#echochrome

[easternmind]

~ The Summer of low bitrate and pizzicato ~ If you spotted me walking the streets in the distant summer of 2008, chances were I was listening to either the MP3 soundtracks from Rule of Rose or Echochrome. I played both endlessly on my way to and from work, when taking the occasional walk, or when out shopping for supplies. Two completely distinct games whose music is brought together by seemingly fortuitous parallels, in that both composers, who have a background in classical music composition, opted to write music for a string ensemble to perform.

Minobe & Sakamoto were born a few weeks apart in the fall of 1972. The former started as a self-taught musician capable of composing from an early age, who had a long career at SEGA/WaveForm before joining Delfi Sound. The latter was a child prodigy who went on to found a specialised VGM label, Noisycroak, who also collaborated with SEGA. Both have graduated from Waseda University in the 90s. Equally curious is the fact that the following title in the Echo series, the PSP game Echoshift, was scored by Minobe himself in 2009; while Sakamoto returned for the final entry, Echochrome II, in 2010.

[blossomwithluv]

[gamersonthego]

GOTG Review: Echochrome

This is the fourth game in my Backlog Roulette series, where each month I spin a wheel to randomly select a game on my massive backlog that I must play (though not necessarily to completion). These wheel spins occur on the monthly preview episodes I co-host with my friends on The Casual Hour podcast.

You want to hear something super lame? Echochrome is all about your perspective. 

OK, maybe I should explain why that’s lame. Echochrome is literally a game about perspective. You rotate a camera to hide, reveal or alter the level’s geometry to coax a character you don’t directly control to navigate to specific areas of the map. It’s Lemmings in the style of an M.C. Escher. 

So when I say it’s a game about your perspective, that’s some on-the-nose, too-clever-for-your-own-good writer bullshit. Except that that’s not what I’m talking about. 

The perspectives I’m talking about are not within the game’s clockwork levels, but outside of them. In the menus. In the presentation. In your approach to the game as a player as you hold your PSP and look upon it. 

Echochrome does not function like a traditional game. You don’t go from Level 1 to Level 2. I mean, I guess you technically can, but good luck figuring out how. Because when you load up Echcohrome for the first time — after getting through its initial tutorial — you’re thrown into its main menu, greeted not by more expected options like “campaign” or “time trial” or “challenge.” Instead you’ll see the words “freeform,” “atelier,” “canvas” and my favorite “etc.”

Love it. No notes. Well, maybe just one note: What the hell do any of these things mean?

“Freeform” is the top option. Let’s try that. It dumps you into a puzzle. You solve it. You’re dumped into another puzzle. You solve it. Maybe this is a traditional game after all. But then you notice a letter and a number shown at the beginning of each puzzle. B4, F6, D1, C3. But you don’t think much about it. That is, until you reach a puzzle you can’t solve. One in which you realize the game has a 10-minute time limit per puzzle. 

This is B8. I'm too stubborn to look up the answer, but I just can't figure out how to get the last echo. I hate it.

Cool, cool. While I think on that puzzle, let’s go back to the main menu and check out “atelier.” There’s no Ryza or Sophie to be found though, only a 8x7 grid of level options. And now the codes you saw on freeform make sense. Those were level identifiers. Row B, stage 4. Which means freeform is essentially a randomizer, whereas atelier presents them in the game’s natural order, of which you’re free to tackle any of the 56 stages however you wish. You go back to the one that stumped you before — B8. But after five minutes elapse, the failure bell rings. You only get half the time to complete a level in atelier mode (I guess because you chose the level yourself?)

And then there’s canvas — a neat little level editor to make your own stages — and etc., where the options, saves, credits and a replay of the tutorial go. 

The game itself? Oh, it’s pretty cool, I guess. The perspective mechanics can feel a little inconsistent, requiring very digital outcomes through an analog control scheme. And the time limits feel rather pointless (if the game is already tracking your time on each puzzle like a score, then what’s the need for a limit?) in a game that should be as pleasantly relaxing as doing the daily crossword or sudoku. And it is equal parts frustrating and funny when the soothing disembodied lady voice says “oops” every time you let your Escher lemming fall off the world. 

But more important to me is how the game bucks traditional names, rules and conventions to do its own thing (as the late Sony Japan Studio was wont to do with all their games), giving it a novelty and charm that endures to this day. Echochrome II though, requiring both a PS3 and a PlayStation Move controller to play, ages quite a bit worse unfortunately.

[g4zdtechtv]

THE PILE PRESENTS: X-Play - Here Comes the Boom (Blox) | 5/6/08

Bonus points if you're watching this on Google (echo)Chrome, assuming you haven't switch to literally any other browser already.

(4GTV - 24/7. LIVE. WATCH NOW.)

