Sharing Burtonesque Survival: Don’t Starve Together

sBeing the gamer in my relationship with my girlfriend, I’m usually the one to bring up titles or genres of videogames in our conversations. In the few occasions she finds a title for us to try together, it usually turns out to be a fascinating and enjoyable experience that I’d not known of. One such title she found is the charmingly Burtonesque survival game, Don’t Starve.

Meaning the protagonist must somehow be Johnny Depp. Obviously.
MemQ4 (DeviantArt)

Don’t Starve involves the protagonist being dumped into a frightening and dangerous world with but one goal – survive for as long as possible. Aside facing off against savage, nigh-Expressionist enemies and warding off a horrible, unseen thing that inhabits the darkness of night, the player must maintain their character’s physical condition, sanity and hunger. With each session placing the player in a randomized world within which one must postpone one’s death, the process of survival becomes a different experience with each playthrough. As such, the player must constantly adapt to the current state of the world and familiarize themselves with their resources before they can safely set up a more established base of operations. And whilst the player has some degree of control of what will spawn in the world, the intended experience, I believe, is that one experiences new facets of the world by playing again and discovering new enemies, equipment or locations through exploration.

Although ‘bunny/human recreation centre’ is one place one might want to explore right the hell away from, considering what bunnies do best.
MrAdamPL (DeviantArt)

Sadly, we had to play separate games of Don’t Starve as there was no multiplayer mode. And consider Klei’s decision to exclude multiplayer to emphasise a sense of loneliness and aimlessness, simultaneous play as a feature in Don’t Starve was unlikely to come about, despite the large demand from the player base. In all fairness, this decision was understandable – one of the things that makes Don’t Starve quite as iconic in a variety of other survival-oriented games like Minecraft is the oppressively uncanny and haunting environment in which one has to survive, within which isolation is a vital aspect of the survivor’s struggle against the game world.

Even if no part of the struggle involves drinking your own piss.

However, on the 5th of May 2014, over a year after the release of Don’t Starve, Klei announced that a multiplayer expansion would arrive around mid-2014, one which would be well-engineered in both its implementation and within the spirit of the game as a whole. As Klei puts it, this multiplayer should both be “interesting to play, but also something we would feel proud of creating”. At the very least, multiplayer will enhance the game in allowing players to utilize clever team strategies to prolong their in-game existence. Maintaining core settlements, which are inevitably built around the equipment players create, will effectively lead to in-game “villages” wherein team members are assigned to gather certain materials required for survival and clever rationing of supplies amongst the survivors.

Meaning that somebody’s on poop duty if we want to see them crops grow.

But more importantly, multiplayer will allow for players to actively share new zany experiences together, as opposed to merely sharing them through discussion. Even so, it seems unlikely that multiplayer will force players into the same experience as a whole. With the different roles that team-mates will predictably fill within their “villages”, each player is still likely to have a unique experience in their respective travels, despite playing as a team – especially since everyone’s sanity is gauged separately, as are the effects of its’ collapse.

“What’re you talking about? I don’t see any goddamned darkness reaching for you.”

The First Lightbender: Lytro’s Commercial Plenoptic Camera

Whilst one may certainly credit those photographers who successfully use film-based cameras as skillful, the simplicity, speed and ability to experiment with imagery that a digital format of image processing offers photographers at any skill level is nothing short of wondrous.

Even if this is directly responsible for all of Instagram’s bullshit.

However, as far as digital darkrooms provide the capacity to treat images in less time (and with little chance of irreversibly ruining your photographs), the onus still remains on the photographer to focus the image successfully. This is, of course, unless one is able to acquire a plenoptic camera. As a derivative of the traditional digital camera, plenoptic cameras are fundamentally different in how they record imagery. Rather than utilizing a single lens to record pixel data of the imagery of a shot, they have an array of micro-lenses, which rather capture light data within a shot before digitally storing said array of rays. However, these tend to be rare, expensive and typically not intended for consumers.

Not to mention their fierce (and judgmental) guardians.

