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Things 132: Mobile games I recommend

I’m fascinated by the developments we’re seeing in mobile gaming, and am particularly interested in what sort of games we’ll see emerging as tablets become more mainstream and people figure out cool ways to use a touch interface.

I’ve spent the past few months trying out anything that sounded promising, particularly things that seem more suited to tablets than mobiles. Here are my favourite mobile games I’ve tried so far, split by business model, as that’s the first thing people want to know these days.

 

Games that you just buy

Star Command

Wikipedia, Official site
Platforms: iOS, Android; PC and Mac forthcoming apparently
Best experienced: On a tablet
Theme: Star Trek / Pixel art
Genre: Strategy
Original release date: May 2013

Shields are down. The enemy have teleported aboard and are making their way towards the engine room. The medical bay is on fire. But the enemy ship is weak. Do you keep your tactical officers on ship weapons, or peel some off to defend against the intruders? Do you send the engineers to repair the med-bay, or have them try to set up a sentry droid before the enemy gets to them?

If you think making those kind of decisions in a pixellated Star-Trek-like environment sounds like fun, then this game is for you. The dialogue is lightly amusing too, for example, here are three dialogue options to choose from after being hailed by some unintelligible penguins:

A playthrough took about 4-5 hours, which felt about right. There’s some extra things to do which add replayability but I haven’t touched them yet.

 

Super Hexagon

Wikipedia, Official site
Platforms: iOS, Windows, Mac, Android, Blackberry, Linux
Best experienced: On any mobile device
Theme: Geometry / Trippy
Genre: Twitch
Original release date: August 2012

You rotate a small triangle to avoid the ever-encroaching hexagonal walls. The walls move so fast that if you pause to make a conscious decision about which way to go, you die. The only way to last more than a few seconds is to train yourself to move instinctively, which is difficult, but gives a tremendous feeling of flow when you achieve it.

Difficulty modes are ‘Hard’, ‘Harder’ and ‘Hardest’, but progress will unlock harder modes. You get the idea.

 

Year Walk

Wikipedia, Official site
Platforms: iOS, Windows and Mac forthcoming apparently
Best experienced: On an iPad, with a friend
***Companion app***
(essential) (iOS)
Companion app best experienced: On a small iOS device, while you play the main game on an iPad
Theme: Swedish folklore
Genre: Spooky puzzle
Original release date: February 2013

Year Walking is a Swedish folkloric version of a Vision Quest: someone wishing to see the future isolates themselves and fasts for a day (commonly on December 31st), then walks to the church at midnight. The dream-like things they see as a result are interpreted as signs of the future.

This may or may not be real (quite pleasingly, the English page for it on Wikipedia has been deleted as an ‘obvious hoax’, while the Swedish version is present), but in any case it’s a lovely idea for a short, spooky little puzzle game, best played under the duvet at midnight.

The art style is very Jon ‘I want my hat back ‘ Klassen (but isn’t actually by him). This impressionistic trailer gives a good idea of the kind of atmosphere you can expect:

The experience is quite short (I would guess between 1 and 2 hours, depending on how quickly you figure things out), but is extremely atmospheric and polished, and felt well worth the money to me.

 

First bit free, buy the rest

Cytus

Wikipedia, Official site
Platforms: Android, Playstation MobileiOS (not free!)
Theme: Anime Sci-Fi / Mostly circles
Genre: Rhythm Action
Original release date: January 2012
Best experienced: On a tablet

Circles appear. A line moves back and forth across the screen. You tap the circles when the line crosses them. If done correctly, you find you are tapping in time to the music, and this is very pleasing. Later on things get really crazy.

Well, that’s rhythm action for you. You get to try quite a lot for free (at least on Android), so if that remotely appeals then you should try it. Once you have the hang of it, you can then attempt to impress other people with your circle tapping skills. In my experience, they are actually quite impressed. They might have just been saying that, though.

 

Badland

Official site
Platforms: AndroidiOS (not free!)
Best experienced: On a tablet
Theme: Cute but dark / silhouette
Genre: Tap to flap
Original release date: March 2013

The one-button tap-to-flap genre seemed pretty simple to me until I played this. Powerups change your size (which alters your handling), coefficient of friction, speed, or the speed at which time passes. That’s fun, but it really gets going when you suddenly clone up to a swarm of 20 flappy things, all responding to your taps in sync (as per the screenshot above).

Essentially half of the game is free (on Android), so you should really just try it.