[gwimgamer]

Echochrome - A Mind-Bending Puzzle Experience

⭐⭐⭐⭐⭐ Rating: 4.5 out of 5. PlatformPlayStation Portable (PSP)GenrePuzzleRelease Date May 1, 2008DeveloperArtoonPublisherSony Computer EntertainmentMODESINGLE PLAYER Gameplay:Echochrome is a mesmerizing puzzle game that challenges players’ perception of space and perspective. In this mind-bending adventure, you control a character navigating through Escher-esque environments filled with…

[buttery-pancakez]

if me being one of the last echochrome fans on earth is my fate then so be it.

um,mm the game is kind of boring if i remember right but the music is SO GOOD if you have a lot of patience you should like. play it or something.

[theplaystationbrahs]

Concrete Genie Review: A Magical Stroke of Genius

Concrete Genie Review: A Magical Stroke of Genius! @Pixelopus puts a fresh coat of paint on gaming. Now can I get one of those cool care packages you've been handing out to Sony WWS?

Concrete Genie is one of those rare titles that takes me back to the PS3 days. PlayStation published games like Tokyo Jungle, Echochrome, Flower, and Puppeteer during the PS3 era, and those games were some of the most underrated gems I played last generation. Concrete Genie is like those games with its quirky characteristics that felt fresh from the current games being released. Concrete Genie…

[breakingarrows]

Demoscene and “Art” Games on PlayStation 3

Early in the seventh console generation, with the inclusion of storefronts allowing a user to download games on every home console, the ability to self-publish or be picked up by a publisher increased thanks to this new ease of access and lower costs of digital distribution as compared to boxed retail products. For Sony and the PlayStation 3, this would see the release of some games both Sony, games media, and players alike would sometimes deem non-games, especially those that came from a group of artists called demosceners which we’ll look at today.

Currently: Linger in Shadows .detuned

To be completed: flOw Echochrome PixelJunk Eden Flower Noby Noby Boy Journey Datura PixelJunk 4am Papo & Yo The Unfinished Swan Proteus Bound Linger in Shadows

Released: Thursday, October 9, 2008 On: PlayStation Network for PlayStation 3 Developed by: Plastic Published by: Sony Computer Entertainment America Inc.

Linger in Shadows was announced at the demoparty Breakpoint 2008 in Germany. Breakpoint was a successor to the demoparty mekka & symposium which ran from 1995 - 2002. Demoparties came out of the demoscene in which software crackers would create their own audiovisual effects and playbacks to be shared via demoparties, the internet, and inserted into cracked software. Organized parties would break the competition into categories of size and platform, letting the restrictions feed creativity. As explained by the organizers of the demoparty mekka & symposium:

What is MS? The mekka & symposium is a demo-scene party that was organized annually at Easter. More than 1200 young Multimedia artists gathered here for four days in order to meet similarly-minded people, to exchange ideas and to participate in the competitions, in which individuals and groups show off their talents in a certain form of electronic art called Demos. ms2002 has been the eighth and last event in a traditional party series that started back in 1995, when 300 mostly German visitors attended the BlackBox Symposium. To our 2002 event, about 1220 visitors came from all over Europe, and beyond - "sceners" have come to celebrate with us from countries as remote as Estonia and Israel! The event was never a LAN or gaming party. People playing Qu*ke or Half-Life on our events would have been considered non-creative by our "serious" visitors, and as a matter of fact, the participation of gamers on our parties has always been exceptionally low, which made the MS one of the last big enjoyable events for real sceners.

Breakpoint would see its first iteration during Easter 2003, Friday, April 18 - Monday, April 21. The lead organizer was Scamp who detailed in an interview some of the difficulties in running the first party such as heating, internet access, attendance-to-expense, and getting permission to have the meeting during the Easter holiday in Germany. Attendance cost was reportedly €40.00 for men and no cost for women. It was during Breakpoint 2008 that the team called Plastic would reveal a video teasing the project Linger in Shadows for the PlayStation 3, with official confirmation coming later that year at E3.

Linger in Shadows was released on October 9, 2008 as an “interactive art” application for $2.99. Sony was quick to assert that this was not the typical PSN release. Rusty Buchert on the PlayStation Blog would state, “I’ll start with the easier side, and that is Linger in Shadows is NOT a game. It was never meant to be a game and it will never be a game.” In IGN’s “Impressions” piece on the game Chris Roper stated, “Linger in Shadows hit the PlayStation Network this week, but make no mistake - it is not a game. It even says so in about three different places just to make sure the point gets across. Instead, it's being dubbed as "interactive art", which is a pretty fitting description.” GameSpot’s Ricardo Torres would similarly remark, “While this isn't a game…”

“Games” are restricted to things such as Pac-Man, Madden NFL, or even LittleBigPlanet. Linger in Shadows is interactable (the player makes inputs and the game responds and reacts) though because it doesn’t fall into the traditional, high score, killing, or numbers-go-up categories so familiar to game players it becomes a non-game. Sony understood this and is why they would denote it as “not a game” themselves in its promotions. While seeking out the various titles listed at the beginning of this article the main things I was looking for were “art” games that lacked the traditional video-game framework such as a scoring system or games that had “artsy” visual styles but were really just dressing up a traditional platformer or point and click adventure game.

