#levolution

The Animal Crossing / Doom Eternal Covid19 launch coincidentally seems to be related to this discussion, even tho I’d say Doom Eternal has an excellent combat system and isn’t really relevant to what I’m going to bring up. I don’t have a problem with shooty-shooty, I have purchased, played and will continue to purchase and play plenty of video games that engage with firearm violence. There are plenty of discussions about how intelligent, consenting adults can do this without any problems and I won’t retread them here. Doom is simple game themed vaguely around demons; demons bad, player protagonist good, good player shoot bad demons - OK you got it, apply an incredible movement system into that and enjoy.

What I want to discuss involves of-course that pesky word and idea nuance, which annoys the shit out of more people these days, for its applications and misapplications - fingers-crossed I don’t fuck it up, but first I want to bring up Ubisoft and systems, so now’s as good a place as any for a stolen picture from the internet.

As far as concept art goes, that’s actually very representative of the final product in-game.

Ubisoft appear to have a long-term open-world tech development objective. I believe at some point very soon, these individual objectives will converge into one single middleware product with a mandate to producce retail licenses that combine what each of these individual franchises have been testing and achieving in isolation, those being;

Ghost Recon Wildlands and Breakpoint: 3rd person Load-On-Demand

The Division: 3rd Person Cover and interactivity

Assassin’s Creed: Environmental mapping and interactivity

Starlink: Scaling Load-On-Demand

Far Cry: First Person implementation of various combinations of above

I’ll put it another way;

Ghost Recon: Load everything

The Division: stick to everything

Assassin’s Creed: climb everything

Starlink: scale everything

Far Cry: do it in first person perspective

It looks like all of these games are running in Ubisoft in-house proprietary engines. Ghost Recon and Assassin’s Creed are running in Anvil, developed for the very first Assassin’s game and in which the Prince of Persia 2008 and Forgotten Sands also ran in. Oddly, (Rainbow Six) Seige, Steep (lol) and For Honor are also running in Anvil.

Both Division games and Starlink are running in Snowdrop and this appears to be due to The Division having come from Massive Entertainment. I’ll be honest, from the perspective of a consumer (read: punter) and someone with extremely minimal 3rd-hand development experience, The Division looks far more impressive than both the Ghost Recon and Assasin’s games, and former Massive brand and art director Rodrigo Cortes has said of the engine that it was design to “do things  better not bigger” and I think it shows. Anyway, it was still developed with Ubisoft so as I understand it, they own it. Massive is a Ubisoft subsidiary, their studio based in Sweden.

Far Cry is going to be a little different, being a little older and having its roots slightly before... what shall we call this mess... the cynical age? The microtransaciton age? Anyway. The first game used the CryEngine developed by Crytek. At some point, Ubisoft seemed to develop an offshoot of the engine called Dunia because the CryEngine was licensed and clearly lucrative, I think. I’m not entirely sure, but Dunia does appear to remain in-house and under the auspices of Ubisoft Montreal. Where am I going with all this?

Starlink was “toys to life” a-la Skylanders but way too late, combined with No Man’s Sky-lite, but the game itself other than being overstuffed with Ubisoft copy-and-paste template-quests is an excellent proof of concept.

I do need to say that in general, I don’t have any particular affinity for Ubisoft. So I am yes, absolutely fascinated with something I do think is happening as far as tech goes and now I’m writing about it in this piece, and yes you can tell I’ve played and even enjoyed some of the games they’ve produced and published, but there’s a lot not to like about many of their practices, the least of which is the overbearing sense of cynicism pervasive in many of their games.

I played Far Cry 3 long after it released and got perhaps 20% thru the campaign before giving up entirely. For starters, nothing about how it controlled felt right and I appreciate that’s purely a personal preference. Being a Battlefield player, there’s something about DICE’s sense of locomotion that is perfect to me, even tho it varies from title to title from Bad Company 2 all the way to V most recently. Other things about Far Cry bother me tho - if there’s wildlife around, it always attacks the player, guaranteed. Everything about this game seems to be designed to force the player into engagement, to provide you with materials to collect, craft or sell, but also to run you short of ammunition to either scrounge for more or have to buy it because *surprise* - it prompts you to purchase ammunition for real-world money. ARE YOU FUCKING KIDDING ME? Fuck off. I uninstalled the game immediately. I can deal with ridiculous AI with magical aim and irrational scripting. I can deal with absurd narrative for the sake of reading (and roasting later), but the entire package culminating in purchasing more ammunition was otherworldly, it was truly bizarre. To this day, I don’t understand what world Ubisoft inhabits that this is something that makes sense to anyone in management or marketing, and yet there it is and there are consumers that not only accept it but embrace it. No doubt there are metrics from the mobile industry that support it and dear lord the capitalist apocalypse is upon us.

