Along with the works created by Brian Eno and Peter Chilvers’ project, Generative Music (Bloom, Trope and Air), Audiosurf and Osmos make interesting comments about synaesthetics in modern games. By way of extrapolation we can see them positioned across a sort of spectrum:

The game and thus gameplay is determined according to the music (music determines player’s actions): Audiosurf recognizes that music is as much a part of the game as the visual and mechanical side.

The music indicates aspects of the game and gameplay and vice-versa (music affects game and gameplay, game and gameplay affects music): Pacing in Osmos is suggested by pacing in the music. Conversely, visual elements alter the music. As Osmos creator Mat Jarvis says to Kim:

“I’ve always liked music visualisers like the Processing and Cymatics stuff, they’re quite compelling to watch how they react to the music, so it would be interesting to go the other way; by manipulating/ sculpting abstract shapes which then modify or even create sounds and music, especially using the new controllers like the Wii, [Microsoft’s] Project Natal and Sony’s Motion Controller instead of the mouse.” — Music, Physics, Space in Perfect Fusion: Interview, Creators of Game Osmos.

The player’s in-game actions determine the music (player’s actions determines music): In Generative Music’s software as well as in works like Electroplankton, what the player does determines the music. Whether or not these works constitute games will not be discussed here, but they are relevant as, no matter what, they inevitably fall under the same banner as traditional games.

Following this line of reasoning, we can deduce the following chart:

Simply put, this is a clear synaesthetic relationship being formed between long-standing components of games. I think it is quite wonderful how seamlessly music and gameplay are being integrated in this way. I know there are other games out there that attempt to form these environmental relationships, but the games chosen here demonstrate my point clearly. In sum, some questions:

• Could this relationship be the result of more musicians taking active roles in game development? Generative Music, for example, has Brian Eno at the helm. Eno is a highly influential musician particularly with regard to the types of aural experiences we’re seeing in games. Wiki ‘generative music‘ for a summary of this.
• What directions might these synaethetic relationships take games in the future?
• And what other relationships might be built in to games in similar ways?

Trope (iPhone, Generative Music)

Canabalt (iPhone, Semi Secret)

Mirror’s Edge (PC, XBox, PS3, EA)

Osmos (PC, Mac, Hemisphere Games)

Eufloria (PC)

Not video games, but proof that game-related stuff can be well designed:

Both via TIG Source.

Not only do Mac gamers have the official announcement that the Starcraft II beta will be warping in on OS X on Monday or Tuesday, but Valve has announced they’re releasing the brand-new Steam UI on Monday. This is a good reason for Apple-based gamers to be excited as Valve slated the Mac Steam UI for an April release.

You do the math: new Steam UI + April = good chance of the OS X interface being released.

Also check out the latest leaks of the Mac Steam UI.

After three-years and fourty-thousand checks of my email, the Starcraft II beta finally arrived. I guess one of the perks of keeping a blog is that you get access to the newest things in video games as they happen, like DoTA remake Heroes of Newerth, as well as exciting developments in the field, like home-made and independent games. But after playing a fair few games of Starcraft II I got to thinking: is this game really “new”; is this game really exciting?

My first impression of SC 2 was, bascially, “wow — this game looks great, this game plays great, this game is great”. And, like culture shock, this elicited a feeling of excitement that this was something familiar (principally similar to Starcraft, common units) but completely different (new mechanics, new units, etc.). But also like culture shock, it wore off, and I was left with the reality of Starcraft II.

Starcraft II, from what I’ve gathered from the multiplayer component of the beta, is a really good game, even post-’culture shock’. The problem: it feels like a really glossy remake of Starcraft; it doesn’t feel like a revolution. As anyone who has been following the developent of the game will know, there are a few changes to the way the game can be played. For example, certain units can leap / scale cliffs and ledges, Zerg roaches can move burrowed. In my short time with the game, I have also noticed the drastic ’rounding’ of the Zerg game since Starcraft (they actually have an early game via roaches!). There is also more filled-out, linear progression from light to heavy units.