However, this has begun to change, thanks to the efforts of a company called Lytro, formed by an alumnus of Stanford University by the name of Ren Ng. Having commercialized Lytro’s eponymous initial light-field camera he built whilst at Stanford, Ng plans to sell its more serious-looking successor, the Illum, on a larger scale in response to a demand for a more professional, and less populist style of camera from Lytro. To many, this may be an unpleasant thought. As the simplicity of the current range of digital cameras provide anyone the ability to happily snap away, regardless of how amazing they think painfully banal photos are, now there is the added concern of the fact that such amateur photographers won’t even need to adequately focus their imagery. To some, the ability to edit focus in post-production is likely to be seen as removing what skill there is left in photography.

“IT’S NOT REAL PHOTOGRAPHY UNLESS IT’S DONE ON A DAGUERROTYPE.”

However, even if this comes about, I do not believe this will ‘ruin’ photography as much as it will significantly improve photographers’ efficiency in creating impressive photography. This criticism has been made (and is still made) of digital photography, and I don’t find it any more viable when applied to plenoptic photography. Even as technology grows, it cannot be expected to somehow bring about the elements of good photography such as clever framing and interesting representation of various subjects on its own. It requires an understanding of these principles to put the additional functionality to its best possible use, and in this, plenoptic cameras will serve to enhance the ability of photographers to express their imagery.

“I WANT IT TO FOCUS ON THE BEANS. THEY EXPRESS MODERN VEGANS’ TURMOIL, DAMMIT.”

To reinforce this belief, Lytro intends for the Illum to be sold to ‘prosumer’ photographers and not the general consumer base – their CEO, Jason Rosenthal states as much regarding its development. Furthermore, the addition of more complex functions than were found within the original Lytro, coupled with an incredibly low 2.0 f-stop will require some expertise to operate, much like the average DSLR. This complexity in turn comes at an appropriate (whilst still wallet-paining) price for a prosumer product – $1600.

Which is still somehow a reasonable expense to look cool for some.

Witnessing the evolution of digital photography is an exciting prospect for a photographer, but Lytro is a particularly worthy recipient of this excitement. This is as the Illum, should commentary hold true, is a camera which is not merely crafted with the purpose of exploiting a new gimmick, but rather with a refreshing respect for the photographic community and the art of photography as a whole.

“Big deal. My camera has instagram filters in it.”

 

Electronically-Augmented Loving: Romance through the Interwebs

Romance is a particularly nuanced subject, regardless of its context. Its own complexity serves to confuse even the smartest individuals on a regular basis, regardless of the type or “depth” of the desired relationship. However, as in many other situations of contemporary life, there is a growing sphere of technology which is either catered for, or appropriated for the use of augmenting the process of romance through alleviating the age-old problems of time and distance.

“There’s gotta be an easier way to do this.” – Everyone, on relationships (350,000BC – 1990AD)

Colourbox (2013)

For those more interested in quick meetups with potential new partners, annoyance at the delay in finding partners in social or online settings is set aside with faster-model dating services such as Tinder, which in particular is particularly clever in how it solves two iconic issues of the short-term dating process – immediacy and consensus of communication with new people. Whilst the premises for this communication (namely three images from the Facebook profile of each conversation member) is arguably shallow, the value of aesthetics in hookups is arguably valuable, even ideal for those who don’t wish for any particularly deep connection with their Tinder partner.

I promise I’m not implying anything about Tinder users.

Hallie Cantor (2014)

This is not to say a deeper connection cannot be initiated through Tinder whatsoever – I just believe the quick and aesthetically-oriented communication suits shorter relationships most ideally. Furthermore, this high-speed approach seems to places preference on attaining localized relationships. Again, this is not to say Tinder should, but as immediacy and distance tend to stand at odds with one another, I don’t particularly see the point in using it otherwise. Yet this issue of distance, particularly over longer terms, is another aspect of real romance that technology has dampened through serving as a “technological bridge” between partners. This particularly so in the case of those who have met one another through the internet, and desire to engage in a long-distance, long-term relationship as I am currently doing myself. This form of relationship in particular finds its basis in contemporary technology – had the internet and various applications not been in place, this sort of relationship could not easily establish or maintain itself.