What will Ubisoft do when they can merge these technologies? They definitely want to and likely already have in-house, they just need the engine to run client-side for the Consumer. You and I and Inside Gaming are all laughing it up at Stadia right now, but we’re at the wrong end of the business. For Ubisoft, they can ignore the faltering at the start, it’s the long-term they focus on. The pittance Google are losing now, even if they end-up shuttering the project will be meaningless if they end-up getting the hardware to work, even if the end-result is the hardware sitting in a box in the consumer’s home in 10 years. Sure, that’s a long loop, but the journey still doesn’t matter, only the eventual ROI.

If this piece hasn’t gotten boring for you yet, it’s about to because you’re probably excited for what Ubisoft will do with this impending technological power and development and I rally am not. What will Ubisoft do with it? Probably just more Assassin’s Creed, except you’ll be able to snap to cover and have a fully mapped country. Probably more The Division, but you’ll have a fully mapped city that you can also climb on the outside of buildings and then enter them without any loading. Probably more Far Cry but with bigger maps and more interactivity and less loading. The next generation of consumer hardware consoles from Microsoft and Sony are upon us and as much as PC enthusiasts hate to admit it, the consumer market is largely gated by the generational hardware stepping of these platforms. That may change after this era depending on how Google, Amazon and indeed Microsoft and Sony go with cloud computing, but for the moment the status-quo will remain as alternative products develop. Bear in mind with Covid19, climate change and the general sustainability and ethical standards of working and living being under growing scrutiny the world over, things are changing more each day, our technology development may change in ways we don’t expect so who even knows what’s in store for the future.

So What Do I Actually Want?

Good question. NB: before you ask, Animal Crossing isn’t my thing. I played it years ago on Gamecube. It’s cute, it’s fine. I’ve no interest in it. I’m writing this note in retrospect because I realise you may say “Just play Animal Crossing or The Sims but hopefully I can illustrate by neither of those games is what I’m after, nor do I just want to build a house in something like No Man’s Sky and fill it with crap. Let’s see if I get there... A few weeks ago I wrote about how the best thing Naughty Dog did with Uncharted 4 was Elena and Nathan’s domestic spaces. I did purchase The Division 2 on the cheap a couple of weeks ago and I’ll be honest, there’s a lot about it that I’m enjoying quite a bit. For a start, visually it’s stunning. The art team have done an excellent job of both filling the world with immense detail, but also making every area of Washington unique and distinct which is a huge feat given the total space covered. Thus far, I’ve spent a whole lot of time just walking around and gathering resources, in part just to sightsee and explore without any particular objective in mind. After a while, I got the impression that the map was a bit flat, but the more you explore, the more you find places where you get verticality, and then doing missions always adds verticality and variety in environmental and art design, it’s a marvel to see.

Apologies to James and Thomas (above) for ripping these images, but I’m glad your names are in frame so you have direct credit - outstanding work. The art in this game is without question its strongest element.

And that’s just the thing - The Division is an interesting game in that what I enjoy most is the sense of walking around exploring, gather resources and helping people. I’m not here on an anti-violence kick - I play Battlefield, I actually don’t mind the shooting in The Division, it’s fine, whatever, I’m not going to justify that. What I’m saying is that it gets boring.

THERE ARE A LOT OF GAMES ABOUT SHOOTING.

Like... a lot. More than enough. There will always be a lot of games about shooting and that’s fine. I think I’ll always play them. Hey, I even play games about shooting *in very specific ways* - it’s not like I don’t care about the shooting, I’m playing The Division with only a bullpup DMR and shotgun combo, plus I’m trying to use my sidearm when traversing the streets as much as possible so don’t at me, I’m in the game.

But we seem to mostly get high detail assets in games with guns because shooty games get all the money. I get it - shooty games get all the sales because we as gamers like to play them - sure, I’m one of them, but I didn’t buy The Division until it was under AUD$30 because gotdam the shooting is so boring and even now yes, it really do be just more boring shooting, just like it’s boring in Uncharted, just like it’s boring in Ghost Recon (my goooooood so boring), just like it is in Destiny, and the umpteenth shooty mcshooty game. I’m getting too old for this.

