Prevision: Memory of a broken dimension (PC/Mac)

What was the last videogame that left you completely immobilized, when you stood before something incomparable, that defied categorisation? Questioning not only what was happening visually but how you felt within the atmosphere it generated? The type of sensation that is usually reserved for something unprecedented; like those key revelations that chart the advancement of the videogame.

The summation of my writing has been to ask a simple question; is the videogame still evolving? I search for that answer without equivocation, Ezra Hanson-White of datatragedy has responded to that question and his answer has hit me like a brick.

Originality and innovation are two of the most abused words used in the gaming press, permeating fickle scores and hollow reviews, I would like to use those terms with the sincerity they deserve. This is what originality looks like and how innovation feels, this is Memory of a broken dimension.

Part of the official selection of SOWN (the Tokyo game show’s Sense of wonder night). MOABD’s theme and content, surprisingly, has originated from real world elements. This may seem implausible unless your vocabulary consists of; Hyperspectral imaging, or erudite ramblings of the heliosphere and solar radiation bursts. The images here depict oceans of static transmissions, of information broadcasts and the mining of data, data inspired by NASA’s interplanetary footage amongst others.

Ezra has created a first person tool that allows you to tune into broadcasts, radio signals that need exact synchronisation to capture images. These images forge a landscape which you traverse and explore. The slightest directional movement fragments the similes and you are constantly re-evaluating where you are. The sensation is like having infinite epiphanies; not understanding anything around you but for fractions of seconds; everything solidifies and becomes clear. Tuning in TV channels seems appropriate, but imagine walking inside of them as you are doing it. The feelings this generates are often antonyms of one another; shades of claustrophobic openness or relaxed intimidation. Most of the time I did not know what I was viewing but what I recognised, or thought I recognised was all the compulsion needed to see more. Videogame history has a lot of diverse experiences, but I have never seen anything like this. It is fitting that MOABD was featured at a Sense of wonder because that is exactly what this is; a sense of wonder.

Ezra divulges some more information on this already exceptional work in progress.

Your vision is about radio propagation and hacking into satellites to view data signals.
How did this idea materialize?

Its been a slow process, the first bits of inspiration were from experiments with 3D modeling tools, shattering primitives and mapping textures to the camera’s viewpoint. A couple of years ago I started writing design thoughts down in my sketchbook, up until then I had no habit of doing so, over time I began noticing how different fragments of ideas actually tied together with prior ones. That led to the concept coming together as well as discovering how my creative process can work.

MOABD received astonished reactions at the Lunacade exhibition in Sydney. Some of the audience did not know what it was or what to do with it. I view this as a positive thing, we don’t hear that very often; videogames are often derivatives of familiar sources. Was the distinct aesthetics something you imagined or are they true to the source of satellite signals?

It’s cool to consider the aesthetics as being true to the source of satellite signals, thinking of how glitched out data can look when the methods of reading it are unknown, but overall the aesthetics are imagined. Some inspiration comes from the deterioration introduced while making copies of copies, like VHS tapes or types of compressed audio & video. Other things like NASA space footage interrupted by solar radiation bursts, buffering artifacts of late 90’s 160×120 RealPlayer streams at 5.3KBps, half-emulated features of systems.
I’m wanting to get the entrancing effect of watching a fire or waves crashing, fields of tall grass billowing in wind. I’m probably also chasing expressionism or even impressionist ideas, but I don’t think the visuals are there yet, experimental visuals are something I want to see more of in games and interactive media, maybe when Geometry Shaders are standard in all hardware?

Interaction generates a bizarre feeling of travelling immense distances but equipoise by not really moving. A Loss of signal makes the world disappear leaving only the wire frame grid around you. Does the world solidify as you tune into it or is it constantly unfastened?

Most of the world is fragmented and as the user synchronizes with it, becomes physically interactive. I’m playing with having certain rules where parts of the world break apart again when out of range (inspired a bit by WiFi signals). There’s also places that overlap in the same point of space with the user tuning between them. The level in the Lunarcade build is pretty claustrophobic, there will be wide expanses to balance the experience.

How are you going to explore narrative and what do you want to communicate? As the visual elements are so effective is there a danger of diluting the experience with more ‘game like’ elements?

Currently I’m approaching the narrative as a kind of alternate-reality device. The user is interacting as themselves, as they would at their computer. Running the game is fictionalized as running an emulator, the user is booting into an obscure operating system where a haunting PSX-era chime would seem fitting on startup. They scan directory structures for hidden files, exploring the software contained inside while unveiling its purpose. Then the emulator establishes phantom connections beyond the local network and strange things occur…

There isn’t a sense of cutscenes explaining narrative or the Player playing as a character, which is something I had planned on doing at first. I’m a huge FPS fan, ever since finding wolf3d.exe on a shareware disk in the mail, so it seemed natural to treat it entirely like an FPS- disembodied hands walking into the character’s living space, walk up and activate the computer…dive into screen… it probably would work fine but the thought of treating the game as an emulated system just stuck in my head. I like how it wraps up all the common game-stuff, menus and things, and makes them fit into the fiction.
The funny thing is, I added view bob, which helps make it feel even more organic and reactive…so who knows, maybe I will end up putting some disembodied hands in (Fotonica nailed awesome VR hands), maybe part of it ends up being a game in a game or a scientific virtual reality research tool…?

