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libretayatra · 6 years

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Blog Post: On Fan Fiction and Other Storytelling Traditions

When I was twelve or thirteen years old, and even our family finally had DSL internet, I discovered the joys of fan fiction. In case you haven’t been living under the same rock as I have, allow me to explain. “Fan fiction” refers to stories written by enthusiasts of a particular book, TV show, or other creative work. While most “fics” – as my friends and I would call them – take place within the particular universe of the original story, others take known characters and put them in an entirely new setting. (That’s how 50 Shades of Grey was born.) There’s also fan fiction that doesn’t deliberately draw on any work but revolves around real, famous people in imagined situations. (See Graham Norton and Daniel Radcliffe discuss this type on the former’s show.)

The stories that interested me ranged from shorter “one shots” to multi-chapter epics, but most were placed in the Harry Potter universe and nearly all were tales of romance – if you could call it that.

The pairings I read about (and often ‘shipped’ – a verb that comes from the ‘ship’ in ‘relationship’ and means “hoped would bang”) – whether true to canon (i.e. the original books), such as Lily and James Potter, or wildly inventive, such as Hermione and a Tom Riddle to whom she has traveled back in time – usually engaged in the kind of love/hate banter that sends real couples to therapy. The pair would glare at and insult each other (often employing strangely American turns of phrase for a pair of ostensible Brits), their apparent mutual disgust hiding a deeper attraction. For my friends and I, it was riveting stuff.

While I was mainly a Lily/James shipper myself, you can’t talk about Harry Potter fan fiction and not mention Dramione. The fan-invented romance between Draco Malfoy and Hermione Granger was a tale of forbidden passion, a defiance of Hogwarts housing norms and the mandates of Potter canon itself. Draco did need to be less of a whiny loser to be a deserving match for Hermione, but this could be arranged without too much trouble. In the fan fiction world, Draco was dark and brooding, and he didn’t bring his dad up in conversation quite as often as in the books. Hermione was clever and empathetic, and although she was rarely depicted with less than Yule Ball-level beauty, her looks were not her main characteristic.

Sometimes fan fiction Draco and Hermione fell for each other while at Hogwarts. In other fics, they met again under changed circumstances years after the fall of Voldemort. Then there were the AU fics in which a brilliant young paralegal named Hermione Granger begins work at the firm where successful lawyer Draco Malfoy practices. You get the idea.

Photoshop creations starring Tom Felton and Emma Watson (no credit belongs to me). The purple one in particular has stayed in my memory for years, and brings on a familiar feeling of excitement at all the great content to peruse in the world. It was the banner for a website that allowed fans to nominate and vote for their favorite Dramione fics.

A particularly sexy iteration of the Draco/Hermione story was called Water by kissherdraco. In it, Draco and Hermione are Head Boy and Girl at Hogwarts. Of course, this means that they must live sequestered in their own dormitory, with its own entrance, common room and adjoining bathroom that ensure they see each other in a state of partial undress when the story demands it.

Water was held by many to be the pinnacle of the genre. It had lust and angst in equal measure, executed with a liberal dose of swear words and aggression. Moreover, Water took the common flaws of the Dramione world’s characters and actually explored them, allowing character to drive plot. In the story, Draco is brooding and cruel as ever, but these traits are linked to vicious abuse at the hands of Lucius. This backstory is not seen as an excuse for Draco’s behavior and he is forced to grow and change as the story progresses (although not quite enough, tbh).

I never finished the story, perhaps because my young brain was alarmed by all the hate-sex, but I revisited it with curiosity for this piece. Here is a relatively benign excerpt from the text, although please skip if you’d rather avoid themes of physical dominance:

“You’re crying,” growled Draco, leaning in and flicking his tongue onto her cheek. He tasted salt.

She struggled then, and he brought his hands to her shoulders to hold her still. “Don’t, Granger,” he warned. “I fucking need this. I can’t fucking…” He trailed off.

He never would have noticed before. Not like he did now, at least. Her lips were wet. They were red and moist and magnificently ripened for him. So full of blood. Hot, heated, sullied blood. He couldn’t take his eyes off them.

Other fics situated romance within a larger plot about the politics of the wizarding world. Prelude to Destiny by AnotherDreamer took place in the Marauder era (i.e. the time of Harry’s parents) and focused on the coming-of-age of Lily Evans and her role in the battle against evil. It begins, “Two cultures and a thousand miles from you, there is a castle on a hill…”

Another fave began life under the title Ancient and Most Noble and is now called Druella Black’s Guide to Womanhood. It is about the diverging lives of the three Black sisters — Bellatrix, Andromeda, and Narcissa — in the early years of Voldemort’s power. The sisters confront the crumbling of the their easy closeness as they make different choices in a changing world.

”It’ll be a laugh, you’ll see,” Bellatrix whispered into her ear, her breath sweet and thick from wine. They were curled in the cool grass, tangled in the layers upon layers of lace and satin that were their dress robes; it had taken them an hour to get them on right and just ten minutes to unsettle them. Andromeda’s head was spinning: from the liquor, from the heat, from far too much dancing. “It’ll all be just like this,” Bella was murmuring, her lips brushing against her ear. Stars whirled by overhead, maybe close enough to touch. Close enough to try.