“DESCRIBETH TO ME WHAT THOU WEARETH UPON YE MORROW MILADY”

I maintain, that video-chat applications are integral to this form of relationship, at least in my experience. Skype, as my preferred application, holds immense value in its ability to simulate face-to-face contact in a stretch of the relationship largely devoid of this sort of contact. Whether video-chatting for innovative reasons, such as to have Skype “dates” or “movie nights”, or just to be able to see one another, the ability to simulate one’s partner’s presence has an immensely positive effect on one’s morale in the ever gradual progression towards bridging the real spatial gap.

Even if it completely screws up the prospect of romantic, candle-lit dinners.

Such is the desire for this physical intimacy over a distance that a hilariously-named , and surprisingly long-running field of technology, Teledildonics (Yes. Dildo. Ha ha.), has produced several devices intended to satisfy the sexual side of a couple’s physically intimate life. This involves using a paired set of typically internet-enabled devices containing touch sensors and haptic feedback relay to simulate the sensory experience of sexual activity over a distance. And while this in turn cannot replace the entire experience of physical contact with one’s partner, an important aspect of intimacy overcomes the barrier of physical distance through technology’s assistance, and may very well go far to strengthen the relationship of the owners of these devices in doing so.

 

Nonetheless, I’m given sudden, uncanny reminders of certain questions around the Portal series.

Whether or not these will replace physical relationships, I remain uncertain. I believe none of these can fully encapsulate a physical relationship, I have no desire to have my future physical relationship replaced by technology. However, in allowing people to overcome traditionally problematic aspects of physical relationships, I believe that technology allows us to live more successful and fulfilled romantic lives.

Or to abandon these entirely, if we so choose.

Digital Story: UCON – UCT’s Legacy and Future in the Capetonian Anime Con Scene

(Photograph) Competitors in the UCON 2014 Cosplay (Costume Play) Competition.

Formerly, Anime convention culture wasn’t quite able to establish itself in SA as a whole, rather manifesting as smaller events or sideshows to larger, loosely-related expos such as Johannesburg’s rAge. The University of Cape Town’s anime-appreciation society (Genshiken) sought to change this. Under the guidance and drive of the 2013 chairperson, Aamina Teladia, Genshiken hosted a convention based on the style of internationally-popular anime-focused multigenre San Diego Comic Con. Continuing from the success of this initial convention, UCON went and hosted an even more successful convention in 2014.

UCON, with UCT’s help, has established itself locally and has improved the local anime convention scene significantly in doing so. However, whether UCT will remain associated with UCON in the future is uncertain, due to the very nature of university societies. Declan Khan, a FAM2000F Student, talks to Aamina Teladia, and her successor, Cameron Shenker, to better outline the importance of UCON’s relationship with UCT in establishing a local convention scene, and the importance of this relationship into the future.

Although Cape Town is typically renowned for its vast cultural prowess, anime culture has never particularly flourished in the same way that traditional arts have. Cameron pins this on the stigma attached to anime, and that it is often dismissed as akin to cartoons – “childish, a waste of time or nonproductive”. Aside this stigma, setting up a convention still remained a difficult task: the Capetonian convention scene was riddled with highly-marketed flops, such as 2013’s “Comic-Con” SA. Aamina claims this particular understanding of local conventions made both the local anime community and local companies sceptical of UCON initially. This local reputation of conventions then compounds on companies’ existing scepticism around student events, making attaining sponsorship and support even more complex, and exacerbating the problem of the high cost and risk of running a convention. However, UCON’s association with UCT through Genshiken enabled it to easily overcome these difficulties. Aamina maintains that costs of hosting UCON were considerably low, as venues, power, tables and chairs were all provided by UCT at significantly reduced costs. Furthermore, UCT’s reputation brought about more positive responses from potential vendors and sponsors for UCON, which, alongside the assistance of UCT’s Societies Coordinator – Shannon Bernhardt, made UCON’s preparation and operation all the more successful.

UCON’s success in turn had profound influence on the South African anime community. Both Cameron and Aamina believe that UCON has set a standard for other conventions and events. Aamina justifies this with the efforts of the Capetonian comic store Reader’s Den to provide a larger cosplay competition in celebration of Free Comic Book Day 2014. She continues to say that UCON’s improvements in convention structure, proceedings or amendment of snags are observed and similarly implemented within other events within SA’s anime community. Since UCON’s competition was based on the standards of the World Cosplay Summit (WCS), which Aamina intends UCON to eventually host in SA, Cameron eagerly promotes the opportunity to send local cosplayers to Japan. As other local events improve their cosplay competitions according to UCON’s standards, he reasons more local cosplayers will be prepared to compete for an opportunity to visit the WCS in Nagoya.

