#oneaday Day 976: An Open Letter to the Robot Lady Who Lives in the Sainsbury’s Self-Checkout Machines

Dear Robot Lady who lives in the Sainsbury’s self-checkout machines,

I’m sorry to write to you out of the blue — and so publicly, too — but no longer can I go on with my life and our relationship without saying something.

It’s not you, it’s me. No, wait, it is you.

I know you’re just doing your job. I know you’re just reading the things that the nice people who pay your wages — do robots get wages? — tell you to read, but seriously. I know how to use you by now. I know that I jiggle the things I want to buy over your scanny bit until you go “bip!” and then I put them in a bag, and then I repeat the process until I want to pay. Then I put my card in and type in my number and we’re all done. Then I go home and cook and/or eat the things I’ve paid you for.

This is all fine. You should know by now that I’m fine with this, as indeed are most of the people who avail themselves of your services.

So why are you so needy?

“Unexpected item in bagging area,” you say as I put the item I’ve just told you to expect in said bagging area. “Checking item weight,” you’ll retort as I put an item that isn’t sold by weight into the bagging area. “Approval needed,” you’ll helpfully inform me as I put an age-restricted product into the bagging area.

Why must you do this to me? I came to you because of your promises of efficiency; of not having to wait behind the old grandma who has bought fifteen thousand tins of dog food and a microwaveable corned beef hash; of not having to make small talk with a cashier who has to have a piece of paper taped to their console saying “SAY HELLO, THANK FOR WAITING, ASK HOW THEY ARE” in order to remember how to have a genuine interaction with another human being. I came to you because I thought you could help me and that you could ensure the whole miserable process of shopping in a supermarket is dealt with as quickly as possible. But you taunt me, you wound me by forcing me to stand around waiting for someone in a Sainsbury’s fleece to notice the big flashing red light above my head — that light that seems to imply ha! this person fucked something up! HELP!

Your lack of faith in me is disturbing. Why can’t you trust me? What have I ever done to you? I push all your buttons with loving care and attention and still you can’t trust me. I’ve bought everything from a big slab of meat to a basket full of blind-bag My Little Pony figures from you, so you know I trust you. At least I did. Now I’m not so sure. Now all I want to do as soon as I see you is press your volume button until your voice goes quiet. Still you mock me from your screen, but at least I don’t have to hear your voice any more. At least I don’t have to deal with you talking at me just slightly too slowly and calmly to be comfortable. At least I don’t have to put up with you telling me to do things I’m already doing. Your friends over at Tesco and Asda don’t patronise me anywhere near as much. So why must you mock me, you damnable machine? Why?

We could have had something. Something special. But no. I’m sorry. This is it. No more.

Oh, what am I saying? I know I’ll be back. I always am. I need you. I don’t want to admit it, but I do. Together forever, enraptured in a relationship of mutual disdain, our lives pressing ever onward until our inevitable demise. I might buy some sushi from you tomorrow, or possibly a muffin. It doesn’t really matter. Nothing really matters. Nothing except your cold, heartless slavery to the capitalist machine, and my ever-present need to buy food from you and then eat it.

Regards,

Pete

#oneaday Day 975: The Chaos that Always Crawls Up to You with a Smile

With all the Japanese media (mostly games) that I’ve been voraciously consuming recently, I quite naturally figured that I may as well go full-on otaku and investigate some anime too.

I’ve tried to get into anime in the past. In theory it should push all my buttons — Japanese video games and visual novels are based very closely on the tropes and conventions of anime, after all — but somehow I’ve never managed more than a fleeting investigation into the medium.

The problem, you see, is knowing where to start. Anime is not some small, little thing you can just jump into at the “beginning” and follow a set “canon” of things you simply must see. If you’re unfamiliar with the medium, saying that you want to “get into anime” is like saying that you want to “get into movies” or “get into books” — it’s not a single, simple, easily-defined thing, as within itself it carries a huge collection of genres and formats, and is aimed at all ages from young to old and everything in between.