 

Free but you can buy things

Nimble Quest

Wikipedia, Official site
Platforms: iOS, Android, Ouya, PC/Mac/Linux (paid)
Theme: RPG / Pixel art
Genre: Snake
Original release date: March 2013
Best experienced: On a mobile

It’s really all there in theme, genre and screenshots: you control a conga-line ‘snake’ of RPG characters, attacking enemies and collecting power-ups. New characters are unlocked as you achieve higher levels, and each character can be upgraded with the coins you collect… it’s quite surprisingly compelling.

It’s the brave new world of free-to-play, so there’s a bunch of currency and in-app-purchase (IAP) going on. I recommend this approach:

  • Buy the red gems IAP. This gets you about 4x the amount of soft currency earned per game, and is a fair way to pay for the fun you get out of the game
  • Play the ‘arena’ mode. This updates once a day (I think), and if you do well enough you get a decent amount of the hard currency the following day
  • Once you get deeper into the game, spend hard currency (as you earn it) on the ‘speed’ powerup, because that makes early progress quicker, makes your attacks more concentrated, and the whole game becomes much more thrillingly twitchy.

Tim Mannveille tweets as @metatim, and previously raved about Smash Cops Heat for Android/iOS.

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New Special

Things 117: Dubstep special

Our story begins with this video, in which a rather sharp-looking old dude performs some kind of strange traditional dance, and some wag replaces the soundtrack:

http://www.youtube.com/watch?v=8-0J4SHJdvY

I originally saw this posted on BoingBoing, where Cory Doctorow described it as “fast-footed country dancing with a dubstep soundtrack”. Within minutes, commenters disagreed with the dubstep diagnosis, with hardwarejunkie9 observing:

I think we all need to shake this “everything’s dubstep” problem we have.

This begs the question: what is dubstep?

A good place to start is this animated visualisation, which charts the evolution of different musical genres from one to another over time, and also by location (which is quite a feat of research and design).

What struck me most about this data was a comparatively trivial point: dubstep is apparently the only new genre to emerge in the first decade of the 21st century.

We might wonder how long it takes for a genre to be recognised, and how we should define what constitutes a genre anyway. These are very tough questions, and I’m going to sidestep them entirely by instead waving my hands generally in the direction of this trended search volume data from Google.

So it seems that dubstep looks like a duck and sounds like a duck and so probably is a duck, if by ‘duck’ we mean musical genre.

We come now to the critical question: how can we successfully identify if something could fairly be described as dubstep?

A very informative definition was given by Bassnectar in an interview in 2007, with remarkable aplomb and cogency for an off-the-cuff response, which you would ideally watch with the visual aids in this video if there wasn’t some kind of dispute over the use of the audio, so instead you need to listen to the first 4 minutes of the full audio interview here:

Without the build-up it doesn’t mean much, but if you don’t have the time or audio capability to listen to that right now, his conclusion is:

Dubstep is […] this ultra-slow ultra-dirty spawn of hip-hop […] at a half-time breakbeat speed, so it feels abnormally slow, and just gives this really heavy feel.

Actually, that doesn’t sound very cogent at all in isolation, so I guess you really do have to listen to the whole thing. Sorry.

Anyway, there are some who say this definition is outdated, but at this late point in the cycle it seems likely that splinter subgenres are blurring the definition, and we may need a few more years of hindsight to accurately identify where dubstep ends and something new begins.

Meanwhile, this post has gone on for far too long without actually giving any examples of real live dubstep in the wild. I like to use this video as an illustrative example, since it also shows it’s possible to retain a performance element (including a self-indulgent “solo” interlude) and demonstration of skill in creating live electronic music, which some people feel are necessary for a genre to attain some sense of legitimacy:

Finally, some people will discount a musical genre if you can’t dance to it. While hardly something accessible to the typical club goer, I think this video demonstrates a closer link between movement and sound than many more conventionally danceable genres achieve:

As you might have noticed, there’s a notable difference in the music between those last two videos, and I think this represents one of the ways in which dubstep is beginning to diverge towards new genres after over a decade of development.

So, there you have it. Now you too can argue about what is and is not dubstep in the comments under any modern electronic music video on youtube.

Further listening:
Goldie Lookin’ Chain’s “Dubstep Christmas”
One hour of looped dubstep cat
Dubstep radio on last.fm

@metatim

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Special

Things 115: Long-form Special – 5 Great Reads

I’ve built up quite a backlog of links to great long-form content to go in Things, so it’s time for a long-form special!

You’re unlikely to have time to read all these things now, so if you haven’t done so already I recommend getting Read It Later (or some prefer Instapaper) so that you can time-shift some of these links to somewhen more convenient.

Alternatively you may prefer to read these articles in printed form, in which case you might like to download this 27-page pdf I made, which contains each article in full.

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1) Charlie Stross: Invaders from Mars

(1oth December 2010)

This is the shortest (at just over 500 words, so not really long-form) and probably the most important of the articles I’ll link to here, so you should really just read it right now.