Aamina and Cameron both hope that UCON will remain a university-driven convention, with Aamina stating that it was always intended to be student-run, whilst Cameron speaks to the benefit of Genshiken’s association with UCON, revulsed by the idea of Genshiken returning to its former floundering state.However, both believe the continuation of this symbiosis depends highly on whether successive Genshiken committees will be willing to host UCON. Whilst several members of the original UCON staff transferred from Aamina’s committee to Cameron’s, there is no guarantee that later Genshiken committees will be similarly interested in UCON’s success in the future, and thus no guarantee that UCON will always be hosted by Genshiken. Thus, it may be necessary for UCON to separate from Genshiken in the future, in order to ensure it is able to maintain its operation and role within the South African anime community. Whilst this may not be the model of UCON that either Aamina or Cameron aspire towards, such may well be necessary to maintain the “founding figure” of the South African anime convention scene.

Whether or not UCON remains a part of UCT, UCON has eased the operating conditions for its potential independence. UCON’s growing success reflects that even in South Africa, anime conventions can be both well-attended and profitable. With the reassurance of anime conventions’ boosted reputation in South Africa, companies may seriously consider these as good platforms to market themselves through sponsorship or assistance. And with this, conventions may well have a better chance than ever before to overcome the remaining issue of cost, whether or not they operate out of a university.

—

All Footage and Photographs are my own save for:
– The initial photograph of the crowd of cosplayers – this is an image of the San Diego Comic Con.
http://www.comicvine.com/articles/sdcc-2013-cosplay-gallery/1100-146914/
– The Photograph of the rAge Cosplay Convention
http://www.htxt.co.za/2013/10/07/rage-wrap-up/
– The Video Clip at the end, this is from D Piddy’s “Cosplay – A Happy Parody”

The song is “April Showers”, and is a remix by ProleteR,
http://www.jamendo.com/en/list/a130358/curses-from-past-times-ep

Going Beyond Death: Misadventures in Dark Souls 2

Having acquired a copy of Dark Souls II (DS2) since my post anticipating its release, I am very pleased to say that its gameplay exceeded my expectations over the period of time I had to thrash about in it in my university vacation. Where, by “thrash”, I mean having DS2 thrash me about from the moment I start. Kindly informing me that I’m cursed and having a group of old ladies laugh at this fate shortly afterwards, DS2 proudly marks the beginning of an ominous and death-filled slog through the land of Drangleic.

“It’s funny because 400 deaths won’t get you to stop playing!”

From Software (2013-2014)

Through my many deaths, however, I found fewer and fewer occasions to feel enraged at the game because I could do nothing much more than acknowledge my own fault in causing them. I feel this sense of responsibility stems from DS2’s focus on removing irritations whilst still buffing up the overall challenge of the game. DS2 feels a lot fairer, despite the increased challenge as the difficulty stems particularly through improved combat and not through instances of frustratingly difficult level design like in its predecessor.

Dark Souls II: 30% more successful at preventing controller abuse by avoiding the above!

From Software (2011)

From the offset, DS2‘s combat forces one into being outnumbered and with little hope to win without analytic gameplay. Even more so than in in the first, DS2‘s combat punishes the hurried or careless player for not carefully observing enemy attack patterns or controlling crowds of enemies. Crowd-control is even more essential as enemies fight more successfully as co-ordinated units: even when playing carefully, I found myself straining to avoid being constantly hacked into a fine, green undead paste.

 

Which is difficult when some enemies’ strategies are literally “spin double-ended-swords like encroaching blenders”.

From Software (2013-2014)

As a result, gameplay feels considerably more dynamic, and is made even more so through implementing a teleportation system. Given that this allows the player to easily access and attempt areas that have been visited before, players may try new paths if they are stuck on a particular area or explore another to find equipment, shopkeepers or simply interesting new environments. Which, for me, was good. Being allowed to explore as schizophrenically as I wanted gave me the chance to familiarize myself with many areas before fine-combing them for special loot or enemies, as well as granting me the ability to save hours of time in traveling between said locations.