Due to its “non-game” status, reviews from release are fairly scarce. HonestGamers’ 1.5/5 community review by zippdementia says, “What bothers me is that this was such an obvious attempt to make an extra buck off the PS3 owner with overblown advertising. Next time, Sony, tell me what's really inside your package. Don't tell me you're going to give me cheese and then hand me Cheetos.” Eurogamer’s Dan Whitehead appeared to be the most adept at talking about the game in a “review” context, ending theirs with “Linger therefore exists in a strange new realm between the hardcore demoscene and the mainstream audience being asked to pay to play around with its peculiar concept. It's an interesting move if it opens up Sony's platform for more demos to reach a broader audience, but perhaps not if they have to pass through the gateway of establishment approval to get there. This experiment may at least tempt a few more people to Google "demoscene" and, payment aside, it's refreshing to see something so esoteric being championed in such a public way. You certainly won't see anything like this on Xbox Live or the Wii Store. That, at the very least, makes Linger in Shadows something rather special.”

Modern reviews have not been kind either, as Gamerhub’s ⅖ reviewer Steven Barry writes in 2022 that, “To be fair to developer Plastic, they do go out of their way to emphasise that this is not actually a game and is instead ‘interactive art’. So, it does feel a little strange to review this like any other game when in reality it’s a glorified tech demo. However, this was a purchasable product on release in 2008 over the Playstation Network so that is why it’s ultimately eligible for critique.”

Since most people were more preoccupied with grappling with its status as a “non-game,” there wasn’t much discussion about what it actually is and does. Linger in Shadows plays and unfurls itself as a dream. There is an unlogic to the procession of movement, space, and plot. The first signal of this is when watching the dog try and run through the air to escape the ethereal black cloud presence haunting the concrete setting. The dog's attempts to flee are vigorous, but without much effect, calling back to a shared experience nearly everyone who dreams has, of trying to run but finding you are unable to move at much more than a snail’s pace.

The game mostly finds itself following the presence of a black sentient cloud figure, as it moves about an impossible high rise grouping and its various unlogic features, such as a large flower atop a levitating rock, barrels similarly suspended in the air, and the biggest “tech-demo” flag of “how many moving objects of different shape and synchronicity can we have at the same time?” The black cloud can be interpreted as a malevolent entity even before it turns the dog to stone due to its coloring and the faint imagery moving about within it recalling the antennae of insects, both elements long associated with the impure. A cat impassively watches as the cloud turns the dog to stone, maybe something of a mirroring of the player impassively watching and even participating, without much of a feeling for what’s occurring on screen. Soon after, a giant creature bearing a mask with eyes and a body of trailing tentacles appears. In contrast to the black cloud, which effortlessly weaved in, out, and between various objects without much effect, this mask creature blunders its way toppling various objects as it seeks out the petrified dog which it also ends up breaking apart. Bearing familiar eyes and a more tangent shape than the ethereal black cloud, this mask creature is instantly interpreted as the “good guy.” Confronted by the black cloud, the mask ascends a pillar of stone atop of which is a semicircle of columns surrounding a statue of a woman. The black cloud begins petrifying the mask’s tentacles, furthering the black cloud’s villainy and the mask’s innocence as a victim. The “camera” is destroyed by a toppled column leading to the credits. As the demoscene is more about visual demonstrations than narrative, it's not surprising that the one displayed here is pretty simple and straightforward and more a way to show off different character models and what the player can manipulate.

The “game” portion of the game is that during this entire video playback you can at any point pause and manipulate the camera and objects on-screen. Since everything is a rendered object you can escape the usual limitations of regular video playback, and the UI even resembles the UI of media playback on the console or any DVD/Blu-Ray player of the time. The game itself will guide you through what types of manipulation you can do, with an additional hidden object portion tied to finding images that are shout-outs to other demogroups tucked away just out of frame. Playing Linger in Shadows is mostly a touch and go affair of moving the timecode forward and backward and moving around the controller and pressing buttons to see what sort of movement you can do in this specific frame or scene. Aside from whatever you can come up with yourself there isn’t any set of objectives beyond the tutorial teachings and then the image hunting collection.

