Crown of Creation

Everyone's gone to the rapture Memory of a broken dimension playchess

proteus Tengami the last guardian

We have an opportunity that some perhaps are not aware of. It is always prevalent in our lives but emphasised more so over the holiday period, especially with the influx of videogames vying for our dollars. To fulfil this potential requires a different mindset; a flexibility within our own personal habits. This opportunity is the ability to shape the gaming landscape, long before we see the effects.

There are visionaries amongst us and they walk in directions none of us knew existed. These are the innovators who build with only a desire to imagine new spaces, to see what can be achieved. But the most poignant sense of insecurity comes from standing alone and when a man or woman is armed only with their ideas, it can be arduous to realize their ambitions. The risk of failure is overwhelming; the burden of achieving commercial success without diluting self-integrity verges on the insurmountable. Furthermore the prospect of a non-receptive audience could eat away at a creative soul, inflicting risk aversion; turning a fluid mind into a stagnant, cautious one. Despite all these obstacles however, they forge ahead; defiant with unwavering courage, tenacious in remaining self-motivated against any adversity, and all because of what? So the visionary can make what sometimes seems impossible…games that we have never dreamed of.

Bioshock Infinite AAMFP_screenshot_22 swan 5

30 stanley hotline-miami

Who are these people? They are the great minds who formulate diversity while others rehash more of the same. The craftsmen who construct the unique and neoteric. Most incredulously, theirs are the concepts that you might avoid because they may appear obtuse next to other videogames.

Look at these images, and ask yourself; are these designs from people who sought the safety of bankable concepts, or are they from fantasists who want to know what is in the void of the medium? Our opportunity is that at any given time we can choose to indulge in this genius, simply by interacting with it.

As users of this instrument shouldn’t we all want to know what else is out there, to fulfill our curiosities? But as much as we say we want innovation, do we really support it?

I am under no illusions that people like what they like and there really is nothing wrong with that; nostalgia, sequels and annual updates of franchises have their place in the market. But know this; the future is not conceived from regurgitation or plagiarism, it is in something that you didn’t know you wanted, when people thought and not copied, when imagination manifested into something tangible. The artist who dares to bring outlandish ideas into fruition not only changes the medium, but also our lives.

The Witness journey Antichamber01

Fotonica4 pop 1803.flower

It is naïve to think that the masses will suddenly leave their comfort in search of some obscure game they do not understand or enjoy. But it is also naïve to think that progress comes from repeating what we already have, that an imitator should be held in higher regard than a thinker.

I feel the real barrier that consumers face is that they are failing to see what they are really playing? If this is true I would like to make a suggestion:

Play everything, all that you love but also play anything that you can get your hands on. Sample those, for whatever reason, you would normally avoid. Find the cause of your ignorance. How do you really know what you relate to if you only play the same games? The more you sample different content, the more you will start to notice patterns of repeated ideas in most games. You will start to understand what real innovation is rather than the incremental updates that are repackaged and sold to you as new. Your opportunity is to disregard your inhibitions and jump into what you are unsure about, because in every unusual screenshot or atypical idea might contain the sustenance you crave.

What does it feel like to explore conversations inspired by Marguerite Duras?

How do you use a reconstruction tool to navigate a fragmented landscape?

Where would you walk in your last hour of an impending apocalypse?

These are questions from minds which are more important to them than remaking what we already have. Arent there questions we want to know the answers to as well, outside of what we have seen?

At A Distance screen Among the sleep soundshapes_1

esther0074 Sportsfriends noby noby boy

This is not a pretentious ploy to hold the games you see here as superior to others, I do not feel quality can be accurately measured, it is just a personal opinion. These opinions unfortunately, suppress most of the ingenuity of unique games; and by only comparing graphics, sound and gameplay, what happens to the themes that do not fit into these categories, how are they evaluated?

What I care about is that those who try to show us something different are not damned for having the courage to do so. If that means nothing to you then maybe the videogame will remain as a disposable plaything. For many however, the medium is the most unique tool of expression available to us and we want to see where and how far it can go.

