LUUG 30 and New Horizons

Another month has gone by and this meant that the regular London Unity User Group meetup were due an evening of talks and networking, an invaluable tool for any designer. This month's LUUG was gratiously held at London South Bank University, but the organisers are always looking for venues (free of charge mind) so if you know of somewhere within 30 minutes or so of Central London that is wored for sound, projection from a laptop, can hold a decent amount of people and would be willing to host the LUUG meetings get in contact with the organisers on the LUUG Meetup page, they'll be more than glad to hear from you.

This is Harry the Hobo, LUUG's lead organiser, scouting for locations (Source)

The show this month featured Tom Matcham, a solo indie developer and founder of coAdjoint with a maths background, who was discussing the idea of personalised, adaptive games and non-linear narrative as a tool for creating a more involved experience for the player. Also featured was Danny Goodayle from JustAPixel, a small indie outfit who are set to release Light: The Game, a Team17 published stealth-puzzle game on the 14th of July. Danny was discussing procedural generation and the techniques and methods he had used to create terrains, water, environments and buildings.

Tom Matcham believes that games, especially AAA titles, have illusions of cinematography. This is a very true statement for a lot of reasons; games are still a relatively young medium while film is now over a century old. Games often take cues from film as the tropes are well established and any time not spent explaining things to your audience the easier, quicker and cheaper it is to create something. We are now at a stage in our society where the budget of video games is fast overtaking the budget of even the biggest movies. Bungie's latest offering, Destiny is reported to have cost $500 million to make, a far larger budget than any Hollywood movie has ever had. With such a large amount of money riding on a title it's understandable that companies want to reduce risk and appeal to the masses, and a cinematic format is a good way to do that. But as young as games are, they have proven time and time again that they are capable of presenting more than just mindless entertainment and it is certainly time to push the envelope and design games as a medium all of their own and not rely on the conventions of another medium. Tom believes that dynamic, responsive games are a step in the right direction.

Tom's background in mathematics really pays dividends in his approach to a solution as it seems to give him the tools he needs to break down and analyse his response to the problem. His method of injecting more dynamism into a gameplay experience is quite central on data collection and runtime analytics; by collecting data and using the right tools to analyse it a game can adapt and change based on certain criteria. Tom showed a demo of his software, Orbit (available on the Unity Asset store along with Tom's other contributions) which collects data based on rules set by the designer. In the example shown it was used to analyse morality of a player based on actions they chose; a player who chose to adopt a child would have be assigned a more positive morality rating, but if they then chose to rob a bank that rating would be reduced until eventually, after enough robberies, the character would be assigned a negative morality rating. This allows for a deeper morality system beyond the Infamous style binary system of "this action = bad; this action = good". Instead, each action is evaluated by a number of criteria, and while some actions are inherently good others cover more of a moral grey area and this is displayed in the data. This data can then be used to inform the structure and narrative of a game.

Tom mentioned his love of the old "Choose-your-own-adventure" books that he grew up reading in the 90s and sees non-linear narrative such as this as a way forward, and I'm very inclined to agree, though Tom does make the point that branching story lines like these books are based on decision trees, which can lead to repetition and a less-engaging experience. When an experience is new every time it is played users cant help but be intrigued as to how it twill turn out next time, what decisions they could have made to change things, and thus is the beauty of non-linear narrative. A point was raised in the Q&A after the talk that non-linear narrative is not a goal of the AAA industry simply due to the economy of game creation. In a AAA producer's mind a whole section of game that many players may not even see is not worth the time and money spent on it, and so it is avoided. But this is where the indie community can and does really shine, especially with the ease of access we now have to professional grade software. It is up to us to shape and form the future of games as a medium and creating a truly interactive experience that not only learns from the player but responds is a a great way to increase and improve player retention and interest.