Uncharted 4 had an opportunity to do something more and it almost did. For many players, it probably achieved enough of what I was after by those two visits to the Fisher and North residences but I wanted so much more of that. I want to see Sully’s house or houses, more of his life. I want to know where Chloe’s life is at. I want to know of their lives and emotional engagements outside of the frankly stupid narrative I have no interest in because it’s clearly stupid and an excuse for running and jumping that other games have since done better. If Uncharted as a whole was a subtext for character, then by the fourth game, the focus should have been the characters that carried the series thru to the end - no disrespect to Tom Baker - not the heretofore unrevealed older brother.

For Years I Didn’t Know “Walking Simulator” Was A Pejorative

I think this is why I replayed and continue to replay Dear Ester so much. I remember laughing my ass off at YouTubers making videos about how it wasn’t a game and that it didn’t have objectives. Yet there were still threads and might still be on reddit or Discord wherever gamers congregate these days - about “virtual tourism” and “just chillin’ in place x because it’s so awesome” etc. It’s fine, each generation will rediscover virtual tourism again and again and we can’t denigrate anyone for doing so, it’s certainly nothing we invented given it comes from literature and oral tradition before that, but it’s remarkable that there’s this resistance to experiences crafted purely for the purposes of being immersed in them.

I adore Dear Ester and Everybody’s Gone To The Rapture. Absolutely loved What Remains Of Edith Finch and only if you have already played Edith Finch, because it’s full of spoilers but also its own spoiler warnings, I heartily recommend Joseph Anderson’s outstanding video The Villain of Edith Finch. It’s a 53 minute watch so I won’t embed it, and he has a certain style of presentation that won’t gel with everyone, nor do I always agree with everything he says which should go without saying but at some point folks, you have to stop pursuing art, criticism and media that just wholly aligns with your own views. That said, I generally do find most of what he says agreeable, innit. Anyway he’s great and the video is great.

While Dear Esther is more surreal and Rapture and Edith Finch are in part slightly more fantastical than the real-life settings of Uncharted 4′s home and Division’s post-apocalyptic cities, they all visually represent dense, very human object-rich spaces that to me are quite interesting to explore. Dear Esther might be a little more rooted in nature but its human elements tie-in to its narrative in an extremely interesting way. Each game offers different levels of interaction, some that serve the narrative directly, some as subtexts and others quite mildly in the periphery.

I’m sorry if I’m repeating myself but I remember seeing a promo for Battlefield Hardline coming off the back of Battlefield 4 and the ridiculous marketing phrase “levolution” - the term they coined for large-scale environmental destruction (please take the keys away from the marketing department). I remember seeing video footage of a large construction crane falling in a level and thinking

“All this intelligence, all this tech, and this is what we do with it? Is this all we can achieve? This is it?”

That’s how I feel about this emerging technology. Somewhere out there (on YouTube, to be fair), there’s all this footage buried of the Beyond Good And Evil sequel that to everyone’s knowledge is still in development. I’d put my money on that being the first project built in Ubisoft’s convergence engine that they hope successfully implements everything that each of these games executes individually. I know the BG&E fans are frothing for it and when I saw those early demos, what I interpret of the tech did blow me away, but from an experience perspective, I did still think the same thing...

“Is this it?”

Because of-course, a huge part of the new game is going to be combat. I just - don’t - care. When I think about what was lacking in Uncharted 4, what I wanted more of, it was intimacy. What didn’t I like about the conversation and resolution between Elena and Nathan? About the tours of their homes, the little time spent playing as Cassie, the few insights into Sully as a character, the absence of Chloe who was such a great contrast to Nathan, Elena and Sully all-together... it was intimacy. Yea oroight, so I don’t exactly mean the type of real-life intimacy between lovers, do I - that much is clear. But if I don’t mean shooty because there’s enough of that, and I’m leaning into domestic detail and emotional exploration and reflections of that in objects, spaces and interactivity, then that’s what I mean.

Tho I’m loath to bring it up, I feel like in the worst possible way, David Cage is right on the periphery of this discussion (and for that reason, I ain’t tagging him or his games in this entry, get fucked). He has the most vague notion of trying to ground his games in the intimacy of human experience, so he tries to tie human locomotion and objects to the digital representations of interactivity. If we take those as perhaps the worst possible examples and then come back to some really good examples in Uncharted 4 so I can stop whipping it - I maintain that the house tours are strengths and the high-points of the game, and then look at something like The Division and consider opportunities for more complex interactivity centred around helping people and emotional engagement, I feel like that’s what I’m after.

Which is impossible, right? No-one’s going to make a game even a quarter of the scope of The Division, with all that amazing dynamic lighting, with all those awesome textures and mapped objects, animations, rigged character models, complex scripting and AI, interactivity, load-on-demand tech and full voice-talented support, just to be a game about exploring, sightseeing, meeting and learning about people and helping them? Because who would play that?