It is this lack of purpose or list of things to do that I think most frustrates people into declaring Linger in Shadows “not a game!” Coming from arcades with high scores to home consoles with experience to accrue and levels to beat and people to shoot, we’ve been conditioned to think of games as filling a certain role and no other. Even Shadow of the Colossus in 2005 was heralded as the fulfillment of “Games as art” that would convince people like Roger Ebert of the medium’s value. That goal is self-defeating anyway, but also Shadow of the Colossus, while a phenomenal work, still falls into the traditional video game category quite easily, with the game bearing the objective to kill 18 colossi that are framed as unique boss encounters. While there is no progression in terms of level or equipment you do slowly increase our stamina and health over the course of the game. Nobody would mistake Shadow of the Colossus as an “interactive art piece” like they would Linger in Shadows, but both are video games.

Watching another of Plastic’s demos from 2008, called “Into the Pink,” many similarities come up, from more explicit bugs, more imposing crawling shadows, moving lots of objects floating through the air, and distorting text/images so that they jitter. Another project of theirs, “Catzilla,” is much more an entertainment object playing with destruction on a city-wide scale which just happened to come out the same year as Man of Steel and its similar experiments.

This art stands among the other “demoscene” game(s) on PlayStation 3 as a period when Sony was interested in courting the margins of games in order to sell its struggling console. At the time, the PlayStation 3 was in dead last place when it came to home console sales, and so Sony had to look at alternative ways to attract engagement. One of those ways was to present the PlayStation 3 as something more than just a video game console. Early advertisements for the PlayStation 3 are routinely mocked, though they really don’t stray too far from some of the advertisements for the PlayStation 2, such as those famously directed by David Lynch. These more “heady” adverts attempt to sell the console based not on gameplay footage but on an idea of what the console could do/be. It didn’t work.

Not until the Kevin Butler series of commercials did PlayStation 3 begin to majorly change its presentation to the larger gaming audience. PlayStation Plus, courting indies, and the humbled approach they took towards developers with the creation of the PlayStation 4, culminating in the disaster that was the Xbox One’s lead-up to launch, secured their continued success to this day. The cost of that success has been a lack of effort to engage the margins of gaming, something unofficially certified with the closure of its internal Japan Studio in early 2021 and further with the shuttering of PixelOpus  and the announcement of ending support for MediaMolecule’s Dreams just this month. With its focus on huge titles, contemporary Sony would not throw money towards a group of students and tell them to “go wild” and release their demoware title on the PlayStation Network. The closest we have gotten in recent years was the release of Dreams, a game to create other games from MediaMolecule, itself a development team founded in part by a demoscene participant named Alex Evans known as Statix/TPOLM during the 1990s.

This is not to write off Microsoft and Nintendo’s attempts to court the indie space for success, as Xbox Live famously had its “Summer of Arcade'' titles, as well as being the console that really began today’s online network connectivity and distribution of smaller titles on the OG Xbox. Microsoft still had a restrictive storefront however, with file sizes and other limitations holding back small developers from seeking it out as the best place to try and publish their game. Nintendo also had some success with indie releases under the WiiWare brand (World of Goo and Bit.Trip Beat), but failed to do much to advertise or promote them.

One question that persists is in the intention behind the team of Plastic in creating Linger in Shadows. Dipping into demos and their productions, what strikes me is that the challenge comes from crafting advanced renders on platforms with limited and dated capabilities. As I’ll detail later, .theprodukkt was able to create a first person shooter with a file size of 96kb, and results for demoparties are broken down by platforms such as the C64, Amiga, and restricted file sizes such as 64kb. So why choose to utilize the PlayStation 3? Proudly boasted as the most powerful next-generation console in 2007, what appeal does that have to a group regularly challenging themselves to see what they can create using computers from the 1980s? Perhaps it was the challenge of working with the difficult to develop for CELL processor powered console. Perhaps they just thought it would be fun to swindle Sony out of some cash and just create whatever their whim deemed suitable for a wider audience instead of fellow demosceners. As I mentioned before, portions of Linger in Shadows definitely seem to be examples of the team simply trying to see how much they could get away with without breaking the game, though in 2023 it can be hard to look at it with the same eyes as someone in 2008, as graphics are continually chasing more and more fidelity with reality.

Shared between Linger in Shadows and the next demoscene game, .detuned, is Rusty Buchert, a producer at Sony Santa Monica who was the face of these demoscene games to the PlayStation audience at the time. Previously at Interplay Entertainment from 1990 - 2003, Buchert joined Sony Santa Monica Studio in 2003 and his major credits include flOw, Everyday Shooter, Linger in Shadows, Flower, .detuned, and despite his departure from the company in 2011 gained Special Thanks in Datura, Sorcery, The Unfinished Swan, and Sound Shapes. Speaking to Engadget in 2007, Buchert detailed his role as focusing on producing PSN titles for the PlayStation 3 and details what type of games and culture Sony was interested in cultivating.

