Wicko - Game Developer

Lachlan Wickerson

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Alfred Hitchcock - Intertextuality of narrative & Shakespearean homage

Sir Alfred Hitchcock is widely regarded as one of the most influential film directors in cinematic history, regarded as the king of suspense thrillers(1). A master of narrative he excelled at combining the macabre themes of Edgar Allan Poe’s poetry with the modern American film cutting techniques of D.W Griffith(2). With his vast success in his field it is no great leap to compare him as a kindred spirit to the esteemed playwright William Shakespeare. Many of his plays have been adapted to film with great popularity, Hitchcock even proposed a direct interpretation of  Hamlet into modern english although in it’s late stages of planning was unfortunately, not to be(3). However throughout his works many a reference pays homage to arguably, the only narrative media creator to best Hitchcock's legacy. Although the way we ‘english’ may have evolved it stands a test of time that the themes resonate an analogy with our psyche. Intertextual references so intertwined with our modern media, even through cartoons like The Simpsons(4). That even if you have never perused Shakespeare's work you can’t help but feel a shared knowledge of the conventions.

Intertextuality is defined as a means to understand the relationship among the media , the text and the audience. Recycled images help to mitigate a greater understanding of the text(5). It seems as reasonable time as any to mention that thanks to the budgeting restraints on his film Psycho he employs lesser known actors, lacking in intertextual expectation he uses this as a tool to keep the audience guessing(5). Uninhibited by the star system of the time.(6) In his pursuit to embody a new age ‘Shakespearean’ ethereal artist he pays homage often, even going as far as to pronounce “that cinema has come to Shakespeare's rescue”.

In Murder! he quite literally reenacts part of the play Hamlet. Quotes Romeo and Juliet into his film Foreign Correspondent. (6) In The Trouble with Harry he works Shakespeare's Sonnet 116 into the script(6). Even going as far as to reworking themes from Macbeth into his very popular Alfred Hitchcock Presents series. Which in itself is an exceptional example of his own aptitude for envisaging narrative combined with intertextual references. In a time when film was still gaining it’s footing over traditional plays he helped to establish it in it’s own right, particularly a technique Shakespeare was known for, the fourth wall. Which helped to bring his created worlds to life and embed the audience amongst there sordid affairs. 

In my chosen artist pursuit of Game Development many elements of film can be drawn from. Truly the difference between a good and a great game is its ability to delve into deeper messages than just it’s surface theme. Hitchcock is an amazing example of how small details referenced by intertextuality can emit a much deeper underlying message. Something that I have learned is that good narratives can only be improved with a touch of reference to Shakespeare, while still creating an original artwork, and artist, in their own right. 

https://en.wikipedia.org/wiki/Alfred_Hitchcock (Gene Adair 2002)

https://www.bfi.org.uk/news-opinion/news-bfi/lists/10-great-films-influenced-alfred-hitchcock

https://viennasclassichollywood.com/2018/07/02/hamlet-hitchcock-and-cary-grant/

https://the-artifice.com/the-simpsons-shakespearean-references/

https://www.studymode.com/essays/How-Does-Hitchcock-Exceed-Audience-Expectations-483215.html

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Kojima’s evolution of Ludonarrative Dissonance

In gaming circles Hideo Kojima is something of a living god, founder of Kojima Productions Co and the master-mind behind the Metal Gear Solid titles, P.T and much anticipated Death Stranding(1). Narrative to me is more than just the story being told but holds somewhat of a complexity or reference to the perspective and intended meaning intended by the storyteller. John Hartley recognizes that narrative is comprised of two distinct facets. The plot, in which the characters are generally issued a problem. Surmising that they will inevitably overcome in the conclusion of the piece. The second facet the choice or presentation, essentially how the story unravels(2). Always hoping to intrigue the audience and keep them guessing, not to give anything away. Video games like any other media show their true genius when combining these elements in an eloquent way to give deeper subjective meaning to the artwork.

