Showing posts with label The Witcher 3. Show all posts
Showing posts with label The Witcher 3. Show all posts

Tuesday, October 25, 2016

Costume Time: Role Playing in Role-Playing Games
Perspectives


My silver hair danced gently across my face as I strode into a muddy, weather worn village by the river. An imposing castle sat atop this quiet town. But I wasn’t here for nobles. I wasn’t here for rest. I was here for one reason only—a bounty. For you see, a poster at a nearby tavern alerted me of a desperate need for a skilled warrior. A terrifying griffin had been ravaging a nearby town. I hopped on my horse and rode over. A quick stroll through the streets and it became obvious who my new employer would be. A woman sobbed outside her home, cursing fate and only wishing for her son’s safe return. The griffin had snatched him up while he was playing outside the town’s walls. He was gone in an instant. The mother pleaded with me to help her out. Her only son could be moments away from death. I listened to her request, and got the required information about the beast’s possible lair and habits. I then looked her squarely in her eyes, her brown against my fiery yellow. I asked coldly, “So what does this job pay?”

Sure, I (as Alex) felt bad for the traumatized mother. I (as Alex) hoped the young boy was still alive (though unlikely, griffins aren’t the most patient creatures). But I was not Alex. I was Geralt of Rivia. A bounty hunter. A Witcher. I didn’t ride across the land as a do gooder or as a righteous warrior. I had honed my craft at slaying monsters and ghosts and beasts alike for one reason: to get paid. Every single decision I made during conversation, exploration, and combat was that of the hardened bounty hunter Geralt. Sob stories were met with asking fees. My price was non-negotiable. The Witcher 3: Wild Hunt allowed me to be this fantastic character. It allowed me to act in his stead. I always had choices and could have played The Witcher 3: Wild Hunt very differently, but I wanted to role-play. I wanted to wear my Geralt costume.

You got a problem, hey I'll solve it. For a fee, of course.
In this spooky, costume-wearing time of year I got to thinking why I like wearing these video game ‘costumes’ and the kinds of games in which these costumes exist. The first place many of us might think of, myself included, are role-playing games (RPGs). They often build a world around a character, or group of characters, that engage with a grand narrative. Sometimes it’s about stopping a madman in clown make-up from destroying the world, other times it’s about finding my long lost son in a post-nuclear wasteland. Who the characters are and how they interact with this grand narrative, however, can vary quite a bit between RPGs. In fact, you don’t always get to role-play a ‘character’ in a RPG. Let me explain.

Non-character ‘characters’ typically fall into two categories. The first you see quite often in Japanese RPGs. We’ll call it the overly controlled protagonist. A few examples out of the many I could have chosen are Cloud from Final Fantasy VII or Sora from Kingdom Hearts. There’s nothing wrong with having an overly controlled protagonist lead your RPG. They’re often endearing, sticking with you long after completing the game. But games like Final Fantasy VII and Kingdom Hearts don’t allow the player to make their own stamp on Cloud or Sora, respectively. Everything is pre-scripted. Gameplay inside and outside of combat doesn’t lend itself to adopting a persona. Cloud and Sora are great characters, but they cannot be costumes for me to put on.
And here you see the extent to which you can role-play as Sora.
The second type is the formless protagonist. Formless protagonists were traditionally found in western RPGs like The Elder Scrolls or Baldur’s Gate. You now also see them in Japanese RPGs like Bloodborne and Dragon’s Dogma. The main characters in these games lack any built-in personality. It starts from the character creation screen. In many of these games, you mold and shape a character to look exactly how you want her to. The same philosophy applies to playing the game. Everything about the character comes from you, the player. Good or bad, murderous or forgiving, these protagonists can be whatever you want them to be whenever you want them to be. I already see arguments popping up here. “But Alex, isn’t your character from Fallout 4 perfect for role-playing? It’s a perfect costume since you can be whatever you want!” But therein lies the problem. They aren’t characters. They’re me. They’re me when they are the Nice Guy™ doing good across the land, and they are also me when they are a sleazy scoundrel that drinks until he’s silly. I can’t frame my decisions within an authored context. I am the actions and the framework. The formless protagonist is great for role-playing, but an imperfect costume.

