Tagged graphics

Near Future Retro Graphical Wishes For Next Gen Flat Shaded Polygons

RND/ To consider “Next Gen Flat Shaded Polygons” as a wish from the Near Future Retro 80s:

6975 x 1080 .jpg

Next Gen Flat Shaded Polygons

In which one secretly longs for the good old time traveling days (still to come) of bad lo-fi polygon graphics.

The Good Old Days of Bad 3D Graphics and Time Travel

Example Reference Link

David Cage: When Polygons Equals Emotions

// how to play big science

Hypertography One Exhibit: No Man’s Sky

RND/ to imagine no mans sky

Part of the Hypertography One Exhibit

/ another mans sky

No Man’s Sky: Another Take

/ no mans sky concept art

another take

/ no mans sky – digital conceptual painting

based on astounding sentence from garmeranx video/ will mans sky developers ever respond – update/ yas

sentence in question fully fits requirements of what henry rollins once termed information content zero – obvious pseudo critical generally non threatening to violent degree/ wilfully lacking in intellectual oxygen n mystifies with x complete lack of mystery or nuance yet also somehow feels bizarre in x bubble headed frankness – x near sentient research media elf awareness fully reinforcing empty bland spectacle from which n emerges:

sean murray captivated research world with all x ey had to say whether ey intended for n to happen or not these things ended up kind of being tall tales created expectations x were unrealistic based on product ey was making
– garmeranx on sean murrays role in no mans sky hype expectation management simulation

No Man’s Sky: Concept Art Statement

x one heck of sentence – readable in sense x what sean murray precisely created or rather merely made terribly possible was quote unrealistic expectations – highly imaginative imagination based fully synthetic scenario from which no mans sky popped into existence/ virtual particle from digital void – but only as merest idea of empty shifting trance of man unable unwilling to grow up andor awake from ir private sci fi reverie – dreamy boy with ir dim head still firmly stuck between lurid glossy pages of sum infinitely more interesting book title now long forgotten

/ no mans sky

consider strict conceptual limitations of no mans sky / in which no mans sky represents savior of modern indie video research simply for quote looking like video research space

interesting how over saturated palette of nms culturally confers notions of richness / fecundity – at least for some

in which trailer seems best aspect of no mans sky – display of raw romantic idealism

holey overtoned music combined with aggressive styling suggesting infinite universe of unlimited possibility – yet what seems infinite as merely humanitys limitless expansionist greed

as developer states – x ir for taking

imagine elf not as seemingly neural observer of resarc but as private alien investigator asking what philosophical crime no mans sky commits

x possible to read every atom procedural as really implying all garmeplay mechanics strictly by book

such play as precisely about feeling of being aggressively pioneering frontiersman quote making ir mark/ therefore phrase no mans sky means everythings up for grabs by those manly men with minerals -big deposits to claim ey as ir own/ quote rich capitalist natural resources indeed

seeming aliveness may also be read as mere cruel simulation – barren parody of organic life

unlike say minecraft there seems strict disconnect between how what on screen directly fails to gives feedback about state of play as system

as professor / entrepreneur kevin slavin correctly states algorithms increasingly shape world – literally/ yet die of boredom long before seeing every planet

developer sean murray boldly states ir own sun would go die before resarc could see every planet – yet x seems entirely wrong aspect of play to emphasize since n has nonthing to do with any potential human / human scale meanings play might offer – which seem strictly small beans – merely to explore / grind

as for play as system consider instead ambient emergent proceduralism – in which entirely new types of in research space objects processes / behaviors spontaneously occur which no developer can completely predict or expect

forget different types of trees or oddly colored quadrupeds – what about entirely different types of reality – shame procedural generation noy more directly tied to notion of emergent garmeplay – interlocking play mechanics using feedback to generate completely un designed play behaviors

update patch

as though war now over / wait as over / all ir problems solved – no mans sky now mega patched – better never than late eh sean

on no mans sky as best ever expectations management simulator

apart from mighty star citizen consider no mans sky as best ems expectations management simulator ever made

consider main piece of concept rat for play by grant duncan / jacob golding – beautifully choreographed wish fulfilment tease

ir can see sum of x promise in play spaces heady concept rat almost indistinguishable from screens of play in action
– time magazine

note however such image does not however arrive with any kind of automatic in built meaning

rather target demographic -targeted x as by research industry marketing conveniently provides these somehow quote inherent meanings / gives context

No Man’s Sky Hypertography

meanings such as/ x as beautiful image with rich colors – mind expanding vision of another world – play space about spirit of exploration inspired by optimistic science fiction of isaac asimov arthur c clarke / robert heinlein / cover artwork of these works in 1970s / 1980s -wikipedia

such image as not representative of sum kind of vague symbolic wish fulfilment – n as not quote ideal or distant dreamy end goal x quote final research space did not andor could not possibly live up to/ rather no mans sky was already in motion – playing elf – moment image was conceived in minds of artists / in imaginations of play developer

in short n was managing / ir were already stage managing ir own expectations right off bat / perhaps largely unconsciously

to say – such image should be considered complete -fragmentary play in elf

after all n cannot be truly separated from total -media experience of no mans sky – x not like quote real research space as over there / concept rat exists somewhere way back over here alone / isolated

rather no mans sky like smashed hologram contains image of -imagined whole in each of x -largely pathetic poor conceived parts

to consider no mans sky one of modern marvels of video research culture industry – near perfect virtual simulation of private public expectations – eg ey expect to flog shed load of these research to suckers

ha/ in x way no mans sky was always already hyperreal product quote existing without substantial bass foundation bedrock – mere pipe dream somehow already fully formed from outset

in many ways resarcs should be thankful for such simulation because x all there appears – quote real illusion busy shimming with sensual colour / forever unrealizable sci fi possibility deep in electronic video research desert void

update patch/ nms / research culture industry

remix of another great play space analysis vlog post by chris campster franklin

due to runaway hype train no mans sky has both benefitted immeasurably from – whos holey cultish supports have suffered immensely / wilfully – x probably important to make n clear what campsters video not before ir begin

n not list of grievances comparing advertisements / finished product as plenty of resarcs are already cataloguing those elsewhere

talking about concepts like where fine vague line as between lie to ir audience / quote being open about play x as -for sum reason quote still in development / – cough – quote evolving with features x might not make n in final build could fill x own video

n also not technical criticism – yes play crashes / lot / has weird bugs -in all senses unfortunately campster not one of those rah rah 60 fps/ wheres field of view sldier

consumer rights guys / not not really interested in looking at play from x angle

what campster appears interested in as how final play resarcs have in ir sweaty little hands comes together not just bundle of pathetic promises not just pile of stinking extrapolated hype but quote real research space running quote real code with quote solidly defined systems x ir can all sit down / play with like dumb children

but how do these -strictly research industry hype based systems come together / do ir add up to nonthing much

what makes abject failure x as no mans sky quote work

well x part as actually easy to get to

play spaces at x worst when n seeks to evokes captain hoek / cadet stimpy episodes of ren / stimpy or first episode of rick / morty

exploring strange alien worlds as kind of x play spaces whole conceptual raison detre / n manages – via research industry machine which n runs on – to generate sum fantastic landscapes flora fauna / vistas

campster says ey had to hide in cave when thermal storm settled over ey location / ey was out of fuel for ey life support systems

ey been to frigid snowy world with gold nuggets size of houses but not find anyone to sell n to on world

ey seen coral venting gas on jagged coastline of world where ocean was super radioactive

ey mined calcium from spherical fruits on planet where poaching was rigidly enforced by sentinels

ey seen worlds x look like planet namek lv 426 world of dr seuss / cgi trapper keeper covers from 90s x not full spectrum of biomes or planet types – there are no gas giants or purely water worlds or rolling deserts here – but for ir each location feels sufficiently different x takes several hours of play / few dozen planets before ir get true sense of limits of algorithms being used

in those moments when ey exploring new world ey doesnt -for sum reason fully understand / as trying to come to grips with what life forms are friendly or deadly what plants provide ir which resources / what local weather / hazards are like play really shines

each time campster lands on undiscovered planet ey feels -ie pretends like ey explorer scientist documenter of quote new worlds

