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PostPosted: December 5th, 2017, 6:06 am 
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If science-fiction is about coherent formulated reasoning driving the course of actions and progression of a story, what fantasy is about? Fantasy is about describing and fulfilling archetypes. Now, archetypes...

Does this mean science-fiction should be devoid of purposefully placed archetypes, saving for those accidental ones, emerging through subconscious level impact on design? No, it means the focus on archetypes in science-fiction is of secondary importance, which means, there are things that simply come first. Lets take a quick look at space-opera and future-fantasy genres, which are some less serious cousins of science-fiction, for the sake of comparison. Both the space-opera and future-fantasy by pattern tell of archetypical heroic journeys in manifold cosmic related environments, having protagonists pay little attention to depth and detail of the clockwork mechanism behind the facade of action flow, taking things just as they look, which makes these genres fail as science-fiction. They fail as science-fiction and that is correct, because their goals are different. Their goals are achieved by acting out instead of thinking through, therefore it is understood some elaborate pieces of deep thinking - as if bringing self-awareness of the universe to current embodiment, realizing own absurd, which is oftentimes the deal in philosophically inclined science-fiction - would simply disturb the rhythm of archetypical tale.

The victory of realization in archetypical tale arrives in the end, when the protagonist discovers that instead of the goal obtained, it is the journey that matters, that the journey which has ended with the moment of realization, was actually the archetype the protagonist had been searching for all the time through. That he had it unknowingly and lost it by gaining knowledge about it. The holy grail of being - since being, fulfilling, acting out is the key - becomes empty the moment the realization appears, as there is nothing more to strive for, nothing more to achieve, nothing more to act out. There is a complete picture instead, a picture or idea of a work done, there is knowing about it, but it is worthless, insufficient to the still proceeding, progressing archetype of a hero. Therefore, the grail should be refilled once again, to live the archetype again, to become once more. Science-fiction, in turn, often addresses the notion of void and ultimate ending, the perfect nothing - accompanied with surrounding vast black landscape of empty space - which also represents the philosophical grail of reaching the state of totality, the equilibrium, a complete understading, which should last until it forgets of own self.

In the end, the pattern takes over.


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PostPosted: December 5th, 2017, 7:36 am 
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Sublevel Zero Redux, a rougelike 0-G first person view shooter, rich in visual design, with some little depth in the background mechanics making it more tricky, priced 14€. To compare, a title worth mentioning but with precaution here is Duskers. Here is what I wrote about Duskers on some other forum, a forum which welcomes me no more, since the mods displayed so much appreciation they came to talk to myself and we negotiated basically that I should best leave.


Duskers [Misfits Attic]

Just for the sake of design. The gameplay may get old after about twenty hours in, nonetheless the case is immersion, controls, idea, ambience. I have some dead bitterness towards the devs for wasting such a brilliant start - because the game in the current state is nothing more than [advancing] of a good project, but it shall remain that for good - as well as for dictating horrendeous price of 20€, when the title is worth approximately 10€ and I recommend not getting it for anything more. DRM-free option is a choice of devs, okay, but come on, what is this, Witcher 3? This way or the other, yeah, the game is an unpolished, rough, unfinished and abandoned, narrativeless - yes, the story is [overall] a big void - repetitive, unfair, dirty and unique rouglike gem of tactical play with puzzlegame heart. I talk crap because I do actually care [and feel cheated with how] they screwed it up, still getting good reviews, which actually means the worst.


I feel cheated because when I saw that game first on STEAM some year or two ago, I thought: this is it, this is the game I have been searching for, this looks perfect, this must be it, I am going to buy it immediately. They failed my hopes, so this is personal.


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PostPosted: December 5th, 2017, 9:07 am 
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Another game that looks "just like it" is Everspace, but having learned on the example of Duskers to rather maintain a sceptical approach, as well as reading in the reviews that Everspace is notably a grinding type of play, a rougelike to mention in particular, I would rather skip it and wait for now to see how people evaluate it further. I guess I just maybe have little luck with climatic space rougelikes. But aesthetically, they do it justice the way I see it. But maybe it is just Duskers.


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PostPosted: December 6th, 2017, 10:53 am 
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This is a somewhat tendentious question, as the topic has been worked many places around since gaming and digital games is the thing to talk about, but do you think combat is necessary, taking there is a story to be told?


