Month: June 2019

Getting humor in video games right is tough. While games share a lot with the medium of film in terms of visual storytelling, the presence of a player introduces an unpredictable variable that can totally blow a joke. You never know if they will miss the gag, look the wrong way at a crucial moment, or ignore a punchline because they’re too busy running, shooting, jumping, or looking for their next challenge.

Humor is a big part of Journey to the Savage Planet, the first-person “explore-’em-up” and freshman offering from Typhoon Studios. Savage Planet puts you in the role of a space explorer hired by the fourth-best space company in the universe, Kindred Aerospace, and dumps you on a strange world where it’s your job to explore and catalog the flora and fauna. The creatures are all a bit goofy, like orb-shaped Dodo-like birds that eat slop and poop valuable resources. Interacting with them elicits one-liners delivered by your AI–which is eager to help you explore, but more eager to warn you about limits to Kindred’s legal liability should you meet a horrific demise.

The writing is part of the humor of Journey to the Savage Planet, but it’s not Typhoon’s main focus in getting you to laugh. The game primarily leverages what creative director Alex Hutchinson calls “interactive slapstick,” where Savage Planet’s systems let you create moments that turn out funny, whether on purpose or by accident.

“I think the problem with humor in video games traditionally is people have tried not to embrace the player,” Hutchinson told GameSpot in an interview during E3 2019. “You know, they basically see it as a movie. So all the humor is in the dialogue. And we have what we hope our witty one-liners happening there as well. But I think the true humor in the game is in the actions the player performs, and it’s kind of an interactive slapstick where the player can launch a joke that ends up paying off on themselves. If we get these systemic collisions, then I think it’s a new form of humor, because it’s based on decisions you made as a player and the wacky consequences that float out of it.”

Hutchinson was previously creative director for Far Cry 4, a game known for its in-game systems sometimes interacting in unexpected and hilarious ways. Moments like those served as inspiration for what Typhoon is trying to do in Savage Planet.

“In Far Cry 4, there was nothing funnier than seeing a bear on fire rush into the camp and kill your friend after you’d thrown a molotov cocktail 30 seconds earlier, and it was a joke you created,” he said while appearing on GameSpot’s E3 stage. “So we’re trying to get that sense of interactive comedy into the game, because one-liners and things are funny, but they’re funny once.”

Making A Bet On Laughs

While those moments feel random or unexpected for the person playing, they’re not completely emergent from the design side. Hutchinson said the process of creating interactive slapstick is partially about iterating unexpected moments, and partially about working systems into the game that the team knows will lead to funny moments.

Hutchinson described filling an encounter with explosive pods, for instance, knowing that one stray shot could turn a battle with a dangerous creature into a deadly fireworks display that could kill the player, or trigger other interactions they might not see coming. But the player’s options are finite, as are the behaviors of creatures and other elements in the game–so from a design standpoint, the team knows how things are going to work, and therefore, is often looking to set up ridiculous situations.

“I think there are some [mechanics and level designs] where you make a bet,” Hutchinson explained. “…You bet this is what can happen, and then we have to work on it and iterate to make sure it sort of happens. And then other [funny moments] just start to emerge and when they emerge, you can reinforce them, you know? Then you can make them happen elsewhere in the game, or encourage the player to do them.”

Mechanical jokes might be the focus of its humor, but there also is plenty in the way of comedic writing in Savage Planet as well. Kindred’s position as the fourth-best aerospace company means that it’s perpetually strapped for cash, so despite the fact you work for the corporation, you’re also bombarded with its ads.

Those commercials are largely gags–they look like those old TV infomercials in which some hapless actor catastrophically tears open a bag of chips or slams a hammer through a wall, then mugs for the camera to show us how frustrated they are with their own foibles. But the ads shown in Savage Planet’s E3 preview, for things like gross space food Grob or a mall for sea monkeys, double as world-building. They set up a satirical universe where even on a distant planet, you can’t escape the ever-present force of someone trying to sell you something.

The Gravitational Pull Of The Gun

Several of Savage Planet’s in-game ads focus on the items you wield in your left hand as you explore. Those items are meant to yield clever ways to solve problems and deal with the hazardous life you encounter–as opposed to the gun in your right hand, which provides a more straightforward solution.

Hutchinson said he had hoped to keep that gun out of your hand in favor of goofier, nonviolent solutions to problems, like using bait to draw creatures toward other things that might eat them, or planting springy pads in their paths that might send them over cliffs.

“The biggest challenge is always to rise above the noise and to offer something compelling and unique that will hopefully resonate with people,” Hutchinson said. “So, you know, we chose to be optimistic and upbeat and colorful and humorous, and also to try and get you to use different tools, you know, than just the gun. Because we’re never going to be the best shooter on the planet.”

Despite Hutchinson’s best efforts, though, Typhoon couldn’t manage to keep a gun out of Journey to the Savage Planet, he said. But the studio is still working on making it possible to avoid firing it if you don’t want to when the game releases in 2020.