Clint Hocking the creative director of Ubisoft coined the term Ludonarrative Dissonance in terms to video games(3). Fundamentally the idea that quite often in video games the players actions don’t particularly match up with the narrative unfurling in the cutscenes or even cues within the game. He critiques Bioshock’s narrative for saying ‘it is best to do what is best for me without consideration of others’ while simultaneously the game mechanics rely on you helping others in order to progress in the game. Which in retrospect was what lost my appeal early on playing the game myself which I couldn’t quite put my finger on. Now Hideo Kojima is no blind fool when it comes to metatextuality and often in his games there is more than meets the eye within the story. The emergent narrative of P.T(Playable Teaser) was ground-breaking in its use of complex interactive game mechanics to build a story which made the few jump-scares feel all the more immersive. Some might say the looping of the level played over and over again placed some sort of hidden metaphor to his own plight of being constrained to years of punching out Metal Gear titles for Konami. Leaving many gamers feeling sorely cheated when the subsequent Silent Hills was axed from Konami’s line-up due to a falling out between the artist and the studio.

It was a glorious swan song though his crowning jewel of the Metal Gear series, the last project of which he works alongside Konami. The series had always circled around the stereotypical action hero of Solid Snake and his father Boss Rife, often an epigram to the portrayal of masculinity in popular culture(4). In this last title though he jests a remark towards this newly termed buzz word of ludonarrative dissonance. His games being referred to as such at times. Particularly its main character Solid Snake who is portrayed as someone who laughs in the face of danger, even going at far as to state.

“I never felt truly alive unless I was staring death in the face.”

Whereas the game mechanics mostly circling around gameplay which very much relies and encourages stealth as a successful path for missions. Or for another example the ‘Cogs’ (badies) whose ‘rah-rah kill them’ demeanour is subverted by the fact they cower for cover at the sign of any serious altercation(5).

Spoiler alert. He exercises superb non-linear narrative to subdue the often employed ‘immersive’ element in gameplay of character customization to full effect, to not only tell the story but enhance it with metatextual meaning. Character customization is often used in video games as an easy design mechanism to impede contrast to player behaviour going against the narrative. As after all the player is playing themselves after creating their own character. Although deepness of the character constructed by the narrative is fatally impacted with less substantial and concrete character traits to tie into the narrative. 

Now the story starts with our well acquainted protagonist of Boss having awoken from a coma. The doctor proclaims to him that in order to hide from his enemies he must undertake plastic surgery. So begins, your standard player customization mode to choose how you now want his face to look. Enter ex machina. The hospital is attacked! Before your surgeon can operate you are hastily whisked away to safety by another bandaged comrade, completely disregarding all the time spent on choosing the designs to what face you decided on. Leaving you to play out the game with the same familiar face of Boss..

It is not until later in the game however that you are then returned to the start mission. Subsequently discovering that when escaping the hospital your bandaged rescuer was in fact the character customization that you designed at the start of the game. Revealing to you the truth of the narrative. You haven't been playing as Boss the entire game but in fact a double with enough plastic surgery to appear like him. While your rescuer genuinely was Boss disguised as your character. Having already had the plastic surgery himself. A plot twist nobody saw coming but nonetheless a testament to Kojima’s narrative talent and skill.

So what can we take away from this. I personally learnt that narrative in games is a complex beast. Like most media it features a protagonist. Perils which they must overcome. Not all games follow a non-linear narrative path but it is an excellent tool for expanding understanding to points which are better left unexplained till the crescendo. The biggest aspect though is that the players own gameplay and the mechanics of the game is an integral facet to the narrative. Unlike film the story exists in an interactive world and the mechanics can either add to or attract to the identity of the game. Kojima has taken this fatal flaw to games and turned it on it’s head to make it one of the games strengths.