We started searching for games like this [flOw] from the outset and we were searching through the Indie Scene right out the gate. In general the Scene thinks outside the traditional development box. All too often people get indoctrinated into one general way of thinking about games in genre, design, and execution. You are not going to get anything new thinking like that. We were betting on the fact that people wanted something new and not a rehash of a rehash of a rehash. There are a lot of games to sort through. When we find a gem we start pursuing it. Some work out, some don't. I recently heard back from one developer that wanted to finish college and then he would like to try. The game made me think he was already programming professionally. There are some other experimental projects that will also fit in this vein too. These are very much art and an extremely different take on interactivity.

In a later post on the PlayStation Blog, Buchert also discusses how he, and another producer, George Weising (who is still at Sony today) scoured the Indie Games Festival booth at GDC 2007 where they found and signed a deal with the team behind Everyday Shooter. Their seeking out of indie games led to the next project from a group called Plastic.

Linger in Shadows developer Plastic was a Polish demogroup led by Michal Staniszewski (bonzaj). Alongside Staniszewski for all three Plastic projects were Grzegorz Juraszek (fei) and Damian Bajowski (mime). Those who developed Linger in Shadows and went on to Datura in 2012 are Krzysztof Deoniziak (rork) and Wojciech Golczewski (Blz). Shared staff between Datura and Bound, released for the PlayStation 4 in 2016, are Andrzej Uszakow (uho), Kinga Staniszewska, Marek Bielawski (mare), and Michał Szymczyk (misz). Plastic joined Epic Games in 2022, and was credited in Cyberpunk 2077 under “Outsource Partners,” though Staniszewski details on his Linkedin that the work was, “Responsible for visual development and prototyping of Cyberspace in Cyberpunk 2077.” 

Grzegorz Juraszek (fei) is still active in the scene as he is the main organizer of the demoparty Riverwash, the largest of its kind in Poland. Damian Bajowski (mime) continues to work as an artist, most recently contributing to an episode of Netflix’s “Love, Death and Robots” called “Manson’s Rats.” Micahl Staniszewski (bonzaj) now works at Epic Games and has many YouTube videos talking about Plastic’s last game, Bound, which was released on PlayStation 4 in 2016. He has one lone video on the making of Linger in Shadows from December 2008. Krzysztof Deoniziak (rork) is also active in the scene, being credited on several demos in 2022. Wojciech Golczewski (Blz) continues to make music, though hasn’t been a participant in the demoscene since his time with Plastic early on. Andrzej Uszakow (uho) appears to still be at CD Projekt Red as a “Senior Engine Programmer.” I couldn't find much of anything to see what Kinga Staniszewska has been up to since Bound’s release. Marek Bielawski (mare) is currently a senior audio programmer at CD Projekt Red. Michał Szymczyk (misz) has the most surprising transition, while most of the developers stuck to Poland, Szymczyk is a Senior Software Engineer at the LA-based developer Infinity Ward starting in September 2017.

Plastic’s work on Linger in Shadow would be the first, but not only, demoscene game to find its way onto the PlayStation 3, as within a year of release another title from another demogroup would appear on the PlayStation Network.

.detuned

Released: Thursday, October 15, 2009 On: PlayStation Network for PlayStation 3 Developed by: .theprodukkt GmbH Published by: Sony Computer Entertainment America Inc.

Developed by .theprodukkt, .detuned™ is a personalized, interactive music experience which gives you the opportunity to create dynamic artwork in real-time to accompany your XMB™ music collection. Manipulate the given scene by interacting with and modifying its unique graphics using the DUALSHOCK®3 Wireless Controller. Plus you can change and tweak your own music to accompany the scene. .detuned™'s brilliant design and capabilities call for the state-of-the-art processing power that can only be done on the PS3™ system. Download .detuned™ today for an artistic music experience! Features: -Artistic Experiences: An abstract and surreal interactive experience to players of all levels and interests -Personalized Music: Manipulate and tweak music tracks on the XMB™ to accompany your artistic creations -Power of the PS3™ system: Stunning and crisp HD environment that brings your artistic visions to life in real-time

It started with a team of eleven people, a majority of which came from 49Games GmbH of Hamburg, Germany. 49Games GmbH’s main development was the annual winter and summer games for PC and consoles in Germany. Summer Athletics 2009 for Wii, released on July 24, 2009 was the largest collaborative effort, seeing nine of the eleven developers for .detuned credited on that game. An earlier collaborative effort is more closely related to the work of .detuned, a first person shooter game called .kkrieger. Released on April 10, 2004 for Windows PCs, .kkrieger was a product of the Breakpoint demoscene party in April 2004 in Bingen, Germany. It was the result of a challenge to create a first person shooter in the vein of Unreal Tournament and Quake but with the restriction of being 96KB in size. GameDeveloper has an interview with programmer Fabian Giesen (who was only 19 at the time!) and Nostalgia Nerd on YouTube has a great video documenting the development of .kkrieger that is worth a watch if you want to know more about how they accomplished this feat.

