Dark Past (part 3): Letting Go of the Immersive Sim, of flu viruses, ghosting, and why we're all Kate Winslets at heart.

This is a series of posts that analyzes the immersive sim. It's a play on the excellent RPS feature, Dark Futures.

In past posts, I argued that (part 1) immersive sims were so cool we got overprotective of them and suffocated them, but (part 2) we can still extend the same design theory to contemporary single player design.

For part 3, I'd like to explore the limits of "immersive sim theory" and even criticize it in light of recent research. This devil's advocate stuff will help us in part 4.

Both system dynamics (sort of the science of systems) and Looking Glass Studios came out of MIT in the 70's or 80's or some time around there -- and for the convenience of my argument, let's assume it wasn't a coincidence...

Further Reading for "Gay (But Not Gay)..."

I'm probably going to regret bringing up the "Gay (But Not Gay) Characters in Video Games" thing all over again.

However, I feel obliged to relate the whole matter to a somewhat recent "post-gay" article and the ensuing criticism. And then there's that whole snowballing mess that is GLAAD.

I believe that no non-crazy person disputes the necessity of having some LGBTQ video game characters.

Rather, the debate, I think, focuses on how they should be represented and what kinds of gays are most deserving of representation. This is the same debate taking place outside the sealed vacuum that is video games, in a small but growing civil war within our fabulous ranks.

... Of course, Jim Sterling is still wrong.
  

Question for the colorblind / an idea of accessibility and audience?

Was choosing "red" a bad idea / horribly insensitive to colorblind people? Like, will they be able to distinguish the non-portalable metal plating from the stone walls? I don't want a BioShock 2 debacle on my hands.

Or am I misunderstanding how colorblindness works?

I'm told a good guideline is to just desaturate a screengrab completely and make sure the brightness / contrast can speak for itself... I suppose I could darken the red texture a bit? Or is the light-dark contrast good enough?

Here are some breakdowns of other "player minorities":

Close Reading: "Noveria," Mass Effect 1

I wanted to airlock Ashley Williams as soon as I met her. The vehicle physics are awful, like a shopping cart coated with Vaseline. The PC equipment menu interface still sucks. The squad AI is foolish. Tech skills seem rather worthless. Biotics are overpowered. Shops don't sell anything better than what you find. And so on.

... But the scripting and level design in Noveria? It's quite good.

Spoilers below, but only about the first 75% of the quest.

Let's Pitch: F-Stop.

Let's speculate what F-Stop (aka Portal 1.5) was / is.

Come up with a game pitch in the comments, if you'd like. Focus on the mechanics and what possible puzzles / levels would be, and for extra credit you can think about what the technical implementation would require.

I'll start:

I'm just going to leave this here.

"Half-Life Trailer by James Benson." Would body awareness work properly like this in an actual game?

A Faster Horse

Did Valve hire fashion designers? I feel like their costumes are always so... solid? Not glowy bits everywhere.

It would be foolish to characterize a 95 on Metacritic as a mistake.

It was a resounding retort to all those naysayers against the Source Engine (i.e. me, every other week): Portal 2 would've been harder to make in Unreal. It's as if many Portal 2 levels never really leave the "grayboxing" stage -- maybe that's the joke here? -- and to graybox over and over, properly, you need great brush tools, which UnrealED doesn't have at all.

... Because brushes are supposedly obsolete? Ha.

Or maybe we'll just say that it wasn't a risk. Valve even said as much publicly, back in 2010: "We [asked people what they wanted, and they said more portals and GladOS, so we shelved this other promising prototype and did as they asked.]"

Within the first minute of the game, they ask you to "appreciate the Art." Ding! The implication is that this game isn't meant to be bold Art -- rather, it's a supposedly higher calling -- it's Entertainment.

This self-awareness even comes through in the pacing: they're fully aware of the "solve a chamber, listen to a joke, take the elevator" pattern of the whole game. You know they're aware because they break that pattern several times. Those breaks are effective because you, the lab rat, were conditioned to expect certain things.

Your growing ennui with that pattern mirrors the game narrative itself. You're tired of this game, of her? No, you've got it all wrong... GladOS is sick and tired of you, the player, panting and sweating as you run through her corridors.

Why weren't you grateful? She was just giving you what you wanted.

Now, there's a particularly relevant quote by Henry Ford on the subject of focus-testing game concepts: "If I had asked what people wanted, they would have said faster horses."

We would've said to put Half-Life 2 in Black Mesa. We would've said to make Team Fortress 2 a realistic military shooter.

... Well, looks like this time we got our faster horse. Ain't she a beaut?

Elijah Tebbetts' "I Can't Find My Glasses"

From the brilliant mind behind other weird Unity FPS things like The Captain and Bisected Essence II comes "I Can't Find My Glasses." An excellent short Unity FPS that anyone could've made in 2 hours... but we weren't clever enough to do it. I think it could've been more awesome with impact sounds, screeching cats, etc.