I spent an entire holiday choosing my scare once,

true story (Source)

Tom goes a little deeper into the theory behind his tools and his method for modelling player-game interactions and has even written a whitepaper on the subject (And you thought maths was boring!). Tom's an intelligent man with a noble goal and it is my belief that his desire for deeper experiences through interaction modelling are a great leap forward from the usual binary morality systems we see. Combining this with non-linear narrative and the possibilities become almost endless. The issue lies in convincing larger budget developers that this is a way forward, and that is the job of the indies; push boundaries and break barriers, create amazing experiences and show the industry that games can be more than point, shoot, pretty explosion, cut to expositional scene . Just because a player may not necessarily even see part of your game due to their play-style it is not a wasted effort, as to create a more personal, engaging experience one must also create a unique experience. This inherently means that they may see parts others don't or miss parts others were able to play, but the experience is entirely their own. Doesn't sound like a bad thing does it?

What you did there, I see it... and I like it (Source)

Danny Goodayle was up next explaining some techniques he'd used in procedural generation in Unity. His discussion was more of a forum for conversation about techniques but he did go through some of the basics of what he had done. Using various methods of pseudo-random number generation, e.g. Perlin Noise he was able to produce a mountainous landscape including rolling waves and a daylight system by using noise to affect the height and position of verts and a sine wave algorithm to produce the wave effect. The demo is available on JustAPixel's website and Danny is always looking to learn and pass on his own knowledge via his personal blog and his Twitter account. Danny also showed off a piece of procedural generation that could create cityscapes by taking user-generated data about the size and shape of buildings and applying them to a map. The example he showed was of downtown Manhattan and the effect produced was great.

As always, the guys from Space Unicorn were there to catch the whole thing on video and get some exclusive interviews with the speakers so keep an eye on their YouTube channel, like the Facebook and follow the Twitter for updates on the next video. On a further note, the new horizons spoken of in the title of this post refer to my new role as host of Space Unicorn's weekly news show! So follow my Twitter and keep up with my blog for news of my first episode, which was filmed this week. There's a little teaser below so you can see how cool I look with a bit of editing but the full episode is OUT RIGHT NOW so go ahead and watch for all your gaming news needs!

"Space Unicorn, made with 100% Dan (from concentrate)"

Thanks to everyone at LUUG, speakers and organisers alike, for another great evening. If you want to attend LUUG tickets are free but they run out quickly. They are always released exactly a week before the event, so 7pm the previous Thursday. Get yours quick or miss out! If London's a bit too far or rooms of real people aren't your thing then catch Space Unicorn's coverage, usually released the week following the event. Hopefully I'll see a few new faces for LUUG 31, and remember, LUUG needs free venues! Help the cause, be a pal :)

LUUG 29: A Feast for the Senses

UPDATE: Space Unicorn's coverage of LUUG is live so head on over to the Tubes of You to check out what you missed.

LUUG, or the London Unity User Group is a mostly monthly meetup, featuring talks and discussions from indie developers and industry experts alike, all united by their love and use of Unity3D. Now being organised by Darrenlloyd Gent, a Senior Lecturer at the University of Greenwich, this months event took place at the University of Greenwich in one of their lecture rooms and featured 2 guest speakers, both with very different things to discuss, but more on that later. LUUG is a very exciting opportunity for current indies living in London and using the Unity engine, and it doesn't solely focus on games either. Any use of Unity is acceptable discussion matter and an open mic session at the end of the discussions, a 'Pitch & Putt' session an hour prior (where people are able to freely show their work to other attendees) and a drink at a local pub after all is said and done provide a perfect opportunity for discussion of your own work and ideas, along with a breeding ground of thought and intelligent discussion of Unity. It's a great place to network and even find projects and work, with most people taking the mic offering opportunities, at least at this particular event. If LUUG isn't on your radar as a London indie now's the time to turn that all around!

Is... is that what opportunity looks like? (Source)

The first talk was from Barnaby Smith, a Unity3D developer at Kwalee. His topic of discussion was some work that he'd been doing in his spare time on procedural rendering of planets and terrain in Unity. He talked about the various methods of generating noisemaps, the algorithms used and their benefits and shortfalls. One very interesting technique for noise generation is known as Fractional Brownian Motion, a technique that layers multiple frequencies of varying wavelengths, called Octaves, to create a line of random troughs and peaks, ideal for terrain generation.