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PostPosted: December 6th, 2017, 11:27 pm 
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People accuse me of multiposting - or "soloposting" - to the point of turning selected forum sections into blogs. But how to have a constructive discussion otherwise? Fortunately I have me.

Darkon wrote:
This is a somewhat tendentious question, as the topic has been worked many places around since gaming and digital games is the thing to talk about, but do you think combat is necessary, taking there is a story to be told?

There always must be a way to neutralize the enemy. Even if to get rid of all means of direct violence available to the protagonist, thus tying the character of the release more to a puzzlesolving mindset instead of a combat oriented one, with exploration being the dressing to the salad, the enemy must be seizable anyway. Neutralizing the enemy indirect way does not have to be restricted to causing death. It is enough if the enemy is isolated or somehow bind, allowing the protagonist to focus on exploration. Survival horror games oftentimes suffer from enemies ravaging the field in an uncontrollable manner, which at the beginning may be interesting with hide and seek, but eventually turns into a chore when substantial meritoric contents discovered via exploration are missed out due to this hindrance. That is why the kinds of puzzles I talk about must have a point and a reward. The point is to secure, the reward is to freely explore.


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PostPosted: December 7th, 2017, 4:16 am 
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I am quite certain a good sounding assault rifle in a futuristic game should sound like weeping and gnashing of teeth.


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PostPosted: December 7th, 2017, 4:19 am 
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Darkon wrote:
I am quite certain a good sounding assault rifle in a futuristic game should sound like weeping and gnashing of teeth.


I laughed harder than I should have


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PostPosted: December 7th, 2017, 7:48 am 
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Blaedicus wrote:
I laughed harder than I should have

Good healthy laugh is not a bad thing.

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I will try to grab the Sublevel Zero on a discount to see whether I am right with these claims I put.

Nah, screw it, I need to watch my spendings if I want to have the time to do all the nothing that I want to, besides I know I am right. 0-G 6-DOF FPS has just not been my thing, otherwise I would totally had been into Descent, especially that I played the game back in the days and nope, the nostalgia factor says meh. Besides, Sublevel Zero is a rougelike and a VR oriented thing as of lately, which are both hints that I can skip it for now.


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PostPosted: December 7th, 2017, 10:50 am 
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I have a puzzle for you. The title is Dynettzle. Very good spatial imagination exercise. Try to complete some couple of levels. Remember though that you do not put together a cube in front of an eye of your mind. You fold your mind itself. There is no spoon, Neo, eat with your hands.

But why do I bring this, apart from that it could be fun if someone is a puzzle junkie?

The same mechanics as presented in Dynettzle, only in extrapolated form, apply to forming of something called a "tesseract". The tesseract - or the "hypercube" - is the ultimate science-fiction fetish I have ever found. It is simply a cube utilizing to full extent the conditions of a fourth spatial dimension, such as the regular cube utilizies to full extent the conditions of a three dimensional space. The direct profile of a tesseract is a regular cube, such as a direct profile of a cube is a square. Tesseract is formed by eight cubes and to tell plainly, we simply lack the mental capabilities to trespass the border allowing us to imagine the shape of it, so do not get fooled by any artistic interpretations that can be found on the Internet. The object is simply beyond our human limit of understanding, but we can clearly see the path leading to it and even understand the mechanism behind it, thinking through the way of how the basic geometrical entities transfigure into one another with gradual adding of characteristics valid to another spatial dimension, starting with a dot, which stands as a profile of a line.

Why do I talk about it? Because there is more than just an entertainment to be delivered via direct experience of the contents of a title. What should be delivered also is a deeper thought, certain perception, valid knowledge. Something that bestows beyond the game, that gives to think in real life. Ideally, the game should benefit at least the same way as one benefits from reading a book. Reading helps to organize own thoughts. There is something particular in active reception of a linear text that influences the thinking process of a reader, regardless really of what the text is about, as long as intellect is involved. There is intellect involved in games with puzzlesolving elements, but there is also immersion and emotion in following the story, supported with opportunity of participation on a deeper level, provided by exclusive medium of digital game formula.


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PostPosted: December 8th, 2017, 1:01 am 
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What you see in Dynettzle is a "net" of a cube - or oftentimes combinations of such nets - meaning this is a blueprint, restricted and contained within two dimensions only. But restricted to the two dimensional plane, the plan is impossible to be put to use without expanding or extrapolating it to the actual third dimension, where the cube may solely dwell, such as a car sketched on a piece of paper is something else than a car one can practically seize.

