Tamrielo

This is a post about food. dealwithit.jpg

I have a small holiday dip sampler sitting in my kitchen, containing perhaps the strangest variety of semiliquids I’ve seen in a while. I’ve had them since visiting my parents over the holidays, and while they’re not in any danger whatsoever of expiring, I’ve been trying (with no luck) to figure out what to do with them. You’d think this would be easy. “Dip stuff in them, Tam, obviously,” but these dips defy simple use.

One of them is fairly straightforward. It’s “Raspberry Honey Mustard Pretzel Dip”, which is pretty obvious as far as use-case. It’s still sealed, because I haven’t gone out to find pretzel sticks appropriate for dipping, but I’m still kind of side-eyeing the “raspberry” part of the experience. I’m not entirely sure where the association between “raspberry” and “mustard” came from, or if it even makes sense. I like both things, but I haven’t quite worked up the wherewithal to dip a finger in and taste it. Having now realized how silly that sounds, I’ve now opened the jar and, welp, it tastes unsurprisingly like raspberries and honey mustard. It’s going to take a particular kind of pretzel to make this work, and I’m now kind of glad I didn’t just pick up some random pretzels to try. It’s good, just… weird, especially with the mustard seeds and what look like bits of raspberry mixed in.

Also in the “good but weird” category is the Chocolate S’mores Dip. This one I have dipped a finger in to try at least once or twice or maybe a few times. It’s about the consistency of a thick aioli or warm Nutella, a bit too watery to spread on bread but a bit too thick to dip cookies in easily. I have no idea what is even supposed to be dipped in here, and the jar is not really helpful in this regard. It does taste a lot like s’mores, though, with a marshmallow and graham cracker hint alongside the chocolate. Having discussed this particular dip with Ashgar, I think he’s right and that while nothing I dip into it will be “appropriate”, pretty much whatever I dip into it is going to be delicious. Spoilers, I’m probably dipping pretzels in this.

The next weird jar is “Roasted Pineapple and Habanero Dip”, which seems to suggest that both things are roasted. I’m not really opposed to it, but it’s a bit strange. It’s about the consistency of the strawberry drizzle you get on some cheesecakes, making it fairly unsuitable for any kind of dipping whatsoever. It’s also way too sweet, cloying, and rich to be a sauce, though I entertained the idea of marinating some chicken in it until I tasted it. As an aside, I kind of love the combination of pineapple and hot peppers, so while I would otherwise write this off as a wasted jar, I’m going to find some use for it. Pretzels? Pretzels.

The last jar is labelled “Chocolate Caramel & Sea Salt Sauce”. I’m vaguely hoping there’s a missing comma in there, and while I’m used to salted caramel, I rarely see them separated. Also, this is apparently a “sauce”, not a “dip”, and since all of these jars are from the same company, I feel like I could use the differences between this one and the s’mores dip to figure out what they think the difference is. Opening the jar, it’s about the consistency of thick ganache or maybe wet fondant, so, much thicker than any of the contents of the other jars by far. It also tastes like the label suggests– chocolate caramels with some sea salt. It’s frankly pretty weird, and I’m not sure how to dip pretzels into it, so I might have to get creative.

It’s finals week, I’ve been writing almost the entire day, and I’ve just dropped a little more than six hundred and fifty words about jars in my kitchen and their contents, as well as my current odd pretzel craving. It might be time for bed.

Video games are pretty heavily predicated on giving you some kind of opponent to clash with. Whether that’s another player, AI-controlled opponents, the game world itself, or the gameplay mechanics, games basically set you up with an opponent to see if you or they/it can achieve victory.

A discussion we had about The Division over the weekend got me thinking about enemies that appeal vs don’t. Ashgar mentioned that he didn’t like that the Division pitted you, a squishy human, against other squishy humans with realistic guns. We went into a bit of depth on the podcast this week, how The Division is an excellent game as long as you don’t think about what you’re actually doing too hard.

That being said, The Division offers me enemies I find compelling, far more than, say, Warframe or Destiny. I want to face opponents with motivations I can at least understand, who aren’t mustache-twirling evil for the sake of being evil. It’s a big part of the reason I don’t go in much for games about aliens or monsters; unless there’s some kind of sentience that can be communicated with, there’s not really much to understand other than “it’s trying to hurt me, I must stop it,” which feels shallow. I do wish that in The Division as well as other games, there were more nuanced ways of dealing with enemies– we talked about nonlethal takedowns and it’s one of my favorite parts of games like Deus Ex and Dishonored.