You can be Geralt in Fallout 4! Except not. You're always yourself as your own character.
So what makes Geralt of Rivia work as a costume? It is a combination of player agency in moment-to-moment decisions with predefined characteristics. Geralt has a backstory and personality. He has past decisions to atone for and a well-communicated set of core values. In cutscenes or other moments when control is removed from the player, Geralt acts according to the narrative framework of the developers. He is his own person. While playing, though, I get to define who I am as Geralt. A player like me could have just as easily been a Geralt that’s softened his stance on payments, due to the evolution of his relationship with his daughter figure Ciri. Another player’s Geralt could have gone the exact opposite direction—ignoring teary-eyed pleas for help because he has bigger fish to fry (namely the spectral Wild Hunt that wants him and Ciri dead). No Geralt is wrong, and all Geralts are a costume. I think of it like a mask you’d buy at a Halloween store. You’re not going to buy a block of rubber and cut & shape it into a mask. You’re going to buy one that’s already been made—one you can put your unique stamp on by the way in which you wear it.

Great costumes don’t happen that often in video games, so I relish every chance I get to put one on. A recent example is Adam Jensen in Deus Ex: Mankind Divided. Like Geralt, this augmented super spy has an authored identity that can be shaped by a player’s actions. Jensen’s tagline in Mankind Divided’s prequel was ‘I didn’t choose this.’ After nearly being blown to smithereens by gunfire, Jensen was rebuilt with top of the line mechanical prosthetics (augmentations) and asked to face off against those who would do harm. Coming into Mankind Divided, Jensen is perhaps more comfortable with his new identity but also, for me as Jensen, someone who never forgot his roots. I took his framework and built upon it.

I played an Adam Jensen that remembered what it was like to be powerless. A tough stint as a Detroit beat cop taught him humility. Taught him the value of all life, especially in an age when people are looking for any reason to treat others as subhuman. For those reasons, my Adam Jensen never killed. Anyone. Ever. I used non-lethal weapons like the stun gun or tranquilizer rifle, and made sure to knockout and enemy rather than break their neck. Even in trying moments, my Adam Jensen held true to his principles. In one instance, he faced off against a serial killer. This person had brutally murdered no less than four augmented individuals and had gotten away with it. In fact, she had lured Jensen into the sewers to be her next victim. Despite all that, Jensen didn’t want to kill her. Nor did he want her to end her own life. In a room rigged with explosives and deadly gas, Jensen carefully talked to the serial killer in an attempt to find out what he could say to peacefully put the murders to an end. And he did. I did. I wasn’t there to open fire or run her through with my arm’s nanoblade. Because that’s not the costume I was wearing.

Put the blade away Jensen. That's not you (or me as you).
I love these video game costumes. Maybe it’s my affinity for this unique kind of role-playing experience; maybe it’s just their scarcity. This Halloween enjoy the costumes you wear. Not just the ones you put on for a party. Enjoy the ones you wear while playing video games, too. From a mythical bounty hunter to an augmented super spy to anything in-between, costumes are a whole lot of fun. Now if only I could find a way to be given candy while wearing one.

Friday, September 2, 2016

News & Views
8/27/16-9/2/16

Happy Friday everyone! I hope all of you out there have plans for the holiday weekend. It’s hard to believe it’s September already. We’re less than a month away from Fall and I am more than ready for it. Let’s just hope I get some more experiments working to accompany my favorite time of the year.

News & Views collects the week’s best writing about video games and puts it all into one convenient place. Check out the links below for stories about how parents thought the Super Nintendo was a scam, how one analyst used a Sci-Fi MMO to predict the Great Recession, and how the scariest enemy in all of gaming is time.

