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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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Meet the ambassador to the future

Tilly Lockey, 14, lost her hands as a toddler, but sees it as a massive opportunity to embrace technology. She chatted with ARTHUR GOLDSTUCK about the human of tomorrow.

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Picture by Arthur Goldstuck

It is a description that defines 14-year-old Tilly Lockey: She lost her hands at the age of 15 months, and now uses bionic hands to show the world how to overcome disability.

That could easily read as an advertisement for a prosthetics company, but Tilly refuses to be defined by marketing messages. She has not only embraced what is supposed to be a disability, but wants to become nothing less than an ambassador to the future.

Picture by Arthur Goldstuck

That is in effect what she is achieving by pushing the boundaries of what is possible with artificial hands. It means that, eventually, she will have more capabilities built into her body than most able-bodied humans can imagine. She collaborates closely with Open Bionics, a start-up that is using 3D printing to create low-cost prosthetics with high-tech capabilities.

“I have very high hopes for the future,” she said during a chat on the sidelines of the SingularityU Summit at Kyalami north of Johannesburg. From Newcastle-on-Tyne in the United Kingdom, she was at the Summit as a guest speaker, chaperoned by her father Adam and sister Tia. 

“When I started working with Open Bionics, I wanted it to include lighting, music, Bluetooth, a projector in my palm, all over-optimistic things. But then I feel that is not too far away, and then a disability would turn into and enhancement of normal human hands. I’m really excited about it.

“I know there’s a couple of things they are working on right now, like trying to get the built-in battery thinner, because it’s hard to get overcoats and jackets over it, so they are trying to get the hands slimmer. They’re working on haptic feedback, to give a sense of touch of vibration, which tells me of I have a good grip on something. It could be coming soon. These hands I’m using now were made in the past five years. In another five years, I think we’ll have all of it.”

The hands in question are called Hero Arms, which its creators, Open Bionics, say is “the world’s first clinically approved 3D-printed bionic arm, with multi-grip functionality and empowering aesthetics”.

Click here to read more about the development of Open Bionics’s Hero Arms.

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How Tilly Lockey became a Hero

Part 2 of ARTHUR GOLDSTUCK’s interview with Tilly Lockey explores her amazing career.

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Picture courtesy SingularityU South Africa 2019 Summit

This is the second part of this series of articles. To start from the beginning, click here.

Tilly Lockey was diagnosed with Meningococcal Septicaemia Strain B when she was 15 months old.

Her mother spotted the tell-tale signs one day in 2007: a fast-spreading skin rash that looks like pinpricks, along with symptoms like lethargy and bruising. She was rushed to hospital, but the bacterial poisoning spread so aggressively, doctors gave Tilley no chance of survival. They had to make a quick decision to amputate her hands to save her life.

Twelve years later, her future truly came into focus: “I was surprised with really cool Alita: Battle Angel bionic Hero Arms and went on the blue carpet at the world premiere of the movie with Rosa Salazar and director James Cameron.”

That pivotal moment in her life would not have been possible without the intensive efforts of her mother, Sara, to raise funds to buy something better than the metal prosthetics issued by the National Health Service in the UK. She increased Tilley’s profile with a campaign to “Give Tilley a Hand”, and today works as a fundraiser and events organiser for the Meningitis Now support group. Her involvement in an event meant she was unable to join Tilley on her trip to South Africa last week, when she spoke at the SingularityU Summit. After coming off stage, Tilley told us that Sara was her biggest inspiration in her life, and the closest to a role model.

“I’m usually a speaker at her events. I tell everyone my story and what I’m doing now and give these kids inspiration, because they often feel they can’t do anything because of what Meningitis did to them.

“I am home schooled now, which is pretty cool, because I’m able to have a career and get educated at the same time. I feel I can do a lot of things that friends can’t do. I can take a whole class on an aeroplane. I have a great time traveling and meeting so many inspiring people who are making a difference in the world.”

The form of Mengingitis that attacked her leaves hidden scars and issues that only become apparent years later. She is almost absurdly cheerful about the challenges that have faced her.

“I personally figured out that my left leg had stopped growing. I’m still finding out things it has caused, but you survive. At least I’m here and I’m alive.”

It does help that she’s comfortable in the spotlight, happy to give interviews, and eager to show what she can do with her bionic hands.

“I want to go into public speaking a lot more, and it could be an option as career. I want it to continue because it’s a lot of fun, and I feel I’ve got a story to share. If I can inspire people to change the world, I will. “

Her travels this year will still take her to Barcelona, Jakarta and New York. In the Big Apple, she will accept a humanitarian award, and intends “to give a funky speech”.

In Jakarta, Indonesia, she will take part in a fashion catwalk and do a makeup tutorial live. She learned to do makeup with one of her bionic hands when she fractured her right elbow in a fall at school

“I got makeup for Christmas and wanted to play with it, and got the idea of doing it with an open hand. It took a lot of perseverance and patience, but after studying how to do it, I was able to recreate a full makeup routine using one hand. It wasn’t a great situation at the time, but now I’m happy it happened because it got me into doing what I do now.”

What she is doing with makeup is remarkable in its own right. She gives tutorials on YouTube, where she says she is “kinda new”, as she has “only around 16,000 followers”. That may well soon expand into cooking videos.

In other words, everything is an opportunity: “I could be sad, just sit on my bed and cry, or I can live my life and realise what I’ve got: these amazing bionic Hero Arms.

“All I want to do is help give people confidence in themselves, accept who they are, accept their scars and everything about them. That they don’t have to impress everybody and just be themselves.”

Read more in the third article of the series about how family remains at the centre of Tilly’s life.

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