“Always just like this.”

—

Andromeda swore as she stepped off the train. From inside the nicely cool travel car, summer had looked so charming, green and bright and gloriously school-free…

I was most interested in these fics, the ones that revolved around the generations before Harry’s. There was something compelling about the knowledge of forthcoming tragedy for many of the characters…Plucked away from the happy ending of the books, these fics became an exploration of why life is meaningful even in its flawed and finite scope.

I look back on my fan fiction experiences as belonging to a beautiful time when the internet was less like Janet from The Good Place* (if Janet were selling everything she knew about us to profit-hungry corporations and belligerent, militarized governments), and more like a library you went to when you felt like checking out a book. Nobody knew what I ate and where I went every minute of the day, because I didn’t put that stuff online, nor did I (to my knowledge) carry a tracking device with me when I went downstairs to play with my friends. At 5 pm, our moms would have to call each friend’s landline to reach us and remind us to stop home for our daily glass of milk or what-have-you.

*Janet is a humanoid presence in the afterlife who holds all knowledge in the universe and can create objects out of the void.

Fan fiction was a commerce-free creative space – devoid of ad revenue and the quick accumulation of likes. Since there was neither money nor social capital to be gained, everyone who participated did so out of pure interest. One did have the hope of raking in reviews from other community members, but these were about more than validation; reviews allowed people to have conversations about a shared passion and often included constructive criticism along with praise. There was little need for bitterness – if a fic was well-written, everybody won, since it meant they got to read it.

Below are some examples from the reviews section of Prelude to Destiny. It’s certainly no Twitter.

Written by rach on chapter #13. (March 28th 2009, 5am) Hey,

So I’ve read your whole story before, and now I’m reading it again, because I saw it spotlighted on the site. And this chapter is amazing. I love the end…I’ve never (well, before I read this the first time) compared Lily to Mrs Crouch. But it’s so true. They both gave their lives for their sons and…this chapter is phenomenal. Just thought I’d let you know

Rach

Written by Smith on chapter #26. (April 29th 2008, 11am)

…If I am to find any fault in the story, then I should say that Remus was rather dull. Not that it was completely out of character, but I imagine him being funnier and also good Lily’s friend. Their friendship is mentioned by Lupin in the third film and, I should think, in the book as well, though I don’t have a copy right now and thus can’t provide a quote. Pity, that. [Given my extensive knowledge of canon, I can tell you that the reviewer is mistaken on this last point.]

Thank you very much for writing this story. Reading it was an enjoyable experience that I might repeat in the future. You’re brilliant, to put it short.

Author Response: Thanks for the review!Yeah, Remus was a bit dull. Actually, I didn’t intend for Lily to be friends with any of the marauders besides James. I just wanted them out of the way. But I know what you mean. After Sirius entered the story, Remus was even duller in comparison. Plus, I wanted to make Peter seem like he fit in, and Remus just fell by the wayside, you know?I’m enjoying writing Gertrude again after taking over a story from my friend who used my characters. Anyway, thanks again!Miranda

For me, too, fandom was a more than a casual hobby. Since I was only allowed an hour of internet use a day, I would spend the time copying and pasting chapter after chapter of fan fiction onto Microsoft Word, allowing me to read all I wanted later. (As you might imagine, Water was not stored on the family computer.) I remember scouring for new fics on fanfiction.net and clicking through page after page of fan art on deviantart.com (both of which retain their early-2000s layouts, unlike Mugglenet or JK Rowling’s official site), very differently from how I scroll through Instagram today. I admired works of fandom the way one appreciates springtime’s first flower, or the décor of a friend’s bedroom – I admired the stamp of individuality they bore and that inspired me to create something myself, to express my joys and sorrows, to be a part of the world.

RIP old websites

When I did put Harry Potter-inspired art out there, somewhere around age fourteen, it was of course in the form of fan fiction, writing being my weapon of choice. I wrote two one-shot pieces, one funny and the other sad — or such were my intentions, though perhaps the results were inverted. While some friends wrote longer stories, I never felt talented or inspired enough to commit, which is a typical self-doubting move of the kind I am trying to leave behind. (I now plan to write no matter how untalented and uninspired I may be.)

One piece was about a character of my own invention, a Slytherin guy with the requisite pure-blood, Dark magic-loving family, and a perky, ponytailed Huffelpuff girl on whom he develops an obsessive crush. It was intended to be a BBC-inspired mockery of the character, taking all the gloomy sexiness of the Dramione universe and making it ridiculous. It was also a thorough exploration of really wanting to make out with somebody sitting in the same classroom as you, not that I’d know anything about that myself.

The other short story was a sincere ode to the books and an exploration of some of their core questions on death and loss. It followed Harry in an imagined scene that takes place (SPOILER ALERT lol) after Dumbledore’s death in the Half-Blood Prince. Harry is climbing the steps to the Owlery with a package in his hand, thinking over his relationship with Dumbledore. As I wrote, I found that I absolutely had to include excerpts from a fairly unexpected source, a chapter in the first and most overlooked of the Harry Potter books. The chapter is “The Mirror of Erised,” whose titular object reveals to the onlooker their deepest desire.