The first time I investigated anime was back when I was still living with my parents. My brother, who was working on PC Zone at the time (if I remember correctly — it might have been PC Player. One of those two, anyway. Not that it really matters.) had been given a metric fuckton of promotional anime videos, as the fledgling Manga Video label in the UK was just starting to come to prominence, and PC Zone had run a feature on anime-themed games too. The box of videos contained a diverse array of anime ranging from the bizarre (Ultimate Teacher, the story of a schoolgirl who could only fight well if she was wearing her modest Velvet Pussy Panties rather than skimpy cotton knickers, and her quest to defeat the genetically modified teacher Ganpachi) to the horrifying (Urotsukidoji, which gave me my first taste of tentacle porn and the subsequent confused feelings said first taste tends to evoke) via titles more grounded in “reality” (Crying Freeman, a drama about an assassin who sheds tears after every kill). I got quite into some of these but also became frustrated at videos that came in partway through a series, or ones which I didn’t have any real means of finding subsequent episodes of. As such, I didn’t really pursue my investigation of the medium any further.

When I got big into visual novels relatively recently, I started following J-List on Twitter and Facebook. Peter Payne, the guy behind the site, posts all manner of stuff on those accounts at seemingly all hours of the day and night, ranging from interesting descriptions of life as a Westerner living in Japan to pics of hot anime girls (and, occasionally, guys) — and, of course, discussions of what is worth checking out in the land of anime in general.

One show that Peter mentioned recently that caught my attention was Haiyore! Nyaruko-san, a show that takes the Cthulhu mythos of H.P. Lovecraft (specifically as depicted in the Call of Cthulhu pen-and-paper RPG), runs it through a mangle and inexplicably decides to make some of the most horrifying of the Old Ones into moe anime characters, beginning with Nyarlathotep (aka Nyarko) and following shortly afterwards with Cthugha and Hastur. A rather large degree of artistic license is taken with these characters — Nyarko is just one of a race of Nyarlathoteps, for example, and it turns out they’re not as evil and horrible as popular opinion might have it — but there’s just enough lip service paid to Lovecraft’s work to please fans while remaining totally accessible to those who have only a passing familiarity with the Cthulhu mythos. (You’ll miss quite a lot of the jokes if you have no familiarity with it whatsoever.)

The show is hugely entertaining, and manages to get the viewer hugely engaged with the weird and wonderful cast of characters very quickly while not taking itself seriously in the slightest. There’s a lot of fourth wall-breaking, a lot of self-referential humour and some truly inspired episodes that lampoon aspects of popular culture such as the console wars and the “dating sim” visual novel subgenre. (There’s also a lot of people stabbing each other in the head with a fork as a means to get them to be quiet, for some reason.) Much like how My Girlfriend is the President consistently raised the bar on how crazy it got as it progressed — and yet somehow remained coherent, engaging and touching at times — so, too does Haiyore! Nyaruko-san. It starts with an utterly absurd premise and only gets more ridiculous from there — but at the same time it draws the viewer in with endearing, well-defined characters (most of whom initially appear to be stock characters but who subsequently tend to reveal a strong degree of ironic self-awareness) and quite a touching — if painfully awkward and immensely frustrating — romance story.

It also has the most infuritatingly catchy intro and outro songs I think I have ever heard. This is either something you will be into or something you will never want to sully your ears with ever again, so I present both to you now in order that you may make up your mind.

[youtube http://www.youtube.com/watch?v=tYlAq-NhR1w] [youtube http://www.youtube.com/watch?v=j1qX5GsBfuI]

Basically, if you can deal with those two credits sequences, you’re in the appropriate demographic to enjoy Haiyore! Nyaruko-san. If they make you want to vomit, then perhaps you should go and treat yourself to something a bit more gritty.

#oneaday Day 974: The Caffeine Review

I review games and mobile apps every day. So really, how difficult can it possibly be to review something that isn’t a game or a mobile app?

I thought I’d try today with coffee. I am going to work my way through all the different types of coffee in the house today in an attempt to determine whether or not said different types of coffee do, in fact, taste any different or whether we’re just being taken for a ride.

