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Space station meets alt-Victorian world with Arkane

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One is set in a fantastical alt-Victorian world. The other takes place on a space station. Dishonored 2 and Prey are clearly very different games – yet they share one thing in common. They are both developed by Arkane Studios.

Make that more than one thing. Ever since Arkane was founded in 1999 in Lyon, France, the studio has specialized in making a certain type of game that is, well… uniquely Arkane. These games defy easy genre descriptors. They’re not shooters, but you can shoot stuff. They’re not pure action games, but you can certainly get your fill of bloody, brutal combat. They’re not RPGs, but you have the ability to make choices with real consequences. And they’re not purely stealth games, but there are times when you can finish a mission without ever being spotted.

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“At Arkane, we always apply the same values to the games we make,” says studio President and Co-Creative Director Rafael Colantonio. “Dishonored and Prey share a lot of those values.”

For Colantonio – who led the original Dishonored with Co-Creative Director Harvey Smith – that means a game “where simulation is very important, and where the choices of the player are very important.” Or, as Smith adds, “Arkane is dedicated to very immersive games that engage in first-person combat and first-person stealth. We allow the player to recombine powers and moves in different ways that we couldn’t even predict. We care about empowering the player. You can play our games very creatively.”

After the original Dishonored released in 2012, Colantonio moved his focus to directing Prey in Arkane’s newer studio located in Austin, Texas. Meanwhile, Smith – an industry veteran who joined Arkane in 2008 to work with Colantonio on Dishonored – moved to Lyon to direct Dishonored 2. While they now live in different countries, the two of them continue to collaborate on a daily basis, testing each other’s games, sharing expertise and more. “Harvey and I are constantly talking,” Colantonio smiles. “Either we’re chatting on Skype, or we’re texting each other.”

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A Sense of Place

For Smith, Arkane has become more than just a studio. “From the time 17 years ago when Arkane was just Rafael Colantonio and four guys in an office in France, with a network cable between their computers for transfers, a lot has happened – a long, rich history culminating most recently in the Dishonored series,” Smith says. “I’ve been with the company for eight years, which blows my mind. It’s longer than I’ve been with any other company. It’s amazing, it feels like home.”

When it comes to Arkane’s games, that feeling of “being at home” is no accident. “We are very much into creating a deep setting where there are layers of history,” Smith says. “We understand the architecture of the place, and the waves of settlers that came in, and how the foods have changed since then. It’s the kind of company where we just really care about creating worlds.”

While that makes sense for a lore-rich, fantastical setting like Dishonored’s Empire of the Isles, how does this world-building philosophy translate to a sci-fi game like Prey? Set on board the space station Talos I, Prey offers a vision of the near future that’s built upon a foundation of reality. “But it’s not the world exactly as we know it,” Colantonio says. “It’s another version of 2032. In our world Kennedy survived his assassination. We’re not very overt about it. We hint at it. This allowed us to take all the filters the new timeline would create, and build our world through those filters.”

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Which is why astute observers will see a mix of eras and styles reflected in the design of Talos I: Everything on board is rooted in a carefully thought-out alt-history timeline, with all details accounted for. The space station even includes some very lavish elements because, as Colantonio explains, “They built it in a way that would be attractive to the best scientists in the world. There’s even an artificial park with some engineered trees.”

Self Discovery

Within these Arkane worlds, the teams are also passionate about allowing players to build their own identity. It’s why Dishonored 2 offers a choice of two playable characters – Empress Emily Kaldwin or Royal Protector Corvo Attano, each of whom has unique powers and different perspectives on the world around them. And in Prey, players can choose whether Morgan Yu is male or female – but that’s just for starters. One of the major themes of Prey is identity: Along with killing aliens, players embark on a journey of self-discovery. This is even reflected in the gameplay. “We track what players do all along so there can be consequences to their choices,” Colantonio says. “We give players a lot of tools. It’s all simulated. Players can explore those tools in the environment and against the different AIs, who are themselves simulated – they’re not on a set path but are organically moving around based on what they sense. There’s a full ecology with the aliens. All of this combined really provides for experiences that are unique to every player.”

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Of course, Prey and Dishonored 2 are very different games as well. Dishonored is mission-based, with richly detailed, signature levels that you explore and complete in a myriad of ways. Prey, on the other hand, is built around a massive contiguous space, with areas you can revisit. Dishonored places a greater focus on stealth (with the option to play as chaotically as you choose); in Prey, stealth exists, but it’s not the central pillar of the gameplay. And while both games include a wealth of customization options, Prey places an even greater emphasis on RPG-like elements.

And yet they both share similarities that make them uniquely Arkane. “If you like Arkane games – those games that blend narrative and simulation, some choices and a lot of player exploration – Prey will be a game for you,” Colantonio says.

For Smith, Dishonored 2 represents eight years working at Arkane on Dishonored games. “I have a great passion for it,” he says. “The whole team does. Down to every object, the watermarks on the walls, the history of the place you go to, all the quirky characters. We just want our very vocal fans to know that we really are inspired by their passion and their enthusiasm. And for everybody who hasn’t played the first game, we think this is going to be a great entry into the Dishonored world, and Arkane games in general.”

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Did an earthquake take out SA Internet?

