Monthly Archives: February 2017

At the start of the 1988 adventure game based on William Gibson's genre-defining cyberpunk novel Neuromancer, you wake up face down in a plate of spaghetti. Well, it's synth-spaghetti because this is the future, but that doesn't make it any more comfortable. Like the book's protagonist Case you're a down-and-out former console cowboy who has lost the ability to hack, though in your case it's not due to traumatic surgery but simple poverty. You can't afford a new computer. Hell, you can't even afford to pay for the spaghetti.

Author Bruce Sterling summed up the cyberpunk genre as a combination of low-life and high-tech, and that's a perfect description of both versions of Neuromancer. Later in the game you have the option to sell your internal organs for cash, and hack a computer at Cheap Hotelits actual nameto pay the rent. Your life is about as low as they get.

In 1993 Syndicate went in the opposite direction, casting you as the CEO in charge of a corporation bent on global domination. In Syndicate you're the villain at the top of the dystopian food chain.

While most of the games in the genre that followed explored spaces somewhere in between those two extremes, there's been a tendency for them to focus on the high-tech and not the low-life. They get the cyber, but not the punk.

Cyberpunk games are rarely about cool losers. They're usually about cool cops.

Take the heroes of the Deus Ex series. JC Denton is an augmented agent who works for a UN anti-terrorist organization. Alex D is an augmented agent-in-training at the Tarsus Academy with a bright future in the WTO, and Adam Jensen is the augmented chief of security for a biotech corporation. All of these characters go through learning experiences that show their employers are untrustworthy and their world is more complex than they thought it was, but they all start on the privileged side of the fence.

When low-life characters do show up, they're pushed to the periphery. Adam Jensen walks past some punks gathered around a bin-fire in the streets of Detroit so he can overhear a conversation about getting a dog cybernetically enhanced to take part in a pitfight.

In the Lower Seattle of Deus Ex: Invisible War, Alex D also meets two people huddled around a burning bin, one of whom is Lo-town Lucya pierced punk who provides some basic info on the area while reprimanding you for being an Upper Seattle tourist. She points out how out of your element you are in the poor part of town, but in doing so makes it clear you're out of place in the genre as well.

That's not to say that there are no cyborg badasses who learn the law isn't always right in cyberpunk outside of games. Robocop and Ghost in the Shell are both classic examples of this kind of story, but in video games characters like Murphy and Kusanagi aren't rarities. They're the norm.

The heroes of Crusader: No Remorse, Hard Reset, Final Fantasy VII, Binary Domainall are tough guys who learn the rebels and terrorists have a point. They're Armitage from Neuromancer, rather than that story's actual main characters: Case and Molly, the misfits.

Binary Domain is an on-the-nose example of a sidelined punk: a teen hacker with multicolored hair named Yuki who lives in the slums of Tokyo and works as a courier for the resistance. Because it's a video game the hero of the story is a white American with a big gun instead of her.

A rare counter-example is Remember Me from Life is Strange developer Dontnot, in which you do get to play the terroristwell, Errorist because it's the future.

Influential as it is, Neuromancer's not the only flavor of cyberpunk. Blade Runner gave us the archetype of the futuristic investigator forced to see a bigger, more troubling world beyond the next case. Since then, whether detectives like in Psycho-Pass or crusading journalists like in Max Headroom, plenty of cyberpunk stories have been about characters who attempt to solve crimes but stumble into more philosophical questions. Games like the Tex Murphy series, Technobabylon, Anachranox, Westwood's Blade Runner, and more recently Read Only Memories all fit into this category.

But even here, with shabby heroes who live in cramped apartments the order of the day, the low-lifes often get a raw deal. In Read Only Memories you see two punks named Starfucker and Olli and immediately accuse them of an unrelated act of vandalism and chase them down, after which you're given the option to call the police like some kind of tool of The Man.

If you dont you get to know them better and learn theyre not bad guys, but then they transition to comedy sidekicksthose two wacky guys!instead. They feel like a token inclusion, cast aside by the climax, when they deserve to be central.

Over time these tropes have been distilled into the core of the genre: all the imagery, with none of the messages.

In the end it turns out Starfucker and Olli are guilty of the vandalism you accuse them of. But still, it's rough to see the characters with mohawks and shades treated so roughly in a game that's all about evoking the classic retro cyberpunk feel. Like so many games Read Only Memories borrows visuals from Akira, but in Akira the biker gang are the heroes.

Recycling is an essential part of cyberpunk fiction, its cities full of repurposed junk given new life. The initial wave that followed iconic works like Neuromancer, Blade Runner, and Akira recycled too, using their conceits and visuals in new ways. Over time these tropes have been distilled into the core of the genre: all the imagery, with none of the messages.

One game where the malcontents and outsiders get to star is Shadowrun: Dragonfall. The Shadowrun series is an unlikely mash-up of fantasy and cyberpunk that exaggerates the cliches of each, where the dragon who demands tribute and the TV personality admired by millions are one and the same, Smaug cast as Max Headroom. Perhaps it's that exaggeration of the basic tropes that makes Shadowrun feel true to cyberpunk fiction, in spite of the elves.