“Professor Dumbledore. Can I ask you something?”

“Obviously, you’ve just done so,” Dumbledore smiled. “You may ask me one more thing, however.”

“What do you see when you look in the mirror?”

“I? I see myself holding a pair of thick, woolen socks.” Harry stared. “One can never have enough socks,” said Dumbledore. “Another Christmas has come and gone and I didn’t get a single pair. People will insist on giving me books.”

It was only when he was back in bed that it struck Harry that Dumbledore might not have been quite truthful.

In my story, Harry gazes out at the Forbidden Forest for a little while, wondering who Dumbledore had been behind the mask of calm wisdom and pondering the burden of those left alive and grieving. Harry then ties the package he’s been holding to Hedwig’s arm and sends her off, chuckling a little through tears. In the last line it is revealed that – OMG – he has just sent off a pair of thick, woolen SOCKS. To DUMBLEDORE. Even though Dumbledore is DEAD. Isn’t that profound?

Two years later, Harry Potter and the Deathly Hallows was released, and to my complete surprise, it delved deep into some of the questions about Dumbledore that had tumbled out of me, stream-of-consciousness-like, in the story I wrote. The text even includes part of the above excerpt from “The Mirror of Erised”. At the outset of Deathly Hallows, Harry learns that Dumbledore’s childhood was a difficult one, the true details of which remain murky and contested by his admirers and critics. Harry regrets never having asked Dumbledore about his past, but recalls that, after all, the one personal question he had asked Dumbledore was not answered honestly…

While writing my story, I had imagined Harry’s pain and longing to know Dumbledore better. Because fan fiction allowed me to externalize my interpretation of the text, the questions in my mind took on concrete form. Their answers, when the next book presented them, became all the more striking and emotionally impactful. It was as though I had written a letter to the series of books that had shaped me and received, in a way, a gentle but meaningful response.

In 2004, JK Rowling released a statement about the phenomenon of fan fiction. She was flattered by fans’ desire to write about her characters, and her only caveats were that fan fiction should remain suitable for children (unfortunately that ship had already sailed, and Water was truly the least of it), as well as a non-commercial activity so that fans’ creative pursuits would remain unexploited. Other authors have not been as accepting, and have asked for fan fiction based on their work to be removed from popular websites. After all, in our current world, a story is classified as property. A sentence, a verse, a character’s name, can belong to someone the same way as the furniture in their house and the dollar figure in their bank account.

In the long history of storytelling, however, ownership is a relatively recent idea. Bear with me while I make an analogy – in pre-industrial Britain, every town had a commons, an area of land where anyone could gather firewood, take their cattle to graze, or hunt and fish to supplement a year of poor harvest. Storytelling has historically functioned as a kind of commons of ideas, one that anyone could pull from when the time came to tell a tale. Want to warn your kid against going near a well? Tell them about the hungry demon that lives in it. Were you hired to entertain a crowd at a wedding? Maybe you dust off an old poem about a prince and princess who meet one evening in the forest but spend years apart, not knowing each others’ true identity until it turns out they were betrothed all along.

Nobody invented well-dwelling monsters or estranged lovers for the first time – they simply existed in a shared cultural space, available when needed (or when it was particularly enjoyable to use them), ready to be shaped into something new and old at the same time. Even today, no one questions the use of familiar tropes in books and movies; we know that all storytelling involves a certain amount of borrowing and repetition, and we deem this acceptable as long as the storyteller has put an adequately original spin on the themes they utilize. The legal line is drawn once you get to the particulars – character names, or sentences and dialogue. These must be brand spanking new if you want to avoid a lawsuit and getting dropped by your publishers. (Does anyone else remember How Opal Mehta Got Kissed, Got Wild, and Got a Life?)

But for thousands of years, people told and re-told stories of beloved and familiar characters, not just unnamed archetypes – characters like Odysseus and Arjuna, Gilgamesh and King Arthur. The Sanskrit Mahabharata (Maha-BHA-rata) an epicly long, genre-defying story from South Asia, especially challenges the idea of a single, canonical text (much like other ancient story traditions from the subcontinent). It was told so many times by so many people that modern-day folks are not always able to agree on what the Mahabharata even is. The story is like a vast ocean — recognizable to all, but appears different depending on where you happen to be standing.

In the 20th century, some scholars collected Mahabharata manuscripts from all over the subcontinent, extracted the most commonly occurring parts to form a text, and detailed the many variations of each verse in footnotes that turned out longer than the text itself. No one can quite agree whether to treat this resulting (multi-volume) “Critical Edition” as the essential Sanskrit Mahabharata tradition, or as some kind of strange, post-colonial Mahabharata scrapbook. All this so that whenever somebody wrote an essay about the story, there was a single text, pieced together as it was, to use as a point of reference. (My Bachelor’s thesis was one of the lesser works of this scholarly genre.)