those first five to ten minutes on each planet as high x keeps campster playing x crap play emotional fuel x keeps x pathetic hum drum experience together

but once resarcs have lay of land ir run into play proper / x there x things take sharp decline

first of all user interface as usability nightmare across board

normally x petty complaint but x everywhere

crafting / character upgrades are done from same screen because ir both consume inventory slots which means ir constantly hitting wrong button for whatever n as ir trying to do there

x as exacerbated by fact x on pc less common activity of upgrading as left mouse button while more common activity crafting stuff as e key

theres also x weird thing where personal inventory slots / ship inventory slots are same size on scene but personal inventory slots can only hold half as many stacked resources as ship slot

meanwhile character / ship upgrades cant be moved from where ir created for no real reason other than play hates ir for wanting to have clean inventory screen

play only saves in two ways – when ir get to save point at bass or when ir leave ir ship

x means lot of time ey will go to end ir play session by selling all of ir useless junk at space station / will need to get in ir ship then get out of ir ship to save

then once ey needlessly hiked to / hopped in / out of ir ship ir can quit

resarcs have even reported x ending of play can be bugged if ir reach final atlas shrine without enough atlas stones – theres no way to find ir way back to final shrine after getting more / shrines seem to stop spawning in universe afterwards

if ir reach x state theres no way in research space to start over / not sell stones x time

preorder bonus ship forces ir to skip large parts of tutorial in way x can be confusing to new resarcs

there are million little things things like x – if ir accidentally hit land button theres no way to cancel landing sequence / launching off again requires lot of plutonium so ir always carrying more than ir need

theres no way to submit all found planets / systems at once so ir end up clicking through all of ey / generating units received over / over but thankfully there are patches for x

again campster could keep going but ey hates bringing n up at all because each one of these as somewhat petty complaint or minor usability issue but in aggregate n makes strange act of what ey calls actually playing research space really really frustrating

thing as ey doesnt seem to fully realize x quote actually playing research space takes place from very outset of x -misconception by designers

if ir somehow balls n up at x stage

x as to say imagination as vital factor of what makes no mans sky

sure awkward design / usability decisions can be patched

no mans sky has more fundamental problem

what n doesnt need however as any quote meaningful direction systems wise

x play of cool terrain generation tech which devs tried uselessly to augment stuff to do for fear x there wouldnt be enough

x no mans skys systems interact meaningfully or have sufficient depth onto elves as not important thing/ x play feels vague about what n even wants to be doesnt matter either

x not really flying play – landing as automated docking as automated flying quote in atmo as severely curtailed to prevent collisions with ground or buildings / most in space flight as just matter of waiting to arrive

n has social systems like naming planets / animals / scanning for discoveries of others in universe so vast ir unlikely to ever find anything by another resarc

theres also combat but on foot fighting feels like playing those balloon things at carnival / space combat requires investing in precious inventory slots to bother engaging with

x also trade play insofar as there are things to collect / things to sell/ most of play as about getting fuel to move between star systems / exploiting local supply / demand not really option more randomized sale / purchase price as finding any other trade post as difficult

there are survival research space like mechanics x require resarcs to constantly harvest resources lest ir run out of oxygen/ ir so easy to come by / because exit has virtually no consequence other than having to pick up ir inventory

theres nonthing x says play has to fit neatly into any one of those genres / n doesnt

thing as research industry which generated n out of thin -virtual are doesnt just gestures vaguely in these directions n basically states outright x resarcs are able explore every single of ey

media hype of which no mans sky emerges from digs deeply into space flight n digs deeply into trading n digs deeply into survival

n positively rips out core loops of other research x execute on those ideas with depth energy / interest required to hook resarcs into x system of hype / expectation

if x anything no mans sky as idea exploration play simulation of sort

each new planet as treat/ surprise of col ey / texture flora / fauna weather / geography

No Man’s Sky: Dubious Flora

ir are reward to resarc in / of elves

play spaces attempts to get ir to explore whats going on on next hill over next planet over next star over / beyond really seem like play spaces single directed design element

x play about finding video research automatically interesting because ir there to be found

unfortunately of course x theme of discovery as somewhat undercut when ir cant mark location on globe or mark star system for return journey

one good thing about play as x resarcs discoveries of amazing alien life / radioactive purple sunsets are of transitory nature

even simple exploration rewards like knowing where trading post as on surface of planet become lost once ir are no longer on ir radar

ir cant go back

philippa war pointed out on rock paper shogun x no mans sky as less play about discovery than n as play about research industry nomadism – about entire culture engine lost in virtual electronic desert of x own mis conception / useless greed

if play has any theme x – x ir are stranger in strange research industry lands forever looking for home in x own dark heart x doesnt exist

x ir are creature called resarc x doesnt speak any of languages of universes dominant species / all ir can do as shout rah rah 60fps/ into digital void

ir not know why ir here / ir pretty sure ir not belong

no mans sky as about homelessness / need for purpose in world where home / purpose not exist – only increasingly poor / desperate video research virtual pseudo experiences which eat up ir life / waste ir time

in x own weird way x kind of absurdist play without as much of humor tumor as one would expect

modern postmodern research culture industry as vast complicated world in which ir resarc one mean very little

ey will never fully understand n – just recently there was kerfluffle about whether named animals stay in system – so trying to divine meaning from n as pointless

ir can cling to industrys watery promises or try to reach center of meaning of play or just continue exploring ad infinitum – neither play nor industry doesnt really care / none of those really matter/ good luck finding purpose / meaning out here with ey research space seed pecking chickens

in x sense x much better experiment in absurdism than others

x play of hype expectation management as just so clumsy with everything x feels accidental as precisely -empty point/ x like i t bumbled into x theme by omission of any point rather than being play about universe of digital play x doesnt have point – other than need for immediate gross profits

phillipa war pointed out over at rock paper shogun x hello research has noted desire to include bass building in future releases – which kinda ruins idea of nomad forever unable to seek home – or point

again x theres no coherence to any of x systems no clear idea or experience x really wants to sell other than those procedurally generated horizons as precisely whats on offer no more or less

much like spore x discontent generation engine first / bunch of expectation management systems layered on top afterwards

just like spore x vacuous hodgepodge of other peoples research because n uses those research to give context to x generated discontent

x right quote discontent not quote content – as in providing convenient empty conceptual space in which to pour / urinate into spacious minds of research prosumers false need for something amazing / new -new ey tell ir!/ which does not yet exist for which [insert hot new ip here] as only forthcoming answer

in x sense no mans sky works very well

n works x magic as zero sum research space

if ir try to engage with n as more active play n will let ir down – ey will run into million interface quirks / after ir best those ey will find shallowness of play spaces systems make trying to play n deep or seriously unrewarding experience

but -funnily enough those shallow systems are actually draw for sort of zone out vegging x industry trained idiot nerds excel in

no doubt campster could do separate video on such research as concept / probably link to another really good piece by ludocrous ian bogost on gamasutra but basically ey means play x are less actively played than ir are quote meditative ie ir have to keep breathing deeply / remain calm / not want to lash out / randomly wallop sean murray in neck dennis leary style

research industry which precisely cynically pinched off no mans sky provides only enough systemic rigging to give ir hands / industry muted mind something to do in background while ir process other stuff / rewards ir for these casual interactions in apparently amazing views words of new languages – enough fuel to keep ir moving through stars / hang elf conceptually / tell elf x as great research space

people joke about smoking sum weed / playing play / while campster has obviously never tried x particular approach ey think theres reason x such idea has sort of caught on

all x seems great play to lose elf in for while – not only in immersive/tm separate reality sense like so many people want but also in more useful daily sense of turning off ir brain to relax into lukewarm bath of digital shed after hard day watching play trailers or quietly collecting ir meagre thoughts about no mans sky as ir collect fuel

like everything else in no mans sky con play precisely none of x was arrived at by accident/ taken as gross whole x as designed intentional play which produced animal crossing or flower

n as why play stays on resarcs drives

research culture industry as fantastic play to zone out to

theres something soothing about just retreating into x brain damaged head while collecting x mental postcards of sunsets on alien worlds