What developments have you made from the code you previewed at
Lunacade?

I’ve been busier with work recently so I haven’t gotten too many major developments, overall just making adjustments based on feedback and also working towards having a set of different interactions that I can structure levels around. The Lunarcade build didn’t include any form of a map system so that is another thing I started prototyping. Since I work on the project in spare time, development is either at one extreme or the other depending on what is happening, crazy accelerated binges or just slow & steady progress.

I am intrigued by a question you posed in the TIG forum: “What if you could access any range data transmission. What is out there that is being studied and not public knowledge? (+ a ton of fictional stuff). Could you elaborate on the relationship of the real world based elements mixed with the fictional?

I feel like I need to restrain myself from elaborating, it’s a mix of real world elements that I’m pulling from, random things you hear from science journals, about the heliosphere, clouds of galactic fluff, the cosmic background radiation, etc. Then the reality that a lot of stuff is transmitted in the electromagnetic spectrum almost invisibly to us, using various devices to observe specific ranges. Researchers use techniques like Hyperspectral Imaging to view into the earth and detect various minerals, similar techniques are probably being used to analyze material on the surface of Mars right now and observe behavior of the Sun.
I guess fascination with stuff like that started with radio when I was younger, that all these different stations can be accessed from a point in space from a small device.. In some ways microscopes had a similar effect, I’d take a sample of muddy water from off the street, drop it on a slide to track down and chase all sorts of weird objects swimming around. I never found out what the different things swimming around were, I didn’t care, all that mattered was that they were in a tiny drop of water pulled from a bigger puddle of water, what else was in the puddle that I hadn’t discovered?
That kind of captures where the question came from and what the fiction of the game floats around with, I’m hesitant of how thorough it will be explained in MOABD, overall I’d just like it to be a contemplative experience that doesn’t over-explain itself, the mystery and strangeness is important for the type of experience I’m creating.

You have expressed that you want the user to feel like they are using a tool. Is this a tool for general observation or will it be imbued with emotional content?

The introduction to computers and DOS had a sense of unknown that was new to me, you’d type in commands and not know what would happen, trial and error, digging around in directories and trying to get games to run with boot disks. The introduction of the internet made this all even more mystical, does the information superhighway exist on this AOL trial disc, what is this thing, a new type of CD-ROM dictionary? The weird sense that your computer is connected to the entire world, what? The internet is pretty common to many people now, and I’d like to create an experience that has a bit of that unfamiliar-technology mystique. So, much like the first time running minesweeper.

Phonically the vision sounds like you are inside an electrical storm, is this purely the sound of the apparatus or do you want the experience to be menacing?

A mix of both, I want the audio to enhance the impact of the visuals, so it is more on the imaginative side, I have no idea why the user can hear all this noise! So far I’ve been avoiding putting in common sounds that would be identifiable a lot of the effects come from FM synthesis which I really like for the digital sharpness it can have. The Lunarcade build was pretty menacing sounding, looking back at it I’d want to make parts of it more serene, I don’t want the experience to be too abrasive all the time and wear down the user.

The menu screen is a really effective introduction, it feels like pirate television. Have you experimented by exploring that as a gameplay element in itself?

Currently the command-prompt style menu ties everything together, the plan is hitting ESC at any time drops out to it, where various programs can be accessed. I’d like the user to have a sense of multi-tasking. Like you’re chilling in a neo-Houston control bunker watching the telemetry feeds and piloting a craft, all while your virtual shadow hangs submerged in the data streams and packet-loss exhaust extending from it…!
The user might have to delete files or rename things as a gameplay element, there is a lot that I want to explore, the map system for example is inspired by the concept of defragmenting drives.

What lessons have you learned from Protekor and PRΔY that you have applied to this project and what do you hope to explore in the future?

Protekor started from a prototype done for Experimentalgameplay.com Drawing theme in Dec 2010, it was the first project I took beyond prototype in Unity, I used it to learn a lot about Unity’s workflow. It turned into a fun exploration of what I consider classic arcade-style balancing, all the waves and difficulty ramping being algorithmic based on the Player’s performance. PRAY is still a super-early prototype, I’m looking forward to continuing with it at some point, it is also a project that I’d use to explore procedural generation in level design.
MOABD has a bit of a generative approach, mainly with the visuals and audio. The visuals are chaotically shifting and organic, different results occur for different players dependant on their position and changes to the environment. The audio behaves similarly, with aspects of it subtly modified by the Player’s mouse input velocity. There’s a chance I might introduce more generative or systemic design into the game, to me, that is one type of perfection in design to strive for. The game that you can keep coming back to that plays out differently each time but behaves under a known set of rules, I’m not sure if MOABD is the perfect fit for that, maybe the next project…

Early experimental footage.