     1)http://www.kojimaproductions.jp/en/

2)http://library.uniteddiversity.coop/Media_and_Free_Culture/Communication_Culture_and_Media_Studies-John_Hartley.pdf

3)https://clicknothing.typepad.com/click_nothing/2007/10/ludonarrative-d.html

4)https://www.destructoid.com/--319785.phtml

5)http://www.thegamecritique.com/recent-posts/in-defense-of-ludonarrative-dissonance/2283/

6)https://www.bradford-city-of-film.com/metal-gear-solid-creator-hideo-kojima-receives-bradford-city-of-film-cinematography-award/

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Understanding Genre: Quentin Tarantino

In a pursuit to understand genre, perhaps the infamous Quentin Tarantino is biting off more than I can chew. Noted for being an autodidact, he dropped out of middle-school and proceeded to work in a video store, soaking in the many genres of film available to him(1). Pushing the envelope has become a mark of his particular style. Charles McGrath says in the New York Times-

“His movies are famous for their violence and bloodshed; their blaring soundtracks; their offbeat, Pinteresque dialogue; their startling performances from actors you had almost forgotten about; and their encyclopaedic range of references to other movies, especially schlocky ones”.

He has produced a select filmography of work, preferring quality over quantity throughout his career. Often blending genres together.  So how do you define his unique style into a genre, ‘Tarantinian’ has been a reference to particular features of this art(2).

For me personally genre sets a scene for how you interpret the art you are appreciating. Certain cues quickly help an audience know whether it is something that will comply with their select palate of taste. He has somehow attached a certain brand to his name, creating an expectation from consumers that immediately subdues their preconception of what exact genre his latest film will be. Notable in Django, which twists artistic cues of spaghetti westerns into his own metamorphosis(3). In John Hartley's Key Concepts of Media, genres are recognisable largely for recurring iconography, repetition of codes and conventions, as well as familiar plot lines(4). Through my research and personal appreciation of Tarantino's films, I believe that he very much does use genre to set his narrative portrait. As opposed to operating in a single minded landscape. Leaning on the style attached to his name to set the tone. 

Gore! Is no undoubtedly stereotypical of his work. When asked where the violence in his movies comes from he replied;

“Where does all this dancing come from in Stanley Donen movies?”(5)

His particular use of gore, not just as a use of horror, sometimes comedic in character is embedded throughout his films. Choosing not to use gore for the sake of it but as a tool to enhance the tale which he endeavours to place the viewer amongst. He remarks a stark difference between real life and movie violence. Real life violence appears all of a sudden. He consciously uses signature film techniques such as the film score, crescendos of music and trademark camera angles to give meaning to the graphic aesthetics.  

To conclude, what I have learnt is that genre is not steadfast in his works. More like a character in itself. Even within each movie blurring the lines. After all each new work of any genre adds to its overall interpretation of what exactly that genre is. Whether his collective filmography lends itself to history re-writing a genre specifically, is unlikely with genre definitions own dogmatic nature. Much like the term 'Shakespearean' although he dabbles in a vast array of different genres, it is his unmistakable style which is a testament to his hidden genius, and some might say depravity.   

And now some TOP 10 scenes from his various movies from Watch MOJO for your viewing pleasure:

1)https://www.nytimes.com/2012/12/23/movies/how-quentin-tarantino-concocted-a-genre-of-his-own.html

2)https://scottkeithcinemaandsociety.wordpress.com/2013/04/26/quentin-tarantino-and-his-trademarks/

3)https://www.spaghetti-western.net/index.php/Django

4)http://library.uniteddiversity.coop/Media_and_Free_Culture/Communication_Culture_and_Media_Studies-John_Hartley.pdf

5)https://www.theatlantic.com/entertainment/archive/2013/01/quentin-tarantino-violence-quotes/319586/

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Euro Truck Simulator 2 Analysis

As the elementary title suggest Euro Truck Simulator 2 is a simulator type game where the player can live out their dreams of driving heavy haul trucks through European landscapes(1). This in depth analysis will aim to derive a delineation of the specific mechanics, dynamics and aesthetics that this video game portrays. Utilising the MDA framework and industry terminologies it will provide an informative analysis of the experience the game presents to the player and retrospectively the chief player types it appeals to. This will be achieved by first working back from  the players perspective the aesthetic that the game provides. Then in turn breaking down the game into its base elements of the dynamics it encompasses via the mechanics employed into the development of the game.

