Tag: PS4 (page 1 of 2)

durty, BOOM, and the future of the Whiteout.

durty shows you the future of Whiteout…

Editors Note: Another Historical Moment for the BOOM!

Mainland China

Mainland China

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.

Vietnam

Vietnam

-BOOM

Mandarin Translation of the above:

编辑前言:在过去的几个月中,BOOM惊喜地发现网站中来自中国和其他远东地区的访问量激增。因为我们认为日本玩家会对我们的内容感兴趣,所以我们过去将文章翻译成日文。然而,我们并没有料到会有大量来自中国和越南的玩家来访BOOM。我代表BOOM欢迎你们加入这个大家庭。这是BOOM发展史上的一座重要的里程碑。
为此,我们决定将未来发表的一系列文章翻译成简体中文。第一篇中文文章是我们至今为止发表的最受欢迎的文章:《私人卧室中的环形监狱》。这是我们用来欢迎和感谢中国大陆玩家来访BOOM的方式。
-BOOM

私人卧室内的环形监狱:监狱纪律在二十一世纪电子游戏中的角色

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

私人卧室内的环形监狱:监狱纪律在二十一世纪电子游戏中的角色

作者:David John Flores

翻译:李武毅

图一:在战地4极地监狱地图中,我在充满枪林弹雨的、半摧毁的一座环形监狱中与敌人对抗

图一:在战地4极地监狱地图中,我在充满枪林弹雨的、半摧毁的一座环形监狱中与敌人对抗。

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.

从七十年代的中后期开始,电子游戏就变成了我生命的一部分,陪伴着我在硅谷度过我的童年。如今,我仍记得我操作第一台手柄、电脑、或是街机时的新奇体验。这些设备在二十世纪末引领了电子游戏工业的革命。

而在我的人生的某一阶段,就如同我的金刚狼漫画和各种球类的明星卡纸一样,我暂时停止了游戏。那时,我的注意力完全地转移到了身边的女孩们身上。在那之后,我很少玩电子游戏;偶尔玩的游戏也仅限于单人纸牌和国际象棋。我再也找不回我在一九八二年昏暗的、如巨大洞穴般的商场中街机上挥霍青春的美妙感觉了(图二)。

Figure 2 Game arcade, ca. 1983

图二:1983年十分流行的游戏街机。

然而,在我三十九岁的那一年,我重返校园,一同而来的还有我曾拥有的、对于电子游戏的痴迷。我在加州州立大学蒙大利湾分校的室友是一个二十多岁的、来自加州圣地亚哥市的作曲家。他教会了我如何使用索尼公司的PS3(一种电子游戏平台)。

我的室友幼时成长于一个热爱游戏的社区,因此他从小就拥有各式各样的游戏系统(图三)。比方说,他有任天堂游戏机(一款在当时最流行的游戏平台,其人气远远领先于第二受欢迎的微软公司的X-Box)、世嘉、索尼公司的PS、和微软公司的X-Box。直至今日,我的室友还一直对电子游戏保持着热衷。

Figure 3 My “former roommate” Taylor, ca. 1995.

图三:我的大学室友Taylor在1995年的照片。

五年之后的今天,因为我大学室友的耐心教导,我再次变成了一个游戏爱好者。我最喜欢的游戏平台是索尼公司的PS3,最喜欢的游戏叫战地4(图四)。战地系列是一款支持多人网上对战的、第一视角射击类的游戏。

战地4是一款难以上手的游戏,不少新手在竞技过程中会感到身心疲惫。并且,战地系列的官网会实时更新评估玩家们的游戏技巧和投入程度的排名榜单(图五)。从今年二月下载它时算起,我已经在这款游戏中花了九百多个小时。在战地4上投入的大量时间使我在官网上的游戏总分和游戏时长的排名中名列前茅。

Figure 4 “…a plague on the hearts and minds of men.”

图四:让玩家们身心俱疲却爱不释手的战地4。

除了总分和游戏时长之外,官网上还有“伤亡比”(游戏中死亡次数和杀人数量的比例)、“准确度”(玩家使用武器的熟练程度)和 “技巧”(玩家们对于其他参与者的评分)等不同类型的排名(图六)。

“技巧”排名等同于当今社会中工人们的效绩评估:他人根据玩家的表现进行评估;如果玩家越高效,那么他的排位就越靠前。在下文中,我将会阐述战地系列如何使这些排名和游戏系统融合。我认为,排名系统对于战地的成功起到了至关重要的作用。

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THE ROOM: An Architectural Theory of the Future Technological Foundations of a VR Universe.