Prevision: Among the sleep

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In Hamar Norway, Krillbite studio quietly works on evolving the first person space. Among the sleep is a unique vision that ventures into the hallucinatory depths of the imagination. Touching on Achluophobia (fear of the dark) and hinting at Automatonophobia (fear of anything that falsely represents a sentient being) Krillbite wants to bring you to your hands and knees. Literally; because Among the sleep is entirely viewed through the eyes of a two-year old child; from the struggles of scaling household obstacles to the manifestations of childhood fears.

Adrian Tingstad Husby vehemently discusses why it is important to challenge conventions. He and the team at Krillbite stand poised to offer something we genuinely have not experienced before.

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Among the sleep delivers a great hypothesis especially next to traditional First person experiences. How are you approaching user interaction, will the environment generate emotional content similar to what Dear Esther did?

The environment will definitely follow the surreal nature of dreams and imagination, constantly mixing the real world with mental elements. But our interaction is more similar to Amnesia for example rather than Dear Esther, because we want people to interact with the environment not only analytically, but also very physically – with actions like push, pull, climbing, open and closing doors and drawers. We really want to get players immersed and feel part of the world, so we are working hard at optimizing all these mechanics so they don’t break immersion.

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How will the child’s perception manifest into something unsettling? Will it be through the unseen or through everyday objects that exhibit sinister nuances?

A combination of both! You will definitely encounter familiar objects that take an unsettling form, as well as creatures and environments where the imagination has twisted it into something completely unrecognizable. Some things will be clearly visible, and others might depend on you to fill in some gaps.

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Everyone has these ambiguous memories of being scared when they were a child, but are any of the team parents? As a father I had this paternalistic feeling when I watched the gameplay trailer.

Unfortunately, no one on the team has their own children yet, so our firsthand experience is mainly with our nieces and nephews. But we are consulting people with both academic and practical competence on the field of young children’s development and psychology, which we hope will provide some valuable insight into these topics. I guess the paternalistic feeling is inevitable in many cases, but we hope most players will be able to fully immerse themselves and think “I should avoid this danger” as opposed to “I should help the child to avoid this danger”.

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How significant is the teddy bear as a gameplay element or is it more of a companion?

Teddy will have a significant role as a story-driving companion, mostly hanging on your back and occasionally talking. But at times he will also factor into the gameplay to a certain degree. We are still playing around with these elements though, so we don’t want to be too specific on this point yet.

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Please talk about your design philosophy. Why is this medium important to you and why are you exploring ideas unfamiliar to the conversant?

I’ll speak for me personally, but I think most of this reflects the rest of the team as well.

We all grew up glorifying the entertainment video games provided, and over the years it became an important and really substantial part of our childhood and personality. If we ask our parents about their childhood they light up, and I think it might be hard for many to imagine us having the same feelings towards video games. Strangely though, because I find it the most interesting form of communication ever devised by humans. Action is our basis, and the interactive nature of video games really has the potential to reflect the human mind. In other words, if I think I have something important to say, if I want to drive a change in attitude, if I want to inspire and engage, and in the end (at the risk of sounding pompous) if I want to change the world – games is an important and effective place to be!

Unfortunately, a lot is sacrificed on the altar of the industry mindset. Future civilisations will analyse our culture to decipher what we were thinking about, what was important to us, and what problems we faced – what will they find? 600 versions of Medal of Dutyfield and Angry’ville?

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I think it is easy to rebuke mainstream developers for their lack of innovation. Do you feel that maybe it is the consumers who should have a responsibility to support iconoclastic ideas, after all, isn’t the mainstream just supplying consumer demands? How can we enlighten them?

I think this is kind of a “chicken and the egg” problem. The responsibility comes with power, and it’s debatable who’s got the most power in a consumer/business relationship. If consumers organized in groups with a potential for substantial impact, we could absolutely be able to change a few things. We’ve seen a number of fascinating examples of this recently, especially regarding the symbiosis of social networks and financial alternatives like Kickstarter. But big business possesses great power as well, and should not be able to cynically disclaim all responsibility without resistance. The people screaming the loudest while milking their annual cash-ins will probably continue to reach their market. But as long as the diversity of games continue to grow I’m satisfied, and we are already starting to see signs of the indie scene influencing the direction of the mainstream.

The team at Krillbite are passionate about creating for the advancement of the medium. Please follow their blog to see how they intend to do it.

For further insight into Among the sleep view some of the early concept images

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