If you could walk through the mind of an artist would you need distractions to validate that exploration?
Quests, stories and collectibles prompt our journeying and ultimately sustain our desire to ‘win’, but what if there were no pursuits or anecdotes and what if the feat of collecting didn’t return any tangible assets? The foundations of traditional games rely on the inputs of interactivity; jump, push, pull, hit etc. and there is a tendency to disdain visions that do not tick these boxes. But if the obstacle courses and challenges are removed, why would you need them? If we reduce interactivity to a minimum would we still label the work as a game?
TRIP is the projected mind of an artist named Axel Shokk, and it explodes through the screen in aesthetic delirium. The creativity Shokk has explicated on-screen is startling and officiously stands atypical next to other games. Riotous hues punctuate the senses with geometric spikes and impossible stellations, even blades of grass are composed of bar charts that sway gently in the wind. These visuals demand your attention by force feeding you colour and Shokk emphasises this through a pared down interface. Your sole interaction is movement in first person, there are no quests or challenges. You have to look at TRIP because that is all there is to accomplish, but more importantly, that is all you want to do.
LSD Dream emulator, Myst and Journey inspired to deconstruct the controls, leaving only the chromatics and audio to play with. “If it weren’t for them I wouldn’t have been bold enough to strip all gameplay mechanics, games like those pave the way for creative individuals to try new things. I’m just one of those guys trying out something new just for the sake of experimentation.”
There is a creative resonance here with the experimentation of early ZX Spectrum games; like the obtuse forms found in Jet Set Willy and Manic Miner. TRIP features familiar yet Ineffable characters with unique personalities. I question if a lot of this creativity has been lost in the pursuit of realism? “There was a creativity drought in the industry not too long ago, thanks to the recent explosion of indie gaming I see a lot more creative and fresh ideas being tested. These are very exciting times in the world of video games.”
Shokk has stated that Trip is more of an art piece to be observed rather than a game with traditional gameplay. But as developers such as Tale of Tales and The Chinese Room have proven; observation can be a powerful form of interaction, and isn’t the act of discovery a gameplay element in itself? “I strongly believe so, however the audience is still hung up on what constitutes a game. One of the reasons I created TRIP was to shake that ground and bring up the question, at what point can something be considered a game? I’m trying to open boundaries for other developers to get crazy without worrying about backlash, I feel games created in a ‘fuck it’ mentality speak most to me. I don’t think that these games will ever have a broad appeal, but I would rather make one person extremely satisfied than to mildly amuse a hundred.”
In a medium that does not have any real limitations it is hard to comprehend that imagination would not have a broad appeal. The landscape in TRIP inspires curiosity and exploration and there is a fervent desire to see what is around the next abstraction. From caverns and mountains to the brilliant sea of words, TRIP is a cohesive view of the familiar wrapped up in arbitrary geometries. There are sparse collectibles but Shokk states they serve no purpose, even though reaching them inadvertently offers a reward; a new view of the landscape.
If there is one thing missing it is the ability to see the whole of the terrain in its entirety, no matter how high you climb there is a desire to see more, the central mechanic of souvenir would serve the game well if only to accomplish this. Shokk had various ideas he wanted to incorporate to accomplish this; “I actually wanted several mechanics in TRIP like NPCs taking you places and showing you things, I was very limited by my complete lack of programming so I had to improvise. A lot. I’m slowly teaching myself programming so hopefully at some point I will be able to provide a much more interactive experience.”
This also expands into making TRIP open to user-generated content. “Oh how I’d love to, but I’m not sure how moddable Unity engine games are. If my dream of having a development team comes true I’ll definitely make the majority of my games open for user-generated content. I got into game development by making unreal maps and half-life mods.” As an incentive for a succesful kickstarter bid, Shock offered to create an area in-game under the backers specifications. It would be interesting to see various parts of other people’s minds amalgamated together.
The glue that binds this world together is the soundtrack, it is quite buoyant and upbeat but manages to deliver an ominous feeling over the abstract imagery. “My good friend Benjamin created the soundtrack, he suggested to create a melody that would be cohesive throughout the whole game. I told him to go for it, when he started the game world was kinda bare so I sketched up sound waves and gave him a list of key words that would inspire what each song would sound like. For example the city area I sent Ben images of sewers, metal, industrial areas, and gave him keywords like clanging, banging, clicking and to imagine an oppressive sound of steel and machinery.
When he showed me each track I was blown away at how well it fit the game world. He’s a real talented individual, and I’m not just saying that because I’m his friend!”
Critics have been trying to shoehorn TRIP into the appropriate mould and the difficulties with the term ‘game’ rears its head again; “The response has been mixed; thankfully most critics seem to praise the visuals. They find that TRIP works better as a piece of digital art than as a game.” I can’t help feeling that Digital art is misplaced, if only because traditional ‘game players’ might brush TRIP aside incredulously . We are familiar with all of the elements present here; the viewpoint, the type of landscape, spectrums of colour… so the only non-game like component is structured activity. As I said at the beginning, do we need distractions to validate exploration, TRIP is an opportunity to traverse the mind of an artist, does it need to be anything else?
What can we expect in the future From Axel Shokk? “My next project is Kat Attack, an action-oriented visual novel. I want it to be like an interactive motion-comic. It’s not nearly as experimental as TRIP is but I’ll be putting my storytelling and cartooning skills to the test, you’ll see a lot of my illustrative work in this comic which is something I’ve been meaning to show. Hopefully proving that the visual novel is a medium with a lot of potential.
Kat Attack takes place in a dystopian future as a space rock opera, centered around Kat – a space pirate wielding a guitar cannon which she also uses to surf through space with.
I will try to get this project kickstarted sometime August so keep an eye out!”
Check out Kat Attack’s development blog.