“We tried really hard to emphasize that stuff, but this sort of gravitational pull of a gun was too much to bear,” he said. “A player, after playing, was like, ‘I love these tools, but sometimes I just want to shoot him in the face.’ … So the goal for the game is to say that you don’t have to use the gun, but obviously you can–we’ll see how it pans out. At the moment, we haven’t figured out a way to make it so you can beat the bosses without the gun. But that would be the goal.”

“I have a very soft spot for nonviolent approaches in video games,” Hutchinson also said on the GameSpot stage. “There’s a joke at the start of Far Cry 4, which is, essentially, if you just listen to [Pagan Min] and wait, he lets you do the thing you came for without having to murder anybody. So these things, I’ll sneak it in as much as I can–I wanted to do it again on this game. It’s very tricky but we’re getting closer and closer. I can’t promise that there will be a purely nonviolent way through the game, but there’s often a way to avoid [using a gun] if you want.”

Coming from Jo-Mei Games, Sea of Solitude is the next EA Originals title, following 2018’s A Way Out from Hazelight studios. Taking an unorthodox approach to something of a well-worn adventure premise, you’ll explore the ruins of a seemingly flooded world that’s completely abandoned. But therein lies the hook; in this puzzle-adventure game, that sense of isolation and loneliness is palpable, which is reflected in the struggles the main character has with her own mental state. While at E3 2019, we had the chance to check out a near-final build of Sea of Solitude and spoke with the CEO of Jo-Mei Games, Cornelia Geppert, about why it’s essential for more games to tackle some challenging issues like mental health.

Beginning in a rowboat, the protagonist Kay comes across a flooded city in the middle of the ocean. As she maneuvers through the canals and alleys of the town–which is loosely inspired by Berlin–she’ll encounter evil blights that seem to have a deep connection to her–shouting vile insults that seem akin to intrusive thoughts. By finding the strength within herself to explore further, she will be able to restore the city, slowly raising the buildings from beneath the surface and restoring color to the different areas of town. Even from the short demo we played, it’s evident that Sea of Solitude tries to tackle the complex and challenging topic of mental health, and the creator describes the game as the most important project the studio has ever made.

“I want people not to feel so bad about feeling lonely, and that they understand that almost everyone experiences that in some way and that it’s a part of human life,” said Cornelia Geppert. “It’s a very human story. You never quite overcome your worries and fears, and this game isn’t a superhero story where everything is perfect after you finish it. But it’s about how you come down and relax about life, suffering and pain is a part of life, and it’s something that [Sea of Solitude] focuses on a lot.”

Described as a “wide-linear” game, you’ll have the freedom to explore and row about the flooded city. However, it’s not quite an open world. While you do have the freedom to choose which direction to sail towards, there is largely a set path to follow through the city that leads to the key moments of the story. While there are major story threads to follow, you can also leave your boat and explore some of the abandoned buildings, letting you search through the remains of the homes that once were.

Although there’s always an element of danger in Sea of Solitude–even leaving your boat to swim in the water puts you at risk of getting eaten–I found that the game had something of a relaxing cadence, despite how heavy some of the subject matter was. In some ways, this made me more drawn into what Sea of Solitude was trying to say about Kay’s journey. According to Geppert, video games are in a unique position to tell exciting stories that put players in the shoes of characters that are in occasionally extraordinary, but still relatable circumstances.

“Compared to films, you can actually experience the feels and situations of the main character in a game,” said Geppert. “The main goal of Sea of Solitude is for people to experience those feelings of loneliness and despair. I also want people to see that characters like Kay are not perfect and that they have flaws, which is something we all live with. It’s a very human look at the struggles of keeping up with your mental health.”

Much like other games tackling the topic of mental health, the developers at Jo-Mei focus a lot on putting you in the shoes of Kay to understand her present circumstances. That feeling of empathy is a big part of Sea of Solitude, and many of the events that occurred in our brief demo were incredibly relatable in some form or another, which will undoubtedly hit close to home for some players. There’s a fine line Sea of Solitude walks with its topics of mental health, and I couldn’t help by be intrigued by how this game goes about its handling of a troubled woman dealing with her inner demons, and what that means for the larger adventure she finds herself on. I have a deep respect for games that at least try to talk about issues relating to mental health, and Jo-Mei Games’ approach with their game is both haunting and empowering–in its own way.

Sea of Solitude will launch on July 5 for PC, PS4, and Xbox One.

A new month is upon us, which means Pokemon Go players will soon have a new batch of Field Research tasks to complete in the game. Niantic will be rolling out a new set of quests around the world beginning at 1 PM PT / 4 PM ET on July 1, and they’ll give you a chance to encounter more Legendaries, as well as another Shiny Pokemon.

From July through the beginning of September, each Research Breakthrough you achieve will lead to a chance to catch one of the following Legendaries: Latios, Latias, Kyogre (which has briefly returned to Raid Battles), or Groudon. Additionally, Spinda featuring a new spot pattern will be available through new Field Research tasks, and those lucky enough will be able to encounter a Shiny version.