The plot of the Mahabharata goes like this: The five Pandava brothers, namely the prone-to-gambling leader Yudhishthira, morally-conflicted archer Arjuna, lovable beefcake Bhima, and something-to-do-with-horses twins Nakula and Sachdeva, along with their badass wife Draupadi, are exiled from their kingdom and forced into a year of disguise after a rigged dice game that Yudhishthira loses, and in which Draupadi is stripped and humiliated before a hall full of men. Eventually the Pandavas regain what they lost through a bloody war that leaves both sides devastated and questioning the point of all this conflict. The End.

Does my summary reflect my biases a little bit? For somebody else, the Pandavas might be perfect heroes, Draupadi a whiny ungrateful shrew who won’t stop yelling at them. To me, she is the moral backbone of the Pandavas, unafraid to call for what she feels is right even as everyone around her takes the coward’s way out of trouble.

Interpretations of Draupadi from various traditions

But it’s not just me who has a take on the story: the Mahabharata itself reflects a range of interacting and conflicting views, which might indicate that people from various backgrounds heard it and were able, in some way, to influence it. For example, although the text generally upholds hierarchies of caste and gender, it also pulls at the listener’s heartstrings with stories of characters who must confront these oppressive norms.

There’s Amba, who is stolen from her future-husband at her wedding and rejected by him when she manages to return; she later chooses to be re-born as a man in order to kill her kidnapper in battle. There’s Ekalavya, the talented archer from a forest tribe who trains with the Pandavas in youth and asks to prove his devotion to his archery guru any way he can; the guru, who favors the upper-caste prince Arjuna, asks Ekalavya to cut off his right thumb. There’s Kunti, who finds herself pregnant after an illicit affair with a god and places her baby, Karna, in a river; Karna is adopted by a lower-caste charioteer couple and goes on to fight against Kunti’s legitimate sons in the great battle that destroys the universe. And there’s Satyavati, whose husband/baby daddy pretends not to recognize her in front of his kingly court but gets completely schooled on how not to be an asshole.

“You know very well [who I am], your majesty; why do you say that you don’t, lying like a common man? Your heart knows the truth, and knows your lie. A man who does something wrong thinks, ‘No one knows me,’ but the gods know. If you do not do what I ask, your head will burst into a hundred pieces.” She discoursed at length on the reasons why a man should honor his wife, quoting the dharma texts.

(from The Ring of Truth: And Other Myths of Sex and Jewelry by Wendy Doniger)

Perhaps, among the traveling bards and indulgent grandmas who told the Mahabharata over centuries, there were some who identified or empathized with the pain of oppression and through whom otherwise-marginalized voices could ring out into the millennia.

The many Mahabharatas, along with the many conversations inside the Mahabharata, illustrate how the human imagination is prolific and messy, not content with merely absorbing information but impelled to remake, to take inspiration, to create, create, create. Isn’t that what happens when we read? We see the world we are reading about in our own way. We make up something in our own head as we go along, and that’s where the entertainment lies. The book itself is but a wonderful tool.

Perhaps if I had a right-wing patron who paid me to tell stories, I would tell the Mahabharata a little differently from how I do here, focusing on how the Pandavas were self-made men or how the ethnic minorities they killed were thieving encroachers. Or if I were telling the story to children, I might leave out anything particularly frightening. In the telling of a story, the will and whims of the teller have influence, as do those of the listener (or reader) and the financial benefactor (or publishing house).

What remains inevitable, however, is that rarely is a story told the same way twice. Even in our post-printing press, post-internet world, where stories are replicated identically again and again, we continue to dissect, analyze, and change them, whether it be through everyday conversations, online forums, or the prestige lens of a critic’s review. (A perfect example is the adaptation of works from one medium into another, be it from literature to film or from film to theater.) Sometimes the authors themselves continue to tweak and interpret their work – Virginia Wolf was known to make changes to her books prior to reprinting, and we all know that JK Rowling can’t leave the Potter universe well enough alone (love you Jo!).

For me, fan fiction is a grand storytelling and textual tradition not entirely unlike the Mahabharata. Fan fiction not only illustrates the malleable, generative nature of stories, it also provides a rare space, in our capitalist global economy, for storytelling to be that malleable, generative thing it has always been. It allows for democratic engagement in the storytelling traditions of our time, free from the boxes of profit and ownership. It lets us expand the possibilities of our collective imagination. Importantly, it allows voices from the margins into the story, where our canonical texts routinely fail us.

I’m also thankful to fan fiction for being a rare space, outside overpriced college English classes, where literary discussion can thrive. When I say discussion, I don’t mean mere binary criticism – like book reviews, or the Goodreads star rating-aggregates that help determine book sales. I mean questions about how a text makes you feel, what it reflects or critiques about our world, the things that literary characters, beloved and abhorred, may teach us about our shared humanity and flawed choices. And yes, some of these conversations involve Hermione Granger and Draco Malfoy as co-Heads of Hogwarts, using the same bathroom.

Are you a reader or writer of fan fiction? Have you you dabbled in fan art? Or do you engage in a non-online form of fandom, like a book club? Please share!

Thanks for reading.