Let’s begin! (Note: I drink my coffee with a splash of milk and no sugar. I know, I know, if I’m truly hardcore I should drink it black, but… no.)

Kenco Millicano

Kenco Millicano purports to be a “wholebean instant” coffee that, in theory, should taste a whole lot better than regular instants such as Nescafe et al. And indeed it does — there’s none of that “dirty water” taste (though granted, given the state of our kettle, it’s entirely possible that it is just dirty water when that taste comes up) and a pleasing aroma. It has a smooth flavour that is just the thing for a morning coffee — enough of a taste to wake you up a bit, but not so intense that you’re wincing at the bitterness.

Rocket Fuel

This coffee supposedly contains guarana, that mysterious ingredient that powered those weird Boost bars with crunchy green bits in them a while back. I remember a friend and I eating too many of those in one day once — some promotional ladies were handing them out in the student union — and literally being unable to stay still for afternoon classes. I’m not entirely sure if this coffee will have that effect as yet. Actually, I do feel slightly more alert after getting through that whole cup. Interesting. Caffeine normally doesn’t feel like it affects me that much, but I can certainly feel this one kicking in.

As for the coffee itself, it’s not especially great. It tastes like cheap instant (and isn’t that cheap) and has a weird aftertaste. Specifically, it has that distinct “dirty water” taste about it, though not to the same degree as cheap own-brand supermarket coffee. It’s certainly drinkable. We’ll see how I feel a bit later to determine whether the “kick” is worth the peculiar taste.

Nescafe Latte Macchiato

Rocket Fuel’s surprising intensity also came with a big caffeine crash a couple of hours later, so I decided to dial back the intensity somewhat. Nescafe’s Latte Macchiato sachets make a cup of weak, milky, bubbly coffee and are all too easy to make lumpy if you don’t stir them hard enough. They’re not particularly strong or “coffee-y”, but they’re nice and smooth if you’re just looking for a warm drink.

Real lattes take the piss out of them, though.

Starbucks VIA Italian Roast

This stuff makes a strong cup of coffee with a smoky flavour, and was just the thing to top up my flagging caffeine levels, as I’m not entirely convinced there’s any caffeine in those poncey bubbly Nescafe things. Starbucks coffee has a kick, though, and the Italian Roast blend is definitely on the “strong” side of the spectrum, both in flavour and in caffeine content. At least it felt like it was on the strong side, anyway. It’s good, but expensive. Now I feel a bit more awake.

Nescafe Azera

This is Nescafe’s equivalent of Starbucks’ pretentious VIA coffee. Like Starbucks’ pretentious VIA coffee, it’s a very finely-ground instant coffee that makes a convincing-looking cup that has the appearance of having come out of a machine, complete with crema on top. It’s about half the intensity of the Starbucks’ blend, however, meaning you need to use twice as much of it to get a satisfying cup of coffee. Fortunately, the little pots they sell it in are about twice as big as the pots of Starbucks’ pretentious VIA coffee for half the price, which is nice, and I like the way the little bubbles make the nice crema on top when the water goes in and I already said that and wheeeeee this is nice and I’ll never get to sleep tonight after all this.

Percol Decaf Colombian

BuzzbuzzbuzzbuzzI’mabeeI’mabeeI’mabee like the Black Eyed Peas wheeeeeeeee coffee coffee coffee too much coffee argh I can’t take any more coffee please make it stop I can’t sleep I want to sleep WANT TO SLEEP SO BAD but can’t too much coffee why am I still drinking this I don’t know it’s not as good as the Starbucks and Azera ones but its still quite nice and I’m just glad it doesn’t have any caffeine in it supposedly I hope so any more caffeine and my head will explode EXPLODE DO YOU HEAR ME ARGH NYARLATHOTEP that’s what I’ll do now I’ll watch Haiyore! Nyaruko-san until this buzzing sensation in my head wears off and I facvvvvvvvvvvbyhgbngybnm;lcv

#oneaday Day 973: Some Words on Social Anxiety

I’ve recently been chatting with a friend (who, for obvious reasons, shall remain nameless) who is coming to terms with their own feelings of social anxiety and wishes to make a difference to improve their life. I have spoken on the subject at length on this blog on a number of occasions in the past, but sometimes it’s helpful to just talk about these things or read about them. I’m sure writing about this will be cathartic for me, and for my friend it might help to know how other people experience this problem and how they deal with it — or not, as the case might be.

