Wednesday, June 26, 2019

Myst TV rights involved in yet another vague but probably exciting deal

Apologies for the skeptical headline. I've been covering this story in various forms for a decade now.
Village Roadshow Entertainment Group, the Australian-American co-producer and co-financier of the “Matrix” and “Sherlock Holmes” franchises, has acquired the rights to the first-person graphic adventure. [...]
Village Roadshow says it will use the games to develop a “multi-platform universe including film, scripted and unscripted television content.” The company will develop and produce the content with original co-creator Rand Miller and his youngest brother Ryan Miller, as well as Isaac Testerman and Yale Rice at Delve Media.
For the past few years, Cyan has been partnering with Legendary Television to try to make a Myst TV series or movie or something. (E.g. the failed Hulu deal in 2014.) It sounds like Legendary is no longer involved. So this news could be summed up as "Cyan switches production partners". But Village Roadshow has put down money for the rights, so that's a step forward.
(I need hardly remind people that "paid for the rights" is a long, long way from "greenlighted the production of a show." And "multi-platform universe" basically means "we haven't decided what we want yet".)
The article mentions Isaac Testerman's Delve Media. This is interesting. The last time I saw Delve mentioned in relation to this story was this backroom wrangle in 2012. I didn't realize they were still involved, or had become involved again.
Anyhow, despite my world-weary tone, this is exciting. Hopefully we'll hear more about it in August at Mysterium.

Thursday, June 20, 2019

NarraScope 2019: complete

NarraScope 2019 is over. Here's what I wrote about it.
You've probably already read this blog post. But NarraScope was such a large part of my past year that I need to at least mention it on my personal blog.
Yowza, that was great.
See you in 2020.

Tuesday, June 11, 2019

Notes on recent games: big narrative


You are the system AI of an LEO space station which has just gone wrong. The surviving astronaut reboots you. Fix the problems.
This feels rather old-fashioned, for a couple of reasons. Narratively, you're on rails; Emma gives you tasks and you carry them out. You have enough leeway to hunt around the station and collect notes -- journals and logs in a very classic environmental-storytelling mode. But the next task is always clear. Your only real narrative choices are how exhaustively you want to hunt journals.
As for the mechanics, the basic navigation model is simple. You can switch cameras in each space station module, and switch to new modules as they come online. You can connect to any station device visible on camera; you can report anything you see to Emma. Later, you get to steer a floating drone. Pretty much everything else you do in the game is a matter of "connect to a device, figure out its controls, do what Emma asks." Or "Figure out its controls, see a problem, report it." You wind up using most devices twice or more, so you get the sense of learning a toolkit, but it doesn't really have systematic mechanics that build on each other.
So that makes Observation sound pretty dishwater, doesn't it? But the game works really well! It's a series of crises -- as you would expect from a barely-functional space station -- and the sense of urgency carries you right on through all the mini-quests and button games. All of which are fun. They may not have a deep narrative or mechanical basis, but you feel good when you get something right and Emma gasps in relief. Reporting a problem may be a matter of selecting a trouble spot and pushing a button, but Emma seizes on your intel and advances the plot, and there's your sense of agency.
Furthermore, being on rails fits your narrative role. You are, after all, only a computer. Your NPC partner is doing the real work of fixing the station. You're taking care of all the background mechanical stuff that Emma either can't reach or can't spare the time for. You've always got a job to so. It's a simple trick, but as I say, it works really well.
If I have a real complaint, it's that the puzzles involve too much searching around with the slow-and-grindy camera controls. When I got stuck, it was always because I'd failed to find one critical switch or sticky note. The only way to advance was to keep panning around. It's a dense environment, but it's mostly space-station clutter; it's not that much fun to explore.
(A couple of scenes move outside the station, and the view is stunning -- but it's also a much larger environment and it's really easy to get lost.)
So I can't say that Observation pushes any boundaries. But everything it does is so engaging and nicely constructed that I don't care. It's a terrific experience. Recommended.