And of course please check out the brand new episode of The Impact Factor podcast that was posted today! You can subscribe to the podcast on iTunes, or if you prefer other methods, check out our SoundCloud. We’re on YouTube too!

Spotlight
Chris Kohler, Wired

Worth Reading
Nathan Ditum, Eurogamer

NakeyJakey, YouTube

Heather Alexandra, Kotaku

Staff, Kill Screen

Ramin Shokrizade, Gamasutra

Jake Muncy, Wired

Anita Sarkeesian, Tropes Vs. Women YouTube
Allegra Frank, Polygon

Simon Parkin, Gamasutra

Chris Schilling, VICE

Friday, April 1, 2016

News & Views
3/26/16-4/1/16

It’s no April Fools’ joke: The Impact Factor is here as always to keep you up to date on everything that’s happening in games.

News & Views collects the week’s best writing about video games. Check the links below for stories about manipulation in game design, addressing the walking problem in virtual reality, and a musical analysis of one of 2015’s best soundtracks.

And of course please check out the brand new episode of The Impact Factor podcast that was posted today! You can subscribe to the podcast on iTunes, or if you prefer other methods, check out our SoundCloud. We’re on YouTube too!

Spotlight
Gino Grieco, Giantbomb

Worth Reading
Jason Rubin, PC Gamer

Lewis Gordon, Kill Screen

Robert Yang, radiator Design Blog

Dan Nagler, GDC, Gamasutra

Colin Campbell, Polygon

With Comments
Jason Yu, Music, Melee, Miscellaneous
Jason Yu provides an in-depth music theory analysis on one of 2015’s best game soundtracks: UNDERTALE. Yu specifically takes a look at the game’s leitmotif, which can be found as early as the introductory sequence. This is a fascinating piece that really dissects how music affects mood and vise versa. Well worth your time.

Nick Dinicola, Pop Matters
UNDERTALE continues to inspire great gaming writing. One of the game’s selling points was that the narrative unfurled over the span of multiple playthroughs and through multiple ways of playing the game. A pacifist approach, many players’ second playthrough, sheds light on many of the mysteries left hanging after completing a ‘neutral’ run. Nick Dinicola uncovers a dark side to this seemingly peaceful approach to playing and writes about it here.

Jody Macgregor, PC Gamer
PC gamers continue to fascinate me. Jody Macgregor spotlights one player who has made it his quest to take the biggest, most beautiful PC games and reduce them to their lowest possible level of graphic fidelity. If nothing else, this article is worth checking out to see just how low polygon count The Wither 3 can get.

Heather Alexandra, ZAM
My favorite game of the year (so far) continues to fuel amazing discussions about video games. If you check out my review, you’ll find that many of Heather Alexandra’s thoughts echo my own. Firewatch is a game made by adults, featuring adults, for adults. The subtle, human story of two people trying to escape the tumult of real life is phenomenal. I urge other developers to follow Campo Santo’s lead and to be unafraid to make narrative games that are nuanced, difficult or even unresolved. The industry, the art, will be better for it.
The Impact Factor Ep. 48: A Literal Potato
Podcast
Welcome to the 48th episode of The Impact Factor! The Impact Factor is what happens when two scientists, and two best friends, get together to talk about video games. Hosts Alex Samocha [biomedical scientist] and Charles Fliss [social scientist] sit down every week to discuss the week in gaming! Listen in for the news, views, and games that made the biggest impact!

Please send your suggestions and feedback to: impactfactorpodcast@gmail.com

In this episode Alex and Fliss talk about Street Fighter V, Final Fantasy XV, PS4K, Heroes of the Storm, Overwatch, eSports Hall of Fame, CD Projekt Red, Clash Royale, Pony Island, Batman v Superman and much more!