If you want to support an innovative future there are an abundance of tools at our disposal; Steam, PSN, XBL, all have free demos. To sample unique content visit Free indie games and the experimental gameplay project. To support developers directly back Kickstarter and Steam Greenlight projects and perhaps the most important; for those who want to question what a videogame is, visit Notgames.

Our opportunity as consumers is that we can shape the mediums landscape every time we purchase a game. We give consent to keep it in the past or we allow it to grow into the future. I along with a handful of developers would like to see and feel things we never have before and we hope you do to.

keitabrain

Images:

Everybody’s gone to the rapture, Memory of a broken dimension, Bientôt l’été, Proteus, Tengami, The last guardian, Bioshock Infinite, Amnesia: A machine for pigs, The Unfinished swan, Trip, Stanley parable, Hotline Miami, The Witness, Journey, Antichamber, Fotonica, POP: Methodology experiment one, Flower, At a distance, Among the sleep, Sound Shapes, Dear Esther, Sports friends, Noby noby boy, New untitled Keita Takahashi game

Advertisements

Vision: The Unfinished Swan (PS3)

The conjecture when facing a blank canvas makes for a poignant introduction. The environments we step into are usually pre-fabricated with refinement and lustre; to captivate and hold our attention.

The Unfinished Swan inaugurates a white space poised with a central reticule; it wants you to surrender with an impatient button press. Any provisional ideas of exploring negative space are immediately abolished, without some kind of reference point there is no sense of movement or progress. The inevitable yielding launches an insolent black ball of paint; the staining of its target brings a revelation; the appearance of surrounding structures underneath the void. It is a remarkable sight and it sets the temperament of its shooter; the competitive will quickly race to uncover a way out, the completest will reveal the integrity of the structures and the stunned will just stand there, beguiled by the possibilities.

The linearity of your path is equipoise by the freedom to reveal your pathway, there is no limitation to the amount of ink you command, but self-restraint creates an appealing impressionistic view of the landscape. The opposite effect is throwing copious amounts of black onto black which renders everything invisible again. Despite the world’s pre-existence behind the emptiness, it is an ambit you have uniquely revealed. It is all too easy to disclose the intricacies of both the story and the visions, but the central mechanic excels by stumbling upon the wonders rather having an anticipatory mindset.

As you progress; shadows introduced to the emptiness accentuate edges of constructions, the architecture almost begging not to be spoiled by your dye. The developers (Giant Sparrow) later indulge in this unblemished vista by replacing your ink cache with spheres of water. The spectacle of seeing water thrown onto white is arguably more appealing than ink; flirting with insights of the locale and then evaporating into nothing.

In contrast to the initial elucidation, pre-rendered buildings are presented bathing you in a haze of relaxation. The unhurried pace and minimal aesthetic is a pleasure to traverse, reminiscent of a lazy Mediterranean town in the summer. This departure from the opening however has been controversial. The introduction of auxiliary mechanics and change of graphical integrity had some critics unconvinced, citing a mismatch of ideas usurping the opportunities that could have been explored. It is a valid point but does not diminish cohesion, The Unfinished swan is clearly introduced as an imaginative bedtime story. The interrelation of conducting ascendable vines to the latter creation of geometric blocks fits within this whimsical realm of magic, giants and Floating airships.

The Unfinished swan may have been more impactful following its initial concept but Giant Sparrow should be applauded for exploring diversity over the one visual trick, and perhaps this departure makes that aesthetic even more potent. There is a simple exploitation of traditional game proponents which unifies conviviality, such as walking over a maze instead of through it. It is not innovative but it supplements the simplicity of the puzzles, they are completed effortlessly and feel congenial rather than taxing. Like the visions of relative contemporaries; Thatgamecompany, to whose work this will be compared, restraint is needed from revealing too much.

Ultimately The Unfinished swan takes a stimulating game mechanic and offers eloquence, nurtured through the warmth and buoyancy of its story. It’s virtues lie in the enchantment of a unique atmosphere and this ambiance keeps you seduced until the credits roll. Ian Dallas, Max Geiger and the rest of  the Giant Sparrow team have somehow bottled vivacity; inimitable energy pours from bleached buildings and crystal waters, they serve as conduits of peacefulness, for you to get lost in, for you to uncover reverence.