The "net" of a hypercube looks similar to that of a regular cube, albeit instead of squares, it is composed of cubes - eight of them, as it was already mentioned - spreading within three dimensions, meaning it looks more like a space station rather than a blueprint of a space station, to say plainly. Despite knowing all of this, we easily lack even the basic grasp of a picture of the hypercube, such as without the common grasp of what the third dimension is, it would be utterly difficult to predict the nature of a cube.

But why is this so relevant, what is the value behind this tesseract?

The value of a tesseract is the same as the one of a cube, as well as the one of a square. These are all just figures, geometrical forms, some noetic entities. The struggle is not what it seems about. Tesseract is only a symbol, next to being a puzzle to our imagination. What we are truly after in this place is the access to fourth spatial dimension, which the tesseract represents, the same as the cube may represent a third dimension, the square a second dimension, the line a first dimension and the dot a void of any dimensions.

But why is this fourth dimension so interesting?

To speak of the fourth spatial dimension, we may refer to it only by analogy to the difference between neighbouring dimensions, those which are seizable to our imagination. Also I emphasize the "spatial" term because some count the time in to the array of dimensions, making it another variant of the fourth dimension, bringing a potential collision of denominations. But in short, four dimensional space to our world is something like our world to a picturebook one can hold in own hand, where each page is a separate existing reality.

Dimensions are gradually inclusive, meaning in one dimensional world only one line may ever exist, but in two dimensional world, theoretically endless amount of lines may dwell next to one another. In three dimensional space, one can have theoretically endless amount of pictures, with each picture living the life of own. In four dimensional world, one may have theoretically infinite amount of human universes, such as the one we inhabit. I say "theoretically", because in practice there is always certain enough, at least if we employ common sense. What to compare it best in our closest terminology? It is like running a computer simulation. Plentiful of them at once.

Tresspassing the border between third and fourth dimension would be to unfold oneself to the fourth dimension, as each body is natively bound to definitions of a dimension containing it, which implies the limits of perception, as perception follows the senses of the body. Rising to fourth spatial dimension inevitably should equal physical disappearing from the third dimension - such as living human body cannot be contained even by the finest of illustrations in a picturebook - becoming nothing less than a creator, as well as a destroyer.


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PostPosted: December 8th, 2017, 2:02 am 
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Quote:
becoming nothing less than a creator, as well as a destroyer.

Vision very much idealistic, nonetheless as long as the phenomenon of personal experience exists, it comes with a companion, which is struggle. I mentioned that dimensions are gradually inclusive and differences between them analogous on the example of any neighbouring pair chosen. In the third spatial dimension, we aim to reach for the fourth one. But possible dwellers of the fourth dimension also have their dreams and goals, next to hardships and dangers. Ultimately it all boils down to the symbol of a circle, the most sacred of all geometrical figures. Circle represents infinity, values everlasting, matters eternal. Each point of a circle is equal to any other in reference to the centre. If to consider either selected point of a circle to stand for a dimension of any exponential power, existence in each dimension emerges ultimately comparable. It also regards time, as each moment equals every other moment in terms of validity. Circle hints us there is nothing particular to chase for. We are in a place which is as representative to all of the existence as any other place or position we could or wish to be, as long as our priorities are right, that is, as long as we remain free from delusion. Delusion of power is a very dangerous one. The myth of Hercules is a myth of a potent deity trapped within confined realm, beyond which it is powerless, at the same time suffocating with toxic awareness of being bound and restricted. But freedom is to dwell beyond. Beyond the circular trap of dimensions and delusions, despite the place or time. Freedom and power of true nature are unrealized to the conditions of form. Even knowledge is to be doubted, as patterns by which we think are the ones which we are defined to pursue, holding us as tightly as shape of the body.


Last edited by Darkon on December 8th, 2017, 3:40 am, edited 2 times in total.

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PostPosted: December 8th, 2017, 2:24 am 
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How to manage existence? Recently I came to a conclusion that man only has one relevant virtue, which is patience, a form of endurance. Nothing else is granted, not even being right in front of those who wish one harm. Victory comes from beyond and it is a victory by surviving through, victory by having exhausted the chalice of experience. I call this type of victory the "grace by time". Sometimes it is only the time which does best at crushing obstacles that the hand of man would have otherwise never defeated. To relay on elemental powers describing reality in resolving challenges is a sign of higher civilization and a remark of wisdom.


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