There's a poop joke in there somewhere, I just know it! (Source 1 / Source 2)

Smith then had to solve the problem of mapping these new textures to objects. Standard mapping usually uses a rectangular texture that is wrapped around an object, not ideal when your goal is to create spherical bodies like planets as you run into problems with seams and polar distortion. Cube maps on the other hand deal with many of these problems for you. Smith decided to map his textures with a cube map and apply this to his planet object. Many of the mapping issues dealt with themselves as cube maps are designed to display reflections of the environment around an object, meaning seams and distortion are less likely to cause problems. Combining various techniques like the ones described, combined with vertex placement and the creation of an atmosphere using a noise map with alpha controlled by height makes Smith's planets look unbelievable and he can produce a wide array of results with the tools he has built. He wishes to work on more tools to create even more stunning environments, including erosion algorithms and climate generation and it all adds up to a very exciting bit of kit that can really take the hassle out of creating terrain and environments! He is also working to reduce the rendering times of the tools, as the tools render everything live within Unity. A 20 second render of three planet objects was demonstrated, ,which is a considerable achievement, but with optimisation Smith feels he can take this down even further. None of Smith's work is up on the asset store but he's quite open to discussion about his work and you can hit him up on Twitter if you're interested in his techniques and expertise. You can also find his slides from his LUUG talk with more detail and code snippets if you're interested in trying out some of the thing's he's discovered riiiiiiiiiiiiiiiiiiiiiiiiiiight aboooooooooooooooooooooout here.

Next up was Leonard Burton, a freelance Web Designer by trade but a VR enthusiast by night (a Batman-esque existence to be sure). His topic of discussion was VR in Unity and its potential going forward. He began with a brief history of VR, beginning with astral projection and spiritual journeys. These experiences, in a sense, are a kind of virtual reality; a spiritual and mental precursor to the technology driven VR under discussion here. The idea and feeling of being transported elsewhere is not new or recent and has been a human goal for a long time, proven in both our history of fiction & narrative and our longstanding interest and study of things like astral projection and hallucinogenic compounds. Later, in the last century, we begin to see technology evolve to accommodate VR. Stereoscopy and binaural sound are used as a spectacle, to enhance the immersion experienced by the senses and to dazzle and amaze. Later, technology is developed by the military for training and combat and, as it often does, this technology eventually trickled into the public sector. By the 1990s it had exploded and VR machines were in every arcade, with VR glasses the talk of the time. The technology still hadn't matured and was often viewed and designed for as little more than a spectacle or a show, with many VR applications featuring large amounts of movement and many even utilising hydraulics to move the player's chair. This high speed action and large amount of movement often resulted in people feeling ill and never really explored the things that really immerse a person in an experience.

"Woah, these space boobs are so real!" said nobody, ever (Source)

We are now at a stage where many of VRs past technical problems have ceased too plague us, or at least have become more manageable and affordable to resolve. With things like the Oculus Rift, Sony's Project Morpheus and the the newly announced ControlVR (which has a Kickstarter which you should totally go to right now and back because it looks fantastic), combined with the thriving indie community that is now able to get their hands on such devices, virtual reality experiences are now very possible and we can begin to explore a more personal space with it, a space someone is comfortable visiting in their own home, a more matured and deep experience. Burton views VR as a medium unto itself, and I fully agree. While the platform can and most definitely should be used to create games it can also do so much more in terms of interactive narrative and experience. Burton then discussed the Oculus guidelines for design and stated that some of them will lead to a better experience while others are rules perhaps made to be broken. As an example, a seated experience is suggested but this may not always be conducive to the experience. A group at Zurich University created a device that places the user flat on their stomach with arms outstretched and is able to tilt and roll. Combined with motors, fans and an Oculus Rift the user is able to feel like they are flying through a virtual world. Burton calls on designers to design for VR as now is the time to do it. He states that experiences should be designed for VR from the ground up, not ported later as this tends to be less convincing. He also believes that designers shouldn't shy away from problems or wait for others to solve them but should actively pursue them however they can. He also discusses the importance of 'presence' within VR, something that goes beyond immersion. One can feel immersed in a book or film but to feel present and to experience a world through ones own senses is a far greater feeling altogether.