The Witcher 3 developer on talking to fans: 'The worst thing is silence' by Matt Leone, Polygon


YouTube page

For articles and reviews from Alex, check out: www.theimpactfactor.blogspot.com
For a blog about Japan, pop culture & more from Fliss, check out:
www.flissofthenorthstar.blogspot.com

Follow Alex @alexsamocha on Twitter. twitch.tv/megalodonphd
Follow Fliss 
@thecfliss on Twitter. twitch.tv/flissofthenorthstar

Intro song:
You Kill My Brother by Go! Go! Go! Micro Invasion, East Jakarta Chiptunes Compilations. Freemusic Archive. (Attribution Noncommercial Share-Alike License)
freemusicarchive.org/music/Indonesi…s_Compilation/
Transitions:
News & Views and Perspectives transitions from victorcenusa, Freesound.org (Creative Commons 0 License)
freesound.org/people/victorcenusa/sounds/148785/
freesound.org/people/victorcenusa/sounds/148784/
Experimental Methods transition from Sentuniman, Freesound.org (Attribution Noncommercial License)
freesound.org/people/Setuniman/sounds/143994/

Friday, January 1, 2016

News & Views
12/26/15-1/1/16

Happy New Year! 2015 is done and gone, leaving some pretty big changes in its wake. The year had its up and downs, but I think I can say I came out of pretty happy. I got engaged, started and maintained The Impact Factor, reconnected with old friends, make good progress & have direction for my thesis project, and more. Here’s to hoping 2016 is even better! I know that the gaming side is already looking pretty darn great, even if only half of the announced games actually get released.

News & Views is here for you as always here on TIF. There’s no better place (probably) to find the week’s best video game writing, be they editorial, opinion, essay or otherwise! The holiday meant not a whole lot of new stuff, but still check out below for stories about uncovering the heart of one of my favorite games this year (Undertale), how The Witcher 3 understands war, and how the first 15 minutes of SOMA set up its phenomenal experience.

And of course you can check out the brand new episode of The Impact Factor podcast that was posted today! You can subscribe to the podcast on iTunes, or if you prefer other methods, check out our SoundCloud. We’re on YouTube too!

Spotlight
Patrick Miller, Medium

Worth Reading
Richard Cobbett, Eurogamer

Alexa Ray Corriea, Gamespot

Matthew Gault, War Is Boring

Christopher Grant, Polygon

[game array], YouTube

With Comments
Sarah Kessler, Fast Company
This piece was too good not to include, though not strictly (or really at all) about gaming. I’ve always wondered about the people who work for these app companies. The people on the ground making this modern, connected, app-filled service-filled life so complete. Perhaps unsurprisingly, but still tragically, life is hard for the employees of this gig economy. The expectation of cheap labor is a serious problem in the US. I wish the best for everyone trying to make a living in the gig economy in 2016 and hope things can improve on the whole.

Friday, September 25, 2015

News & Views
9/19/15-9/25/15

A gnarly stomach bug may have taken me out of commission for most of this week, but nothing stops The Impact Factor! Welcome back to another News & Views. This week, I found great writing about how Metal Gear Solid V allows you to bleed for your enemies, what Mad Max says about physical disabilities, and fear of missing out. Thanks for sticking with me everyone, I hope to be back up to full speed next week: which means more great stuff here and on Twitch.

And of course you can check out the brand new episode of The Impact Factor podcast that was posted today! You can subscribe to the podcast on iTunes, or if you prefer other methods, check out our SoundCloud. We’re on YouTube too!

Spotlight
Ario Barzan, Gamasutra

Worth Reading
Jordan Wood, MetaThesis Blog

Ben Kuchera, Polygon

Tauriq Moosa, Polygon

Stu Horvath, Unwinnable

Nathan Grayson, Kotaku

With Comments
Joshua Cauller, Gamechurch
Cauller gives his fascinating take on combat in Metal Gear Solid V. In so many games the player is forced to take countless lives. You’re essentially a mass murderer. But in MGSV, Big Boss is able to incapacitate, rather than kill, essentially every foe. Cauller writes how this allows him to express his faith, bleed for his enemies, and respect life. It’s a very cool perspective you don’t see often in games writing.