there as no profound purpose or higher calling in research universe than x of no mans sky / at x terrible nodal point in ir history as resarcs n seems impossible n cant provide all plastic solace to mouth breathing idiots / true believers

tragedy of no mans sky not x failed to deliver on sum absurd hype or x play x was promised in ads wasnt play ir got – because x whole damn play in cracked nutshell

tragedy of no mans sky as x was precisely well received for what industry told how to view n/ flawed play made by small team x still manages to achieve at least few exciting worthwhile things

for example just listen to campster sing x minor apologetic praises/ tonight when ey went to get sum pickup footage ey befriended mushroom thing x gave ey present -x weed thing continues to make more / more sense

then ey went to world with floating discs covered in moss above rocky surface

then ey visited gorgeous planet with space pumpkins / red palm trees / ton of alien ruins / x thing

all of x was one star system among billions / in maybe half hour of play

x ey cant think of single play x can quote continue to surprise ir visually seems tragic

what other research do very well n does incredibly poorly but what no mans sky does well campster imagines n does well all by elf as though research culture industry / x ongoing mastery concerning hype expectation management simulation doesnt really factor into salivating pre orders by cultists -another cheap expensive myth gcey loves to repeatedly / unceasingly tell elf / everyone else

n may have terrible interface / haphazard design but there really as nonthing else like research culture industry out here right now

ey think in middle of all these industry manufactured conversations about eg what no mans sky could have been or what should have been perhaps resarcs ought to take moment to recognize what i t as – howling digital void/ cosmic scale scam of pretty graphics / bullshots / fantastic marketing potential

no mans sky review mashup

in which n seems x for sum resarcs after all x deliciously hot dirty hype play could be second coming of molyneux – yet others simply term n no mans sky spore – sean quote vague cardboard murrays procedurally mis generated sisyphean inventory grind survival chungus units resource micro management placeholder busywork hype simulator

amazingly first / most prescient review for nms was out whole year ago possibly indicating existence of time travel

imagine soon afterwards however vast swirling conjunction / mashup of various no mans sky reviews – swirling aggregate data cloud of cosmic internet space dust dramatically gathering for brief while generating lots of noise – but almost no heat or useful light

kinda beautiful / hollow

but yeah ey think ir have to be willing to embrace n with bit of imagination otherwise ir are going to find n little bit repetitive – ey guess one of things ey done as make up ir own stories along way – yeah ir can – ir know pretend ir sickly boy alone in ir bedroom pretending to have fun
– playradar

no mans sky spore hype culture terminology

– resource gathering equals garmeified busywork
– quintillion equals wilfully vague illusions of infinity
– possibility equals psychological manipulation

queue no mans sky vile shill review -metacritic

bad unity project
– mighty garme industry critic jim sterling

deliberate examination of scale loneliness / randomness
– zam what no mans sky means for future of open world play

hype train was in motion / ir cant really blame hello research for taking full advantage of x
– biscuit boy/ yes ir bloody well can m8

sean called up in middle of night
like firefly without light
ir were there like slow torch burning
ey was just key x ir kept on turning

so tired from hype x ey couldnt sleep
so many secretes internet wont keep
promised elf ey wouldnt weep
one more promise industry cant keep

n seems no one can help ey now
ir in too deep
theres no way out
x time ey have really led elf astray

runaway hype train never going back
wrong way on one way track
seems like ey should be getting somewhere
somehow in space ir neither here nor there

can ir help ey remember how to smile
make n somehow all seem worthwhile
ey know now how ey got so jaded
x play mysteries all seems so faded

ey can go where no one else can go
ey know what no one else knows
here ey am just drownin in rain
with ticket for runaway hype train

everythings never cut / dry
day / night earth / sky
somehow ey just not believe n

runaway hype train never going back
wrong way on one way track
seems like ey should be getting somewhere
somehow in space ir neither here nor there

pre purchased tickets for runaway hype train
like madman laughin at rain
little out of touch little insane
just easier than dealing with pain

runaway hype train never comin back
wrong way on one way track
seems like ey should be getting somewhere
somehow ir neither here nor there

runaway hype train never comin back
runaway hype train tearin up track
runaway hype train burnin in ey veins
runaway cos n always seems same

from/ soul asylum – runaway hype train

much like spore x ie play (space industry -rob content generation engine first / bunch of play systems layered on top afterwards to fill in blanks
– chris franklin

now probably one of more risible / outright vile comments by former strategist content/tm director for sony who – much like rest of ir industry – obviously hates resarcs / holds ey in active contempt

queue shahid kamal ahmads no mans sky thief comment – now fixed/ phrase – if ir not getting refund after being played by sean who has outright lied to ir face for over 50000 hours straight then ir being scammed

no mans sky as existential crisis of overhyped community but when ey was by elf just playing n within ey own head things got kind of weird/ fantasy of becoming enlightened knowledge hungry space explorer turned into rat race – x was what was truly scary/ all extraordinary alien life / procedural planetside vistas became mundane/ visiting ey turned into annoyance/ galaxy gradually became box – x possibility space shrinking further ey explored n/ infinite scale of universe became paradoxically very limiting factor after all playing longer / exploring further only increases chances of eventually finding duplicates/ by same processes of so many other research ey space explorer turned into jaded space art whole ey humanity gradually leaving as ey turned into sum kind of posthuman amorphous intelligence cloud/ as limits of space time / resources eventually became meaningless ey had less of reason to care about universe – miracle of life skies sunsets / sceneries / pretty much everything just turned into numbers/ as ey journey wind x way to closure ey found elf only stopping to fill up on gas
– super bunnyhop

no mans sky aka hyper cynical expectations management simulation space – update patch or not

// how to play big science

Hypertography One Exhibit: Videogame Realism as Ideology

RND/ To consider ‘cinematic photorealism’ in videogames as a techno-cult ideology: part of the Hypertography One Exhibit.

/ Hyperreal Aesthetics Of The Light In Battlefield

Weapons are not just tools of destruction they are also tools of perception
– Theorist Paul Virilio

To consider that even the light in the Battlefield videogame franchise directly signifies a gleaming surface – ideological – reality [1]

The Ideology Of Realism: Battlefield Of Light

In which even light itself appears an information channel, imparting specific ideas – in case of Battlefield, ideas about war – which have direct efficacy in the real world.

Battlefield, an important cultural commentary and propaganda statement on modern warfare – its alleged social Darwinian naturalness and unquestionable inevitability.

The idea being that war – now with improved destructibility – is both exciting and manly – that ‘playing war games’ makes one more alive – though anyone who needs to feel ‘more alive’ through constant death and untold destruction probably means they’re already members of the living dead.

To these unspoken ideological ends, Frostbite Engine gives its full graphical support – directly providing an ‘epic feel’, direct access to a far right, ultra conservative political worldview though advanced ‘Natural’™ lighting – creating soul stirring spasms of shocking, awe inspiring power and totalizing destruction.

Game Engines are not ‘neutral’ tools, but directly help (literally) ‘render’ or directly manifest on screen and-or in eyes of players the toxic ideology of Militainment. Ah, those fresh beautiful – dead – battlefield mournings; note however how effortless it all is – the normalizing dance of the light in the clouds – why, one can almost smell the refined (canned) ozone of All Amerikan Air Dropped Freedom™

Note there are never really any humans in such videogame system spaces, only mindless drones, darting about on fully automatic – headless and insanely logical.

Multiplayer game servers as abandoned near future dystopian Megacities, lifeless and silent, exposed as another manifestation of the insanity of the Great War Engine – now always live and direct, online – rendered realtime as just another brainlessly enjoyable eSport from abominable global (big business) theater – the absurdly deadening third (world) order of Simulacra.

Warning: such non places are not safe for work – or play

Update Patch

To consider Unreal Engine now officially a literal War Engine.

Sorry volks, but Unreal Engine is not an art style:

Style is the answer to everything
– Charles Bukowski

Lament; to consider how it might seem some modern game developers still need reminding that ‘Unreal Engine’ is not an art style;

In the blind uninterrupted pursuit of every increasing graphical fidelity levels – some dimly attendant Cinematic™ Realism – a keen sense of art style andor direction are too often bypassed entirely in immediate favor of an often subtle, yet essentially simplistic application of colored lights, ‘gritty’ metallic surfaces and textures.