Did someone say presents!? (Source)

Burton then discussed some interesting examples of the use of VR. Aldin Dynamics have created an Oculus experience called Trial of the Rift Drifter; the game puts the player in the role of a someone who is accused of using the Oculus Rift to travel between dimensions. The game is advanced and controlled by gestural movements; shaking or nodding one's head, looking away guiltily as one is asked questions. Sightline is a game developed as part of a VR game jam but is now finding it's footing on the internet and being turned into a much larger experience. The game revolves around using the player's line of sight and altering the environment when the player isn't looking. Paths that may have been broken will be fixed once one looks away and then returns their gaze back to it, an extremely intriguing concept. Burton urges all indie designers to break into VR and be a part of shaping its future, and I myself am currently looking into the financial viability of an Oculus dev kit and some hand and gestural tracking devices to develop some ideas. Leonard Burton can also be hit up on his Twitter if you're so inclined. Both talks were covered by my pals at Space Unicorn Productions (website pending), who will be taking on the duty of covering all the LUUGs from now on. Subscribe to their Youtube channel to keep updated with LUUG so you won't miss it, even if you can't attend. The information is invaluable and the speakers even give private interview after their talks to the Space Unicorn guys, so you're getting even more than LUUG attendees!

I have so many ideas floating around in my head now, if anyone has an Oculus they're giving away I will take the burden off your hands, and I will do it for free because I'm a real nice guy like that.

Good Things, Small Packages

UPDATE: According to their Twitter, @ustwogames are currently working on new levels for Monument Valley, yaaaaaaaaay! :D

I recently saw a bit of gameplay for a mobile release called Monument Valley by ustwo studio and was instantly hooked by the visuals. The following day, with it fresh in my mind, I decided to purchase it and experience it for myself. What I found was a beautiful, perfectly balanced, relaxing and engaging experience. The look alone, the thing that initially grabbed me, is gorgeous; a 3D isometric view of your environment, mostly simple shapes and models, a soundless, almost featureless protagonist, solid, pastel colours and a slightly eastern architectural design. It's beautiful to just sit and watch for a while and reminded me of another amazing title, visually anyway, Journey from Thatgamecompany, an amazingly beautiful experience that I am not at all upset to be reminded of.

Simple, clean and a little bit gorgeous

Next, on to my favourite bit to talk about, the simplicity of its rules. Everything is so simple in this game one can learn to play simply by playing. There is little in the way of instructions except for a couple of prompts at the start, directing you to touch a point on screen to move your character. The character will then follow a path, if it is clear, to the point you have touched. Some aspects of the environment can also be manipulated, from dragging and rotating blocks, chunks, buildings and platforms to manipulating levers and handles in order to create a path to the goal. All of these things are clearly marked and introduced at a perfect pace, if I was ever a little stuck on a puzzle it was because of me, not the game. The more interesting and exciting aspect of the title though was the echocrome-like perspective puzzles. These can be difficult to explain, but essentially, as the perspective is changed parts of the environment will link up, move, connect or disconnect based on the viewing angle. This was a very exciting feature of echocrome and Fez, two titles that used their camera angles very effectively to produce some mind-bending platform puzzles.

If Escher made games... Dick...