Bianca Batii, NYMG
Until Dawn is a game I’m still dying to play. I have it slotted for October as a part of my horror fest game and movie media consumption mega-plan. Batii’s perspective is a welcome one. She writes that, although Until Dawn does play with some of horror’s more unseemly tropes, the game doesn’t give enough player agency to subvert others. For example, the cliché and misogynistic “cat fight” is totally unskippable. Something to consider during my playthrough.

Gerald, Core-A Gaming, YouTube
Click bait title aside, Core-A-Gaming produces a pretty great video expounding the virtues of competitive fighting games. I’ve said a lot of what the video discusses here on the blog before, but it’s always worth reiterating.

Nick Robinson, Polygon
Derek Yu is a fascinating game designer. Spelunky is one of my favorite games of all time. It’s cool to see what Yu puts together in Super Mario Maker, especially with his procedural level generation mindset. I really want to play his SMM level. Dangit, Wii U.

Tuesday, September 8, 2015

Overstuffed: Games and Ph.D. Science Have A Lot In Common
Article, Parallels

Abstract: Abstracting my experience as a Ph.D. candidate in biomedical sciences helped to highlight unexpected parallels between video games and research science. In recent years, the two have become increasingly overstuffed with content. In science, heightened data demands have led to overlong and often diluted manuscripts. In games, the community’s demand for more had led to experiences with artificially inflated completion time and undercooked content. More is better, except when it’s not.

Sometimes it bums me out that I cannot directly translate my experience as a biomedical Ph.D. scientist into my perspectives on games more often. It would be great to link games to phosphorylation events in signaling cascades. Or to a recent study found that mammary epithelial cells throughout organogenesis develop tools for immune evasion as part of ductal elongation, which may correlate with the body’s difficulty to combat breast cancer.

As I get further into my thesis project, direct parallels between what I think about and work on becomes increasingly detached from a generalizable foundation. When I started this blog I had high hopes that I could pull in my specific perspective as a biomedical scientist in the discussion of video games, but as I enter my ninth month of doing this, it’s clear that direct translation isn’t the font of content I thought it to be. I, however, know games and science to be intrinsically related. I can feel the parallels. So I took it on myself to abstract my experiences from graduate school to look for narrative and thematic threads that have shaped my time working towards a Ph.D. And voila. The similarities between Ph.D. science and games took form before my eyes. That brings me to the topic at hand.
This doesn't scream video games to you?
You ever read a scientific manuscript and get to a point where you ask yourself, “Just how many supplementary figures are there going to be?” Or “Well I guess I need to be an expert in molecular, systems and cellular biology to really understand what all these data mean.” What about when you’re playing a video game, have you ever thought, “I feel totally overwhelmed by the sheer amount of things there are to do.” Or “I’m 20 hours in, just another 80 to go to beat the game!” It might not initially look like it, but these two feelings share a common foundation.

We currently live in a time in which video games and research science are overstuffed. Packed to the brim with content. For their own reasons, each believe that more is better. I’m here to say that isn't always true. Not for either.

Let’s talk about the science side of things first. Getting your research published is almost certainly harder now than it has ever been. Journals, the place to which you submit your story, are incredibly demanding. Not only does your story have to be novel (i.e. unlike anything before it), but it also has to absolutely packed with data that support your hypothesis. Fair. It’s dangerous to publish ideas without proper supporting evidence. But the content demands have been skyrocketing in the past decade. Scientists have to work for months, even years, to add more and more data into their manuscript during the journal's revision process. The community expects published work to address the question so "completely" that stories often become a jumbled mess of data, an amalgam of several clear ideas into one loosely comprehensible one. And expectations seem to only be getting higher.