The very first thing noticed about the game is that in stark contrast to its counterpart Big Mutha Truckers, the general title font and logo mark a much more sophisticated approach(2). The upright square and spartan text choice suggests a much more serious approach to the concept. Once entering into the menu the theme continues. Gone are the arcade eques appeals and the player is greeted with a well thought out user interface. Easily navigated to begin play immediately featuring a large green “DRIVE” button bottom left of the screen amongst the mostly neutral colour scheme. Laterally in importance the menu is laid out left to right. Choices of job market, world map, radio and email in their own section, these main tools are easily accessible. Also it offers game saving/loading, options which afford a multitude of variety in settings, informative about section and an easily recognisable large red exit button. Displayed proudly center of screen is a stunningly detailed and realistic rotating graphic of your currently selected haul rig. Then along the right hand side of the screen is all the important details you may need quick access to when returning to or pausing the game; Player emoticon, level, experience, earnings tracking. As well as options to purchase or upgrade new trucks, upgrade skill levels or build your fledging truck business operation.

Once embarking on your journey you enter into a highly detailed world. While not completely real time the map is gigantic and more than enough to give adequate reference to its premise. Huge amounts of road spreading far across Europe. Due to the size of the map some scenic parts of the city aren’t quite as detailed as their real life counterparts. Although overall as far as taking a journey across the country it supplies more than ample quantity of trees, buildings and textures. The attention to detail with terms of relevant road going cues are all there. Guard rails, speed and road signs, toll passes and fuel stations among some of the many aspects you begin to notice. Even going as far as to have stop lights and signage relevant to the country you are in(3). The actual truck itself also pays particular attention to fine details, not just on the outside but also a hyper-realistic cabin you can look around in. Adding to the aesthetic of which the additional option to make the game VR compatible(4). Latter updates even allow you to upgrade the cabin with physics capable ornaments such as fuzzy dice, bobble heads and other novelties(5). Not to mention the Aesthetics from outside. The trucks wallow and sway around the road as you expect a multiple ton truck to move like. Trailers articulate, you can even use your indicators.

For gamers drawn to discovery and exploring environments it is as highly rewarding as you would expect, but the details are what truly brings alive the fantasy of both simulating driving a truck but also running a trucking business itself.

“dreams are where every game begins. Before the code, before the software plan, before the concept artwork, even before the first document...” (Rollings and Morris 2004, p. 6; my emphasis).

The dynamics of Euro Truck Simulator 2 do great justice to its name. You can tell the developers approached the project with an aim to design a game with an intrinsic value to both its tangible and intangible facets. Considerable amount of detail is put into the small areas that count. this helps to immerse you into the environment. Driving along you feel very much at the helm of a heavy haul rig. Checking your mirrors to make sure you don’t turn into other cars. Keeping careful attention to speed limits, while feeling a sense of urgency to make your deadline and deliver your cargo and truck safely. A feeling of intensity at times as you realise, that your corner speed may have been a bit high coming into a tight motorway off ramp. Affording you the appropriate sense of urgency piloting such a high risk vehicle should bring. Next minute finding yourself cruising along admiring the sensation of the scenery and enjoying the radio station while still ensuring you pay close attention to the rpm of the engine and that you are in the correct gear to climb the hill you are about to commence. They have even managed to leave undisclosed that it doubles as a phenomenal road rage simulator, finding frustration at some of the driving behaviours of the NPC cars also sharing the road with you.

Adding engagement the mission structure is as dynamic as the driving itself. Yes you have everything you would come to expect from a simulation of this type, pushing to ensure swift and reliable deliveries. Where the game really gains extra involvement is the fact you can build and expand your empire. The intentness of paying attention to the finance side of your business is vast. Self expression is encouraged by way that there is no set in stone path to follow and the user is able to pursue the path that most interests them, choosing to either work for contracts to other companies, running their own or even hiring other workers to their company. The pending doom of balancing pay-checks to workers, minimising damage and the slow grind of upgrading trucks and depots adds a sense of competition to the dynamic of the game that would keep the challenge focused player concentrated on achieving their next goal in the game. Beneficially the expression of being able to customise your trucks as you gain the capital to do so, helps to add fidelity to the players feeling of becoming a part of the world which has been narrated to them through the mechanics of the game.