The puzzles in Monument Valley are handled extremely well, and a couple had me really flexing my ability to visualize the spaces and consider the angles, but the wonderful thing about this game is that if you're not sure, try it out! The best way to figure out any of their puzzles is by twisting, turning, swiping, rotating and tapping until all becomes clear. As each chapter is split into a few separate puzzles most sections do not take very long to complete and aren't massively sprawling. This allows for experimentation, as a wrong step won't send you very far back or force you to complete a huge amount of steps for the puzzle again, only to fail at the same point. To use the phrase again this title is perfectly balanced; it feels like something that would be easy to pick up and play for most users, new or veteran, yet has enough to keep any fan of puzzles, whatever their status, happy and playing for a while. While not much of a gripe, the game is extremely short; my play-through lasted around an hour, give or take. It isn't much of a bad thing to say you want more of a game but perhaps a slightly more expanded experience would have been nice as the replay value is virtually nil. In saying all this, I think the price of £2.49 for the app was pretty fair but hope there is some sort of expansion or update that allows for further play.

More, more, more! (Source)

All in all this game follows the design principle I love so much, simplicity. With simple graphics, simple rules and a serene and relaxing soundtrack Monument Valley is a beautiful example of what can be done with touchscreen devices. These perspective and spacial puzzles I'm seeing is something really, frustratingly fun and difficult and stretches the mind, even in a simple form. Touchscreens are a perfect platform for games like this as they allow for a player to use their hands and physically manipulate objects in a far better way than any controller or mouse can offer and it was a delightful learning experience in the design of these puzzles to play Monument Valley. Thanks guys, keep up the good work!

Tap Tap Tap

UPDATE: I've had a little more time with both games and been able to form some more opinions on the features of each game. One thing I truly loathe about Tapped Out is how easy it is make a mistake. Countless times have I and others accidentally sped up a character's task with donuts, a mistake that must be rapidly rectified and is easily caused by a simple mis-tap. Family Guy solves this problem with a simple drag and drop system; players drag the task symbol onto the character's action slot, leaving little room for error. On the other hand, Family Guy lacks a  important feature that Tapped Out is great for, a small box that shows all characters available to be set a task. In Family Guy  you click on the actual character, a task made difficult when a character has decided to hang out in a corner of the town behind building where where they aren't visible. While characters can be picked up in Family Guy and moved, the Simpsons displays each available character in the corner of the screen and transports you to their menu and location when clicked. So TinyCo, maybe steal that feature for your game make it perfect? 

I came a little late to the party in terms of the whole 'Touchscreen Revolution' that's been occurring over the last decade or so. Only in the last six months have I acquired a tablet device and functional smartphone (I owned a smartphone for years but it was old and not fully functional when I received it). Though I missed out on many of the medium's formative years it is fair to say that touchscreen gaming is now pretty ubiquitous; it's hard to go anywhere without seeing someone playing a game on their phone. I've always been a fan of small games, when I was younger we couldn't afford to get every latest console and keep up-to-date on the newest releases. We often rented games for short periods, bought consoles years after release when the prices had dropped and borrowed games from friends with more extensive libraries, anything we could to play some of the amazing games we could only hear or read about.

If I'd known these words then I would have spoken them

But one thing we always had was a PC. The same rules apply, we still didn't have all the latest releases and most of our game library revolved around Golf simulators for my dad, a couple of old adventure games and some computerised board and card games. But we had the internet, and it was great! Flash games were always my favourite, they were absolutely free and there were thousands, millions of them! Miniclip, Newgrounds and dozens of other sites that have been erased from my memory by the fog of time provided small games, single and multiplayer, that could be played any time, could be stopped and started whenever you wanted, could provided hours of joy or a simple moment's distraction while waiting for something to load or download. Smart phones and tablets have now extended this further, one no longer needs to be at a PC at home or in the office but anywhere in the world. I feel like online, independent games were the setup and now we're seeing the real deal. Mobile gaming is getting more advanced, higher fidelity and much more viable as an option for game development than ever before.