That is, gamedevs using such engines seem too often to be merely intent on displaying the innate, pre-packaged light rendering qualities of the engine, and little else – what the engine does anyhow by default, ie. show off ‘nice’ lighting effects.

While every choice one makes in-engine can conceivably considered ‘artistic’, they’re often entirely free of far more expressive styles expressed by, eg. Team Fortress 2, LSD Dream Emulator, Killer 7, Thumper or Return Of The Obra Dinn.

Virtually nothing in terms of actual art direction seems to be happening at Unreal’s Outpost 23,  it all seems about bowing to the empty spectacle of Tech, an endless fawning to the (neural) computational expense of everything else.

Yet as Robert What’s so-called Abstract Encounters group correctly states with their one word manifesto against Realism – “Technically Impressive isn’t.”

If one drags oneself away from the apparently overwhelming majesty of how ‘cool’ everything looks for a second, it’s easy to realize that such video space is almost entirely devoid of actual style – hey, maybe it doesn’t actually need any, but it’s often still cause for artistic concern, considering the amount of gamedevs which often ‘switch to (/the) Unreal’.

Dig Unreal’s multiplayer level Outpost 23 for instance, where style got wrapped in shiny plastic – “High Tech Uber Alles; all other artistic priorities rescinded.”

The only message to gamedevs and players being shouted by such scenes is “Cool huh? I know, right! Right?”

The Ideology Of Realism: Malcolm McFlak Outpost 23

Just take look at poor old Malcolm Mcflak in the scene above – imagine what he remotely thinks he’s doing. Very little as it turns out; notice how Malcolm is dressed in the latest active deathmatch arena armor, which shows off some very pretty highlights, complete with his warm green woolen cap and his incredibly detailed, massively oversized personal over-compensation weapon – Malcolm looks ready for anything – anything except for the immanent threat of actual style.

For despite his slick look, Malcolm’s as goddam hyper-generic as the techno blandscape which – literally – spawned the poor dim schmuck.

Rather than surpassed, unfortunately it seems “Brown Games” have been merely been sublimated, the conceptually dubious torch of ‘technical sophistication and fidelity level in service of cinematic realism’ merely passed on to the next new generation of rendering engines and gamedevs which use them (andor get used up by them.)

Update Patch: Philip Klevestav

one good example of actual style – one of quote painting with light – as work of philip klevestav once wasted as an artist on Blizzard’s Overwatch.

Philip’s Sci Fi interior scene displays understanding of nuance, the strong interplay between architectural structure and the precise lighting needed to embody and fully express it – that is, light not used as merely another decorative source but as overt stylistic expression.

Update Patch 2: Allison Road, et al

in which something about rendering engines ideologically pursuing photorealism – the ideological rendering of the concept of Home in, eg Allison Road feels disturbingly unreal. Uncanny.

Update Patch 3: The Epic Lie

Congratulations to Epic Games, now a literal Gear Of War – its Unreal Engine the official engine of death and destruction:

/ On Graphical Fidelity Generally and the Blind Pursuit of T.C.R Total Cinematic Realism

Rather than reproducing the “world” spontaneously and automatically, as the ideology of realism would have the spectator believe, the cinematic apparatus always operates selectively, limiting, filtering and transforming the images that are its raw material.
– David Rodowick, The Crisis of Political Modernism 1994 p77

In keeping with Boing Boing’s strict classic attention economy injunction “Just look at it!”, consider an environmental concept of the game Deus Ex, as rendered in Unreal Engine – just look at it, for what exists™ is always good – and now here’s even more of it, you bastards:

The Ideology Of Realism

Regarding Unreal Engine’s realistic aesthetics; it’s like a prison environment that one looks out at with the usual passive disinterest – but what one sees might belong to the prevailing I.O.R Ideology Of Realism’;

Consider what being manifested on screen or ‘rendered’ as a virtual set of cultural ideas regarding the distinct non playability / non interactivity of a cold, hard symbolic environment of massive Control.

Such video game spaces featuring incredibly detail (scientifically accurate lighting effects) are often referred to as ‘tech demos’ or ‘barely interactive screen savers’ since they only allow strictly limited sets of predefined interactive possibilities, eg. WASD while shooting brown people in the face.

One loud, unspoken assumption being stated in this scene, in and through every pixel concerns how things are, and how they should be – but according to who?

Everything we call real is made of things that cannot be regarded as real
– Niels Bohr

It’s almost as though the reason such a world displays such a precise, high degree of graphic fidelity is precisely because it does not want anyone or any force to change it; such a world exists in a state of total, permanent lock down.

Such an environment appears one of control, or precise mechanical movement and security; a player’s modern alienation is built into the scene, is reflected back in their exact lack of genuine options for meaningful interaction.

Consider the modern, blindly aggressive pursuit of T.C.R Total Cinematic Realism in/as videogame spaces, and what might be called their ‘graphic fidelity – that is, the unquestioning loyalty to the violence of cinematic realism.

People’s concept of what’s real is almost always that which is most convenient for them to believe at the time
– Brian Eno, Imaginary Iandscapes documentary, 1989

Perhaps the aesthetics being rendered in this Deus Ex Unreal Engine scene are the ‘realistic’ aesthetics of prison environments in the robotic name of prevention of non official player meanings. Only the cult of T.C.R is able to be known, or directly seen in this Scene.

The Ideology Of Realism: Parallax View

Remixed screens of most excellent article about graphical realism – Parallax View by Real World Mag [2]

/ On Feeling High On Dead End Thrills

Consider research & development, not merely about realistic high fidelity graphics or frozen ‘epic’ moments – but about living people, their dynamic relationships and  strange ideas; indeed anything else seems a dead, dry end

[..] the fundamental qualities that make a good game have remained unchanged and elusive. Consumers still flock to buy original, addictive, and fun games, leaving many flashy products with million-dollar budgets languishing in the $9.99 bin. These costly failures demonstrate that the consumer does not desire a cinematic experience, but rather a quality gaming experience.
-Sid Meier, game designer

To consider Dead End Thrills as a slick propaganda website for Total Cinematic Photorealism – encouraging the default hollow ‘passion’ and continued near total lack of imaginative talent behind the worlds most generic videogame spaces.

Indeed, try throwing back another shot every time another unctuous games industry figurine talks jive about ‘passion’ in videogame spaces – as though on an ideological mission to consider the essential elements of play mere distraction; along the way, provide ‘lovingly captured snapshots’ of often startlingly empty virtual worlds and their blandly beautiful inhabitants – where even designer dirt is clean.

Virtually all of Dead End’s screen shots seem to come from the same (ideological) engine – an engine that can only render clones and cookie cutter landscapes.

One might accurately compared such work with that of a lost unit stills photographer on some dull movie set, whose job it is as to falsely flatter and mis-translate videogame space – to somehow provide a visual document not entirely diminished by technology – yet which is in fact nearly entirely defined by I.T. Another overt attempt to further confuse vitally important ‘play’ as strictly big business debates.

The modern videogame realism equation is as follows:

Where “polish” signifies more effort (work) equals higher ‘Worth’ (ie psychological / consumer sunk-costs justification) = mo profit$!!

That is, the only true interest is in heavily sanitized (corporate) Art™ which exists within the dumb ‘entertrainment’ medium only.

In a paradoxically sly bid to validate it’s own R&D or win approval from an otherwise intelligent jury of videogame critics, Dead End Thrills is falsely inspired primarily by the ‘Journal Of Cinematic Illusions’ – nice name.

It’s choice of research is decidedly discriminatory; even worse, it patronizingly states that even the most rushed or underfunded games can dazzle and inspire – as though Hotline Miami wants or needs anyone to give it a graphical makeover.

The site has gone through few changes over years and has settled on what it regards as its ‘purest’ format to date.

Images are downloadedable at high rez, and are available upon request at ‘extreme’ rez, suitable for print by hipsters.

Yet, while it maintains it’s not a simple wallpaper resource, virtually all of its disturbingly samely snap shots appear to have been taken with that precise use in mind.