Shadowrunners are hackers and spies who can be hired online, like Uber but for corporate espionage, and in Dragonfall your band of runners have a secret base under a market in the anarchist free state of Berlin. It's as much about protecting the societal dregs who are your neighbours, drug addicts and shifty coffee dealers, as it is about making money. Also, one of the party members is an actual punk, the former lead singer of a band with the wonderful name MESSERKAMPF!

Shadowrun: Dragonfall gets the heart of cyberpunk right. Quality punks.

Cyberpunk-adjacent games like this weirdly seem more likely to feature the most cyberpunk protagonists. Sci-fi horror games Bloodnet and Magrunner: Dark Pulse are perfect examples, even though they add vampires and the Cthulhu Mythos. The hacker heroes of Watch Dogs 2, Quadrilateral Cowboy, and Else Heart.Break() would all feel at home in glowing near-future cities even though their games are set in the modern day, the 1980s, and a fictional town in Sweden respectively.

As in movies like Sneakers, Hackers, and Inception, they're telling cyberpunk stories about how information wants to be free and unchecked power is real bad, just without the chromed-up settings.

Right now CD Projekt Red is working on Cyberpunk 2077, a game that promises to be so chromed-up we'll be able to see our reflections in it. Like Shadowrun it's based on a tabletop RPG, but this time one with a more purist visionMike Pondsmith's Cyberpunk 2020, in which players are cast as anti-corporate Edgerunners and where getting too many implants can cause cyberpsychosis.

The trailer for Cyberpunk 2077 features a member of MAX-TACcops who hunt those cyberpsychosarresting and recruiting a cyborg killer. But while the tabletop game has cops among its playable roles, it also features Netrunners, biker Nomads, and Rockerboys and Rockergirls who use the power of music to spread their political messages. It lets players emulate the gang members of Marc Laidlaw's '400 Boys' or the rockstars of Norman Spinrad's Little Heroes as well as Judge Dredd.

There's reason to hope the video game adaptation will follow suit and in doing so, get closer to the under-represented elements of the genre. In a promotional video for Cyberpunk 2077, Pondsmithwho is working with CD Projekt Red on adapting his gametalks about what he considers to be important in cyberpunk. It's not the technology, he says, it's the feel. It's getting that dark, gritty, rain-wet street feeling but at the same time getting that rock & roll, lost, desperate-and-dangerous quality.

Pondsmith goes on to quote one of Gibson's famous lines from the short story Burning Chrome: the street finds its own uses for things. Cyberpunk isn't just about the alienation that comes with future shock, or the questions about humanity raised by cybernetic enhancement and artificial intelligence. It's also about the way powerless people find strength and solace by repurposing the future for their own ends.

Gibson wrote that the street finds its own uses for things, not people who work for security agencies find their own uses for things.

The streets and their inhabitants are central to cyberpunk. It's the powerless who suffer most in the kind of authoritarian regimes cyberpunk fiction depicts, and games could do with getting back to the idea that the rebels, misfits, vandals, and people who can't afford a plate of spaghetti matter.

See the rest here:

It's time for cyberpunk games to remember how to be punk - PC Gamer

Wednesday, 15 February 2017 12:14 GMT By Brenna Hillier

Prey isnt as weird as those early trailers suggested, but it is extremely cool.

In its opening minutes, Prey looks and feels very much like the modern Deus Ex series, with a similar sort of streamlined cyberpunk aesthetic.

Prey is not as weird as Id hoped based on its E3 2016 reveal trailer, but after playing through the first hour or so, Im gagging to see more.

A lot of talk about Prey is going to focus on its lineage; it comes to us from the same sprawling family as Thief, Deus Ex, System Shock, BioShock and Deus Ex. Arkane is home to some of the people who worked on those games, and if you had any doubts about its affection for and connection to the grandaddy of the immersive sim genre after Arx Fatalis, Dark Messiah of Might and Magic and Dishonored, the in-game Looking Glass technology ought to tip you off.

The more surface phenotypical features of this DNA are all there. For example, you can pick stuff up and throw it around if you want to, flush all the toilets you fancy, and even leave little damage decals on monitors if you press the attack key rather than the interact one when trying to check your email.

The demo is too limited to judge whether the systemic and emergent goodies of this family come through intact, but there are clues. The Gloo gun hints at an interesting combat sandbox which also doubles as environmental and traversal puzzle toolkit, and my discovery of a Nerf crossbow useless in terms of damage, but a silent method of acting on interactive objects at a distance suggests therell be opportunities for interesting stealth gameplay, too.

The opening sequence is a soft tutorial and largely linear, branching just once very slightly as you choose how to bypass a closed door, where a popup message informs you that later in the game youll encounter obstacles with multiple possible solutions and can choose your own path. This explicit promise of the old Looking Glass approach is more subtly echoed in the branching of the skill trees as well as the the many terminals, puzzles and routes Morgan cannot investigate in the opening sequence but must return to later in the game.