I’ll frame this discussion with a recent anecdote from my lab. Due to intense reviewer demands, a post-doc spent the better part of a year adding ideas and figures and data into his original story. Seemingly the more he gave to the journal the more it increased their appetite for supporting evidence. As arduous as his journey to publication was, it’s sadly becoming the norm for research science. What started out as straightforward, but important, study, morphed into a homunculus of three separate stories with dozens of supplemental figures and others in the main text had 15+ panels (that’s a lot). And this is all done in the name of having a more “complete” story, and by the nature of the science community, whose high demands shape this phenomenon.
 
The data is great but you know there's a problem when
editor demands push you up to 16 panels.
In many ways we’re seeing the same thing happen with video games. The gaming community at large is pushing for more and more. Content demands in games are higher now than they have ever been. Developers, on the AAA side especially, put immense effort into jamming as many things for the players to do into their games. Or work to artificially lengthen the time to complete their titles. Because people demand it. Jeremy Dunham, developer of one of the year’s biggest hits (Rocket League) said in a conversation with the Kinda Funny Games crew that, “The key to video games is to make them fun. And you can increase the chances of having fun by having as many options as possible.” While Dunham is certainly not wrong his mindset, reflective of the industry’s mindset, it has led to video games like research publications to become overstuffed.
 
MPG might not always be the best idea.
Let’s talk a few examples. 2015 is the year of absolutely massive AAA games. The Witcher 3 has easily 150+ hours of diverse content to tackle. Batman Arkham Knight took what was a 10-15 hour experience in Arkham Asylum and converted it into a 30+ hour game. Metal Gear Solid V is so large that people are reporting only 50% completion after 70 hours of play. And then there’s Fallout 4. Lead producer Jeff Gardiner was quoted saying that, “I have played [Fallout 4] for probably 400 hours, and I’m still finding stuff I haven’t seen.” To say these games are packed with content would be an understatement. Content density doesn’t inherently weaken a game (nor science manuscript), as The Witcher 3 is phenomenal, but it’s still clear the industry is trending towards excess.
Fallout 4 is a game you'll be playing and playing and playing. And playing.
There are plenty of examples where overstuffing a game can be detrimental. First, let’s look at Alien Isolation. As a fan of the Alien franchise and horror games, I was excited for Creative Assembly’s action-adventure, stealth, survival horror foray. When reviews started pouring out, however, one thing became stunningly clear—the game was just too long. I read dozens of reviews saying just how much they loved the first 5-8 hours, but as the game went on for another 12-15 after that, Alien Isolation quickly lost its appeal. While I don’t have any insider information here, I have to imagine the inflated time to completion came about in response to the ‘need’ for more content. The necessity of saying that is game is longer than 8 hours. Crystal Dynamic’s 2013 Tomb Raider reboot is another great example. In their attempt to appeal to as many gamers as possible the studio included a half-baked multiplayer mode that, while it didn’t weaken the excellent single player experience, felt forcefully shoehorned in.
Alien Isolation is a game that by many accounts should not have been 20 hours long.
In both Ph.D. science and games, I understand where this demand for increased content density is coming from. For science, there are many instances in which stories are submitted with glaring omissions or lacking key supporting evidence. Further, highly multidisciplinary studies are reflective of the time, as research continues driving towards more collaborative projects. For games, too, it makes sense. The market is becoming increasingly crowded with new releases. To ensure your best chances at financial success, you need to appeal to as many groups of people as possible, and varied content is one easy way to accomplish this. More games mean less unclaimed consumer money, too. Creating a content dense game that can take hundreds of hours to complete can be presented as an astounding value proposition.

While good in theory, often times this mindset is detrimental to the final product. In science, cramming in as much data as possible can dilute the message of the story. In games, it can lead to weak filler content that artificially lengthens completion time and undercooked modes. No matter where I go, all I see is content density. So when you sit down to play Fallout 4 just think about the scientist who is now 6 months into her resubmission experiments putting together her fourteenth supplemental figure. They’ve got a lot in common.