#fan fiction #writing #storytelling #early internet #dramione #mugglenet #mahabharata #harry potter #feminism #romance #indian history #draupadi #longform #long post

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barbosaasouza · 6 years

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Brazil Prepares For Its Next Big Export – Video Games

With so much emphasis placed on companies like Sony, Microsoft, and Nintendo, it’s easy to forget that people make video games outside of Asia, North America, and Europe. In fact, we recently visited São Paulo, Brazil to attend BIG Festival 2018, a celebration of indie games from Latin America and the rest of the world. Held at the Centro Cultural, the sixth installment of the yearly event showcased some of the coolest indie games available now and coming soon, and the host country chose to spotlight some of the most promising titles from Brazilian developers. With this in mind, these games left a lasting impression.

No Heroes Here (by Mad Mimic)

Winner of best Brazilian game at this year’s BIG Festival, No Heroes Here is a tower defense effort where you join forces with other players to save a variety of castles from invaders. In this game, either you communicate with teammates or the 54 levels quickly descend into chaos. Someone, for instance, must craft cannon balls while another person makes gun powder; you even need a player to scrub cannons after firing them. Controls are simple to get the hang of, and the retro 2D artwork gives the game a cool NES vibe. One of the biggest reasons why we enjoy No Heroes Here, though, is the four-person couch-co-op. You can play online, but having other people in the room to high-five, scream at, and even elbow (if you’re that kind of player) makes this game a party favorite.

No Heroes Here is currently available on Steam, Switch, and PS4. It should debut for Xbox One soon.

FoFuuu (by Fofuu Solucoes Tecnologicas para Saude e Educacao LTDA)

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Another BIG Festival award winner in the best game for kids category, FoFuuu is an educational game that helps children (or anyone, for that matter) learn how different sounds are used to form words; they complete objectives by making sounds into their smart devices. This unique approach to speech therapy allows parents to set daily goals for their little ones, while the kids figure out how to speak a language in a fun and interactive way. At the moment, FoFuuu supports Portuguese, but there are plans to branch out with English at some point. Depending on the localization plans, there’s a good chance that FoFuuu will become not only a a valuable tool for speech therapy, but also a way for people to learn new languages.

Lenin the Lion (by Lornyon)

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Lenin the Lion is a unique game in the sense that it openly deals with depression; it took home the award for the BIG Festival’s social matters category. Lenin is the only albino lion in his village, which draws unwanted attention from bullies and other anthropomorphic characters that don’t understand him, including his mother. While in control Lenin, you must navigate the story making choices that impact the plot. There are no battles or health bars to speak of. Instead, you help Lenin face his fears while on a journey for acceptance. Although we have not heard of any plans for Lenin the Lion to appear on the Switch, old school Nintendo fans should appreciate the game’s Earthbound-inspired graphics, and depending on the quality of the plot, there’s a chance that Lenin’s unique adventure might stay with you for some time, long after the credits roll. Fortunately, you can play the Lenin the Lion demo right now to see how things are shaping up.

Albatroz (by Among Giants)

Although it’s early in development, Among Giants’ Albatroz looks promising; the team’s previous game, Distortions, has a “Mostly Positive” score on Steam. Details are still being worked out, but it’s essentially a backpacking game inspired by such movies as Into the Wild and The Motorcycle Diaries, where the primary goal is to survive beautiful forest and mountain treks. It is a puzzle game of sorts, where you must think about which items belong in your backpack before setting off on the next journey. What makes us interested about Albatroz is the fact that the developers are avid backpackers, so we look forward to seeing this passion rub off on the game.

Patuanu (by Andurá Studio)

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When it comes to Patuanu, Andura Studio had us at the words hack and slash, but there’s more to this game than simply mashing buttons. The developer incorporated Brazilian mythology into this title to flesh out its backstory. The result is a narrative that integrates culture from the Marajoara and Tupi tribes, along with a great battle fought between two gods, Anhangá, an evil being bent on corruption, and Girador, who created men and other living things. Hero Patuanu is caught in the middle of this chaos, and must gain support from the four kingdoms of creation (animal, vegetable, mineral, and spiritual) in order to defeat Anhangá and avenge her tribe. Still waiting for more gameplay details, but thus far, we dig Patuanu’s story and artistic design.

Tetragon (by Cafundo)

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With every second that passed playing Tetragon inside of a noisy meeting area, we desperately wanted to retreat to a quiet place to spend several hours getting lost in the game’s puzzles. In it, you guide Lucios the lumberjack through a variety of unique stages where you literally rotate the environments via touchscreen to activate switches and exit through the goals. Spinning each game board is easy, but figuring out how to reach platforms without Lucios falling to his death is the tough part.

This isn’t like Tetris or Lumines, both of which force you to make split second decisions. Tetragon is more of a slow burn, where you might stare at the screen for several moments before making a single move. The animation and graphics, which remind us of the cult retro game, Flashback, are an added bonus.