Vision: Journey

20120327-090934.jpg
Platform: PS3
Developer: Thatgamecompany

“They-and he-cared about one thing; this fusion of their mentalities oriented their attention on the hill, the climb, the need to ascend. Step by step it evolved, so slowly as to be nearly imperceptible. But it was there. Higher, he thought as stones rattled downward under his feet. Today we are higher than yesterday, and tomorrow-he, the compound figure of Wilbur Mercer, glanced up to view the ascent ahead. Impossible to make out the end. Too far. But it would come.”

In Philip K. Dick’s book; Do androids dream of electric sheep? (Blade runner) a robed image of Wilbur Mercer was virtually assumed through an empathy box. Scrambling upwards amidst desolate burning sands, his ambition, always the same; ascend the top of a mountain, every step taunted under the supervision of the towering peak.

His struggle is cruel and suppressive, but despite his ordeal, he perseveres relentlessly.

When Thatgamecompany announced details of their fourth game; journey, Mercers image burned in my mind, but uncomfortably so. It deliberated something too incongruous with TGC’s mantra.
Cruel doesn’t exactly fit in with TGC’s previous visions;

Flow: an underwater ballet dance about evolution and Flower: a carnival of light and colour, the rejuvenation of earth. They were love letters to nature and creation, exuding calmness and relaxation.

Journey is a linear, undeviating adventure, mirroring Mercers aim of transcending a distant peak. It is inevitable that you will reach the summit, but not in the same way as I or anyone else will. I have been craving to shout about my experience since its conclusion; the locations, the friendships and the revelations, but it feels inappropriate. It is a betrayal not only to those who have not yet made the voyage but also to the vision itself, it should be discovered, not pre-empted. In a perfect world, TGC would have released the game without any promotion whatsoever, no screenshots or videos, because any information dilutes the experience, the less you know about Journey, the better.

Many reviewers will talk about its intricacies, but as much as I want to, I am not going to do that, it really is detrimental to what is an intensely personal experience.

How can I convey what Journey is like without revealing anything?

By its emotional content and the feelings it generated. This is my unique Journey in note form, as it happened from start to finish:

Resplendent, playful, strain, restricted, arduous, solitude, calm, intruder, competitor, claustrophobic, irritating, accomplishment, vivacious, mystery, guidance, friendship, love, fear, insignificance, unyielding, defiance, elated, captivated, pious, virtuous, astonishing, superlative, euphoric, celestial, perfect.

None of those emotions or events were produced from incoherent controls or level design, there are some very traditional gameplay elements in effect but the execution of these are flawless and innovative. After Journeys completion I was left in an indeterminate state, videogames are capable of crafting intimate experiences but I had not felt them as a cohesive whole before.
I have never pushed an analogue stick with such ferocity, at one point realizing there was no need but my body still urged towards the mountains summit, my mind was lost in the ether.

When a next generation console is launched, there are promises of the future. What you habitually receive however are the same games as the preceding generation, just with updated graphics. Journey fulfils this promise not graphically or phonically (which are remarkable); but through something that has never been made before. Something that left me staring at the screen long after the credits rolled. I have always thought this interactive medium was restricted by its vocabulary, primarily because of the words; game, fun and play. Journey is fun, but the question of whether a game is fun or not should not be the epitome of this medium. At times it resonates with Mercers passage, feeling cruel and claustrophobic, at times transcending into the heights of spirituality. Journeys gift is that it eradicates the label of fun and delivers myriad feelings not associated with a videogame.

Jenova Chen and his team are visionaries, calling Journey a game is erroneous; this is an interactive vision in its purest form, directly entrenched from their minds into your hands.

There was a time when consoles were shipped with pre built-in games; Journey must be etched onto the hard drive of every PS3 produced. This should be the first experience that everyone has of Sony’s own empathy box.