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.

Fig. 2: Staring at walls.

Figure 1: “…staring at moving pictures on walls.”

As progeny of the television-centric home entertainment ecosystem (HEe)[1] 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.

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BOOM Salad 出品:durtyrezkidz, 也称为”TURBO AJ LITTLE BIRD.” 枪林弹雨!

  • BS-Durty-Ann-Art-2

很少有人有机会见证一个人完全掌握基础和拥有天赋所产生的结果。然而这件事确实发生了:闪电击中了BOOM两次!

我非常骄傲地向我们的读者宣布,BOOM最新赞助的人: durtyrezkidz, 也就是“Turbo AJ Little Bird。”

结合我们以往的经验, 非常明显他是我们所见过的最好的侦查直升机的飞行员。快来观看视频和感受他精湛的技巧吧······天空就要塌了。

BOOM Salad Presents: BOT RAGE!!!!!

From Peripheral to Preeminence: The Rise of the Video Media Console, Part III, “From arcade to VR ecosystem.”

Those that grew up during what I have often referred to as the “Golden Age” of video gaming,[1]  remember a time when there was no preference between PC and console. There was just gaming. In fact, there are some games that we loved every bit as much as our favorite PC, console, and arcade games, which are now, all but forgotten.[2] Still, as for where most gamers of the period, young and old, preferred to play their favorite games, the arcade was king (see Figure 1).

Figure 1 Game arcade, ca. 1983

Figure 1 Typical 80’s arcade

Though the graphics and gameplay of the standalone machines were often identical to their console/PC versions, there were a lot more games to play at the arcade then at home or school. Also, there was an energy in the place that was palpable and electrifying.[3] Playing in the arcade during the decade of the 1980’s could be viewed as a prototype of the multiplayer experience that we now enjoy online, with one big difference: back then we played, physically, side-by-side, every time.

While the arcade may have been our preference, there were two, significant, disadvantages: cost, and the fact that you needed transportation to get to one. Both reasons made it an impractical, though highly desired, option for me and my eight and nine-year-old, school friends. Even after washing everyone’s car on the block, mowing their lawns, scavenging for and returning bottles and cans for the deposit, and, finally, squeezing your parents for every last quarter they had, it didn’t take long to burn through your hard earned change once you walked into that neon-lit, multisensory extravaganza of light, sound, and movement (see Figure 2). It is largely for these reasons that the console became our video gaming method of choice.

P2p3-cartoon

Figure 2: “The Quest for the Quarters.”

Thus, it was during the decade of the eighties that video gaming as a practice and event shifted from the surrealistic environment of the arcade to become a more home-based activity in which the console played a dominant role. At the time, PC’s were also in their infancy. Companies like Apple, and even HP, had demonstrated an early interest in video gaming software development, but purchasing their hardware was expensive, often more expensive than a console (see Figure 3). Moreover, PC’s were still, for the most part, considered business machines and not video gaming platforms. For many gamers, therefore, the console was the only realistic option.

Figure 3: Apple

Figure 3: Apple as early adopter of video gaming software.

This economic ‘reality,’ in many ways, created a division between the gamers that had access to a PC, and those that could only get their hands on a console. From this point forward, the question of which platform, PC or console, was technologically superior, became the subject of a debate that continues, thirty years later, into our current day.

Of course, the rift between PC and console gaming is more complicated than the “debate” over which is a, “superior,”  platform. However, no one would dispute that this is the primary issue that continues to surface and resurface whenever gamers argue over which is best for gaming. Now, it seems, this age old argument has been given new life in the discussion over which is a better platform for delivering Virtual Reality (VR).

As recent as this past February, Tim Bajarin, a well-known, well-respected technologist, “futurist,” and contributor for PCMag, revealed how this divisive issue is being used to influence the direction of VR software development. In his post, “Why Sony Has a Big Lead in VR,” he offers reasons why the PC is a more preferable VR appliance than the Playstation, or any other console. The primary concern, as he sees it, is the console’s seeming, one purpose functionality as a gaming device. According to Mr. Bajarin, consoles like the Playstation 4, “[are] largely gaming platforms.”