Sony Santa Monica Studios Producer Rusty Buchert announced .detuned on the PlayStation Blog on May 1, 2009. He said it would, “[offer] an abstract and surreal interactive experience like nothing else. It is not exactly a game or an art piece like Linger in Shadows. It allows you to create your own visual to accompany your favorite music tracks on the XMB, and using the SIXAXIS™ Wireless Controller, you will be able to manipulate the given scene by interacting with and modifying a man and his world. It even lets you tweak your music as you play with it.” Their announcement is already getting ahead of the “not a game!” crowd, though the comments on that PlayStation Blog piece are generally positive and welcoming.

.detuned would release on PSN for $2.99 on October 15, 2009. Games media reviews were limited, as most game “critics” were used to reviewing games such as Madden, Call of Duty, and Uncharted, but something like .detuned was challenging when approached from the limited scope of a consumer review with the stated goal being a buyer’s guide to “should you purchase this?” IGN gave it a 4/10, Bad, with Chris Roper saying, “Currently selling for $2.99 in the US PlayStation Store, that's about a dollar per minute of entertainment. If you have cash to blow and want to see one of the weirdest pieces of software on any system, go for it. Otherwise, just watch our videos and you'll get the point.” GamesRadar’s Shaun Curnow would rate .detuned 2.5/5 with its negatives being, “-Not really a game, -Won't amuse everyone, -Won't amuse for long.” Again we hit the same reactions and falsehoods of criticism, not being a [mainstream’s expectation of a] game, not reaching some imagined universal appeal, and not lasting long enough to be “worth” it in the mental formula of $/hour. A retrospective review in 2019 from Gaming Audio News’ Trevor Chan would say, “It didn’t take long to wonder if it was worth paying the small amount of money for this bite-sized experience. It’s a great snapshot of a bygone decade. Does that mean one would go recommending .detuned as a ‘must-play’? No, but it is worth experiencing, even if just for a few minutes.” Again we come back to reviews being centered on this one point: Monetary Price. No matter the time it costs you, don’t go questioning whether those 40 hours in the latest RPG were truly meaningful, be glad you got more bang for your buck compared to this! 

As mentioned by GameSpy’s Sterlin McGarvey in their news writeup for .detuned’s announcement, Linger in Shadows, and .detuned, were positively regarded for their easy trophies, “It [Linger in Shadows] was also a handy way to clean up on some good trophies, another reason why many people picked it up.” This sentiment was echoed in PlayStation The Official Magazine Issue 22 for August 2009 whose Trophies for Cheaters by Carlos Ruiz includes entries for Linger in Shadows, Flower, and Noby Noby Boy. I admit, my purchase of Linger in Shadows and .detuned at the time was more for their easy trophies than interest in the demoscene or its history. It is only while looking back do I realize there is a richer field to examine than just a quick injection of trophy points. 

What is .detuned if not a video game? The visual effects manually activated by the player suggests it is a visualizer meant to mesmerize you while enjoying your custom tracks imported onto the PlayStation 3 hard drive. Reliance on human, rather than machine, for these effects means the attention of the player is squarely on enacting movement to the rhythm of whatever track is currently being played instead of enjoying the track and visuals meshed together. Due to this, it reads as more of a toy, something to pick up and play around with, poking at its odds and ends, seeing what action you can provoke and manipulate, before setting it down and moving on. This briefness of experience and interest may be why publisher, reviewer, and player alike referred to it as, “not a game.” It failed, intentionally so, to entertain for multiple hours, tell a story, or offer a high score. Still, I find it limiting to restrict the moniker of “game” from .detuned and its ilk. The player can manipulate and control aspects programmed by the developer, engaging in a unique kind of conversation between player and program that can only happen in video games.

As a game, what does .detuned evoke? The first time through was spent poking and prodding at the game, seeing what the different button press combinations could accomplish and create in the suited man. The default track demo that you can watch to get an overall feel for what this game is capable of producing works well, though the cuts and camera movement seem way out of range of what the player is capable of producing when in control. The lack of an editable timeline means creating your own music video with this game as the base foundation would be a waste of time and effort. So, as before, it remains a toy, something you can plug a music track into in order to have some fun pulling and twisting it around in your hand, not quite as literal given the capability of the Sixaxis within the PlayStation 3 controller (though maybe for the best given the Sixaxis never achieved much in its lifetime). One of the tracks I chose to test out was probably the most apt for a repeatable batch of animations: Daft Punk’s “Around the World.” Some other experiments were on Blink 182’s “What’s My Age Again?” and M.O.O.N.’s “Hydrogen” from the Hotline Miami soundtrack. Unfortunately I did not realize I could turn off the sound effect to the “crank” noise when using the analog sticks to forward and rewind the animations. Due to this, my experience, and footage, are inseparable from the annoying click-clack of the crank.