I remember playing Turok: Dinosaur Hunter quite a while back and finding it boring. Sure, the enemies were varied and behaved differently, but they were mostly dinosaurs and wild beasts. There didn’t feel like there was any depth there or any possible interaction other than “well, hope I don’t run into one of these because it’ll try to eat me”. Even when interactions have broken down to the point where the primary interaction is violence, I still like to know I’m dealing with opponents who are (presumably) making their own decisions, even if those decisions put us in conflict.

It’s why I don’t like the whole zombie craze. It’s just dinosaurs with a different skin, another mindless opponent that is little more than a strength and endurance test. I prefer to be tested on my agility or intellect– I have more fun when I’m proving I’m faster or smarter than my opponents, not bigger or tougher. Opponents that test neither agility nor intellect are boring to me, and a lot of games that pit you against non-human-equivalent enemies will have foes that are FAR more agile than you are, if they’re agile at all, or big, slow, lumbering bosses that aren’t so much an agility test as a timing test.

One of the reasons I like Warframe so much is because I play light, agile frames that move faster and more adeptly than my enemies. Even in big, tanky frames I’m more agile and more maneuverable than a majority of enemies, which is very satisfying.

At a narrative level, I like games that pit me against foes that make me think about my own motivations (and, ideally, let me act upon those thoughts). In Dishonored and Deus Ex, it quickly became apparent that the average guard or thug was just someone doing their job, not intrinsically tied to whatever awful thing I was trying to stop. They’re basically innocents, doing what they need to for a paycheck or because they’ve been misled into believing they’re right. Those games let me discover that, and then avoid harming innocents. Hitman, a game literally about assassination, actually puts a lot of focus and reward on being nonviolent, because you’re often in public places or otherwise surrounded by innocents who aren’t connected to your target; hurting them is unjustifiable.

I prefer to see my opponents in games as people, rather than just targets, but that comes with the additional demand that I be able to treat them in a way that feels sensible, even if that does mean open violence with the knowledge that the organization or ideology I represent is less harmful than the one they represent. If a game is going to make me question the group or philosophy I’m ostensibly linked to, I’d like to be able to act on that uncertainty. My biggest frustration with The Division is that it makes me question the group I’m a part of, but doesn’t give me any space to act on that.

I have a few game designer friends who visibly twitch at the use of the word “immersion”. It’s a word that’s thrown around a lot both among players and among devs, and it’s often not super well defined. At best, it’s used as a catchall word for being “in the experience”, that sense of feeling like you’re in the game world and not simply playing a game. At worst, it’s a vague descriptor for something someone doesn’t like but can’t really quantify or describe– it “breaks immersion”!

art by Romain Laurent

It’s a tough thing to pin down, like “fun”, because what one person finds immersive someone else can easily find laughable. Some people never get that feeling like they’re “in the game world”, and trying to describe an immersive experience to them is like talking to a brick wall.

I think a better descriptor would be “attention to detail”. Immersion is the effect, attention to detail is the cause. It’s something I’ve noticed a lot of while playing The Division… pretty much all week. What really stands out to me is the attention to detail throughout the game. Everything from materials making the sounds I expect as I climb over them or shoot them to the believable advertisements and fliers to the desperately-lived-in looking areas you move through adds to the experience. There’s a story, everywhere I go, and there are enough little details that I can interact with to make me feel like I’m jumping over cars and jewelry stores, not textured geometry.

As an example, a car is, functionally, just a piece of cover in the street. The streets are broken up with abandoned cars, very dense, like you’d expect of New York City traffic. A lot of these have been hastily abandoned, and the doors are ajar. You can close them by pressing up against them, and it makes a satisfying “car door closing” sound. It makes the car feel like a car, and not like just another piece of cover in the street.

This past evening, I went into the Dark Zone with a group of friends. The tension is very real in there, but not overwhelming– in a group, I felt safe, and backed up by my teammates. The game’s UI makes it very difficult to tell if a moving person in the distance is an NPC or another player, and our desire to be certain we weren’t shooting other players without meaning to meant we used various tricks (like scan pulses) to find out. It meant that we stuck together, always keeping an eye out in all directions, and moving as a group== just like we felt like we *should*. It’s made even more poignant by the plentiful high-quality drops that you only get to keep if you successfully extract them.