Deeply personal “TMI” post follows. Feel free to skip if you Don’t Want To Know. Follow the link if you do.

Continue reading “#oneaday Day 973: Some Words on Social Anxiety”

#oneaday Day 972: H, and Not the One from Steps

For one to become a fan of the visual novel genre, one has to be willing to deal with one of gaming’s great taboos: the sex scene. You have to be willing to play games specifically marked as “adults only” and warning of explicit sexual content on the box; you have to be willing to explain that no, you’re not actually playing a “porn game” (in most cases, anyway) — you’re playing a game that just happens to have sex scenes in it, because there’s a difference. You also have to be able to say that latter bit without coming across as defensive, which is very difficult.

A good few years back, I played several of what I then knew as “H-games” — specifically, True LoveRing OutParadise Heights and Three Sisters’ Story.

Of these games, two were pretty much out-and-out porn — Ring Out centred around a young girl who had been sold into effective slavery to repay her parents’ debts and who was forced to compete in an all-lesbian sex-wrestling tournament for the entertainment of pervy, disgusting men; Paradise Heights centred around a guy who both lived and worked at the titular apartment complex and seemed to spend most of his time either spying on or having sex with the residents. Interestingly, though, despite the clear focus of these titles being the sex scenes, they still bothered to put clearly-defined characters and an actual sense of narrative in there — Ring Out in particular, despite its eminently silly premise, was clearly designed to be an uncomfortable experience as much as an arousing one.

Three Sisters’ Story, meanwhile, was a title I actually can’t remember a great deal about, save that it was a character-heavy visual novel in which you automatically attained a bad ending at the conclusion if you gave in to base desires and slept with everyone who proffered themselves to you.

True Love was perhaps the most interesting, though, being an actual dating sim rather than a straight visual novel. You had a limited number of in-game days to find your “true love” (from among the wide variety of potential lovers at school, of course) and had to choose how you spent your time each day — studying, training, doing art, going shopping, that sort of thing. How you chose to spend your time affected various statistics, and the levels of these statistics affected your relationships with the girls. It was actually a surprisingly complex game that had a surprising amount in common with Persona 3 and 4. I really enjoyed it — and my past enjoyment of True Love is perhaps a big part of the reason why I enjoy the Persona games so much now.

Here’s the thing, though — at the time, I didn’t really feel comfortable talking about the fact I’d played these games to anyone. The popularity of the Internet was still in its relative infancy at the time, thanks partly to the fact that broadband hadn’t taken hold in this country yet, and I didn’t really feel that comfortable discussing them with my real-life friends at the time. (True Love was an exception — several of us ended up playing this through concurrently while we were at university.)

The sex was the reason. There was an air of “shame” about playing these games, and not in a Squadron of Shame sense. Because there was sex in all of them to varying degrees, I felt uneasy about revealing my association with them lest I end up thought of as some sort of weird pervert. (In the case of Ring Out, I probably would be thought of as some sort of weird pervert — there was some messed-up kinky shit in that game. Except now I’ve revealed the fact I’ve played it to all of you. Yay! I’m a weird pervert! AND PROUD.)

Yet now I feel perfectly comfortable talking about these games, and even promoting them through a regular column over on Games Are Evil. So what’s changed?

Several factors, I think. First up, my own attitudes towards sex have, naturally, changed over the years. Secondly, the rise of the Internet means that it’s much easier to find like-minded people to discuss these things with, even if they’re outside of your normal friendship groups. Thirdly, societal attitudes towards sex in gaming are changing.