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BOOM Salad Proudly Presents: durtyrezkidz, a.k.a “Turbo Aj Little Bird.” The Sky is Falling!

BS-Durty-Ann-Art-2Rarely 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.

 

La Violencia Extraordinaria de los VideoJuegos, Parte III: “BOOM Salad solicita el FIN DE LA ESTIGMITIZACIÓN Y MARGINALIZACION DE LOS VIDEOJUEGOS CON REPRESENTACIONES VIOLENTAS Y AQUELLOS QUE LOS JUEGAN.”

Desde junio de este año, BOOM Salad ha estado rentando sus propios “servidores[1] para el videojuego violento, Battlefield 4.[2] Esto quiere decir que por los últimos meses hemos pagado una compañía por el privilegio de manejar y mantener nuestro propio ámbito multijugador online para el juego. Prácticamente cualquier persona en cualquier país que posea Battlefield 4 y que tenga una conexión internet de alta velocidad puede jugar en nuestros servidores.

Durante los últimos 120 días que nuestro servido Playstation 3 (PS3) ha estado disponible y accesible al  público, hemos jugado con y contra jugadores de una gran variedad de grupos de edad, de cultura, de etnia y de género. Esto nos ha permitido una oportunidad única de observar y participar directamente en lo que es conocido como los masivos juegos multijugador mundiales o Massively Multiplayer Online Gaming (MMO, véase Figura 1).

Figura 1

Figura 1: Imagen de un evento en nuestro “servidor.” Véase el video de arriba

Ejemplos importantes de este género incluyen World of Warcraft y Minecraft. El juego Minecraft se ha devuelto en un fenómeno cultural mundial comparable con la manía del juego Pacman de los primeros años de 1980.[3] Más que un simple laberinto en que la meta nunca cambia ni llega a ser más que el consumo de puntos, frutas y fantasmas, es perfectamente posible que Minecraft sea uno de los juegos más sutilmente complejo que jamás se ha visto.

Como su anónimo, es mejor pensar en el juego como que tiene “niveles” de complejidad. Cada nivel ofrece muchas oportunidades de interacción empática y pro-social con otros jugadores online. El número de jugadores que pueden participar en una sola sesión depende en el plataforma, pero para las consolas como Playstation 4 (PS4), lo máximo es ocho a la vez.[4] En las conversaciones que hemos tenido con los jugadores menores de Minecraft,[5] nos dijeron una y otra vez que el motivo principal era construir cosas con sus amigos. La frase “construir cosas” no quiere decir espadas, bombas y otras armas aunque eso puede ser. A los jóvenes con quienes hemos hablado les interesaba mucho más construir castillos con recámaras adornadas y habitaciones subterráneas (véase el video de abajo). Sin embargo, ya que este juego incluye imágenes violentas en sus escenarios de batalla (que se puede activar o desactivar), eso se equivale con otros llamados “videojuegos violentos” como Battlefield 4 y por consecuencia se les considera “peligroso [para la sociedad],” por muchos de la comunidad médica. [6]

En las Ediciones I y II de esta serie hemos demostrado cómo los argumentos en contra los videojuegos con representaciones violentas son basados en una llamada “conexión” entre la violencia del mundo real y la de los videojuegos. Esta “conexión” es observada en aquellos que juegan los videojuegos violentos, según los resultados de varias investigaciones médicas, [7] por la disminución cuantificable de la función cognitiva dentro de las áreas conocidas como reguladores e influencias en el comportamiento agresivo y violento. Si estas conclusiones son exactas o no, [8] el hecho es que no ofrecen una respuesta suficiente a la pregunta más importante de todas (algo que BOOM Salad ha procurado contestar desde nuestra primera edición [9]): ¿Por qué la gente juega estos juegos en primer lugar?

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From Peripheral to Preeminence: The Rise of the Video Media Console, Part II, “And the Winner IS…”

BS-P2P2-OC-ART2-1

Figure 1: VR, a Pandora’s Box?

Since the release of FB-Oculus[1] 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.

Figure 2: The Louvre Online Tour, "Egyptian Antiquities."

Figure 2: The Louvre Online Tour, “Egyptian Antiquities.”

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).

Figure 3: Grandmas UV shields.

Figure 3: Nice RIFT Grandma!

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