Before smartphones, there was only one mobile game

The convenience, growing technology and wide availability of these devices and games is now virtually the same as it was on those websites of old but with the added advantage of being able to game everywhere. It has also given rise to new genres and ways of playing. A very notable example is the 'idle' game. These are games that don't require a players active involvement for long periods and basically run themselves. A Dark Room is entirely ASCII and button based, with no graphics that cant be created from text and is time based. The player is tasked with collecting resources and building a small settlement in the woods, expanding and exploring as you go. The game can be left for long periods as resources build up and then they can be collected with a button press. The game allows one to explore a map and fight enemies to collect more items and resources and comes with a great narrative that will keep you tapping away for days.

ASCII art can be beautiful, just beautiful...

Games like The Simpsons: Tapped Out and Family Guy: The Quest for Stuff are also similar in this regard; players build a town including buildings and characters from the respective shows and these earn money and experience on a regular basis. The player must then return, collect their earnings and continue to expand. Games like these are perfect for the busy lives we lead; I can often be seen calculating how long a shift at work is going to be and getting Homer to complete and 8 hour task so that he's ready when I get done. I can play, or not play, whenever I choose. The game is endless, has no real goals and no defined end-point or win condition but it allows me to choose when I want to play, doesn't require a large investment in time and is something I can get friends involved in. What more can you ask for from a game? Of course, there's nothing like sitting down with my laptop for a game of Left4Dead or firing up my Playstation to go through Metal Gear Solid 4 again but my phone and tablet are a great way to stay connected to games and gaming when I don't have time to sit down for a more involved experience due to a busy period in my schedule. Small games are the future as much as they have been the past and game designers would do well to remember this, especially those with little experience. While we often have grand ideas with big, open, sprawling, 3D worlds, branching narratives and expansive quest lines we can forget that smaller games can be just as powerful, if not more so. There is still lots of room for surprises and plenty of ways of screwing with the conventions that can really push the medium forward, as it is still very young and still evolving. So don't think little, think small!

On a side note, had an awesome day day yesterday eating bubble gum sundae and going to the funfair, it's all on my twitter feed. But the most awesomest part was the random find of a game design book in a charity shop. I was walking past with my buddy and we had time to kill so I suggested we go in. I sometimes look for old Terry Pratchett books as they can often be found in charity shops and I'm on a lifelong mission to get them all from charity shops for no good reason. I went straight over to the books and scanned the shelves and there it was! Inside Game Design by Iain Simmons. Just £2 and packed with great interviews and behind-the-scenes looks at the development of a few games. Follow your instincts, you never know where it might lead! Except don't always, but do when it's stuff like go into charity shops. I'm not responsible for the things that happen to you...

"My instinct says Superman will catch me if I fall!"

Something EGX This Way Comes...

EGX tickets went on sale yesterday morning. The four day event will host the cream of the crop of the world gaming industry from big publishers and developers to smaller indie teams and solo devs. You'll be able to play new releases, future releases, hear from industry industry insiders and mingle with people who love the thing you love and do the thing you do. Last years event saw 70 000 gamers come together and this years event is expected to be even bigger. Get your day or weekend tickets from the site and perhaps I'll see you there! I'll be there with the SU Productions team, taking notes as they interview some awesome people! It's a little ways away but best to get those tickets early, don't wana be late to the party.

It will be better than this. I think...

In other news, I have begun the planning stages of a new game that will be exhibited around June at my University for the final year exhibition. I don't want to say too much about it now but I would like to point to the IGCCGD conference that I attended recently. Simply being in that environment, hearing people talk about their ideas and learning about one's trade is such a valuable resource. I strongly urge any and all who are interested in becoming part of the industry, in whatever capacity (I mean you voice actors, PR people and producers), attend events! Aside from the obvious networking opportunities it is unbelievably helpful for your grey matter to be in that environment, and you'll learn more about your tools and new tools you might want to use too.

No! Bad reader! Not those kind of tools!

Even if you think you're anti-social and hate crowds, go to smaller events and talks. You don't have to run around shaking everybody's hand. Just listen and absorb. I'm not the most social penguin but by attending stuff like this I've learned so much and it's sparked so many ideas. If there aren't any events near you, have a go organising some. Meet in a local pub, talk about your latest efforts, issues with design and development, future projects, whatever! Twitter is another great tool for this stuff but you'll get so many more Twitter contacts by attending events as well as digital networking.

