Disclaimer: This review is based on four hours of gameplay.
Sea of Solitude, the latest adventure game by Jo-Mei Games and EA Games, takes a sobering look at loneliness. It represents this loneliness visually, using light and dark environmental changes, as well as creatures players must encounter. The main character, Kay, must make it through the sea without finding herself trapped in a sea of loneliness. She meets fantastical creatures along her journey, and she must help them solve their challenges while keeping herself in a sane environment.
The game is systematic in the way it represents its important aspects. It starts with a striking visual art style and a soft storyline, which gives characters a chance to absorb the beauty of the game. As one gets a hang of the controls and used to the art style, the story kicks it up a few notches to reveal the harrowing backstories of the creatures that reside in the sea Kay must travel.
In particular, it features a creature that keeps flying away from Kay. This was frustrating because the previous chapter of the game presents a backstory for the creature that was not only devastating to the main character, but also to the player. Once Kay meets this creature, players must be ready to cry. It’s a brilliantly crafted story and hats off to Jo-Mei Games for being great storytellers.
Cornelia Geppert, CEO of Jo-Mei Games, told EA: “Sea of Solitude centres on the essence of loneliness and tugs on the heartstrings of its players by mirroring their own reality. It’s by far the most artistic and personal project I’ve ever created, written during a very emotional time in my life. Designing characters based on emotions was a deeply personal achievement for our team and we’re so excited for players to soon experience Kay’s powerful story of self-discovery and healing.”
Generally, I steer clear of games that are metaphors about mental health issues because they tend to be crass in how they address mental health. Sea of Solitude is quite different because of its level of relatability. Other games about mental health tend to be about a specific disorder that not many people experience, while loneliness is something that so many of us experience. Additionally, the representation of how loneliness affects Kay in the real world is sharp but tasteful. The combination of relatability and respectful representation is what makes the game’s story so brilliant.
Another great aspect of this game is the music scoring. It uses sound and the absence of sound very carefully to invoke the right feelings expected from players. The game wouldn’t be as good with the sound off and subtitles on, so future players are recommended to turn up the volume or put on headphones.
The game is long for an indie game, at around three or four hours of gameplay until the end is reached. Several sources say there is a hidden ending, so players can look out for that in a second playthrough.
The game’s story isn’t perfect, though. The eventual sameness of creature encounters is a little disappointing. This may be down to the expectation of being extremely devastated by all the stories of the creatures, especially when one is less than devastated by the subsequent stories. One of the most affecting creature stories was also presented at the beginning of the game, which set the bar very high for the rest of the creatures.
One creature, in particular, tries very hard to have the greatest emotional impact, but this comes across as blunt and dampens the meaning of what it was supposed to represent.
While I didn’t mind sharp representation, the perception of themes like bullying, estrangement, and suicidal thoughts may vary in appropriateness from player to player. Prospective players with existing painful mental health issues should consult gameplay videos, like the one below, before purchasing the game, to gauge appropriateness.
Overall, the game is incredible at connecting with what it is to be human and what it means to be lonely. Dealing with issues as physical creatures is a great touch, as the main character tends to resolve the problems of the creature by understanding what the problems mean.
Mercedes brings older models to the connected world
The Mercedes Me Adapter is designed to bring older Mercedes Benz models into the connected world, allowing one to keep a close eye on the car via a smartphone. SEAN BACHER installs a unit
In this day and age, just about any device, from speakers to TVs to alarm systems, can be connected and controlled via a smartphone.
In keeping with this trend, Daimler Chrysler has launched a Mercedes Me Adapter – a system designed to connect your car to your phone.
The Mercedes Me Adapter comprises a hardware and software component. The hardware is an adapter that is no bigger than a match box and plugs into the OBD2 diagnostics socket under the car’s steering wheel column.
The software component is the Mercedes Me app, which can be downloaded for Android and iOS devices. (See downloading instructions at the end of the review.)
Before you can start using the Mercedes Me Adapter, you need to download the app and begin the registration process. This includes setting up an account, inputting the vehicle’s VIN number, the year it was manufactured and the model name – among many other details. This information is sent to Daimler Chrysler. It is advisable to get this done before heading off to Mercedes to have the adapter installed, as it takes quite some time getting all the details in.
The next step is locating your nearest Merc dealer to get the adapter installed. You have to produce the registration papers and a copy of your ID – something Mercedes neglects to mention on its website, or anywhere else, for that matter.
What it does
The Mercedes Me Adapter is designed to show the car’s vital statistics on your mobile device. On the home screen, information like parking time, odometer reading and fuel level is displayed.
Below that is information about your most recent journeys, such as the distance, time taken, departure address and destination address. Your driving style is also indicated in percentage – taking into account acceleration, braking and coasting.