Until Dead: Think to Survive (by Monomyto)

While on the subject of puzzles, we have a zombie game that doesn’t ask you to mindlessly gun down hundreds of flesh eaters. Instead, Until Dead forces you to think. Playing as a detective who is still alive despite the zombie apocalypse, you take turns moving him the desired number of spaces and then watching as the zombies move in response. The goals? Collect clues, avoid becoming lunch, and successfully escape through the exits. And if you do encounter a zombie, the best way to take it down is to attack from behind. Play Until Dead today on iOS and Android devices.

Galaxy of Pen & Paper (by Behold Studios)

Available since 2017, Galaxy of Pen & Paper channels the spirit of the classic Dungeons & Dragons role-playing experience, complete with a game master setting the stage, but with space aliens and a plot that takes place in 1999, complete with dial-up Internet and floppy disks. Customize your party, then set out to explore the cosmos to discover new planets, take part in spaceship battles, and kill enemies while enjoying a retro soundtrack and humorous dialogue. Gamers of all ages will enjoy Galaxy, but if you grew up playing D&D, you might have a soft spot for this one.

Galaxy of Pen & Paper is available on Steam, iOS, and Android.

La Hacienda (by DCF Studios)

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Despite being a prototype, La Hacienda has the potential to provide tons of jump scares. Set on a farm that actually exists in the real world, you must avoid a serial killer who casually strolls around in his underwear; nice abs, by the way. What’s cool about this one, as you’ll see in the video, is the fact that whenever the killer is close by, your character appears to suffer a panic attack and the screen becomes distorted, but it only happens when you see the killer. Skip to the 2:45 mark and everything seems relatively normal until the maniac sneaks up behind his victim. Depending on how La Hacienda evolves and improves with time, we could see this game being a favorite amongst YouTube and Twitch enthusiasts.

Brazil Prepares For Its Next Big Export – Video Games published first on https://superworldrom.tumblr.com/

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symbianosgames · 7 years

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In recent years, the annual E3 trade show, has increasingly been overshadowed by the press conferences that precede it. Sony, Nintendo, and Microsoft have traditionally used the venue to crow about their sales and business successes, and unveil their latest offerings via live [or seemingly live] demos with game designers.

But that's all changing now. Boring corporate biz speak is now reserved for quarterly reports, and live demos are increasingly being supplanted by prerecorded material. Celebrities guests and superstar presenters are on the wane, and influencers from the esports and livestream scene are on the rise.

As we watched the press conferences this year, Gamasutra staff exchanged emails about what these changes might mean for developers. (You should also tune in for Gamasutra's Twitch livestream on Thursday at 3pm EDT, in which we'll discuss our reactions to the conference.)

Chris Baker (@chrisbaker1337), assignment editor: Hi everybody! I've put in my time at E3 over the years. I was there for Sony's stunningly successful PS4 unveiling in 2014, and the stunning debacle of the PS3 unveiling in 2006. I've seen surprise game reveals and surprise guest appearances. (Muhammad Ali! Paul and RIngo! Gaben!)

But this year, I watched the precedings from my couch, for the most part. (I saw the Microsoft press conference on my phone while I did laundry.) It seems clear that the nature and purpose of these events are shifting. The Microsoft press conference was chockablock with interesting games, but it was essentially a series of trailers and Let's Play videos.

I think there are a couple of things going on here. One, of course, is that there's less of an emphasis every year on the people in the room, and more of an emphasis on the global streaming audience. Two, I think there's an effort to limit banter and live demos, since every flub and glitch has the potential to be endlessly memed and GIFed.

I'm writing this on Monday, morning, catching up on clips from the Bethesda conference that I missed. So far, I thought the Sea of Thieves demo at the Microsoft press conference was particularly interesting, firstly because there was a lot more graphics and a lot more game there than the last time we saw it, but also because it was presented as a sort of hybrid trailer and Let's Play, with a voiceover narration accompanying lengthy chunks of what looked like actual gameplay footage. Last year, they did a formal trailer and then a more Twitch-like gameplay reveal. I thought this year's fusion of the two was far more successful.

[embedded content] Sea of Thieves gameplay walkthrough

Bryant Francis (@RBryant2012), contributing editor: Sending this on Monday afternoon, caught up on all conferences except obviously Sony.

"I hope this means that developers get to spend less time on E3 vertical slices.

I agree with Chris that everyone seems to be following Sony’s lead from last year of trying to keep these things as trailer-focused as possible. Ubisoft’s the only developer to not greatly change their flow (dropping Aisha Tyler is notable I guess), but everyone seems to have caught the message that for marketing purposes, pre-recorded gameplay footage, or a chance to play the game on the floor, matters more than spokespeople or live gameplay, whether it’s a trailer or just a demo vehicle.

That sort of has to do with now, more than ever, these E3 conferences being “for the folks at home?” Now that they start a full four days before the expo itself (good lord) the purpose of these things isn’t to sell your game to intermediaries, it’s to sell them to the people who may go and pre-order them on the spot. I hope this means developers get to spend less time on “E3 vertical slices,” and I wonder if this makes journalists feel like they’re being edged out of the room. (Maybe that’s why they keep complaining about all the YouTubers?)