In 2012 Q-Games released a game very similar to .detuned in intention, PixelJunk 4am, a game for the PlayStation Move motion controller that allowed players to, “Mix and create your own music with the PlayStation®Move. ‘Paint’ with sound in 3D space by pulling new tracks from the surrounding audio palette.” Though more social-minded than .detuned was, the audio effect manipulation and importing of your own custom tracks, aka your iTunes library, is very similar to the sandbox playground of .detuned, and is something I hope to try out once I obtain a PlayStation Move myself.

Some members of .theprodukkt continue to work in the demoscene today. Dierk Ohlerich (chaos) is an organizer for The Revision, a German demoparty that continues even to this year with an event in April 2023. Thomas Mahlke (fiver2) has continued working in the demoscene as well, most often with the group Farbrausch, one of the groups shouted out in Linger in Shadows. Tammo Hinrichs (kb) has also helped organize The Revision, and continues to make music for demos. Sebastian Grillmaier (wayfinder) has continued to create music for the scene and even provided the theme music for The Revision 2022. Christoph Mütze (giZMo) also appears to have remained active in the scene contributing to projects as late as 2021. Fabian Giesen (ryg) currently works at RAD Game Tools in Kirkland, Washington and maintains his blog to this day. Bleick Bleicken (mcfly) has most recently worked as an art director for Chorus developed by Deep Silver. I had trouble looking for any recent output from Oliver Waechter (joey) and Uwe Meier (moonlay). I believe Thomas Heinrich (aTom) is this same Thomas Heinrich on Twitter who links to Glare Productions as his current place of employment. Lastly Leonard Ritter (paniq) is currently a co-founder and developer at Duangle working on a crowdfunded game called Nowhere, an “alien life simulator.” The game has been in development since 2011 though sadly it appears the latest update was in March 2021. 

Ever since my article on the short lived studio Endrant I’ve always wondered where these groups of people end up long after this project I’ve just played was probably last on their mind. Thankfully, in the comments of that Nostalgia Nerd video YouTube on .kkrieger there is a message from Tammo “kb” Hinrichs posted in October 2022 who gives an update on where the team is at now,

"Where are those guys now?" We exist, living our lives, all outside actual game development nowadays (because we wanted to have lives), but still quietly working away on various things that you might or might not have seen. Some of us are still active in the demoscene, and we're all fine, thank you :)

[todayimgonnaplay]

Today I'm gonna play: Monument Valley

Monument Valley is pretty much regarded as one of the best mobile games out there, probably for revolutionizing how mobile games can look and feel as well as a game released for other platforms with a similar artstyle. Having always heard about the game but never trying it, I've changed that today.

The gameplay is very simple to the point that almost anyone can play it. You manipulate parts of the environment so that you can see it in a different perspective and travel your way to the ''end'' of a level (which is usually a kind of arch to enter). It's similar to Echochrome for the PSP, which is the only other game that I know that uses this mechanic. The length of each level is also short, which is perfect for when you're busy and on-the-go, but it's a bit too short for when you're free. But considering that most mobile games are aimed for a wide audience that rely on portability, the former may make more sense.

The visuals are definitely a high point. Combining a mix of minimalism with what looks to be Persian architecture for a number of levels (I could be wrong about this!) is a unique mix that's come out beautifully. Each level has a selection of palettes to fit the narrative point that the protagonist is in, often using soft hues and gradients. It's relaxing to look at. In addition to the visuals are the sounds too, minimal yet very outspoken in input feedback. Each movement you make creates a singing melody that guides you as you play. It's very useful in guiding the player through the level.

The story is also minimal and somewhat cryptic with its short dialogue, it mostly uses a show don't tell approach in its levels. Although a lot of it is left to interpretation, you can generally get a sense of what's going on through the visuals. It's an interesting take that's great for reaching wider audiences around the world.

Overall Monument Valley has created an effective way of respecting the player's imagination and skills by letting them create their ''own'' journey as they work their way through using perspective.

[humor-y-videojuegos]

Echochrome 🏢 Will 📅 2008 🖥 PS3, PS4, PS5, PSP #videogames

[amandi-mga2024mi5015]

Game Concepts

a) Idea 1

One interesting quality of Hockney’s paintings is how he distorts perspective and captures multiple viewpoints all at once. I want this to be the core element of the gameplay. 

I was inspired by games such as And Yet It Moves, Echochrome, and Monument valley which made use of orthographic viewpoints to play with the perspective.

The game will be in a third person perspective. The level is comprised of three small contained rooms/sections.The player views the ‘rooms' from an outside perspective. They must rotate the environment at 90 degree angles on the spot in order to get from point A to point B. The perspectives of this environment will be very warped, and when the environment is rotated, background elements and foreground elements blend together to create pathways that did not exist before. 

b) Idea 2

The game will be in a first person perspective. This level is comprised of three contained rooms. This time the player must walk around a bigger environment that mimics David Hockney’s art style. The player will be walking around each of the areas and looking at it from different vantage points until the paintings reveal themselves (perspective anamorphosis). Once the right perspective is found, they are granted a puzzle piece and a means of moving on to the next section. Each of these puzzle pieces come together to create a completed painting  (one of Hockney’s paintings). 