We’re not living in a completely sexually liberated age, of course — there’s still a fuss any time a high-profile game such as Mass Effect or Dragon Age features bonking, and said games tend to skimp on the titillation by having characters writhing around in their underwear — but we’re in a place now where people are at least a little more willing to consider the possibility that games might have some sex in them.

Part of this is the fact that the general demographic of “gamers” has grown up somewhat and is demanding more “mature” experiences for their money. Mostly, “mature” tends to be interpreted as “more violent, more swear words and more women in suggestive outfits”. Sex is still seemingly considered somewhat taboo, so we end up with the underwear-writhing just described.

In 18+, adults-only visual novels, there’s none of that. In these titles, sex scenes are explicit, sometimes quite protracted and, in the words of their manuals, “not always exhibiting the level of sensitivity required for a healthy relationship”. They’re often highly erotic and titillating, and more often than not obviously aimed at a male audience — or at least presented from the perspective of a male protagonist.

Are they necessary? Probably not. Having played through two paths of My Girlfriend is the President now, I feel that game’s stories could probably have been told just as effectively without the flurry of shagging that occurs in the game’s third act of four. Some visual novels even allow players to turn off H-scenes altogether, and console or smartphone ports remove said content altogether, thereby proving that no, it’s probably not necessary.

They may not be necessary, but they’re actually pretty effective in many cases — at least from my perspective. Staying with My Girlfriend is the President, I found the erotic scenes to be incredibly powerful — largely because the writers had taken such great pains to build up a massive amount of sexual tension between the characters before anything truly perverted started happening. As the erotic scenes unfolded, a very “private” side of these characters revealed themselves. What were their attitudes towards sex and physical intimacy in general? How did they define their relationship with each other? Did they see sex as an important part of a relationship, or just something fun to do?

There’s also the fact that visual novels tend to take place with the player “riding along” inside the protagonist’s brain. The player is privy to the protagonist’s innermost thoughts, feelings and desires, however shameful they might be, It’s a uniquely intimate relationship between player and visual novel protagonist — not the same as playing a game where you feel completely “in control” of the characters, but one where the player feels “trusted” to find out things that, in some cases, other characters in the game world don’t know. Next to that, seeing Our Hero putting his penis into someone is a relatively small matter.

And with all that, there’s the fact that being turned on by something erotic is really just another form of emotional engagement. I’ll stay with My Girlfriend is the President for now, but it applies to many other VN titles, too — if feeling happy, sad, amused, upset or angry is a valid emotional response to the things you’re seeing unfolding on screen, why not feeling aroused or excited — or even just pleased for the characters?

There’s a distinction between these incredibly explicit sex scenes and straight-up porn, I’ve found. Seeing, say, Yukino and protagonist Jun getting it on is hot, sure, and the amount of panting, groaning and screaming on the game’s voice track (coupled with some truly stunning subtitles) makes it clear that these are scenes that are supposed to be hot. But they’re not hot in the way that makes me want to, well, not to put too fine a point on it, fap.

They’re part of a story; they’re something that is happening with these characters. Sure, they’re generally not saying anything meaningful to one another (“Mmmm… tch… slurp… aaaaaah”) but they are demonstrating part of their relationship to one another. The meaning of that outweighs any desire to flop it out and go to town — and the fact that I’m not treated as an idiot or a prude is also actually quite refreshing. Let’s also not forget that many VNs feature sex scenes that are not designed to be titillating at all — Hanako and Rin’s scenes in Katawa Shoujo spring immediately to mind — and instead are there to provoke some sort of emotional reaction, or afford a deeper understanding of the characters. Sex is, after all, part of life, like it or not.

Doubtless there are people out there who fap to sex scenes, and the fact that many VNs offer the option to replay just the sex scenes would certainly back this theory up. But, y’know, you want cheap thrills, there are certainly easier ways to go about getting them.