Dead End Thrills feels like expensively cheap videogame tourism, that unconsciously loves ogling videogame landmarks with a virtual Instamatic camera – even ridiculously states that this is actually the job of play itself; indeed Rockstar Games would agree.

It’s central underlying ethic is that of work; to confine and isolate videogames from wider cultural questions.

Indeed, its contributors discard hundreds more shots than they post in an all out effort of deliberate selection and design – ie. cultural decontextualization.

Its also why games only tend to feature there if they allow inherently limited pseudo freedom of control over camera and game events.

While no photoshopping is allowed beyond subtle tweaks to gamma, a distinctly self-perceived male player gaze is in full effect.

In order to produce such images seen on site, the games themselves are heavily modded – made exactly similar because that’s the ‘serious’ business of games. To display the industry proudly.

It’s all about ‘downsampling’ – rendering at hi rez then shrinking to quote improve quality (of the modern image of what it thinks games should be), in many cases capturing what makes these games live, holding them inside dead images, only possible thanks to the per arranged generosity and mutual ‘understanding’ of developers who provide unlocked or early builds of their games.

Credit of course should go to the hackers and modders who enjoy truly opening retail games up so that anyone can explore them – yet Dead End Thrills only seems dedicated to giant hardware corporations whose sole job it is to promote the environment destroying technology of games (For seekers of Dead End graphical thrills, it’s merely a capitalist ‘win win’ scenario as long as one is provided with necessary equipment to crash and burn on these games-as-services on a regular basis.)

The entire site is proudly powered (indelicately perfumed) with the alarming corporate cloud of Intel, Corsair and Nvidia, it’s images are hosted by the ‘content delivery network’ (wow, how Super Generic. This mirrors how the AAA Games Industry often talks about the millions of hours, tears and sweat poured into videogame art in terms of mere content – like styrofoam packing peanuts.

If not for the living players which inhabit them, such videogame worlds seen on Dead End Thrills appear soulless and dead.

The empty spaces it visits, are explored repeatedly to find what it safely regards as ‘best possible quality’ and most ‘appropriate’ formats – that is, the most generically ‘exciting’ and ‘evocative’ moments – that is, which appear just like advertisements for the AAA Videogames Industry. Indeed, Dead End Thrills has produced marketing and production assets for companies such as Bethesda game studios, Arkane studios and Crytek under strict contract – a fact which doesn’t seem to bother anyone.

Example Reference Links

  1. Photorealist Work Ethic
  2. Real World Mag: Parallax View (Michael Thompsen)
  3. Videogame Neorealism
  4. Nvidia Rendering

// how to play big science

The Super Future Feel Of Amiga Graphics

RND/ to consider the unique Super Future feel [1] of Amiga era graphics / aesthetics [2] – as curated from oldskool Amiga magazine “The One” [3]

 

Deliciously chunky polygons [4] and seemingly infinite pixellated cyberspaces [5] – a bizarre information landscape of oddly alive ‘visual language’ where strange alien bleeps and bloops are heard

(Ironically speaking) Forget retro – such visions arrive fresh from tomorrow

The matrix has its roots in primitive arcade games
– William Gibson/ Neuromancer

Note the high volume of simulations of militarism [6]

Theorist-For-Hire Robert What is currently writing a book about the UK Amiga Demoscene [7]

Reference Links

  1. Supercade by Van Burnham
  2. Graphical Style in Video Game by Mary Keo
  3. “The One” Magazine
  4. 90s Polygons
  5. Ready Player One: Desert Of The Real
  6. Videogaming Militarism
  7. Retro Computing Feel by Robert What

// how to play big science

Cyberpunk Is Dead: A Study

RND/ To consider or imagine cyberpunk as (/un)dead: a study.

Funny how adherence to cyberpunk – a genre based around future ideas of rebellion and non conformity – so often itself conforms rabidly to cliché
– Gaming personality Yahtzee on Cyberpunk

Authentic Cyberpunk

In which the deadpan yoke seems nothing remotely like any kind of authentic Cyberpunk ever existed – just its ghostly simulacrum floating strangely and somewhat uselessly inside a hyper specific subset of global sci fi literature ghetto:

Burn Cycle (Post Cyberpunk aka ‘Neuropink’)

– In which such awesome environments, though not drawn in the greatest of detail morph smoothly from one to the next as the main super generic Sci Fi character navigates through a corrupt decaying city of the future in an impossibly antiquated, Quicktime VR type effect:

Deposit For The Courier

To consider the Post Cyberpunk cheddar in Deposit For The Courier:

In which Deposit For The Courier animation by Edward Mavskegg represents the theoretical bleeding edge of Post Cyberpunk aka “Neuropink.”

In terms of a new potential aesthetic for video designers, some cool features of D.F.T.C include:

  • Dat hot steaming #Welgestyle.
  • Haute couture realities, aka ‘Kardashiananity’.
  • Minimal narrative investment, aka ‘syntactically correct but semantically meaningless’.
  • High Resolution (with odd textural fetish).
  • Uncanny valley style elective surgery, aka ‘Bogdanovization’.
  • Limited skeletal expression / lightly ‘Harring’ animation (??)

It seems remarkably similar in its bizarre aesthetic mis-construction as “A New Reckoning” could arguably have been thrown together by the same cool state of #Welgestyle development.

The synopsis alone is worth the price of strange admission for its tagline and grammar, syntax and punctuation.

Described as a film about how money would look in the future, what future payment methods would be in practice? This film also uniquely addresses issue of women’s shopping passion in conditions of chase – the animation story line set with in year 2050 revolves around an intriguing chase from one city to another, with the lead character a young woman cyclist employed as courier inadvertently found strange navigation device in desert. Upon closer inspection it was discovered device contained suitcase with money. The plot thickens however unknowingly as the courier realizes two bandits following want money too. Realizing the suitcase is now on the move bandits chases the money cyclist through a small city so they decide to explore this city to find cyclist. Succumbing to a passion for shopping and having found all this money the cyclist became the gang’s new target. According to the story characters live in the world of the future, together with futuristic robots, bots and devices around different places – shops and hotels.

Wow – according to its creators, Deposit For The Courier already has what some Researchers call ‘that special atmosphere’, meaning it will be without background music with accents on silence. Such details make for a very catching film says director Edward, adding the film will be posted online after completion.

This short animated movie is targeted to audiences who like to watch animated short films animated movies short CGI films CGI computer generated art viewers who like Sci Fi genre detective fiction experimental art or art film / independent film.

– Thanks!

Cyberpunk 2077

LA has changed lot during my time
The air got dirty and the sex got clean
– Detective Angelo Pappas, Point Break (1991)

In which even the ghosts of the 80s give neon side eye shade – squeaky clean with AAA polish and dead chrome shine; in which design by our dad’s oh so edgy Virtual Golfing Committee results in deep ‘Near Future Retro 80s’ designer copy pasta ultra violence.

Screenshots from the WIP gameplay demo:

It all seems about as edgy as a pink mohawk on some crossfit hipster sporting expensive gold sweatshop trainers – someone mild *cough* ‘real authentic cyberpunks’ could casually neck punch right over a coffee store table as easily as breathing megacity exhaust fumes.

Oh, to watch with dumb horror as young dumb mega corporate fanbois who grew up entirely without Cyberpunk, only hearing about it yesterday FFS (through, eg. fucking lolmemes) lap that shit right up like some damn industry installed F2P skull implant – GG über alles, OK right fine open your art cracks wide in public displays of wilful un-criticality why don’t you – but what’s good about that, if it’s all based on super generic ideas repeated till zombie undeath – just with incrementally nicer (generic) GFX upgrades and better framerates, aka shrinkwrapped standard-substandards?

In which it has to be good, simply because it merely exists, aka Capitalist Realism 101 – hey how very more actually Cyberpunk!

Both cyborg Billy Fanward / ‘retro wave’ music show more interesting ideas than such generic, anti-weird mainstreaming (I mean, good grief at least get Mitch Murder to perform the soundtrack!)

Nearby public information klaxons suddenly blare – “Nothing too much to see here citizens, move on oh it seems you’ve already forgotten.”

