durty shows you the future of Whiteout…
durty shows you the future of Whiteout…
Editor’s Note: The article below represents another historical milestone for the BOOM for numerous reasons. Over the past few months, we have noticed, in our traffic results, a sharp increase in visitors from China, and the Orient in general. While we anticipated a Japanese appreciation for our work, and have translated articles into their language, we did not expect the remarkable response from our video gaming sisters and brothers from the motherlands of China and Vietnam. You are, both, most welcome to the BOOM.
In honor of their extraordinary participation, we have decided to translate some of our future articles into other languages of the East. Our first, is a translation, into Mandarin Chinese, of our most popular series to-date: “The Panopticon in My Bedroom: Parts I & 2.” It is our way of saying “Thank You” for coming to the BOOM, and allowing us to inform and entertain you.
Mandarin Translation of the above:
Editor’s note: The following article was published in May of 2015, but written months earlier. Some of the stats have changed because of obvious reasons, we continue to play. While these discrepancies exist, the theme and thesis, that video game manufacturers use panoptic principles in the design of their games continues to be a relevant subject for all interested in the political implications of gaming software design. We hope you enjoy it. – BOOM
作者：David John Flores
Michel Foucault是这样描述Jeremy Bentham环形监狱的设计的：“［环形监狱］的边缘是一幢环状的建筑；在环形的圆中央屹立着一栋高塔。高塔上布满了一扇扇宽敞的、面朝着边缘的窗户。环状建筑内设有牢房。每一间牢房有两扇窗户：一扇在环形的内侧墙壁上，正对着高塔上的窗户，而另一扇在环形的外侧，保证了整间牢房的采光。每间牢房均横跨了整个环形的宽度。如此一来，仅仅只需要在中央高塔上一站，管理员就能掌控整个监狱的风吹草动。并且，类似的设计还能延展到医院、精神病院、工厂、甚至学校：唯一不同的是牢房中关押的不再是犯人，而是病人、疯子、工人、或者学生。整个建筑就像布满了无数迷你剧院一般，每位演员都是孤身一人却又时刻被管理员监视。” Discipline and Punish, 1975.
In a recent GAMESPOT article, Strauss Zelnick, the CEO of Take-Two Interactive, encapsulated in a single sentence, the greatest challenge ahead for Virtual Reality. He said, “…there is no market for [an] … entertainment device that requires you to dedicate a room to the activity.” He, then, went on to identify the second major issue, when he jokingly said, “We don’t have a [room] where you stand in a big open space and hold two controllers with something on your head—and not crash into the coffee table. We don’t have that.”
And that my friends, is why Mr. Zelnick, though admittedly not a “gamer,” makes the big bucks.
As progeny of the television-centric home entertainment ecosystem (HEe) we have grown accustomed to staring at moving pictures on walls (see Figure 1), and not moving while we do so. Certainly there are times when movement is appropriate and expected, but in order to fit within the HEe it must be anticipated, and changes made to accommodate the increased need for space and separation. In other words, you need to move “the coffee table” so no one gets injured.
But in most cases, we watch TV, not moving, and, often, reclining. In fact, there have been numerous studies conducted by the manufacturers of video and audio equipment that indicate the best viewing angle, and thus seating position, for the consumer to fully enjoy a, so-called, “immersive,” entertainment experience. VR will eventually demand more.
In this, the first of a two-part series of the BOOM, I examine the problems inherent in the VR experience, as a duplication and augmentation of reality, in the context of spatial dynamics (the ROOM), room orientation, stabilization, and finally, sound presentation. It is around these fundamentals, along with several others, that the foundations of true, cognitive envelopment, necessary to convince our minds we are really somewhere else, may be established.
Rarely does one get an opportunity to witness what happens when total mastery over fundamentals intersects with raw talent. And yet, that is exactly what has happened: lightning has struck the BOOM twice!
It is with great pride that I announce to our readers, the BOOM’s latest sponsee: durtyrezkidz, a.k.a. “Turbo AJ Little Bird.”
He is simply the BEST Little Bird pilot we have ever seen, a remarkable statement considering our past experience. Come watch and be amazed…the sky is falling.
Since the release of FB-Oculus‘ first of, what I expect will be, numerous iterations, of its mind-bending, reality-shifting, VR apparatus, much has been said by the mainstream media (Vox, Wired, New York Times, etc.) about the future of VR, and its immediate and long-term impact on the way in which we consume media. And while we at BOOM Salad are gratified to see these touchtones of 21st century, online journalism finally affirm something that we stated conclusively more than a month ago, it is clear that they are still struggling to understand the far-reaching implications of a world permeated by VR technology. By that I mean, VR is not 3-D Television. VR is legit, it’s coming, in fact, it’s here, and Oculus is just the beginning.
Unlike other entertainment devices, the uses of VR will not be confined to the realm of video-related entertainment. It will continue to evolve beyond its original focus to include whatever need or desire we have for a virtualized universe. In other words, there is no aspect of society that does stand to be affected in a significant way: education, politics, commerce, medicine, and of course, ART. VR has the potential to redefine the way in which humanity consumes reality.
A simple illustration: for the past two decades, most of the world’s greatest cultural centers have labored, with the best of intentions, to provide an immersive online environment via the web (see Figure 2). They have all failed for the same 2D reasons. With VR, their dream: to deliver an immersive, first-person-experience to anyone, anywhere in the world, just took its first big step forward to becoming a reality. Well, a virtual reality at least.
Still, it will take more than a fancy headset that looks like your grandmother’s UV shields (see Figure 3) for the promise of a VR universe to be realized, and this is where other media sources seem hopelessly unaware. The most important component of the VR paradigm is not the magic goggles. Nope. An Oculus would be nothing without a delivery device to feed it content (see Figure 4).
At the end of last fall, BOOM Salad entered into an historic agreement to become the first sponsor of the Battlefield 4 player known as KING-DYLAN666. Since that time, we have been honored to reveal to the world, via this website, his near inhuman playing skills on the battlefield. Time and again, in video after video (see below), the KING has demonstrated conclusively that he is one of the best in the business. He is a machine, a true 21st century gaming freak of nature, and yet, some in the online gaming world have sought to undermine his place amongst the elite, by criticizing the amount of time the KING has played the game for which he has become well-known.
According to his Battlelog profile, KING-DYLAN666 has spent a total of 9,320 hours playing Battlefield 4 (PS3 and PS4 combined). If one assumes he began playing on the date of the game’s release in 2013, that would mean he has played, on average, more than 10 hours a day, for nearly two and a half years! It is, in fact, a world record.
But I know what some of you are thinking, because, for the past six months, we’ve heard it all:
“What a loser!”
“Damn Daniel! That man needs to get a life!”
“I bet he’s a virgin.”
Naturally it is hard for some to fathom the kind of dedication that the KING has put into an activity that continues to be miscategorized by society as a form of casual entertainment. By this I mean that the criticisms leveled at KING-DYLAN for the amount of time he has spent perfecting his skill, reveal an outdated view of video gaming that fails to recognize its increasing complexity as a practice. Moreover, such statements also demonstrate a disappreciation of the physical ability required to achieve the level of dominance exhibited by the KING.
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