As usual, you can acquire Field Research tasks by spinning the Photo Disc at Poke Stops. The first one you complete each day will reward you with a stamp; if you manage to collect seven stamps, you’ll achieve a Research Breakthrough, which will then lead to an encounter with one of the aforementioned Legendaries. You can read more details on the official Pokemon Go website.

Before the new Field Research tasks arrive, Niantic is bringing a new Pokemon to EX Raids. Beginning June 23, players will be able to encounter the Speed Forme of the Mythical Pokemon Deoxys in EX Raids for the first time. Unlike standard Raid Battles, EX Raids are invite-only; you can only participate in one if you’ve receive an EX Raid Pass, and the only way to do that is if you’ve recently won a Raid at a qualifying Gym.

As previously mentioned, you don’t need to wait for July’s Field Research to find Kyogre. The Legendary Water Pokemon is available in standard Raid Battles again until June 27, when it’ll be replaced by Groudon. Niantic is also bringing the Legendary dog Raikou back to Raids for a limited time. To reward players for completing enough Global Challenges during the recent Pokemon Go Fest event, Niantic is holding a Raikou Raid Day on Saturday, June 29, from 4-7 PM local time.

In other news, Niantic’s Harry Potter mobile game, Harry Potter: Wizards Unite, is now live in the US and UK. The title was slated to launch on June 21, but has arrived in both regions a day early. While its premise is very similar to Pokemon Go’s, Wizards Unite also differs in a few notable ways. You can read more about the game in our hands-on impressions of Harry Potter: Wizards Unite, as well as some Wizards Unite features we think Pokemon Go should take.

As any number of women’s magazines will tell you, 80% of women are wearing the wrong bra size. That’s probably because bra shopping is hell on earth and basically impossible unless you invite a total stranger into the fitting room to help measure you properly, but it might also be a result of our society’s complete misunderstanding of what bra sizes even are. If the video game discourse is any indication, most people seem to think bra sizes stop at DD and that anything smaller than “huge badonkers” is in the A-to-B range.

I’m talking, of course, about Tifa Lockhart, who has been accused of having B-cup breasts–as her character model in the Final Fantasy 7 Remake looks different from her extra-busty appearance in the PS1 era–as well as the entire female cast of Mortal Kombat 11, for that matter. Now, these are fictional women who have top-of-the-line physics engines supporting them, so it’s not like they really need the extra support from an $80 Lululemon sports bra. But if we’re going to use bra sizes as shorthand to talk about fake women’s bodies, we’re going to do it right, goddammit.

Lucky for you, I know a thing or two about this. Bra sizes have two main components: the cup size and the band size. The cup size is denoted by letters, like B or DD, and refers to the actual breast part of the bra. The band size is a number based on the size of the person’s ribcage area (right under the actual breasts), and it’s secretly the more important size.

While most people tend to focus on the cup letter, it’s band size that determines cup size. So if you have two people whose actual breasts are exactly the same size, but whose band sizes are different, they’ll wear different cup sizes. A 36DD, for example, is the same as a 34DDD–those two people have the same size breasts, but one has a smaller rib cage, so the cup size scales up a bit. Why does Big Lingerie do this? Because the cup size represents the difference between your band measurement and your breast measurement, with one inch difference being an A, two being a B, and so on. The bigger the difference, the bigger the cup size.

Anyway, back to Tifa. Tifa is a Woman of Small Ribcage, so I’m going to guess and say she’s a 28 band size. If you look at her for even two seconds, you can see that her chest is a lot bigger around than her ribcage. I’d say it’s at least a six- or seven-inch difference, which puts her in the F or G range. Did you know bra sizes go up that far? They sure do!

On top of that, there’s also been some discussion around Remake Tifa’s bra–specifically that she’s wearing a sports bra. Sports bras are generally a bit more constricting in terms of fit, and while some retailers do offer traditional bra sizing options, you’ll often see sports bras sold in dress sizes (2, 4, 6, 8, etc.) or in the small-medium-large metric. Because of the design and further size confusion, sports bras often make chests look “flatter” than they are. In Tifa’s case, however, it looks like she’s wearing a $100-plus designer sports bra that imitates the look of a regular bra. I’d argue the type of bra she’s allegedly wearing has little to no effect on the perceived size of her chest… or how hard she punches the hell out of things.

So while it may be true that Tifa’s chest looks smaller than it used to be (or perhaps how you imagined it), it’s by no means a small chest. Even if you did think she wears a B-cup bra, though, you can still look at her and see that it is not a small chest. Now that you know how bra sizes work, you can go back to the cast of MK 11, too, and observe that they have different bodies and thus fit a variety of bra sizes. And finally, consider that there’s nothing at all wrong with small boobs to begin with.

In conclusion, if you think that video games are being censored because suddenly “every” female character has A- or B-cup boobs, you’re just plain wrong. And if you must complain, you should maybe consider complaining about ribcage size instead.

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