Close to the Sun

It is impossible to talk about this game without mentioning Bioshock. On the one hand, that's a problem. On the other hand, it's an easy problem to ignore. Monumental Art Deco follies are awesome; we've played in them before Bioshock; why not play in some more?
Plus, the pitch is "Bioshock without zombies", which gets me up out of my chair dancing. I didn't mind the combat in Bioshock; it's a gun game. But that wasn't what interested me. I was there for the environments, narrative, and puzzles. Close to the Sun is all those minus the gun. Great!
Well, pretty good. I mean, it's fine. I mean...
For a start, it doesn't seem to have much to say. Bioshock starts with a thinly-veiled Ayn Rand declaiming the glories of personal liberty; and the game was about free will and liberty. CttS gives us an alt-history Nikola Tesla declaiming the glories of pure scientific genius, and somehow it comes to exactly the same thing. You have giant gilt rooms inhabited by extremely rich people. This Tesla is an extremely rich power magnate, hounded by resentful Edison terrorists -- which is a nice bit. But there's no take here. Except for portraying Tesla as kind of a clueless lunatic, which comes off as watered-down reality and a watered-down Cave Johnson, both at the same time.
The story involves running around the dead ship looking for your sister-the-scientist. There's the expected sisterly banter on the radio, plus Tesla diatribes and a few other characters. The characters never really came to life, though. At least as far as I got.
For all my gripes, it's a perfectly playable game with kickass visual environments. Some kind of time-fracture story is building up, which has potential. I'm perfectly willing to play through such a game. However -- I didn't finish CttS. At a certain point you get chased by a lunatic with a knife. (The Whitechapel killer, of all the really-not-Art Deco figures.) You have to run away or get messily stabbed. I tried running away six or eight times. Five times in a row, I tripped over a low barrier because the "vault" button refused to work. Then I gave up.
I wanted to like CttS more, but there just didn't seem to be much meat on the bones. Observation did more, quicker, with less dialogue.


And now, the awkward bit where I like a game, I recommend a game, but everything I have to say about the game is negative.
First, unsetting the expectations. When Zed launched its Kickstarter in 2016, it billed itself as a puzzle adventure. The pitch invoked Myst early and often. (Underscoring that, Zed wound up being published by Cyan.) But development is hell, as we know, and the final release has evolved into something a lot more Gone Home than Myst.
That's fine, as long as you don't walk in jonesing for puzzles. Walking sims are great. My complaint is that Zed spends much of its (short) length walking through well-trodden territory. It's a symbolic exploration (check) of someone's life (check) laden with loss, regret, and nostalgia (check) and affairs with hot young grad students. No, wait, that last bit is a different genre. This one is an artist being screwed over by Hollywood.
And the play consists of finding symbolic objects that trigger memories. Find all four in a scene and you can go on to the next. Repeat until sentimental ending symbolic of new beginnings.
None this is bad, but we've seen it before. A lot. Even more so on the psychological-horror side of the walking-sim fence. Zed doesn't go the horror route, but the techniques are still familiar.
In theory, Zed explores the life of an artist suffering from dementia. I say "in theory" because that aspect seems barely present in the narrative, and not at all in the gameplay. I have not lived through the hell of a parent or loved one falling into dementia, but I have friends who have. They talk about progressive inevitable loss: loss of memory, loss of ability, loss of the person they once knew. Every remnant you find is a tiny miracle -- and crushing, because it's got an expiration date.
Zed isn't about loss. It's about memory, yes, but your experience is the opposite of loss: you build someone's complete life. Everything you find is crystal-clear. Winning means finding it all.
Okay, this is a hard problem. I'm not saying Zed had to tackle the experience of loss this way. But it feels like a missed opportunity that it didn't even try.
(The obvious comparison is Stephen Granade's Twine game Will Not Let Me Go, but I'm embarrassed to say that I've never played through it. It's the right comparison anyhow.)
Okay, enough negatives. Zed is a visual treat -- large, striking, vivid environments, wildly varied and each appropriate to its theme. If you are a VR enthusiast, I'm sure you will enjoy wanding through them as much as I enjoyed the old-fashioned flatscreen experience. The voice acting is lively and convincing. It avoids the cliche of walking-sim monologue narration while still staying focused on the protagonist's voice; a good trick.
And the story pulls together solidly at the end. It's a genuine and moving conclusion.
And I've still spend four times as long complaining about Zed as I've spent praising it. It's good, you should play it. I just wish there was more for me to buy into, rather than just to watch.

Outer Wilds

(Not "Outer Worlds", an unrelated and as-yet-unreleased game.)
I haven't finished Outer Wilds. I'm still working on it. I'm not going to write much, because it's not the game I thought it was when I started. And it's not the game I thought it was half an hour later, when the (SPOILER) started. So I'm probably still wrong about what game it is.
But it is 100% adorable, with banjos, marshmallow roasts, and spaceflight among St-Exupery-sized planets. It's also deeply nerdy. And it's, I'm pretty sure it is, no I'm sure, it's incredibly clever.
Play this one. Don't wait for me to talk more about it.