Alternatively, once the right angle is found, they would be able to walk through the completed painting in order to find and collect the puzzle piece. There could be a door placed somewhere in the completed painting to move on to the next section.

c) idea 3 - Photography game

An artist’s process is just as important as the art. A process Hockney uses to create these interesting perspectives in his art is his collages of polaroids. Hockney basically takes individual pictures of different parts of an environment and arranges them to create something that compresses all of these vantage points into one image. I want to have the player participate in the process of creating one of Hockney’s paintings by taking pictures of the environment around them. 

The setting will be one big open world that, once again, emulates the style of a Hockney painting. There is also a big empty board with uncoloured outlines of each of the puzzle pieces and how they are supposed to fit together. The player must walk though the environment and find the right vantage points that recreate each puzzle piece and take a picture. Each time the correct picture is taken, the player is granted said picture in the form of a puzzle piece. They must then find the right place for the piece on the board. Collect all of the puzzle pieces this way to create one of Hockney’s collages.

Taking pictures of the flower vases give you special items/rewards. this encourages the players to explore and experiment without just trying to complete tasks. I wanted to make the flower vases significant because of Hockney's experience with a wartime art piece that was just a still life of some flowers in a vase. He talks about how it played a role in processing his grief, as well as how that grief translated into his art. I think his ethos of trying to capture beauty in the world would be perfectly emphasised here.

There are also some interact-able elements in the environment. you can move some furniture and items around, you can pick up certain objects, and you can even paint on some of the papers in the environments. Players will have incentive to interact with the environment as it grants them certain things (if there's a time limit you could be granted more time).

One particular intractable element would be his piece, '20 Flowers and Some Bigger Pictures.' Each of the squares would be movable. It would essentially be a square tile puzzle that the players can move around to complete the image.

Another interact-able element could be to simply paint a bicycle.

there could be a timer to make it more difficult but that might also clash with the philosophy of my artist.

[tga-ines-soares]

Fez

Fez is a 2012, an Inide puzzle platform game. The game Fez is a two-dimensional puzzle platform game, and it's set in a three-dimensional world. Fez was developed by Polytron Corporation, and it was published by Trapdoor. Fez had a player character. gomez receives a fez that reveals his two-dimensional world to be one of four sides of a three-dimensional world. The player can rotate between these four 2D views to be a realign platform and solve puzzles. The objective is to collect cubes and cube fragments to restore order to the universe.

The game was called an "underdog darling of the indie game scene" during its high profile and protracted five year development cycle. The game Fez is a designer and Polytron founder Phil fish gained celebrity status for his outspoken public persona and his prominence in the 2012 documentary Indie game - The movie which detailed Fez's final stages of development and Polytron's related legal issues. The Fez game met critical acclaim upon its April 2012 release for Xbox Live Arcade. The game was ported to other platforms following the expiration of a yearlong exclusivity agreement.

Reviewers commended the game's emphasis on discovery and freedom but criticized its technical issues, in-game navigation, and endgame backtracking. They likened the game's rotation mechanic to the 2D–3D shifts of Echochrome, Nebulus, Super Paper Mario, and Crush. Fez won awards, including the Seumas McNally Grand Prize and Eurogamer's 2012 Game of the Year. It had sold one million copies by the end of 2013, and it influenced games such as Monument Valley, Crossy Road, and Secrets of Rætikon. A planned sequel was cancelled when Fish abruptly left game development.

[arcadestriker]

Many years ago...a green PSP-3000 with MGS Peace Walker included. Checking the Playstation Network for demos. DBZ Tenkaichi Tag Team and Echochrome. This song. Man...

[g4zdtechtv]

FULL EPISODE: Cinematech NE - Squad 7 Goals

Or... In Your Dream Orchestra!

[harpoonn]

Personal Collection: Echochrome (PSP) - Link

[leam1983]

The Last Guy

Japan Studio's first "big" PS3 tentpole sort of feels like the fever-dream of a game designer that's discovered the mapping potential of real-world satellite imagery. Like all fever dreams, it's also unbalanced as all fuck, with the first stage being nearly impossible to complete unless you memorize all survivor and power-up placements.

Save 99% of a locale's survivors? You've still failed the level. Try again.

That feels... needlessly harsh, especially considering how the thermography feature sometimes bugs out and doesn't show clumps of survivors waiting in alleys or in open courtyards.

As it stands, though, it's also typical of 2009 as a specific year in Game Design theory, as the early years of the PS3 and PS Vita gave us a ton of experimental entries like The Last Guy, LocoRoco, Patapon or Echochrome.