The PC game show, awkward as it can be sometimes, is turning into a surprising highlight for indie developers looking to make an impact on Steam. Finji’s managed to take the stage 2 years in a row now with interesting-looking games, and since there is a sit-down-and-talk factor, I wonder if it’s a way for game devs to start making a personal introduction to an interested audience. (Admittedly while someone is pitching Intel hardware 2 minutes later)

[embedded content] The charming Tunic, from Andrew Shouldice and Finji

Demo-wise, my two biggest hits came from the Ubisoft conference. First, the Mario/Rabbids game turning out to be an unexpected game genre was a great surprise, and as I think Alissa said on Twitter, it’s a shame that the game’s existence was leaked a while ago, otherwise seeing Shigeru Miyamoto come out on stage with Yves Guillemot would have made a bigger impact. And ironically, while everyone’s talking about ‘more gameplay, less cinematics’ at E3 this year, the Beyond Good & Evil 2 trailer absolutely rekindled my interest in that game. If you’re going to introduce your game with a CG trailer, it’s worth loading every inch of it with style and verve that’s going to make the gameplay worth waiting for.

Also while I’m at it I should say I’m super impressed with Microsoft’s announcement to take backwards compatibility all the way to the original Xbox. I’ll probably blather about this more on our livestream later this week, but I think the fact that the Xbox One X (oy) can now be sold as “it plays ALL Xbox games at their best quality” is a huge selling point for the device.

[embedded content] Beyond Good & Evil 2 announcement trailer

Alex Wawro (@awawro), news editor: My Dearest Friends,

It has been quiet here, of late. The shoutcasting has stopped. I write to you on Monday evening, not long after the latest dispatch from Sony, and I must say: E3 has changed. The lion's share of the excitement will be over soon, and after witnessing much of it from the comfort of my couch I have to say -- I like the change.

This year more than ever, it's clear that the big publishers are catching on to what many game devs already know so well: enthusiastic people (whether they be devs or YouTubers or Twitch streamers) are great vectors for advertising your game. So is PAX. And since nobody but Microsoft seems to have much of anything to talk about this year except games, it's not hugely surprising that Electronic Arts, Bethesda, Ubisoft, and Sony all stacked their E3 presentations with lots of trailers (Sony was basically back-to-back trailers, for the second year in a row) and gameplay videos.

"It's interesting that this year, indie devs had a presence at Microsoft's E3 event, but were basically absent from Sony's showcase. "

Sometimes those gameplay videos were live, sometimes they were pre-recorded, but most were introduced with minimal drama (no overwrought whinging about surveillance states, for example) and maximum enthusiasm. It was pure salesmanship, to be sure, but refreshingly open and earnest -- I noticed Ubisoft even took the time to flash a link to its online merch store multiple times throughout its show.

Microsoft stood apart a bit though, huh? I think that Xbox showcase reminds us what E3 has typically been: a place where publishers sell a vision of what they want to be in the year to come, replete with new hardware, new services, and new games from devs across the industry.

Kris also mentioned something in chat that I didn't notice right away: It's sort of interesting that this year indie devs had a presence at Microsoft's E3 event (Tacoma, The Artful Escape, Ashen, etc) but were basically absent from Sony's showcase.

That's a sharp turnabout from a few years back, when Sony made a show of embracing indie devs and promoting them as a core pillar of the PlayStation 4. Now that Sony has plenty of its own games to talk about, it looks like the company is a lot less interested in promoting indie devs on its stage. And if you're an indie dev, that doesn't seem like a great look.

Bryant Francis: Jumping in on Tuesday after the Nintendo and Sony streams.

What the heck happened to the indies at the Sony press conference last night? Has it been 48 hours yet? Do we need to file a missing persons report?

"A return to Metroid does give creedence to the theory that Nintendo isn’t as focused on the casual market anymore."

I don’t know if it’s just a case of the development cycles of Sony’s current games, but last night’s trailer reel + twitching bodyfest didn’t reveal a lot of new info about the direction of games on PlayStation. It’s possible this is one of those case where “E3 doesn’t matter the same way anymore so we’re saving these for PSX or something,” but this is the first year Sony didn’t seem to be banking on revealing a new game with an unknown release date.

I also heard from the floor that there was some confusion over why Knack 2 has been playable at the press events but didn’t show up in the press conference last night. Given our love for Sony hardware enthusiast Mark Cerny, I’m worried that game is getting hidden due to the intense online anger over the first game.

Nintendo continued the (4-days old) tradition of a short conference with a big focus today, and I admit to being extremely surprised by the revelation of Metroid Prime 4, which is being developed by a new team that’s not Retro Studios. But then a 2D Metroid Game was announced in the Treehouse session afterward?? Will 2018 (maybe 2019) be the year of Samus Aran? A return to Metroid does actually seem to be a nod to Kris’s ongoing theory that Nintendo isn’t going to deal much with the casual market anymore, since that was a series it seemed to push aside for a little while for its seeming lack of broad appeal.

(I will note another recurring trend at these conferences, which is re-announcements with more info of stuff that was very much public knowledge beforehand. Bethesda’s VR games, many of Sony’s games, Nintendo’s announcement about a ‘core’ Pokemon game for the Switch... all of this was previously announced. This conference just was where they got the marketing push.)