That feeling, that sense of acting within the game the way you feel like you ought to act, or that alignment between your expectations and what is actually happening in the game– that’s immersion. It’s the culmination of all of the little details that add up, and it’s why all of those little things are important. It’s why sitting in chairs in an MMO matters, and why ambient sounds and minor sound effects are vital. It’s why signs you can read are so much more compelling than signs you can’t, and why getting animations just right is so important.

As mentioned before, I’ve spent a ton of time in The Division this week, enough that I’ve been distracted from writing (whoops!). The game itself is much like games I’ve played before– it’s a good cover shooter, and I’ve described it as Mass Effect 3’s multiplayer, fleshed out in a different setting. What keeps me coming back to it thus far are all the little details. The sense of picking up the pieces of a shattered piece of civilization is strong, and it runs through everything from the visuals, to the enemy types, to the collectables (that offer me in-game story bits!), to the fact that I can close people’s abandoned car doors.

Thanks to a gift card, I picked up a copy of Bloodborne and loaded it up with Kodra this weekend. We put in about two hours and got to the first save point. Long story short, the game wrecked us solidly and unremittingly.

We did eventually admit defeat before reaching the next save point, but even so, the game was a lot of fun, just draining. Kodra and I traded off at every death, so roughly once every sixty seconds to ten minutes or so. We died a lot, maybe I mentioned. What keeps it fun, though, is that the game, while unrelentingly difficult, is entirely fair. The rules don’t change on you, and when new rules are introduced, it’s very clear. When I saw a random huge monster guy wandering through a place that I had to break a bunch of boxes to even access, it wasn’t precisely a surprise when it ignored my heavy attack and just grabbed me and squished me.

I think what makes the series of From Software’s games (Souls games, Bloodborne) really compelling is that it changes the philosophy on you. In a lot of games, especially narrative games, the story is the reward– get through this segment to get another bit of story, and keep on going to get more story. You beat a boss because you want to see what happens next, and as a result the game has a vested interest in keeping you on a forward trajectory, seeing more story so you don’t get bored. Victory is the default, and the narrative of the game is predicated on you winning and continuing on. It can safely be assumed that you’re going to win a given encounter.

Not so in Bloodborne. Story is incidental; it’s something you piece together, if at all. The reward is power, and the game makes you want power immediately by making sure you know how much it sucks not to have any. It’s a trope that you die more or less immediately in Souls games, to one of the first enemies you fight, but as above– the game is very fair. You CAN beat that first enemy, if you’re exceptionally skilled, and in general the game rewards you very well for doing so. You want to beat bosses because you shouldn’t be able to; success in the game is an act of defiance, one that the game respects.

It’s that respect that really seals the deal. If you find a cheap, easy way to bypass a nasty fight or exploit some terrain to beat a boss, the game won’t punish you for it. You owe the game nothing, and in return, it owes you nothing. If you swing at an enemy and miss, there’s no aim correction; you forgot to lock on (or didn’t lock onto the right enemy) and the consequences are on you. Play better next time. You found a ledge that the boss can’t reach and can shoot at it, and have enough ammo to take it down without reprisal? Good on you, you beat the boss, you were cleverer than it was. Grind an area until you’re stupidly overpowered before moving on? That’s your choice, do what you need to in order to win.

I really appreciate that in Bloodborne, especially given that there are generally multiple ways to approach each encounter. It took Kodra and I a solid hour to realize that we were playing the game like Bel, methodically fighting and defeating every single enemy in an area before moving on. It was taxing on our resources and took up a lot of time for little return. We quickly discovered abject cowardice and used it to flee further than we’d gotten with overt aggression.

The amount of game space we played in over the course of the day was about half of a Warframe level, or less. Maybe half of one of the smaller starting levels. However, that tiny amount of space was incredibly rich and nuanced, with lots of approaches and lots of things to see and learn. I never felt like we were punished unduly for experimenting, and resources were plentiful enough that we could use them regularly without feeling like they were being wasted. Sure, we died a lot, but we made a lot of progress as far as developing our actual skill at the game.

By the end, we’d graduated from getting murdered by a guy with a rake to dying to some kind of massive tree beast. Progression!