A Start Cockpit button displayed on the home screen includes a range of widgets offering additional information, including where your car is parked – right down to the address – as well as battery voltage, total driving time, distance and driver score since the adapter was installed. A variety of other widgets can be added to the screen, allowing for complete customisation.
Many users have have pointed out that that there is no real point to the adapter. However it does offer benefits. Firstly, your trips can be organised into personal and business categories and then exported into a spreadsheet for tax purposes. Secondly, you can keep a very close eye on your fuel consumption, as it automatically measures how many litres you put in each time you visit the garage and the cost (the cost per litre must be entered manually so it can work out total refuelling costs). This is also quite beneficial in terms of working out how much fuel you go through, without keeping all the pesky slips when it comes to claiming at the end of the month.
Probably the most important benefit is that it monitors the engine, electrical, transmission and gearbox, sending notifications as soon as any faults are detected. A perfect example was encountered on a recent trip I made to Pretoria. Upon arriving, I received a notification that I needed to check my engine, with the Mercedes roadside assist number blinking and ready for me to dial.
The notification did not even show up on the actual fault detection system, except for the faint glow of the orange engine light, which I would never have noticed in the bright light. I immediately took it Mercedes and they diagnosed it as an intermittent thermostat error, which they said is fine for now but that I have to keep an eye on the engine temperature.
The convenience of easily being able to export mileage for tax purposes and refuelling stops as well as being able to locate your car at anytime should be more than enough to qualify it as a pretty useful companion for your car.
Add to this the fact that it is completely free from Mercedes, and that makes it an absolute no-brainer. Should you not like it, simply unplug the adapter and uninstall the app. The only thing lost is half an hour while the Mercedes technician sets it up, ensures it is working and gives you a crash course on how to operate the app.
The adapter will only work in Mercedes Benz models from 2002 onwards. No warranties are lost, as the adapter does not increase the car’s performance and is a genuine Mercedes part.
2017 models and above do not need the adapter as everything is installed when the car is manufactured. All one needs to do is install the app and pair it with the car.
Get the Mercedes me iOS app here
Get the Mercedes Me Android app here
Durban FilmMart wants African documentary projects
Submissions for documentary and feature film projects in development for the Durban FilmMart (DFM) close next week on 31 January 2020. The organisers are making a special call-out to documentary filmmakers who have projects to submit.
“We invite documentary filmmakers to submit their projects no matter how early in its development it is, so long as it has a producer and director attached to it,” says Don Edkins well-known documentary filmmaker and the DFM’s documentary film mentor. “The DFM is a brilliant way in which filmmakers are able to galvanize interest in their ideas, get people excited about being involved or helping them develop the project. It may be that the project could then be taken to its next level by being invited to another market for further development, or find financing through the pitches. The possibilities are endless.”
The DFM, which takes place from 17 to 20 July 2020, will host 10 documentary and 10 feature projects at its co-production and finance forum. The producer, director or writer on the project must be an African citizen and can either be living on the continent or in the Diaspora.
‘Documentary filim has over the last years really come into its own,” enthuses Edkins. “We see how the genre has evolved from its more information-driven newsreel-style to a narrative or ‘story-driven’ approach,” he says. “It makes the film genre so much more accessible for its audience, drawing them in and engaging them, yet still making strong statements or creating its requisite impact.”
Countless film projects have gone from a simple concept and idea at the Durban FilmMart to the big screen over the 11 years.
Some examples include the 2011 project Buddha in Africa directed by Nicole Schafer (SA) which premiered at HotDocs 2019, and had its SA premiere at Encounters and won Best SA Documentary at DIFF making it eligible for consideration for an Oscar nomination. 2014 projects which made it to the big screen include Kula – a Memory in 3 Acts directed by Inadelso Cossa (Mozambique), The Colonel’s Stray Dogs directed by Khali Shamis (SA), The Sound of Masks directed by Sara Gouveia (SA/Mozambique), Alison directed by Uga Carlini (SA). The 2015 alumni projects which were completed include Amal directed by Mohamed Siam (Egypt), Not in my Neighbourhood directed by Kurt Orderson (SA), The Giant is Falling (working title After Marikana) directed by Rehad Desai (SA) had its international premiere at IDFA. The 2016 project The Letter directed by Maia von Lekow and Chris King (Kenya) premiered at IDFA in 2019 and also from that year, Working Womxn directed by Shanelle Jewnarain (SA) is in production.
“There are plenty more examples of films that have pushed through from their initial concepts, into production and then onto distribution and or screening,” says Edkins. “The documentary film community in Africa is still small and working with the DFM we try to find new talent constantly and work with the industry to hold space for the documentary. I know there are highly creative and talented people out there who have brilliant ideas, and I would like to encourage them to submit these for consideration for this year’s edition.”
To submit a project go to http://www.durbanfilmmart.co.za/ProjectSubmissions