” I agreed.

“DUDE!” 12 year old me argued.

“I gotta do this right?  I mean I would be an idiot not to do this right?” I asked.

12 year old me farted into the phone in agreement.

When I got there the D&D folks were happy to meet *me*. We all got a nice little setup with dice and a moleskin notebook.

getcontent

I DIED BEFORE WE EVEN GOT INTO THE MINE! (Poopworm)

EDIT: Yes I know I’m drawing big here.  I tend to draw twice, a close-up of the immediate room then a smaller version aligning to the individual squares. Good lord nerds.

If this sounds amazing (and even writing it is making me freak out at the things I sometimes get to do in my life) then you should listen to the fact that we recorded the whole thing.  We played for 4 or 5 hours, and they will be releasing the podcasts throughout the month of April.

I can’t thank my friends Scott and Kris and Molly and Greg enough for the opportunity.

The subsequent episodes will post 4/5, 4/12, 4/19 and the 5th and final one, 4/26. (note, subject to change based on editing or other things etc etc)

The Mines of Madness module is available TODAY to all D&D Next Playtesters, you can signup here: http://www.wizards.com/dnd/DnDNext.aspx