For me, some of these features felt like they could have constituted a heavy patching of the original game; the other features, while cool, did not and, in my experience, have not redefined the way the game is played. Low-tier unit rushes are still the same except Terran use a few marauders and Zerg use roaches instead of hydra. Protoss often incorporate stalkers, but can rely on early zealot pushes. Likewise, if playing against someone with even a slightly lower skill level, a fast tech to heavy air units still usually delivers a comprehensive victory.

That being said, there are some drastic improvements in the playability of the game: the ability to select multiple buildings, rally miners to resources, improved pathing,  generally less ‘bugged’ unit AI (I am yet to see computer opponent AI in full force), que upgrades, que rally points / commands, etc.

Yet in spite of all this, I return to my earlier point that Starcraft II just feels like a (very) comprehensive remake of Starcraft II. The improvements on Starcraft don’t constitute a revolution of the game. A revolution would imply a considerable, near-redefining shift in the fundamentals, but this has not taken place. Perhaps it is more helpful to consider Starcraft II in terms of evolution. If we consider the patching Starcraft mutations, then I’d say that Starcraft II constitutes, while drastic, just another mutation.

But so far I have only discussed the gameplay itself. The aesthetics of the game, on the other hand are completely different: the design of Starcraft has seen revolution. Units, buildings, terrain have obviously been intricately designed and benefit greatly from the gorgeous Havok-driven polygons. But such changes are to be expected and constitutes an article unto itself.

As you have probably gathered, I was left with the feeling that Starcraft II was more of a contemporaneous interpretation of the original and not the drastic revolution of RTS I was hoping for. Once the culture shock of the new units and (limited) new mechanics had worn off, I felt like I was playing the same game. This is not to say it is bad. In fact nearly every improvement is a liberating development on its predecessor. Additionally, playing Starcraft II is one of the most joyous and purely fun gaming experiences I’ve ever had. I chalk this down to a) its familiarity and b) the developed aesthetics and gameplay. It’s more than likely that the fundamental similarities between the two games were conscious master-strokes made by its developers. But that doesn’t undermine the fact that Starcraft II is to Starcraft as a human is to a chimp: on the surface there are substantial differences, but many of the same principals underpin both creatures.

In sum, Starcraft II does excite me and it is a greatly evolved version of Starcraft, but it is not a new genus of RTS. These are minor, analytical gripes, however, and hinge largely on my own expectations. All in all, anticipate enjoying the game immensely and being uniformly impressed by the work as a whole.

Star Guard is a Flash-developed platformer developed by Vacuum Flowers, and is available from their website.

This game contains excellent design and animation. It is distinctly retro, and the pixelated graphics are a major shift from the 3D models we are now comfortable with. The developer also makes great use of passages of text to describe the story. We are told that an Evil Wizard and his minions have invaded the Hero’s land in his absence, and it is up to him and his fellow soldiers to thwart the Wizard’s scheme. The small passages serve as a stark contrast to the player blasting his way across levels:
“The Last Assault must succeed, or all is lost.”

The simple yet successful sound effects reminds one of the classic sidescrollers of the CGA era, especially Mega Man 3 and 4, right from the offset.

The controls stay true to the game’s simple formula, using Z to jump, X to shoot, and the direction keys to move, like a true 8-bit platformer.
The plethora of checkpoints and the option of unlimited credits make the game one of those rare options for those easily frustrated, and will easily tend to a casual gamer or novices.

The game’s weakness however was the large difficulty spike at the beginning of level eight. The first seven levels seemed to be a breeze, but level eight and nine were quite tricky, and the final boss fight was seemingly impossible. Perhaps a building degree of difficulty, with the final battle being something that requires a fiendish puzzle to solve is something to for the developer to address. It is a shame that the many great ideas introduced earlier on were undone by the moments where it seems that every step requires a near-kamikaze death. Perhaps this was what the developer intended? It is hard to say.

However, despite its flaws it is refreshing to play a free download that harkens back to the days of arcade games, especially in days where video games are designed with mindblowing graphics and incredible visuals.

Some of will play for 5 minutes, and then return to their XBOXs. Others will revisit to try to beat their high score and have a blast. And they’ll be bloody lucky.

A while back REZ was quite a bloggable game. And it may be a bit old hat to bring it up again, but I stumbled across this fascinatingarticle by Douglas Brown on its recursive interactions between visuals, audibles and references to other art.

