Classic Game “Another World” Coming to iPad

Classic Game “Another World” Coming to iPad (photo)

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Also known as “Another World,” “Out of This World”constantly gets mentioned as one the creative high points of the video game medium, even more than two decades after its release. Eric Chahi’s sci-fi adventure centered on scientist Lester Chaykin, who gets accidentally transported to an alien world where he must break out of jail and conquer a variety of puzzles and enemies with a hulking helpmate. “OOTW” was practically a wordless affair and pioneered the use of the now-ubiquitous cutscene for storytelling and dramatic purposes.

Chahi participated in the Game Development Conference’s Classic Post-Mortem series, where designers of beloved games like “Pac-Man,” “Doom” and “Bejeweled” talked about the birthing of their creations. Throughout his hour-long talk, he highlighted the technical limitations of making a game 20 years ago. For example, he explained that the computers of 1989 could only render 16 colors, so some hues were used more than once. The fleshtone was also the color used in backgrounds to suggest sunlit mountains. Chahi used rotoscoping for the game’s fluid movement, which tied into why he gave Lester red hair. “I was filming myself to create animation,” offered the energetic Frenchman, “and I didn’t want to see myself running around on screen and getting killed by slugs or whatever.”

The process of “OOTW” creation was very improvisatory and Chahi admitted to making it up as he went along. He described coding a game all by himself and making a custom programming language that fused Visual BASIC and raw code to roll out the graphics and gameplay sequencing. Development was a lonely experience, he said, but one that allowed him to listen to his inner self. The question became, “How can I surprise my expectations as a player?” That’s where plot points like teleporting Lester in to water and then having him emerge into a foreign planet. Nothing was planned ahead with a story outline or anything like that. From there, he focused on fluctuating the pacing: an escape from an enemy on one screen leads to swinging back on a vine to the previous, where he is saved by mystery character. That mystery character, fans know, winds up jailing Lester. Chahi spoke about how the game’s laser gun was influenced by Star Wars, saying that the energy weapons “introduced visual dynamism” into the George Lucas movies.

His original plan for combat was hand-to-hand fighting but then re-organized around the gun and the initial level design was originally running from shelter to shelter. Chahi changed the shelter idea to the game’s shield which itself is a sort of a movable shelter. Again, limitations informed the dev process because, back then, it’d be too hard to manage death and respawn data.

After 17 months (in December of 1990), only 1/3 of the game was done so Chahi shifted gears to creating building blocks that could be easily replicable. Narratively, the alien
Friend became the center of story, which itself grew into a succession of meetings and separations. “The improvisation led me to crate a game about the meeting of two strangers,” Chahi said. He also showed slides that explained how playing with foreground and background space allowed him to layer narrative and create a sense of scale. One of the best parts of the talk was when how he described the meetings with publishers could’ve changed the direction of the game. The point-&-click gere was popular in the late 1980s and Chahi himself was a fan. Virgin Games suggested that the action game would’ve been less difficult (and potentially more popular) if it were a p-&-c. Chahi thankfully balked, realizing that it’d be too difficult to go back and re-do work for a new gameplay design. The publisher he wound up with, Delphine Software, didn’t interfere and let him work in peace. Still, by June 1991, “Out of This World” wasn’t not done yet; it was ¾ finished but a November release still seemed dubious for the game.

Nevertheless, Chahi took it upon himself to paint the game’s beautiful cover illustration. He explained that, to him, the art on a box is the first bond between player and game and publishers of his previous titles had gotten it all wrong. Delphine let him draw the cover illo but it was done as he was in final crunch. “It took me three weeks that I honestly didn’t have.” More problems arose, too, like the lack of playtesting. Chahi managed to fix some major issues but it still came out very unbalanced. When Interplay became a publisher of other versions, they did a lot of playtesting and the game underwent a second round of polish. But they also wanted to make it longer, so it got harder.

“Out of This World” found its way to other platforms because of a warm reception, but that grew more conflict for Chahi. In porting the game to other consoles, Interplay wanted to change the intro music for the game. Chahi was vehemently opposed and the ensuing arguments happened via fax. In an attempt to get the last word, he sent an infinite fax. The mischevious communication hack consisted of a strip of printer paper taped end-to-end so it continuously loops back into fax machine. The message on the paper? “Keep the original intro music.” Chahi sent it overnight and the Interplay office came in to find reams of angry infinite fax on the floor. But, the infinite fax tactic was to no avail. Finally, Delphine stepped in and claimed that, as the original publisher, they had final say on the music and they chose to honor Chahi’s wishes. Other issues cropped up like the censorship of alien female nudity. A scene in the extraterrestrial baths showed three females in the nude from the back, with three pixels creating the virtual butt-crack. Those offending pixels got removed and problem solved.

“Out of This World” stands as an incredible testament to the skills and vision of a lone developer. Chahi was indie before there even was indie games and making the game took up a huge chunk of his life. His iconic hero reaches the game’s finale close to death and Chahi testified that, “At the end of development, I was exhausted and this was the reason that Lester almost died at the end of the game.” But, both Chahi and “OOTW” continue to live and he ended the talk by saying a 25th Anniversary edition coming to iPad in the near future.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar


IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”

Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”

But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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