Thankfully what helps to sustain these aesthetics and dynamics are a keen eye to the detail of the mechanics which do not subvert from the ambition of Euro Trucker. The cinematic cut scene upon starting the game up captures attention immediately building impulse. That bright green “DRIVE” button draws your eye to it with anticipation diving straight into the game. It isn’t long after quickly having an explore around the world that you find yourself pausing the game to go back and examine the options menu. The sheer amount of adjustable features would be mind boggling if not so uniformly laid out. Reading much like a simulator you can choose either simple automatic, real automatic, Sequential transmission or even H-pattern. Connect a controller or even connect a wheel and gear box,  also having the option to add VR compatibility. 

Game play settings can be adjusted to suit the type of gamer you are, to ensure what you enjoy out of the game can be achieved. Giving the option to turn off fatigue simulation and traffic offences. Preferred job length is on a scalar bar which is excellent as they can in the latter game become long enough that you find yourself just completing one mission in a sitting before leaving and returning to the game. Different difficulty levels can also be adjusted with toggle settings for chance of rain, parking difficulty, realistic fuel consumption, braking intensity and trailer stability and a multitude of steering and handling adjusters among others in a list too varied to list them all. As you would expect from a game of this detail, graphics can also be adjusted to suit your gaming systems performance.

The handling mechanics of the trucks are spot on for a video game. There is a large variety of known truck brands. Engines gain torque quickly while the gear shifts are short. The trucks do tend to wander a bit much like big vehicles do, they don’t employ too much randomness in these handling settings that it makes that game feel too difficult to control or over emphasised. Unfortunately using a gaming controller it was not easy to figure out how to set it up using the clutch for H-pattern transmission which took away some of the interactivity, although the fact the setting is on an axis not simple off/on is excellent for a steering wheel set-up and adds more input for a simulation. Removing the usually legally required speed limiter on the trucks adds to more stimulating game play allowing the vehicles to achieve ridiculous speeds and quite phenomenal crash scenes. The trucks leaving the ground and the inertia of the trailers piling up onto them. Real life crash physics of the trucks crumpling in would definitely add to the experience.

While driving along the road there is a lot of mechanical elements that are noticeable at first look but it is the smaller details that really add to the intensity of the game if you wish to leave those settings turned on. Traffic infringements and accidents will cost you money. The trucks do use fuel with the setting on and it adds to the dynamic as well that if you are working for someone else's company the fuel is claimable as a business expense. Whereas when self employed you wear the cost. Unlike some games that use indicators as a novelty they actually do impact the behaviour of NPC cars on the road. If not indicating when exiting off a roundabout other cars will plough through you just like in reality, incurring costs. Nearly everything on the truck can be interacted with; you have interactive windscreen wipers, can turn the engine and headlights on and off and operate the lift able axles. Articulation of the trailer is a massive part of the game, with the speed of the front wheels turning being exponential to the speed the truck is moving. The camera singling in on the front wheels is very useful. While cornering the inner apex of the turning radius is much tighter on the trailers and will clip corners very predictably. Reversing the truck to park at docks is also extremely challenging. The game helps to create enjoyment out of this frustration by have multiple very useful camera angles cockpit, bumper bar, front wheel axles, top down and 3rd person as well as a phenomenal cinematic camera. Which while not useful in terms of operation provides an interesting challenge and adds tenfold to the beautiful scenic aesthetic of the game. Taking excellent angles which capture the image of the truck in its full environment almost flawlessly picking the right angle every time as you change through the different environments. The music options for the trucks are some of the best I have seen, offering multiple internet radio stations and also the ability to add your own MP3 music to a folder to listen to while driving. 