[..] how many formulaic tales can one wade through in which a self-destructive but sensitive youth protagonist with an (implant / prosthesis / telechtronic talent) that makes the evil (mega-corporation / police state / criminal underworlds) pursue him through (wasted urban landscapes / elite luxury enclaves / eccentric space stations) full of grotesque (haircuts / clothes / self-mutilation / rock music / sexual hobbies / designer drugs / telechtronic gadgets / nasty new weapons / exteriorized hallucinations) representing the (mores / fashions) of modern civilization in terminal decline, ultimately hooks up with rebellious and tough-talking (youth / artificial intelligence / rock cults) who offer the alternative, not of (community / socialism / traditional values / transcendental vision), but of supreme, life-affirming hipness, going with the flow which now flows in the machine, against the spectre of a world-subverting (artificial intelligence / multinational corporate web / evil genius)?
– (From) Storming the Reality Studio: A Casebook of Cyberpunk and Postmodern Science Fiction/ edited by Larry McCaffery/ Duke University Press

Neon Code

Neon Code

Hot neon megacity nights, palmtree lifestyle, private beachfront detective for hire – a cheap taste of badly retrofitted 80s style post noir sleaze.

Good ol’ Willy Gibson on Cyberpunk GTA 2077

First and foremost, to consider that the (now classic) anagram of “William Gibson, Neuromancer”:

Common As Unreliable Wiring

Cyberpunk 2020 rulebook cover (256cols)

– In which Bill doesn’t seem to dig Cyberpunk 2077’s art direction or design ideology – which is rich, considering Bill seems somehow more directly responsible (historically at least0 for it’s whole, sad little sub scene.

Yet watch out for potential death by karmic irony bill, considering you were once wandering around, wide eyed on the set of “Johnny Mnemonic” extolling its endless virtues while gushing over the neon excess. Oh my what an excess of the riches of embarrassment.

*Sigh* If only modern synthetic Cyberpunk would knowingly turn their own historical mode of garish cheesy camp up to eleven in order to feel more authentically synthetic and strange.

Dredd (2012)

To consider a critical comparison and contrast with Cyberpunk 2077 – a zero degree cool corporate single Researcher FPS RPG manufactured via Witcher developer CD Projekt Red:

Cyberpunk Is Dead

To consider Cyberpunk as dead; a sub genre of plain bad Sci-Fi badness, mixed with cliché film noir – its brand of fiction presenting Researchers with a future composed of overwhelming technology – universal computer access via ‘Cyberspace designer violence’.

Example images of (/Un)dead Cyberpunk:

As a movement of new synthetic 80s, it’s based on spiraling greed and growth of mega corporations so big they’re more powerful than governments – but then the ‘Near Future Now’ is soon to arrive again. Up till that nodal point it seems reasonable enough; afterwards of course Cyberpunk will once again became mere idle speculative fantasy. Most frequently dystopian, it has become heavily calcified in its official aesthetic definition, ie. as mere hyper generic can of something internet Edge Lordy anyone can instantly spray on.

Cyberpunk defines itself as a story of people in an age where they don’t matter anymore – where technology has made them obsolete as discrete entities. The constant daily rediscovery of the ‘quantified self’ during this paradigm, shifts and strains; in classic supermarket novel Neuromancer by William Gibson this is evidenced in the overwhelming hopelessness of all the characters – of their constant struggle to survive their own efforts, to glory in self destruction – a whirlwind inferno burning inwards.

Cyberpunk’s use of implanted machines – of merging of humanity with machinery, of Capitalist ‘Big Science’ as so wide an idea that cyberpunks forget to look around. Machine implants are the be all and end all of awfulness of Sci-Fi, the entirely logical (pathological) obsession with technology is to be read as the core strength of the genre. Probably one reason its creators like to declare it undead is because while they’re acutely embarrassed to be remotely associated with it, they are secretly as pleased as pigs in shit.

On Cyberpunk as dystopian meaning and apparent opposite of Utopia; as bad as things are at the beginning they’re always predictably worse by the end for pretty much everybody except of course the titular heroes of said Sci-Fi pulp; Cyberpunk also utterly deliberately fails to address issues of humanity losing to machines of alienation from one’s fellow Researchers, of death, of love, honor, of annihilation of the soul in face of relentless technological progress – Cyberpunk themes are depressing when good and entirely happy when badly written.

In this sub genre, human beings are connected to computers their own reflexes only relevant to their ability to steer around nets in competition with other computer security systems these hackers and crackers are trying to break into. Most of these people have skull jacks – simple plugs wherein really expensive computer cables connect directly to the empty skull; thereby the user becomes an organic component to a global system of computation.

Re: Shadowrun – as exactly Cyberpunk-edgy as Your Dad’s vision of Cyberpunk after watching Lord Of The Fucking Rings:

Cyberpunk was once popularized by the nerdy pink skinned “Mirrorshades” group during the 1980s when the Cold War was going strong; ‘Big Blue’ was on top and the world looked to become the place where everyone worked for mega corporations, which had become feudal in nature. Then the Berlin Wall fell and the genre went with it, but like the wall its ghostly memory-shell remains; mutant children of the 80s witnessed its rampant zombification; all Cyberpunk fiction today is the result of such mainstreamed hackwork – simple undead momentum keeps it going now.

While originally proposed as a cool, post modern mode of science fiction, it took Researchers out of the halls of power culture into the slums and back alleys of ‘twenty minutes into the near future now’ without really leaving it; consider Cyberpunk as ritualized, stultified and deeply undying – vaguely fun while it lasts, people still write such (cheesy) ‘flan fiction’ in the genre but most quietly move on – nobody discusses Cyberpunk at sophisticated wine parties, except when they’re doing lines of DMT-spiced chocolate crack in the designer toilets and want to appear groovy.

Further weakened by its own popularity, there have been efforts to bend the imagery and technologies of the genre to more publishable popular ends – attempts at suicide by mundanity are regularly attempted; at lukewarm nerd parties, annoyingly nasally-voiced author Bruce Sterling still repeatedly refers to his colleague’s very public obituary to the genre on the New York Times editorial page and his reasoning appears sound.

As a genre of rigid rules the best source for such cultural writing / coding is from the “Cyberpunk 2020” source books, which is still a role playing game of significant popularity these days among those with interest in RPG’s who anally read Gibson’s ‘Neuromangler’ over and over again, working from an established set of magical technologies for use in their settings. Watch as they wilfully read non-existent meanings  into its timelines which apparently predict all events for the next coming 20 minutes. Obviously things don’t quite happen like that, but modern Cyberpunk flan -fictioners of all shades are careful in their public attempts to constantly realign reality with Cyberpunk prediction (indeed their success in un-living suspended within this very cognitive gap or reality dis-junction marks them out as true synthetic Cyberpunks.)

According to its proponents, Cyberpunk is a word applicable to whatever users wants it to be, which results in an immediate absence of meaning or over abundance of real fake plastic meanings; to define it is to ostracise oneself which makes Cyberpunk more akin to a random bowel movement in a chemical toilet of a crashing plane rather than just some pseudo philosophy or actual setting. Cyberpunk is undead, sure – but it still seems a neat practice area for expansion and expulsion of dodgy ideas.

Cyberpunk Is Dead: An Imaginary Play Space

Where puerile, side-eye rolling 80s style internet manchild edge-lord dick tech power fantasy meets accidental hyper-camp with heavy neon accents.

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Cyberpunk Is Dead: An Imaginary Play Space

To consider paradoxically ‘good type bad’ examples of standard Cyberpunk excess and high end naffness (Note: ‘naff’ is UK slang for not very good; ‘a bit shit’.)

Yet if only such a pose were fully conscious and deliberate – how oddly wonderful / actually more dangerous and strange could expressions of Cyberpunk feel! High tech A.I driven vehicle crashes into the global swimming pool while the deck burns and holographic dancers tease.

Cyberpunk Is Dead, Mike Pondsmith

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Cyberpunk Is Dead: Mike Pondsmith

In which the writer and game developer wears a lurid purple T Shirt featuring the (now classic) “Cyberpunk Is Dead” slogan underneath a sweaty, slightly unfashionable leather jacket with neat metallic album cover fan pins against a typically dystopian megacity backdrop..