On top of possibly revealing something about my attention span.

Pixar (2009)

On these slower expeditions, I found one has the opportunity to relieve themselves of DS2’s dynamic pace and immerse oneself in Drangleic’s rich (if less creative) lore. Whilst more fragmented than Dark Souls’ overarching dystopian “dying land of the gods”, I maintain that thorough effort has been put into designing areas along tightly-knit and well-created themes. This applies even in the uncreative areas, even if one such area is, as The Escapist‘s Ben Croshaw puts it, a castle filled with turtle enemies and lava.

“It’s a me – plagiarism!”

Nintendo (1985)

With improved pace and flow of gameplay (as well as fixing the frustrating framerate issues from Dark Souls) without necessarily rushing the player through sections, Dark Souls II provides a more refined, if original, experience. You’ll face less cases of split-open-ribcage-dragons, and more “dudes in armor”, as Ben also puts it, to reinforce fantasy videogame staples. Dark Souls II is brilliant, but some might argue it sacrificed some of its unique style in becoming a tighter and more responsive game. Some even say it lost a little part of its soul.

A soul that wasn’t very light, of course.

From Software (2013-2014)

Rage Against The (‘Other’) Machines: Why Technological Loyalism is Pointless

As someone grows involved in the world of technology, so does one become acutely aware of the vast rift between the loyalists of various producers of technological devices. This is as many consumers of technology appear to form very (and perhaps illogically) strong loyalties towards the products they have chosen. This loyalty tends to manifest in a devotion to their brand and rejection of other brands that borders on that of a religion.

“Thou shalt use no other music player but iTunes.” Jobs, 26:4

Scoopertino, 2011.

I’ve found myself particularly exasperated with the recent example of  pre-release and post-release back-and-forth between fans of the PS4 and XBOX ONE. Despite that both are essentially PCs structured around entertainment (particularly as these next-generation consoles utilize the same x86 instruction set for software that PCs do), Sony and Microsoft fans continue to argue viciously about the minute, albeit imperceptible differences that OBVIOUSLY MAKE THEIR PREFFERED DEVICE BETTER.

 ” I MEAN SERIOUSLY HOW CAN THEY EVEN THINK OF BUYING THAT ONE?! IT LOOKS SO MUCH WORSE!!” 

IGN.com, 2013

 

Why someone would show this extent of unflinching loyalty to a corporation baffles me. Particularly in an era in which these devices are both so incredibly similar (to the point where their hardware is largely the same), these recent debates just seem  meaningless, when one is essentially pitting an entertainment PC against another yet another, a touchscreen phone against another painfully similar twin. There isn’t much at stake at all besides market share, with no real drive to establish a new format from either party, unlike in a format war. Hence, t’s safe to say that neither the XBOX ONE or PS4 will phase out the less-successful device in a way in which the humble videotape phased out the giant DVD-quality Laserdisc, as they’re largely functionally identical.

Never forget. Assuming you’re old enough, of course.

 

These self-imposed restrictions not only needlessly restrict the tech consumer’s pool of devices to purchase, but limit the overall acknowledgement of each product’s individual innovations. One needn’t want to purchase a particular device to be able to acknowledge the fact that some aspects of said device might be good at all. For example, while I’m not entirely sold on Apple devices, one can certainly appreciate iCloud and its brilliant features. If the militant responses against other corporations are dropped for even a little, there’s actually a lot that can be learned and incorporated into future iterations of devices within the industry.

And a lot to be learned about what should never be done again. Ever.

 

Furthermore, companies like Sony, Microsoft, Apple and the like have no real need for their screaming adherents’ online decrying of other companies. They’re big now. They don’t need their fans to step in and defend them – that’s part of what keeps their PR departments running. One’s online arguments, regardless of how they go, don’t seem to be more logically significant than the ones and zeroes that they’re stored as, considering how little they do to affect the decisions of other companies’ fans, or the companies themselves.

 “Hmm. SonyRulZ420 is right. Better recall all XBOX ONEs to replace the unacceptably shitty-ass graphics card.”