If you can’t or won’t do that, here’s the key parts:

Corporations do not share our priorities. They are hive organisms constructed out of teeming workers who join or leave the collective: those who participate within it subordinate their goals to that of the collective, which pursues the three corporate objectives of growth, profitability, and pain avoidance.

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Corporations … live only in the present … and they generally exhibit a sociopathic lack of empathy.

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We are now living in a global state that has been structured for the benefit of [these] non-human entities with non-human goals.

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In short, we are living in the aftermath of an alien invasion.

Put another way: it’s easy and instinctive to direct ire at individual humans that we see as being to blame for our woes – maybe bankers, politicians, lobbyists, or the 1%. But more importantly, the actions of those individuals are just emergent properties of the system we have created. Which is pretty terrifying.

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2) Paul Ford: Nanolaw with Daughter

(16th May 2011)

With the above in mind, this makes for a particularly interesting slice of sci-fi about a potential emergent behaviour of the systems we’re building now. The most succinct part I can find (quoted below) also happens to be the driest, so if you think this sounds remotely interesting, do go ahead and read the story in full (~2,000 words).

My daughter was first sued in the womb … I’d posted ultrasound scans online for friends and family … A giant electronics company that made ultrasound machines acquired a speculative law firm for many tens of millions of dollars. The new legal division cut a deal with all five Big Socials to dig out contact information for anyone who’d posted pictures of their babies in-utero … The first backsuits named millions of people, and the Big Socials just caved, ripped up their privacy policies in exchange for a cut. So five months after I posted the ultrasounds, one month before my daughter was born, we received a letter … We faced, I learned, unspecified penalties for copyright violation and theft of trade secrets, and risked, it was implied, that my daughter would be born bankrupt.

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Read the full version here

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3) Johann Hari: How Goldman Sachs gambled on starving the world’s poor – and won

(2nd July 2010)

Once again, keep in mind the idea of emergent properties of the system while reading the story behind this (~1,600 words):

At the end of 2006, food prices across the world started to rise, suddenly and stratospherically. Within a year, the price of wheat had shot up by 80 percent, maize by 90 percent, and rice by 320 percent. In a global jolt of hunger, 200 million people – mostly children – couldn’t afford to get food any more, and sank into malnutrition or starvation. There were riots in over 30 countries, and at least one government was violently overthrown. Then, in spring 2008, prices just as mysteriously fell back to their previous level. Jean Ziegler, the UN Special Rapporteur on the Right to Food, called it “a silent mass murder”, entirely due to “man-made actions.”

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Read the full version here

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4) Alan Bellow, Damn interesting: Who Wants to be a Thousandaire

(12th September 2011)

All this is somewhat heavy going, so here’s some good news: after a prolonged period of silence, Damn Interesting is now back up and running, and kicked things off with a characteristically interesting story about something that happened back in 1984:

The scoreboard on Larson’s podium read “$90,351,” an amount unheard of in the history of Press Your Luck. In fact, this total was far greater than any person had ever earned in one sitting on any television game show. With each spin on the randomized “Big Board” Larson took a one-in-six chance of hitting a “Whammy” space that would strip him of all his spoils, yet for 36 consecutive spins he had somehow missed the whammies, stretched the show beyond it’s 30-minute format, and accumulated extraordinary winnings. Such a streak was astronomically unlikely, but Larson was not yet ready to stop. He was convinced that he knew exactly what he was doing.

You’ll have to read the full story to find out quite what was going on.

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5) Eben Moglen: Freedom in the Cloud

(transcript from talk given on 5th February 2010)

This final link is the most extraordinary thing I’ve read in at least the last five years. Extraordinary because Eben Moglen discerns the big picture around where the internet came from and where it is headed. Extraordinary because he has put his finger on the defining emergent property of our age. And most of all, extraordinary because  he also has a strong and compelling recommendation on what to do about it.

In a nutshell: client-server architecture encourages centralised services, which create irresistable temptation for surveillance. So we should decentralise the architecture.

That doesn’t remotely do it justice though, so you should really read the whole idiosynratic, fascinating piece here (all 7,000 words of it!).

I can understand that might be quite intimidating, and this is important stuff. So if you can’t see yourself ever reading that, I’ve edited it down (brutally) to fewer than 500 words that take you through the main points here:

It begins with the Internet, designed as a network of peers without any intrinsic need for hierarchical or structural control. It was the great idea of Windows to create a political archetype in the Net which reduced the human being to the client and produced a big, centralized computer, which we might have called a server. [So] now the Net was made of servers in the center and clients at the edge.