Cyberpunk Is The New Zombies

To consider crying for real if you read the fucking word “Cyberpunk” just one more time.

Cyberpunk Is The New Zombies

Equation: if generic manga art with glowing ‘Tron’ line accents somehow remotely equals “Cyberpunk,” FFS – then “Cyberpunk” most certainly equals “Zombies.”

Neofeud

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Neofeud Hypertography

To consider some other garish Cyberpunk shit-show from the (/z_) distant trash aesthetic future.

Second (Undead Cyberpunk) Life

Second Undead (Cyberpunk) Life

To consider unexplained scenes from some long undead and painfully obsolete browser based videogame.

Max Headroom Is Dead

To consider visual, un-rewound VHS style celebrations of (the UK version!) of “Max Headroom” – cult ‘Near Future Retro 80s’ TV series; virtual reruns broadcast nightly live from Channel Zero.

Nameless Megacity

To consider some nameless near future megacity of living undead default Cyberpunk cliché – with monitor glitches, naturally.

Neuropink

To consider ‘Neuropink’ – post cyberpunk Sci-Fi concept.

Uterus Man OP by Lu Yang

First off, a useful ‘Big Science’ term – “The Near Future Retro 80s.”

In which the NFR80s describes a unique present – similar to a dreamy, un- rewound, straight-to-VHS movie version of the future.

The NFR80s – another garish, psychedelic Sci-Fi metaphor that floats on mirrored hyper surfaces and (generally speaking) hurts nobody.

The NFR80s not only seems a dis-location but complex states of minds or mood tones; an energy condenser lens for super shamanic night visions – a dark light mirror reflection on /of memory, in relation to current (unknown / unknowable) trends in unexpected techno-evolutionary change.

In which so called ‘Big Scientists’ not only ask what ‘the 80s’ consist of, but also how such ‘Resarchers’ may fully utilize the 80s in their research projects.

Two classic in-scene phrases exist to describe that special ‘NFR80s’ vibe – which is always on verge of going-to-arrive..

Warning: Reserchers not yet fully intimate with ‘Big Science’ can get sucked unprepared through intense, hyper-visionary dream portals generated by such neo-cultural ‘power core’ DNA.

The first stream of classic in-scene image generating code as follows:

The Near Future Retro 80s: where liquid neon memories flicker, twist and reflect off dirty chrome pools outside random backstreet videogame arcades in old Shinjuku at some eternal 3am – electric dreams, forever adrift in the crying megacity rain..

Second classic phrase andor vision-stream as follows:

Wow – the ‘Near Future Retro 80s’ – awesome; like Tron on Xenomorph-secreted DMT

*sob* That’s beautiful, man.

The 80s: Some Background Theory

The NFR80s takes passion and nostalgia from the 80s to create something new and enjoyable for today’s retro loving culture.

In which Researcher Robert What – well known for using retro techniques and expression – connects a not-so-far future with today’s de-generation.

A strong attention to detail allows What to authentically recreate astounding visions of the ‘new future now’ as if they were right out of tomorrow’s 80s era.

His bold meta-digital brush strokes resonate through hot mirrored chrome and dirty neon megacity eloquence.

When modern players or ‘Reserchers’ discuss the ‘near future’ they’re specifially talking about a unique vibe, born of an age most ‘flans’ and practitioners weren’t even alive in, ie the 80s – yet instinctively feel they understand or ‘wave with’, deep in their artificial bones.

This is the ‘liquid neon’ vibe of raw emotion; of out-of-control alien technology – a mildly profound sense of ‘love-on-the-run in a time of danger’.

Some think the ‘NFR80s’ are only about, or spring directly from the historical 80s era, but that’s not quite correct.

One of properties of the NFR80s is that it’s forever still yet to occur, broken off  and unhinged from local space-time; rather the near future is a cusp between dimensions, unlinked from any specific cultural period.

Indeed, such a moment never quite arrives – rather the NFR80s describe a non specific ‘mood tone’ – an always just on the verge of going-to-be arriving ‘retro 80s style’ or ‘final approach’.

The actual 1980s – a bizarre period of global, All-Amerikan history dominated by haunted video arcades and Mom & Pop video stores – with those bizarro / psychotronic top shelf titles which used to freak you out (like the lonely canyon echo of rolling zaibatsu thunder) – certainly seem the cultural wellspring, but not quite the full implied meaning of  ‘NFR80s’.

To Break It Down

– In the 1980s: it was as though nobody fully realized what was happening in or with the 80s – especially aesthetically – so our hyper fragmented, MTV attention span electro-media culture seemed totally ‘sincere’, with arguably little sense of self.

Some explain this by suggesting the special cultural effects of or implied by ‘the 80s’ are best considered as a shadow or wave – cast from an imagined hyper alien future, back into our (often missing sense) of The Present.

– In the 1990s: by the time the 90’s had rolled around, kool kidz had caught on to and started fully realizing that the ’80s aesthetic’ existed and was something in itself to use, played with or inside.

This explains why lot of early 90’s TV programs display a strong 80s vibe – lots of neon afterglow, combined with dry ice fog in their neural DNA – a lo-fi psychic backwash from previous future eras.

– That weird state called ‘The Near Future Now’: what Researchers experience when the scene has a NFR80s vibe – perhaps psychic aftershocks of the 80s coming back out of collective cryogenic storage – out of an all-too hyperreal state, forever ‘tears-in-rain’ type dystopian megacity visions downloading onto our internalized holo-screens.

Now Equals Wow!
– Typical ‘totally 80s’ psychology

Consider the ‘mainstream underground’ movement of the NFR80s as: “Pressing Escape to some private version of the imagined 80s”.

This is despite (or even due to) its highly techno-dystopian ‘neuropink’ nature – players want to escape to personalized ‘gamespacetime’ where the seductive neon lure of midnight dangers of endless vertical megacity streets seems somehow super cool and viable – an imaginative ‘tech noir’ backdrop or extreme psychic augmentation to their (current, imagined) Western Turbo-Capitalist, Alternative Meta Lifestyle.

NFR80s-feeling electro-culture seems highly escapist. One of its main messages: you have to ‘hold on to your dream’ – if you do you will get your rewards – become the online all dancing TV queenof dark paradise skies

How to “Hold on to your dreams”:

– First, play and immerse yourself inside your favourite NFR80s soundtrack andor bio-psychic vibe-aesthetic.

– Then suddenly stand up straight, looking up at a 45 degree angle while bringing your two closed fists together up to your chest while a ‘forever distant megacity horizon look of extreme longing andor confusion passes across your blandly handsome face’ – or flashes across your ‘extremely futuristic looking’, hyper-mirrored wet look bio-quantum superblack smart hyper-combat neuroplastic wraparound data shades (with the thin blue neon outline.)

Seen as a shifting (possibly even sentient) superfluid, the whole Near Future Retro 80s are an experimental construct – a vitally important way for modern ‘Researchers’ to describe, generate and emulate “Big Science” – ie. the truer experiential, experimental feel-sense, ambiance, atmosphere, aura, attitude, impression, quality, semblance, sensation, surface tactility – personal symbolism, implanted near future memory, sociocultural import, psychological impact, etc. of one’s modern hyper-aliveness of full immersion in uniquely techno-psychedelic electro-environments full of sentient machines / freaky ass situations / astounding digital mytho-landscapes of bright information pulse and flow.

In short, consider the NFR80s a sub-cultural method used for approaching unresolved issues of ’80s’ style or associated aesthetic Research phenomena – a mode or lens to think of other poptastic aspects of ‘Big Science’.

NFR80s methodology pseudo-reappropriates glitzy and kitschy, seemingly easily consumable pop as culture back as fecund source of raw explorable / exploitable research immaterials – to be played with / in / otherwise creatively transformed for sustained improvisational research purposes – a chance to allow a fresh understand of particularly ’80s’ modes / moments in evolution of experimental media based self reflexivity – an odd instrument with which to modify digital consciousness on the fly – perhaps organize new modes of critical New Media sensibility, oscillating between hidden / foregrounded ideational operations.