Kris Graft (@krisgraft), editor-in-chief: *APPEARS FROM THE BUSHES, GASPING FOR AIR. CLOTHES IN TATTERS*

Ok hey guys I’m here, I’m here. So while you all were doing laundry and watching people talk about teraflops from the comfort of your own homes, I was at E3 2017 living it. While I was there for the press conferences and pre-E3 meetings and events, I actually only stayed for the first full day of the proper expo, just so I could get a good handle on the sights – and smells – of an E3 that included 15,000 non-industry public guests. I’ll try to keep this reasonably succinct! (As a side note, this was my 11th E3.)

"Developers I spoke with noted how networking is especially difficult this year."

So, as far as the show itself, the biggest difference this year are the extra public fans wandering about. They’re easily spotted because their tags were bright yellow, and typically were the most loaded-down with free merch, sometimes wearing shirts that say “Awesome Gamer” or “Yeah, I was at E3 2017.” It’s super easy for me to get annoyed with E3 adding so many more people to an already crowded event with virtually no extra accommodations for that traffic, but…wait there is no “but.”

Really I’m not down on the fans. I am confused with what the ESA is doing here with this event. Developers I spoke with noted how networking is especially difficult this year, because you simply can’t assume that everybody is a “somebody,” and those “somebodies” are more difficult to connect with. E3’s been going this direction for years by lowering the barrier for press accreditation, though adding so many straight-up fans into the mix only exacerbates the issue.

E3 is trying to serve two masters here: Industry and fans. It wants to be “old” industry-centric E3, and it wants to be Comic-Con. I really wonder how many more game companies, especially after this year, might pull out of the show floor because they’re (further) questioning the value proposition of E3. It’s a tricky scenario. ESA needs to maintain and grow its event business, but it seems the growth it needs can only come from increasingly angling the event toward fans, and going head-to-head with large consumer-focused events like PAX. E3 2017 is a weird an awkward transition towards that.

E3 is very crowded [Image: GameRevolution]

Ok so I spent a lot of time talking about the event itself, so I’ll just give a quick rundown of some notable E3 things:

Sony: They’re pretty much done with highlighting indies, E3 2017 confirms. That said, PolyArc, a small studio made up of ex-triple-A devs, was included in Sony’s press conference. They’re making a really nice-looking VR game called Moss, starring a mouse.

[embedded content]PolyArc's Moss

Microsoft: Obviously their big thing is Xbox One X. Price is a bit high, value proposition is shaky, but I’m not sure where else console-makers (that aren’t Nintendo) can go. We’ll see how it goes this November.

Nintendo: Metroid Metroid Metroid. I’m just glad they didn’t forget about Metroid. Also wow at some of these Super Mario Odyssey hat-possession gifs.

Bethesda: Yeah, I’m playing through Wolfenstein: The New Order again.

#IFTTT #Blogger

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barbosaasouza · 6 years

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Brazil Prepares For Its Next Big Export – Video Games

No Heroes Here (by Mad Mimic)

No Heroes Here is currently available on Steam, Switch, and PS4. It should debut for Xbox One soon.

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Lenin the Lion (by Lornyon)

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Albatroz (by Among Giants)

Patuanu (by Andurá Studio)

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Tetragon (by Cafundo)

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Until Dead: Think to Survive (by Monomyto)

Galaxy of Pen & Paper (by Behold Studios)

Galaxy of Pen & Paper is available on Steam, iOS, and Android.

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symbianosgames · 7 years

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[embedded content] Sea of Thieves gameplay walkthrough

Bryant Francis (@RBryant2012), contributing editor: Sending this on Monday afternoon, caught up on all conferences except obviously Sony.

"I hope this means that developers get to spend less time on E3 vertical slices.

[embedded content] The charming Tunic, from Andrew Shouldice and Finji

[embedded content] Beyond Good & Evil 2 announcement trailer

Alex Wawro (@awawro), news editor: My Dearest Friends,

"It's interesting that this year, indie devs had a presence at Microsoft's E3 event, but were basically absent from Sony's showcase. "

Bryant Francis: Jumping in on Tuesday after the Nintendo and Sony streams.

What the heck happened to the indies at the Sony press conference last night? Has it been 48 hours yet? Do we need to file a missing persons report?

"A return to Metroid does give creedence to the theory that Nintendo isn’t as focused on the casual market anymore."

Kris Graft (@krisgraft), editor-in-chief: *APPEARS FROM THE BUSHES, GASPING FOR AIR. CLOTHES IN TATTERS*

"Developers I spoke with noted how networking is especially difficult this year."

E3 is very crowded [Image: GameRevolution]

Ok so I spent a lot of time talking about the event itself, so I’ll just give a quick rundown of some notable E3 things:

[embedded content]PolyArc's Moss

Nintendo: Metroid Metroid Metroid. I’m just glad they didn’t forget about Metroid. Also wow at some of these Super Mario Odyssey hat-possession gifs.

Bethesda: Yeah, I’m playing through Wolfenstein: The New Order again.

#IFTTT #Blogger

0 notes