Overall many phenomenal elements exist in this game that add to its simulation genre, giving a very life-like feel without going too far that it becomes beyond difficult. For players that enjoy the more exploration focused aspects of the game, rather than the full fantasy elements of simulating operating a truck it is helpful that settings can be dialled down to make it easier. I couldn’t find many obvious faults other than the NPC cars sometimes driving into you on roundabouts but I suspect that is user error. The fact I could not figure out how to set it up to use a clutch with a game controller also would appeal to simulation aficionados although these days most gamers that serious would most likely have a steering wheel. The aesthetic matches the genre perfectly providing very photo realistic graphics and handling characteristics. The game appeals to discovery and challenge focused players but also provides a fantasy element to living out the dreams of being a truck business operator. The sensation of cruising the highways was cathartic at times and also intense when dealing with stressful environments such in a built up city. This analysis has touched on the aesthetics of the game and also the dynamic provided by the mechanics that make up the game. Providing a detailed description of what design elements have been employed by the developers and some small areas where the game could be improved.

https://eurotrucksimulator2.com/

https://www.gamespot.com/big-mutha-truckers/

https://www.destructoid.com/review-euro-truck-simulator-2-243592.phtml

http://blog.scssoft.com/2014/03/ets2-update-19-is-live.html

http://blog.scssoft.com/2015/09/cabin-accessories-dlc-available-now.html

Rollings and Morris 2004, p. 6; my emphasis

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SHOTGUNS & PINEAPPLES _ My very first game development

The rules~

Each player starts with 7 lucky cards, dealt out as usual. Much like Uno, whoever gets rid of all their cards first wins.

Like in Snap the dealer rotates around the circle upturning a card from the stack to the pile (pick a dealer if more than 3 people playing for quicker play). The idea is to match the suite of the upturned card to your lucky hand. Ignore the numbers and kings, queens etc. All that matters is the suite.

The idea of the game is simple, Call shotgun on the cards you need if you have that suite, then place your card on the pile. Rules of shotgun apply, so if you call shotgun nobody else gets to put a card down. If you do not have that suite available in your hand give everybody else the pineapple by yelling out Pineapple! That way they can't get rid of one of their cards. Remember but, if you call shotgun and don’t have the card you have to pick up a card. 

First to zero wins!

18+ Drink on the Joker card or discard the Jokers from deck for easier playing.

Thank you for enjoying my first game :) 

Please let me know what you think!

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Ancient Chinese sushi recipe 

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Aesthetics in Fortnite

The phenomenon of the Battle Royal game genre has swept the globe with the veracity of a swarm of locusts. Undeniably Fortnite has captured the fascination of many a pre-pubescent teen, middle-aged man and also a surprising amount of females, in a gaming world often misrepresented. 27% of it's fanbase consist of women, higher even then the well renown Call of Duty which stands at 24% female fanbase (1,2). The appeal of the Battle Royal can be traced back to the original Japanese film or even further back to the Roman Colosseum completed under the rule of the bloodthirsty Emperor Titus (3,4). He celebrated it's completion with a 100 day Gladiator battle but there were many different styles of combat, including an event where the entire venue was flooded to allow naval warfare (4). Likewise, Fortnite employs many different play modes, constantly being updated and modified, to help keep an invigorating freshness to it's gameplay style. Today though I endeavour to explore with you the quantized semiotics used in the aesthetics of the game, and how the persevering symbolism helps to expedite adaptation to these different game mechanics.

Semiotics is an aesthetic, a way of seeing the world (5). Fortnite employs a multitude of symbolism, in retrospect, I will attempt to touch on some of the more notable of which I noticed when first playing the game. Reduction of detail in graphics culminates an immediate nostalgic feel. When first entering the game, it is simple to adapt my preconceived ideas of what a house looks like and embark toward the nearest building. The spartan landscape helping to quickly acclimatise myself. Having landed with no items in the 5 blank grey squares to the bottom of my screen it is obvious I will have to select carefully which items place most value to locate and keep a hold of. I enter the building. The right-hand side of my brain goes into overdrive, the exultant cry of “Eureka” whizzes through my head, I can hear a chest! (6). Even though I had never played the game before the un-mistakable angelic chime coming from the room cast back memories of a misspent youth playing Zelda or finding clues in Lego Island, this noise told me something good was nearby (7). I round the corner and a wash of gold glowing mist wafts across the floor, radiating from a glowing chest. If Video Games and Pirates have taught me anything valuable it is that I am about to find something good!