Monday, June 10, 2019

Notes on recent games: nifty little experiments

Fugue in Void

Expectations count. When you fire this up, it opens with a langorously slow zoom into an abstract monochrome worldscape. I stared at it. I wiggled the joystick. I went and got a glass of water. It was still zooming. It was pretty, but, like, was the game broken? I killed the process.
Then I looked back at the Steam page, which says: "The game starts with a 10 minute intro." Geez, if I'd known that... To be clear, this is my fault for projecting my expectations onto the work. I should have been willing to say "What is happening is the thing that is happening" and then settle back to watch.
Anyhow. This work will make more sense if you view it as coming from the demoscene rather than the indie game world. (I have no idea if the creator knows this.) The noninteractive opening would be at home in any demoparty. The body of the work has the mode of a walking sim (with slivers of game trope) (pressure plates open doors), but it remains a piece about visual experience rather than world interaction. Specifically, a world of overwhelming concrete architecture, abstract sculpture, and blown-out visual contrast. The style has turned up before (e.g. NaissanceE) but I enjoyed being able to take it in without annoying platforming goals.


Not a recent game, of course. I picked up the iOS version this month for no particular reason.
The followup Everything rather eclipsed Mountain, because Everything is larger (by definition!) and also has structure to make a gaming audience feel at home. But Mountain offers as much charm for its size. I have never before said "Why, yes, I do sometimes feel like a mountain floating in the void, trying to serenely meditate on the universe, and then a washing machine or a stapler or something flies out of the void and sticks to me, you know what I mean?" But now that you ask, the answer is yes, I do. It's a remarkably cogent question considering that the game asks it nonverbally. And it's reassuring to consider that the stapler will quietly decay. Someday it will be gone, even as more objective noise flies out of the void towards me.
I left the game running for a while, and when I came back, the mountain was gone. Now I've started over, and I have to keep the tablet nearby and take a look now and then. Well played. Hey, look, there's cake.


A game about radio stations with a genuinely awesome interface gimmick. You listen to broadcaster audio tracks in real time, flipping channels at will. Your only mode of interaction is to record a clip from one station and then play it as a "listener call-in" to another station. This gives you a broad range of action without the awful pit-traps of free text or speech input. Nice clear authoring model, too. And fully voiced for both game outputs and player "inputs"!
To keep the script under control, it's a time-loop game; you get three minutes on every channel and then the world resets. The writers decided to make the story about the time loop -- a natural (perhaps inevitable) interplay of form and content.
The problem is, there's no room to set up an actual conflict here. It's a vague "public debate about the time loop". Newscasters say politicians are for and against it, talk-radio hosts discuss dissent, pop DJs mention the upcoming vote. Conspiracy jocks insinuate that the loop has already started (which of course it has). But there's no actual debate. It's an unsubtle Brexit riff, but Brexit shorn of racism, nationalism, health care, banking, and the Irish border -- i.e., nothing about Brexit at all, nor any other current issue.
So it's fluff, yes, but by the same token it's broadly-drawn and a lot of fun to listen to. The voice talent are all having a great time. It's an easy play-through; very short overall, and the script gives you plenty of nudges about what you should be doing. Very much worth a run just to see how the gimmick plays.
(Big bonus points for supporting accessibility for visually impaired players.)

Sunday, June 9, 2019

A more complete collection of Infocom sources and game files

A followup to my discussion of the Infocom source release a couple of months ago...
I've just spent a couple of weeks gathering up every version of the source code and the game files that I could find. Jason's GitHub collections are excellent, but they are an edited extract from one source: the so-called "Infocom Drive". They omit some published variations, beta-tests, and so on.
For years, the IF Archive has had another collection of Infocom game files (though not source code): the patches collection. But these were in an annoying encoded format, in order to dodge the legal problems with archiving commercial games.
I figure that those legal problems are well out the barn door now. It's time to have every Infocom game file variation in one place, indexed and easy to download. So here they are:
I've tagged everything with the release number and serial number, where known. Plus tags for whatever other info we've got: "alpha", "beta", "mac", etc.
Research and enjoy!