I am, of course, coming at all this from a male perspective and I do not apologise for this in the slightest. I find these experiences engaging, compelling and, on occasion, erotic. And anyway, if we’re being practical about this, what difference is there really between someone playing an eroge and the millions of people around the world who have read the Fifty Shades of Grey series? Think about that.

I’m off for a cold shower.

#oneaday Day 971: Y’All Should Probably Play This FTL Thing

Things weren’t going well. The rebel fleet were closing in, and the last jump had put the UNS Scruttocks perilously close to a rather active star that was currently enjoying a period of intense flares. Pete, best pilot in the remnants of the Federation (which wasn’t saying much) frantically struggled to power up the Scruttocks’ FTL engines as the ship was rocked  by the explosions of the overly-joyful sun.

It turned out that wasn’t the only problem, though. A pirate ship, seemingly undeterred by the solar activity, stood staunchly in the path of the Scruttocks, matching its every move and doing its best to ensure that this would be the end of the intrepid crew’s journey.

Andie ran from the bridge to her station at the weapons console at the rear of the ship. Lara followed her, splitting off at a rear bulkhead to head for the engine room. The undermanned Scruttocks was going to need every ounce of power she could give them if they were going to get out of this alive.

“Fire! Go for the shields!”

Andie didn’t need to be told twice. She diverted power from non-essential systems, powered up the ship’s missile launcher and laser cannon and took aim for the pirate ship’s shield systems. The first missile sailed harmlessly past, while the first volley of laser fire was absorbed by their assailant’s shields; the second struck true, the missile penetrating the shields and knocking out the shield generators, the cannon fire now free to inflict damage directly on to the enemy’s hull.

The pirates weren’t going down without a fight, though.

“Fire!”

“I am!”

“No, seriously, FIRE! Get out of there!”

Lara came running through the aft section, severe burns over one side of her body. Andie watched in astonishment as her determined crewmate headed for the medical bay. She smelled smoke, and knew that trouble was ahead. But if she could just hang on a little longer…

The air started to become thin; it became harder to breathe. Andie knew that Pete was trying to put the fire out by venting the oxygen out of the affected sections, but it seemed like the ship’s oxygen distribution system had been damaged by the fire, as even though the weapons room was firmly enclosed, she was definitely starting to feel light-headed.

Lara came charging back through. “Come on!” she cried. “Help!”

Andie left the weapons controls on automatic and followed her companion through the aft sections of the ship. Sure enough, the fire had gutted the ship’s oxygen distribution room, but the damage wasn’t so severe it couldn’t be repaired. The pair set about their important work, doing their best as the ship was continually rocked by impact after impact.

Finally, through the window they saw the debris of the destroyed pirate ship drifting sliently past. They had done it. The Scruttocks had survived another day, for now — all they had to do was get this oxygen tank back up and running before–

A loud bleep confirmed to the rapidly-weakening Andie and Lara that their efforts to repair the oxygen tanks had been successful. As they heard the air distribution system start up again, they breathed in heavily, gulping down the precious, life-giving air.

“Preparing for jump to lightspeed,” came Pete’s voice over the comm system. “Ready in 3… 2…”

At that moment, a solar flare erupted. The Scruttocks’ hull, weakened from the protracted battle, tore apart like a snail shell beneath a wellington boot. Its crew’s last thoughts as they were suddenly cast into the silent vacuum of space?

“Bollocks.”

That’s a typical day in the life of the crew of FTL: Faster Than Lighta new independently-developed game that officially came out today. In it, players oversee the crew of a starship frantically running from the mysterious “Rebels” as they attempt to deliver important secrets to the remains of the “Federation”. Little more context than this is given, and little more is needed, because FTL is a game about the struggle that is the journey rather than its beginning or its conclusion.

The most apt descriptions of FTL would draw comparisons to the board games Space Alert and Battlestar Galactica. Like those games, FTL gives its players a small number of crew members and a sprawling ship in which to deploy them, then continually bombards them with increasingly-unreasonable challenges until they explode, die, asphyxiate or reach one of a variety of other sticky ends. It is possible to “finish” the game by beating a final boss, but for your first few playthroughs at the very least, you’ll be dead within half an hour.