This is not to say companies are above reproach – far from it. This rather states that reproach should be handled more successfully and respectfully. Through  rational analysis, experimentation, research and discussion, consumers within the technological market become better able to exert one of the most effective and noticeable forms of criticism towards a company: purchases, or the lack thereof. Being profit-driven entities, companies would be foolish to not respond, or field suggestions in appropriate forums. All it takes is a little more calm and a little less caps-locked rage.

“YOU RAISE A VERY VALID POINT ABOUT THE PS4’S LACK OF BACKWARD COMPATIBILITY, GOOD SIR.”

Dark Souls II: The Benefits of Dying Repeatedly

The increasingly watered-down nature of modern videogames is something that gamers have come to loathe. As both game structure and narratives experience a dumbing down, games become simpler to pick up and easier to sell to a larger audience, with none of that pesky complexity to dissuade any potential purchasers (as opposed to players) of videogames from their experiences of shooting people because “they’re a turr-ist”.

Terrorists: most convenient faceless bullet-fodder since the Nazis.

However, this week has a wonderful example to the contrary, a paragon of modern gaming in the form of Dark Souls II, due to release on March 14th. As a part of the infamous Souls series by From Software, Demon’s Souls and its sequel quite opposed to this modern trend as it revels in its complexity: its punishing gameplay and “hidden” narrative  have rendered it largely inaccessible to most players.

The only easily-accessible feature is DEATH.

However, ramping up complexity alone is not necessarily inherently good, considering the genesis of yet another frustrating, masochistic “hardcore” cult following which maintains the inferiority of every non-Souls player. In spite of this, the Souls series is certainly praiseworthy: the games treat those who play them with respect and rewards thoughtfulness and inquiry, which is more than can be said than most people you meet on a daily basis, let alone the manner in which many modern games have come to treat their audiences.

“According to our market analysis..” – Certain Modern Game Developers

Rather than force the player through certain areas or objective chains, they are dropped into a starting nexus, and given freedom to explore along one of several paths of their choosing. While certain areas must be visited in order to progress the narrative, the player is at liberty to complete the story’s many other events in whichever order they desire to do, or are able to do, as the player’s current strength does somewhat (or completely) affect their ability to get past certain foes.

“I suspect I might not be able to go this way just yet.”

This interactivity within the Souls series is entirely refreshing, particularly within in the course of a fairly linear narrative – as the player is not railroaded from point to point, and is allowed to experience the game as they choose. Similarly, the series’ narrative manages to be incredibly deep while not being overt – the extent to which the player engages with the game determines the extent to which the game’s story reveals itself to the player.

Or you can just skim through it quickly. Souls doesn’t judge. Souls understands.

This emphasis on the player’s engagement is mirrored in the gameplay. Enemy positioning and hazardous terrain are placed in such a way that will punish the thoughtless player, and reward those who observe their enemies and world. Through reflection and experience, those who come to use their environment and tools most optimally shall be able to defeat their enemies and traverse the world’s obstacles – the game wants you to learn, to grow, and to become stronger and more skillful in how you play it.

Souls cares. In a terrifying, masochistic way. But it cares.

This is ultimately a very uplifting and satisfying experience for the player who presses on in spite of the game’s difficulty and bleak tone. And should Dark Souls II’s commentary from the US hold true, regarding the game’s additional challenges, greater visual attraction and greater approachability for new players, South Africa’s gamers are in for a fantastic sequel that has put in a great deal of effort to improve on all that makes the Souls series fantastic.

Even if some bullshitty things remain the same.

A completely un-generic ‘Hello World’-style Introductory Post

Hi everyone. Welcome to my blog!

Despite a considerable interest in the interwebz, I have never really gotten around to hosting a blog. The thought of posting in a public space isn’t one I’ve really taken to in the past, but in greater consideration, the transition from a semi-public space such as Facebook to a more public space like a blog shouldn’t be too harsh.

What’s the worst that could happen?

This blog shall serve to fulfil the requirements of my Film and Media 2000F  course’s blog assignment at the University of Cape Town, and you will receive weekly updates on geeky culture on a South African and international level! Expect news and opinions on gaming, anime, technology, geeky products and interesting aspects of geeky culture such as cosplay, all with a touch of humour, published weekly. Hope you learn something new about a lesser-known culture, particularly in SA, and that you’re entertained!