Seabed avalanches caused by an earthquake could have cut several undersea cables, leading to one of South Africa’s biggest Internet outages yet, writes ARTHUR GOLDSTUCK.

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Picture by TooMuchCoffeeMan from pixabay.com

There is still no official explanation for freak breaks 11 days ago in two separate undersea cables that provide international access to South Africa’s Internet users. However, as reported in the Sunday Times yesterday, the most common causes of such breaks are damage by ship anchors and earthquakes at sea.

However, the freak occurrence of two separate cables being cut simultaneously far out at sea, as happened on the morning of 16 January, can only be explained by sea-bed activity.  One of the cables was cut in two places, and it is widely believed that a third major cable was also cut.

The cable damage mostly occurred in or near an area called the Congo Canyon, which starts inland and extends 220km into the sea. It is known for having the world’s strongest “turbidity currents”, underwater sediment avalanches over hundreds of kilometers, which are known to destroy undersea cables.

The most likely culprit is a 5.6 magnitude earthquake that struck the Atlantic Ocean near Ascension Island shortly before the cables were cut on the morning of 16 January. The earthquake occurred just before 8am South African time, and local ISPs reported losing international access from just before 10am. The epicentre of the earthquake was more than a thousand kilometres off the coast of Africa, but disturbances caused by seismic activity at sea become more powerful as they approach the coast. Combined with turbidity currents, this could well have taken out all cables in the area.

The West Africa Cable System (WACS) was cut in two places, and the South Atlantic 3 (SAT3) cable in one location. Industry insiders believe that the Africa Coast to Europe (ACE) cable was also cut, but it has not been publicly confirmed.

South Africa is connected to the global Internet via seven such cables, with a total capacity of 42.3 terabits per second (tbps).  These cables, in turn, connect to additional cables connecting the West and East coasts of Africa, with a single cable running from Angola to Brazil providing another 40 tbps.

However, it emerged in the past week that smaller ISPs in South Africa had bought capacity on only one or two cables. In a freak occurrence, two of the most commonly used cables, the WACS and SAT 3 cables, were cut simultaneously, plunging millions of Internet users into data darkness.

Customers of the major mobile network operators – Vodacom and MTN – were largely unaffected, as these tend to have both part-ownership and access to most of the cables running up both the East and West coasts of Africa.

Visit the next page to read about how ISPs have battled to reroute access, how massive resources are needed to deal with these kinds of outages, and when the ship will reach the breakage points.

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Lenovo express-delivers new range from CES to SA

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Lenovo has unveiled its new range of ThinkBook laptops, barely two weeks after they were showcased at the Consumer Electronics Show in Las Vegas. 

The company’s newest sub-brand, ThinkBook, is intended to meet the demand for more aesthetically pleasing, yet agile and powerful devices.

The new range is aimed at small and medium enterprises. According to the Small Enterprise Development Agency (SEDA), there are more than 2-million SMEs in South Africa – although there are only 667,433 in the formal sector. This tallies with estimates in recent editions of SME Survey, produced by World Wide Worx, which suggest 650,000 active, formal businesses in South Africa. These SMEs employ about 14% of the South African workforce. 

Lenovo argues that access to affordable, yet efficient, technology is a crucial factor in aiding business success and contributing towards the success of the nation. The company has found, in its own research, that younger people prefer working, creating and communicating online “with stylish devices that make a statement”. This means they require streamlined laptops which can be used to collaborate from any remote location, to enhance productivity.

Lenovo said in a statement on Thursday night: “Backed by customer research, ThinkBook is specially designed for SMEs, who typically purchase consumer laptops for perceived design and price advantages but can no longer rationalise their lack of extended services and warranties – core needs of any business. ThinkBook allows growing firms to keep a competitive edge in attracting today’s young tech-savvy execs with trendy yet cost-effective devices. 

Thibault Dousson, general manager of  Lenovo for Europe, Middle East and Africa, said at the launch event: “With the capacity, SMEs have to grow and upskill the country’s workforce, they are perfectly positioned to bridge the gap between the public sector and large enterprise. Bearing in mind the demands of the digital economy, this sector needs skills and resources in order to compete, and that is where devices such as the ThinkBook come in.”

In South Africa, ThinkBook laptops are now available in 13-, 14- and 15-inch variants. The flagship ThinkBook 14 and ThinkBook 15 devices are powered by Windows 10 Pro and up to 10th Gen Intel Core processing, which Lenovo says combines high performance with intuitive, time-saving features. Options include Intel Optane memory, WiFi 6, and discrete graphics.

The ThinkBook 15 comes at just 18.9mm thin, while the ThinkBook 14 is a mere 17.9mm, both with FHD displays and two Dolby Audio speakers, dual-array, Skype certified microphones and a USB 3.1 (Gen2, Type-C) port.

Lenovo has also introduced the ThinkBook S series, including an elegant 13.3-inch ThinkBook 13s. The sleek and light device is constructed of a metallic finish on an all-aluminium chassis, alongside a narrow bezel display. As with the ThinkBook 14 and 15, the ThinkBook 13s also features advanced Intel processing and an FHD display, Dolby Vision and Harman speakers with Dolby Audio.

Visit the next page to read about the design and features of the new ThinkBook range.

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