FTL strikes a great balance between simple mechanics and depth, and presents its unfolding emergent narrative in a manner that is abstract enough to allow the player to use their imagination, yet explicit enough to make it clear to understand exactly what is going on at any given moment. Players can route power to different parts of their ship, fire weapons on specific systems of enemy ships, move crew members around to man stations, deal with intruders and put out fires, and even faff around with doors. Doors are very important. You might not think that they are, but the moment your remote door control systems get blown out and you’re unable to vent your engine section that is currently on fire, you’ll come to appreciate the power of being able to sit in the driver’s seat and open the back doors without running the risk of asphyxiation.

FTL describes itself as a form of roguelike and there’s certainly plenty of resemblance there — a randomly-generated challenge at the start of each new game, permadeath and a wonderful sense of unfolding, unscripted narrative — but it has a unique identity that is all its own. It’s not trying to be Star Control or Master of Orion or anything like that, nor is it trying to be Angband in space — it’s the personal story of a few brave men, women and slugs who want to make a difference in a turbulent galaxy. Whether they do so, or whether they end up suffocating as they run around panicking at the fact that half the ship is on fire and the pilot is in the process of being eaten by a praying mantis? That’s entirely up to the player’s skill and/or sense of sadism.

Either way, you should buy FTL because it’s fucking great.

#oneaday Day 970: Shouldn’t This Tell You Something…?

A new game-related Kickstarter is not really news any more, but when one gets halfway to a $1.1 million target just a few hours after launching, that’s a clear signal that the public is very much interested in the proposed project.

The project in question this time around is Obsidian Entertainment’s Project Eternity, a new title that promises to resurrect the isometric-perspective, real-time-with-pause combat, incredibly well-written RPG genre as exemplified by the Infinity Engine games of the late ’90s and early ’00s. Many of the key team members behind the quite astonishingly good Planescape: Torment now work at Obsidian, so the prospect of a new game from these creative minds is a very exciting one.

Very few details on the new game are available right now, but what I feel is interesting is the fact that such a huge amount of support has already been pledged to this project. Obsidian’s justification for starting the Kickstarter in the first place was that it was difficult to get funding from major publishers for what they wanted to do — the Men In Suits believe that late ’90s-style isometric-perspective RPGs won’t sell, so the developers don’t get to make them.

Except… “won’t sell”. Is that really true? As I write this, Project Eternity’s Kickstarter page has pledges of $560,885. A few hours ago when I posted a news story on Games Are Evil on the subject, the figure was $238,296. According to Kicktraq, the project, assuming it continues at the current rate (which it probably won’t), will finish at over 1,500% of its original target. Naturally the initial flurry of people will die down and the final total will probably be a little more modest than the currently-predicted $17.1 million, but it’s certainly going to beat its $1.1 million goal comfortably.

This makes me ponder whether the big publishers, constantly chasing the megabucks, are really going about things the right way. Sure, the blockbuster titles most certainly are selling and making astonishing amounts of money, but they also cost a huge amount of money and time to make. Perhaps more importantly, the increasing “annualisation” trend that publishers are inflicting on popular franchises is starting to make longtime gamers resentful of these series. The regular appearance of Call of Duty has become a running joke, regardless of whether or not the latest entry in the series is any good or not. People still buy it, yes, and the games are unquestionably highly-polished experiences with well thought-out user retention and monetisation strategies but, well, is what you really want from a game something that has a well thought-out user retention and monetisation strategy? Or do you want something that is a memorable experience?

The two aren’t mutually exclusive, of course. But practically speaking, at some point during the development cycle, an important decision has to be made. What is going to be the priority: business, or creativity? Do you make something that will sell, or do something risky that has never been done before? Do you make a shit-ton of people feel satisfied, or do you make a smaller number of people ecstatically happy?

There’s no easy answer, of course. But whatever you may feel about the sudden rise to prominence that Kickstarter has seen over the last year or so, I’m certainly grateful that it gives developers who want to prioritise the risky, creative side of development the opportunity to make something that they want to make — and that their fans want them to make — rather than what a marketing plan put together by someone who quite possibly has never played a game before says they should make.