These familiar elements will almost certainly please genre fans, but flushing toilets, a crowded combat sandbox and freedom of playstyle are not enough to shift units. In its opening minutes, Prey looks and feels very much like the modern Deus Ex series, with a similar sort of streamlined cyberpunk aesthetic although its tempered by Arkanes distinctive character design. I couldnt help but suppress a sigh as I realised the environments were full of heavy objects Id be able to move once I bought a leg augmentation sorry, spent Neuromods in the appropriate tree. Your mileage will vary on that, but as Deus Ex: Mankind Divided so recently demonstrated, mass appetite for that kind of experience has diminished.

Prey gets more interesting when Morgan moves into the main environment the Transtar space station is clearly part of the same universe but lacks the pretty, frictionless future-urban look of Morgans apartment. The decor here instead favours corpses, combat damage and warren-like layouts that loop and interconnect, each packed with props, resources, story hooks and alien ambushes.

The first main objective is to reach the hub at the centre of the station, almost overwhelmingly riddled with doors over four levels. Most of these were closed off, but it was easy to see that players would be wandering back and forth between locations throughout the game, gradually exploring and unlocking the whole station; the maps found in most areas are going to be a lifesaver. This freedom of moment means theres no need to hoover up all the crafting materials Morgan finds around the place, which rapidly gum up her inventory, and a Metroidvania-style element means puzzles and secrets will reward those who return to past scenes.

As an example of this last point, theres a combination safe in one of the earliest rooms Morgan can access. Fresh from Dishonored 2s safe combinations, I dutifully scoured the room for clues, eventually putting together a grand conspiracy theory about the solution involving emails found on various terminals nearby and then giving it up in disgust when I couldnt make the numbers work out for me. Later I asked a PR rep about it, and she laughed: nobody in the office had been able to solve it, and an email from Arkane confirmed the solution was not available in the demo. Well, then.

The upshot of everything Ive said so far is that Prey seems like a decent enough game of the immersive sim lineage, promising a wealth of exploration, combat and throwing-things-at-other-things-to-see-what-happens in the finest traditions of the genre. (In case you were wondering, hitting an explosive gas canister with a wrench results in you being blown up. I checked. If anybody asks, it was on purpose. For science.) Without seeing more of the gameplay, the differentiating feature at this stage has to be the setting and plot.

Without spoiling the story, Prey presents a more straightforward narrative in the first hour than I had expected based on the initial reveal. Looking back on E3 2016, I think I made too much of director Raphael Colantonios promise of an immersive sim with a psychological twist. I should have paid more attention to the fact that the secrets hidden in the reveal trailer were pretty obvious, and to Bethesdas more matter-of-fact description of Prey as a game about being the first human enhanced with alien powers aboard a desolate space station under assault.

There is a nice twist right there in that first hour, but it was resolved by the end of the demo; I was disappointed by how every question I had was answered almost immediately. By the time I was finished I felt like I knew exactly what had happened on the station, identified an antagonist, and had an overall purpose. All very admirable in terms of video game storytelling goals, and even from the start it feels more cohesive than Dishonored (which for all its truly glorious lore does feel like a story stitched together from excellent level design). But not necessarily super compelling stuff to anybody versed in literate sci-fi, even with all the aliens and eyeball stabbing.

This is often the case in the first hour of a game, and the fact that Prey didnt leave me with a boatload of questions does not mean things wont get super weird later on. I cant help comparing it to BioShock Infinite, though; I remember spotting the glitching Lutece statue in those opening few minutes and feeling a building sense of excitement that here was something I didnt understand at all. I hope Prey can offer that same sense of mystery for all of us, and to satisfy my personal tastes I hope it goes off the rails so hard it ends up upside down, in another country and on fire.

Prey seems like a decent enough game of the immersive sim lineage, promising a wealth of exploration, combat and throwing-things-at-other-things-to-see-what-happens in the finest traditions of the genre.

Straight forward narrative and familiar immersive sim gameplay: a solid package but not mind-blowing. So what Im having trouble working out is why Prey has been nagging at my mind for the past week, while its close cousin Deus Ex: Mankind Divided has been gathering dust since about 20 minutes after release.

Partly I think its a product of the nature of the demo; we got a tantalising glimpse of the games possibilities without the opportunity to get to grips with them. The enemies through the demo were all the same type of grunt, for example, with another, more interesting type shown only very briefly and never engaged. The crafting and upgrade systems were available, but without enough resources on hand to put them to significant use. The story stood up and shook itself, and although the hairs settled back down straight away, theres the chance it could do it again or perhaps stand up and savage the cat.

I guess I want to play more Prey to find out if all these things, combined with the obviously solid bones it is built on, turn out to be as much fun as they could be. Thats a stickier start than most games manage.

Read the original:

Less surreal, more cyberpunk but Prey's first hour will get inside your head - VG247