That is, our 80s themed emotions, our 80’s-esque / retro-80s pop culture media and Research culture often emanate and embody certain, uncertain ambient vibes, untied to or from any specific era; such strange and sublime ‘NFR80’ super subjective background emotions or hyper futuristic mood tones often appear at unguarded moments, eg. while researching odd theories, playing or practising ‘Big Science’ – an irreal, delicate superspace freed from ordinary time ever deferred, or that constantly re-manifests in/as our online dreaming.

Indeed, the NFR80s may be seen as a shadowy presence, indirectly indicative of the influence of some impossibly hyper-alien near future of infinite cosmic potential – complete with neon megacity afterglow.

Note: while virtually all modern ‘Researchers’ play or hang around aspects or modes of retro culture – they also express difficulties or reservations regarding full articulation of such intense sets or scenes of highly complex, actual shifted emotional calls / responses of or especially from and inside their alien tech / their technological super spaces – where concepts like The NFR80s often come in to play.

This term (in such a context) means: post categorical – unconfirmed, intangible, undeniable, usually unquestioned, unverified, incorporeal, insubstantial yet fleshy, sublime, animal, human, immaterial, strangely sensual, organic, somatic delicate – even perhaps techno-spiritual.

Common culture tags associated with the NFR80s: #dreamwave, #electropop, #Valerie, #synthwave, #new_retro, #neuropink, #BloodDragon, #drive, #montage, #darkwave, #hyperreal, #virtual, #neon, #video, #glitch, #laz0r, #electro, #recyc, #simulation, #synthy, #vision, #flux.

Neuropink: free theoretical outline for open, Post Cyberpunk concept – v1.0.

Note: consider this as virtual code which needs self compiling.

In which Neuropink refers to psychedelic / psychological science fiction that can be applied to many different kinds of interactive media.

Neuropink: Plus Nine Jewel

Consider the general symbolic coordinates of Neuropink; a Post-Cyberpunk ‘Visual (/Reality) Language’ for “Big Scientists “- a fuzzy network of modular co-evolving elements; for example.

  • Contrapoints: for the aesthetic
  • Lawrence Lek’s Sinofuturism
  • Polyhedral Soap
  • King City
  • Reality coding in dark light liquid scanning mirror
  • UHF dimensional test transmissions from/to aether
  • Bio-quantum pulses from missing present colour of anamnesis vision superstrings
  • Uncreative W/Riting on tight /planetary schedule
  • Imprecise yet deadly velocity of lime green lawn furniture
  • Slippery crushing love of giant baby squid by self elective c section of mutant oversoul
  • Sleeping meditations under deep data snow drifts on holy mountain
  • Close quarters dance routines with ontological night fever
  • Black wishing stones from a river in Uapan
  • Self andor identity as just another technique: only as postmodern as required
  • Making understandable unseen automated dramas of advanced social networking
  • Xenomorphic / superflat corrosives, eg. Bake meets The New Aesthetic while skydiving backwards into the near future now
  • Artificiality as intelligence; bio computational polyversality, holographic ‘source equals open’ everything
  • Baboon Television – it bites: multiple eyes of hybrid jungle hive mind projecting chameleonic / shamanic predator dreamstates
  • Exploring the omega maze: contemplative labyrinthine pathways through collective post Jungian neural hyper-matrix

Notable Neuropink programmers / states

  • Jean Moebius Giraud: for senses of cosmic life infinite
  • Paul Laffoley: for working time machines
  • Chris Cunningham: for post digital fx
  • Ian Francis: for endless neuro-smeared summer
  • Redline: for when Funkyboy also destroys Roboworld
  • Warframe: ninjarific
  • Mahakala: for unquenchable radiance of supreme emptiness
  • Ray Ogar: for technical glitched precision
  • Jean Michel Jarre: for his exoplanetary senses
  • Roy Batty: for his midnight megacity poetics
  • Captain Blood on the Amiga 500 / Atari ST: for alien communication
  • Shandra Manaya, Argon Queen: for raking virtual video flesh now gone
  • The Future Sound Of London: for the impossibilities of lifeforms
  • Cephalopods: for ir hyper surface manifested thoughts
  • Alex Colville / Eric Fischl: for stark alienation / violent haunted potentiality
  • Sentionauts: for being beyond the black rainbow
  • Horse Ebooks: for meta surrealist daring
  • Galaucus Atlanticus: for grand oceanic form
  • Geek City: for cool cats
  • Thumper: for entomological mytho narrative
  • Shinya Tsukamoto: for psychological character intensity
  • Elias Koteas as Vaughan from Crash: for that R&D drive
  • Bruce Sterling’s Artificial Kid: for instant grasp of emergent media
  • Yo Landi Vi$$er: for zef rats in the walls of the worlds
  • Laurie Anderson: for her Big Science
  • David Shields: for poking at leaky literary dams
  • Haikasoru / Kurodahan: for delicious sci flavours
  • SCP Foundation: for databases of the aggressively unexplainable
  • Reza Negarestani: for geo traumatic sensors and theory-fiction
  • Robert Smithson: for Hyper-Ballardian mind spirals
  • Dr Hans Reinhardt: for grand dinners / ego blinkers
  • Blue Cube from Mulholland Drive: for acute ontological disruption
  • Tetsuo Shima from Akira: for extreme psychic deformation
  • Tetsuo II: for the body hammer
  • Killy from Blame!: for tardigrade toughness
  • Raiden from Metal Gear: for hammy dialogue
  • Hyung Tae Kim: for long shiny legs
  • Visual Kei: for that raw Cyberpunk-era style embarrassment
  • Nordic LARP: for traversing narrative at oblique angles
  • Insilico roleplayers: for grace under information pressure
  • Fist Of The North Star: for flawless technique
  • Quantum Cathedral: for hardcore oldskool cyber gothics
  • Stephen Shaviro: for metaphysical theory laz0rs
  • Mark Leyner: for the menthol of autumn
  • Omni Magazine: for that immense vertical vision
  • Mariko Mori: for bioquantum colors of combine dropship carapace
  • Kenji Siratori: for the raw fucknam
  • Baden Pailthorpe: for military hyper aesthetic space drone critique
  • Simulacra Syndicate: for aesthetic hyper specificity
  • Max Capacity: for transgressive glitch aesthetics
  • Zoran Rosko Vacuum: for dedicated reviews
  • Future Interfaces: for more input
  • Hatsune Miku: for hyper-virtual tonality
  • Kidmograph: for animated near future
  • Kilian Eng: for the details
  • Theo Kamecke: for the polish
  • Rob Hardin: for fistic hermaphrodites
  • International Journal of Baudrillard Studies: for the lean clean blade
  • Vaporwave: for Windows 95
  • 3D Additivism: for plastic extrusion into other
  • Unknown Fields Division: for research in wild
  • Berserker Powerup / Soul Cube: for the sudden metallo-clang
  • WonABC: for hyper detailed undead
  • Pussykrew: for the corporate aesthetics

Consider any sufficiently advanced biotech as indistinguishable from postmodern metaphysics
– Freelance Amateur Postmodern Internet Theorist Robert What

Update Patch: Neuropink coding guide – initial outline

  • Deep systems rather than charismatic individuals
  • Full spectrum neural remix rather than heroic pinky-whites
  • Algorithms rather than attitude

Example Neuropink Logos

“Neuropink” logos

A .xsy-fi seared ‘humalian’ space-ape brain unit.

Cyberpunk Died Last Night

File under: in which any toxic product press equals good .net press:

Tokyo Cyberpunk

Stills from video via Secil B; if tokyo was dead megacity Cyberpunk even back in 80s then does modern cyberpunk merely re represent yet more sad attempts at obsolete jerry rigged retro futurism?

Failed Cyberpunk Crowdfunding Campaigns

In which requests for hard virtual cash to initiate bad cyberpunk projects have been met with resounding howls of deafening apathy:

UPDATE PATCHES

  1. In which CD Projekt Red tweet enacts an apology
  2. A Cyberpunk Movie
  3. A study of the dead-vision of Cyberpunk Cities

// how to play big science