He's not sad because he's lonely, he's sad because he missed EGX.

So do it! Get out there, show your games, discuss your trade, hear others and develop your own ideas further. The best thing you can do is be there for this stuff. Whether you want to create something fresh, new and unique or improve on something you think can be done better these events can be key to your success, whatever your view of that is.

UPDATED: UK Tax Cuts for 'culturally British' Pantomime Dames

UPDATE: The UKIE has released a PDF (download) explaining the criteria that must be met in order for a game to apply for tax relief. Projects will be assessed with a cultural test and granted points based on the criteria, which include the amount of characters and the portion of the game set in the UK or an EEA country, whether or not a game's story is based on that of a British or other European story, the amount of work completed in the UK and whether or not the creators are usually UK based. This is good news as it means that companies can't just move to the UK and start applying to tax cuts and will hopefully allow British cultural games to shine through. The PDF also explains how the tax cuts will break down over a game's cost and which companies are eligible, including a note that abandoned projects will not have the relief affected.



That's - erm - that's games in Cockney rhyming slam... Pantomime Dames I mean...

"You what guv'na?!"

The European Commision (EC) today approved a tax relief plan for the British games industry that may see up to 25% in tax cuts for games that meet cultural criteria. There is little information as to what these criteria will be as of yet but they are sure to be discussed at the upcoming event hosted by the UKIE to discuss the impact and effects of the tax relief, announced two days ago. This event will be attended by "a senior government minister" as well as representatives of the industry and the UKIE. The tax relief is thought to affect 25% of games produced in the UK and will surely bolster an already thriving industry.


So is that the future of UK produced games? Desperately strong-arming British references in there for tax cuts? It's hard to say without seeing the criteria that's being conveniently skirted over in every press release and statement. At the same time, I don't want to be a cynic. I'm not particularly patriotic but having lived in England my whole life it is the culture I know and understand, a humour I get that much of the world doesn't, a certain British-ness in the way we are, in the way the characters we create are. My concern is that what we'll see is a rise in games that contain a bunch of British stereotypes, not for the purpose of amusement, satire or affectionate ribbing but simply for the sake of tax cuts.

Then again, maybe it's time time for a second go at this?

I don't just refer to comedic characters and references, in the vain of say Family Guy (I find this particular clip encompasses so many British-isms it's like art, Seth McFarlane gets it), but even more supposedly serious characters. I don't want every game to be set in jolly old London town and be surrounded by fruit sellers, buskers singing George Formby and chimney sweeps doing delightful jigs.

This... this actually looks okay

But I have faith in British developers, faith that they won't just be out to make a quick buck and they truly want to add to the British cultural lexicon. The UK has had a massive cultural impact on the world in the past, and not just because they went round taking over every country they step foot in. We are a nation with a strong identity and mixed culture and the media we produce is often uniquely British, but the world in recent years has started to pick up on not just our fashion but our media too, a thing that was often confined to out little island as the rest of the world "wouldn't get it".

What does it all mean?!

An immediate and obvious example of this is Ricky Gervais' hit show The Office, a show that took the world by storm and became more than just a cult hit, spawning various regional versions worldwide. This was a uniquely British show with uniquely British humour; the awkwardness of daily interactions, the polite, reserved way we tend to deal with situations, the fools we suffer so as not to be rude. All of this was blown a bit wide for comedic purposes in some cases but the show was often based on real events from the writer's lives. It made it feel real and like home for me, like I could meet these people at any pub in the country. There were stereotypes but the character's were genuine and it made them feel more like character quirks and flaws. Perhaps having British culture in the hands of British developers is the best thing for it then.

And seriously, GTA: London 2 you guys! GTA: London 2!