A faithful pump action shotgun, pistol, bandages, bullets and a vial of potion. Some of the most well used and easily recognised symbols in video games, since the first level of the first virtual 3d world of Doom back in 1993 (8). Now that I safely have some weapons I sit back off the edge of my seat and glance over into my much more satisfying half full inventory. Immediately I notice that the Pistol symbol is grey while the Shotgun is green, gold being the highest legendary items. The guns are often updated, taken out or added as necessary by the developers to make use of different long or close range combat. The colour system is exceptionally handy in the heat of battle to tell which gun will pack a bigger punch, and we all know a rifle will have a longer range than a shotgun. Over and all the easy to interpret symbols help create a fast-paced game that encourages new players to adapt quickly, helping younger gamers find their feet. While also encouraging gaming elites such as the aptly titled “Ninja” to try their hand and subsequently continue his quest from Halo Pro to the worlds biggest Twitch streamer (9). This enigma of artistic interpretation to our appetite for blood lust has captured our attention and I believe a lot of that stems from our love of video game symbolism.

Citations

Gaming in US statists- https://www.statista.com/statistics/232383/gender-split-of-us-computer-and-video-gamers/

Critical Hit Gaming - https://www.criticalhit.net/gaming/a-quarter-of-all-call-of-duty-gamers-are-female/

IBDM- https://www.imdb.com/title/tt0266308/

Ancient Hisory Encyclopedia- https://www.ancient.eu/Colosseum/

Rob Meyers - https://robmyers.org/2004/05/09/aesthetic-semiotics/

Betty Edwards – Drawing on the right side of the brain

1 hour loop of Fortnite chest ring for your enjoyment or others torment ;) -https://www.youtube.com/watch?v=uIEvHHfQtTw

Classic reload - https://classicreload.com/dosx-doom.html

Dexerto - https://www.dexerto.com/news/ninjas-incredible-rise-from-halo-pro-to-the-biggest-twitch-streamer-in-the-world/47364

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Doom!

Doom! Numbero Uno. The number one. As we now know, any game worthy of a sequel is somewhat of a masterpiece. The 9 or so titles since then prove unequivocally that Doom is one badass title, that not only defines the genre of monster goo exploding shoot’em’up but is also arguably where it all came to fruition. These days game play has evolved to the level where not only can we now jump and look up and down but can also build, fly, use vehicles and special abilities but also have graphics that add a level of reality worthy of the pioneers wildest dreams.  

Re-visiting this experimental masterpiece immediately makes one thing clear, we love to be challenged! To test ourselves in an environment of play that puts us on the edge of our seats in a battle of life and death makes us feel alive. Thank Jebus for the reset button because this game is just as challenging as some of the more complex mechanics now coming out of titles close to the second coming of the roaring 20′s. 

Us humans are a fickle bunch and keeping us engaged for longer than 30 seconds can be modern medias biggest hurdle. Doom accomplishes this through segmented rooms full of varying tasks that help to engage different aspects of our grey matter. The pre-historic aim assist was the first technology to allow us to engage the Baddies on multiple planes in a 3d world. Finding all the necessary switches to get to the next room is half the battle. You found all the health potions and armour upgrades? That will help. Rest easy you picked up a better boomstick, that shotgun is sure to help over a standard sidearm. 

Thanks to the beauty of the internet emulators, they allow us to revisit the demonic nightmares that first made us feel like we could save the world from the axis of evil when the real world felt un-beatable. Maybe it’s just a game, but in a time where soon we will feel the sting of alien space goo in Ultra Realistic 3d Virtual Reality I urge you. Whatever you do this week go find Doom and play the proverbial Hell out of it, you won’t be disappointed. 

[elwickosnr-blog]

Greatness is forged through the fires of adversity and the pain of defeat