So yeah. You should go back Project Eternity. (It’s up to $585,632 now, incidentally.)

#oneaday Day 969: Hate Speech

The Wii U is too much money for last-gen technology. The iPhone 5 doesn’t offer anything new. Kamiya-san should just die if he doesn’t bring Bayonetta 2 to Xbox 360 and PS3. Terraria coming to consoles is a slap in the face for PC owners.

These are all genuine opinions I have heard voiced in the last few days by people of varying degrees of intelligence and coherence. Every time I hear something along these lines, it just makes me a bit sad. In general, despite regularly ranting and raving about all and sundry on these very pages, I try to remain as positive a person as I can when it comes to technology, games and the like. I find new things interesting and exciting rather than something to be cynically derided; I also take the firm belief that if something doesn’t appeal to you, that’s fine, but there might be other people for whom it does hold an appeal and you have no right whatsoever to piss on their bonfire.

There are obvious exceptions to the rule above — if something is a shitty experience for everyone, then yes, it should be derided. But none of the things I mentioned above are shitty experiences, and certainly don’t deserve the negative responses they have received from some quarters. In some cases we don’t even know enough about the experience in order to declare it shitty or not.

The Wii U in particular is an interesting case. The console isn’t even out yet and people are already quick to predict its failure for various reasons; quick to criticise features that may change, or that no-one has seen as yet. It’s almost as if people want it to fail after the astronomical success that the Wii enjoyed early in its lifespan. Bewildering.

The iPhone 5 has a similar problem. Nothing Apple could have announced would have made everyone happy. And sure, Apple have a real arrogance problem, getting people whipped up into a frenzy over cable connectors. But the fact is, the iPhone is still a fucking amazing piece of technology that we take for granted every day. There are plenty of people out there who haven’t got one yet. Wouldn’t it be nice if they could have the best possible version of this awesome gizmo if they do decide to take the plunge? Well hey, look at that, they can.

And then there’s the anger about Bayonetta 2 being a Wii U exclusive. (Yes, someone actually did tweet a death threat at Kamiya-san earlier.) Bayonetta was an awesome game that not enough people played. Meanwhile, absolutely fucking everyone bitched about the Wii not having enough third-party support. So a prominent (if underappreciated) third party pledges support to its successor and everyone complains. (Well, apart from open-minded Bayonetta fans, most of whom seem to be more than happy to consider purchasing a Wii U purely to punch more angels in the face. Actual tweet from someone who is not me: “So Bayonetta 2 is going to cost me around £300. Let’s face it, for the sequel to the best action game ever made it’s probably worth it.” I concur.)

Finally, there’s the Terraria issue. This is perhaps some of the most obnoxious behaviour I’ve ever seen from the gamer community. Take a look. Essentially, the “problem” was that the Terraria developer, who abandoned work on the (already feature-complete) game in February of this year to spend some time with his new child (what a bastard!), had been teasing “something big” to the Terraria community. Said “big thing” turned out to be an impending console release of Terraria for Xbox Live Arcade and PlayStation Network (pleasecometoVitapleasecometoVitapleasecometoVita) — great news, right? A much bigger audience gets to play an awesome and underappreciated game!

NO! say the PC players of Terraria. YOU BETRAYED US WITH YOUR BASTARDISH DESIRE TO MAKE MONEY AND NOT GIVE US MORE FREE STUFF. What the f—

I… blargh. Seriously. Shut the fuck up and just enjoy life more. And get off my lawn while you’re at it.

Changed my blog theme. Let me know what you think!

I changed my theme. EXCITEMENT. I’ve been using the WordPress “Twenty Ten” theme until now but I thought I’d see what the newer “Twenty Twelve” looked like. Pretty similar, as it happens, albeit with a bit of extra white space and borders around images. It also makes these brief “aside” posts stand out a bit better. Let me know what you think.