“Abstract: Douglas Brown’s Rez: An Evolving Analysis dives into Tetsuya Mizuguchi’s ‘trance shooter’ to reveal how the game’s recursive dynamics – between sight and sound, rhythm and novelty, abstraction and representation – work to construct the player’s spatial and temporal experience.”

That and it opens with a Kandinsky quote. Win.

A great paper. On the denser, more academic side of things.

Like watching Taniuchi perform, RunMan: Race Around the World (Tom Sennet & Matt Thorson) is also an exploration (and explication) of the joy of solid colors. This must sound like a somewhat underwhelming endorsement, but let me assure that it is not. This game is awesome.

I mean, I haven’t enjoyed a game this much for some time. Its vibrant pallet, addictive gameplay and the (consciously) kindergarten-quality graphics make for an experience that, simply put, oozes a joy that is sorely missing in a lot of independant games. And the music — oh the music! — adds another gleeful dimension. Like in his other projects, Sennet has used a bunch of public-domain music. In this case it’s bluegrass. And in a strange way, it accentuates the childlike whimsy inherent in the work as a whole.

The gameplay isn’t doing anything revolutionary, but it does hark back to a bygone era of PC platformers; nay, an era of childhood video game memories. And this really important. Not only is it in line with the simplicity of the work (overly complex mechanics would be jarring), but it allows you to enjoy the aesthetics which, I think, make it quite special. The gameplay delivers some basic joys, too — you can bounce of walls (which delivers an enjoyable ‘boing’ sound) and run really fast through (yes, through) enemies.

All I can tell you is that I loved RunMan’s simplicity and aesthetics, namely its simple, elegant and unorthodoxly-orthodox use of colors. Additionally, I applaud the employment of public domain music and also marvel at the brilliant choice of bluegrass. But, like with Taniuchi, I can’t really convey the  pleasure of experiencing RunMan: Race Around the World in words. My recommendation: go download it (PC ony). You’ll thank me later.

Above: Ikko Taniuchi’s untitled 2009, crayon on canvas compared with still from RunMan.

Well, it was interesting. I’m not sure it was quite in the E3-league of things, but there were some really great games. The Avatar game looks amazing in 3D. So amazing, in fact, that my faith in 3D things has been restored since seeing the Polar Express. Disappointingly, though, 2k seemed to be absent, rendering me unable to see any of their offerings (read: Bioshock 2).

From a game-critique perspective, it wasn’t hyper-enlightening. There was a large gearing towards game design in education, and there were some developer panels. But both these things were meant for students. This is great, don’t get me wrong. But the event wasn’t purely gaming-oriented experience. However, seeing some live progaming was quite awesome.

But that being said, gaming events aren’t always about the games themselves. I did get to meet Mario:

A US marine walked be through the harder parts of DragonAge: Origins:

And I left with a desire to play Warcraft II:

All in all, it was enjoyable, just not particularly enlightening. It is also good to see that Melbourne yields a burgeoning gaming community with countless active and engaged players and designers.

The lapse in quietness will end this weekend when we grace the eGames Expo in Melbourne, AU. We expect to see some cool stuff and, well, basically chill over the weekend.

While you’re waiting for that gold, here are some awesome things worth checking out:

• This article at the NY Times.
• This totally rad design blog called HI+LOW (particularly this post).
• This ‘design-y’ game called UNIQLO_GRID produced by emag, UNIQLO – It’s absolutely beautiful and satisfies the autistic within me. Oh, and it’s online and totally free. Do it.

But to keep your appetites whet with game blogging, here are some recent offerings from some other bloggable blog sources:

• What Makes Video Games Scary? [Kotaku] — Concise, interesting and, well, obviously we’re going to like this kinda stuff.
• Creative Fluff have a new section game design written by The Game Critique’s Eric Swain. Check it out here, yo.
• Critical Distance have a new addition to their Critical Compilation series. This one’s on Grand Theft Auto IV.
• And finally, a Google search unveiled this article at Christian website Revelife. In it, blogger ‘Travis’ rehashes some old ideas about video game violence. The upshot? Well, essentially he’s just warning us of the ills of violent video games with reference to the bible and the Robbin Williams film Toys. Not convinced, Trav.