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Now, one more thing happened about that time … Namely, servers kept logs. That’s a good thing to do … But if you have a system which centralizes servers and the servers centralize their logs, then you are creating vast repositories of hierarchically organized data about people at the edges of the network that they do not control and, unless they are experienced in the operation of servers, will not understand the comprehensiveness of, the meaningfulness of, will not understand the aggregatability of.

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All of those decisions architecturally were made without any discussion of the social consequences long-term. So we got an architecture which was very subject to misuse.

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In fact, what we have are things we call platforms, [which] mean places you can’t leave. And the Net becomes the zone of platforms and platform making becomes the order of the day.

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Now, where we went on is really towards the discovery that all of this would be even better if you had all the logs of everything because once you have the logs of everything then every simple service is suddenly a goldmine waiting to happen, and we blew it because the architecture of the Net put the logs in the wrong place. They put the logs where innocence would be tempted.

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Stallman was right. It’s the freedom that matters. The rest of it is just source code.

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What do we need? We need a really good webserver you can put in your pocket and plug in any place. In other words, it shouldn’t be any larger than the charger for your cell phone and you should be able to plug it in to any power jack in the world and any wire near it or sync it up to any wifi router that happens to be in its neighborhood. It should know how to bring itself up. It should know how to start its web server, how to collect all your stuff out of the social networking places where you’ve got it. In other words, it should know how to be your avatar in a free net that works for you and keeps the logs. You can always tell what’s happening in your server and if anybody wants to know what’s happening in your server they can get a search warrant.

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What we need is to make a thing that’s so greasy there will never be a social network platform again.

This speech gave rise to Diaspora, and Eben Moglen went on to create The Freedom Box Foundation to bring about exactly what he’s describing here. I’m continuing to monitor both projects, so if you’re happy to delegate your attention on this then stay tuned to find out when I think they’re ready for the mainstream to jump in.

@metatim
(Twitter is part of the same problem, of course, so I just set myself up on Identi.ca)

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Old Special

Things 61: Story Analysis Special

(Originally sent October 2009)

Recently I’ve come across a whole bunch of things that could be termed ‘story analysis’ – the appliance of science (or at least pattern-spotting) to the art of the story.

Links
It started when I recently read Joseph Campbell’s “The Hero with a Thousand Faces”, in which he details the stages of the ‘Hero’s journey’ (or ‘monomyth’), an outline that he argues all great myths, legends, fairy tales and religious stories adhere to in one form or another. In terms of telling me a lot of smart stuff about a thing I don’t know much about, it’s one of the best books I’ve ever read, as it’s given me a fantastically clear lens through which to understand and analyse stories.

Amazon link

Wikipedia link (which is a great way to get most of the idea without reading the book):

Quote
As quoted in the Wikipedia article, a criticism of Campbell’s thesis by Donald J. Consentino:

“It is just as important to stress differences as similarities, to avoid creating a (Joseph) Campbell soup of myths that loses all local flavor.”

(Actually it’s clear from reading the book that Campbell positively delights in the local flavour, not to mention the fact that this criticism essentially misses the entire point, but it’s a nice quote anyway).

Pictures
King of geekery monetisation Randal Monroe of XKCD has created nice diagrams showing character movement in films:

http://xkcd.com/657/

(click to view much larger)

(As with many things he’s done before, it’s something I’ve done at one point myself in a half-interested pencil and paper way, but he takes the idea to its logical conclusion and I fully expect it to appear shortly in his store as a poster, where similar things can be obtained http://store.xkcd.com ) [Yep, there it is. – T.M. 11/9/2011]

In the world of gaming there are additional constraints to storytelling, leading to some amazing homogeneity of story as recently brought to my attention by Simon in the following chart of BioWare game clichés.

Another Link
No coverage of pattern-spotting in stories would be complete without mentioning TV Tropes, a wiki for pretty much exactly that. Some examples:

Slouch Of Villainy

Obviously Evil

Very Special Episode

This Week’s Puzzle – Exceptions that prove the rule
Any attempt to find patterns in stories will encounter exceptions. A frequent response to this is to say “that’s the exception that proves the rule!”, which is a clever way of saying “the thing that proves me wrong actually proves me right, because I say so”. Of course, that’s a wilful misreading of the phrase, but the question naturally arises: how is that phrase supposed to be interpreted and used?

Last week’s puzzle – Showers
Showers are amazingly complicated, with feedback delays, mixing issues and subtle interactions of water pressure all conspiring to make the simple task of achieving a reasonable temperature surprisingly difficult, and I intend to write a blog post with more detail on these different factors at a later date.

Meanwhile, my own solution has been to set the hot water temperature on the boiler and not use the cold tap in the shower at all, thus sidestepping all of these issues.