Oculus Rift Acquired by Facebook

The internet is abuzz with talk of Facebook's CEO Mark Zuckerberg's announcement yesterday afternoon that the company would be acquiring Oculus Rift for a sum of $2billion. Zuckerberg intends to explore the potential of the device as a social media tool and more besides gaming, though we are assured that Oculus' original plan will still go ahead, though at an accelerated rate. In a post to Facebook about the announcement, Zuckerberg says:

"But this is just the start. After games, we're going to make Oculus a platform for many other experiences. Imagine enjoying a court side seat at a game, studying in a classroom of students and teachers all over the world or consulting with a doctor face-to-face -- just by putting on goggles in your home."

In the same announcement Zuckerberg goes on to predict that the future of the world lies in virtual reality systems, and Facebook clearly wants to adopt the technology early. This has caused concern with some, with Marcus "Notch" Perrson, owner of Mojang announcing over Twitter that his company has cancelled plans to support the Oculus device, saying "Facebook creeps me out." He does note that a mod is available for users interested in using the device.

Just over 18 months ago Oculus Rift achieved and surpassed its goal of $250 000 by over 37 times, receiving almost $9.5million in backing on Kickstarter. It has now been acquired for an estimated $2billion, more than 200 times as much as the original Kickstarter raised. This is great news for Oculus and the huge cash injection will be sure to speed up the delivery of the system. At last week's GDC they had announced the Oculus Development Kit 2, an updated version of the first kit, for $350 and it seems this is going ahead with the device being sold now. Perhaps this is a good sign that Zuckerman's promise of the company still operating independently isn't just PR talk, at least for now.

Does the future really lie in VR? And what are Facebook doing to ensure the privacy of its users? They talk of wanting to share everything with everyone. This sharing is data which they can and have used to target adverts to people and increase the power of those adverts. How will virtual reality data be collected and used and what will the form will this virtual space take? Look out for further developments and announcements in the coming months.

Sony has also recently announced a VR headset, Project Morpheus, a direct rival to Oculus Rift. Both companies have the capital and business networks to gain market share in the games sector but it is difficult to tell what the final products of either will really be like, though reviews of both have been favourable.

The dawn of a new age in gaming or just a night of the living dead?

Holy crap, so meta bro!

The Real Thinkings

What the hell?! Facebook?! Really?!

Okay, initial outburst out of the way I'm not really sure what to think. I raged at first, then I wondered if I was the guy raging against this new fangled technology, bearing my torch and pitchfork like a seasoned pro.

"Back, oh ye purveyor of immersive worlds, oh ye peddler of fun!"

But then I called bullshit on that pretty quick because I had no problem with Rift before now and was super excited, still am! What I have a problem with is Facebook. I use Facebook, I don't like it, I use it. I'm a hypocrite, so that's out of the way now. I'm not keen on my data being collected like that, I'm not sure any of of us really are. I do understand that some of it has to be collected in order for the services I like to exist but it's when my name and picture are used to advertise stuff I get uneasy. I make a point of not liking pages, especially those of businesses, as I don't want everyone to be told "Hey, Daniel likes Akira's Used Pantie Emporium, you should too!" I mean, not that I would be liking something called Akira's Used Pantie Emporium or anything... Those rumours were never confirmed...

*cough**cough* Shameful *cough*

It's not about what I like or don't like and whether it's private or not, clearly if I didn't want people to know I liked something I wouldn't thumbup it on Facebook, and I don't do that. My beef is with this insistence that EVERY single thing has to collect data now. Analytics can helpful as balls, especially to a game developer because they can tell you so much about your game and how you can improve it, so there's a flip side to it but I don't want to have to sign my life away as a walking advert simply to communicate with friends.

I don't know if this is a good move, but I agree with Notch, this shit creeps me out! I'm concerned about the future of tech and media but at the same time I'm super excited about the future of tech and media! Oculus Rift, as of yet, hasn't changed and I still can't wait to get my hands on one and create some worlds, try and use the device in a different or interesting way. I have no idea what the future holds, it's impossible to predict with certain accuracy, but VR is definitely in it and Oculus and Facebook are going to be a big part of it.

So what's Steam gonna do? Anything?