It's interesting to me when people talk about sci fi as if it needs to be realistic. That's, uh, that's not the point of sci fi.
Even hard sci fi isn't about that. It may be realistic, but only because it's a more effective story with that feeling of realism.
But what really is interesting to me is when people talk about the social currents of today, and whether sci fi should portray them as ongoing or solved.
Obviously, this is an authorial choice... but it's an interesting one.
Do you portray a world where we've gone past the stupidity of homophobia or fascism or whatever?
Or do you portray a world where we're still struggling with those things?
Since the point is to tell a story to people of today, both choices are absolutely valid.
Star Trek (older series stuff) is interesting to me because they split the difference. They made the Federation have solved all the problems, but constantly run into people who hadn't.
The Federation has solved racism, but here's a hundred species that haven't. The Federation's past capitalism, but here's people (starting from episode 3 of TOS!) that aren't...
The Federation has solved war, has accepted everyone, has done everything right and gently and perfectly and can show the way~
This is a very interesting idea to me for a lot of reasons.
The first interesting thing about it is how fragile it is.
No author likes leaving something perfect as perfect. The Federation must have mud rubbed on it, because it makes a compelling story even if it sabotages the core conceit.
So nowadays the Federation is pretty crap.
The second interesting thing about it is how easily it comes off as colonialist or oblivious.
Oh, look, here come the foreigners from the big rich country that know best about everything, here to save us from ourselves.
As a storytelling conceit, it's a prickly one.
But if the authors had understood the power of the approach, I think they could have lasted a bit longer before dismantling it to chase bargain basement military sci fi... which has all the same problems and none of the advantages.
A group of people come into a nasty situation. They know better. They should know better. They should BE better, they've already got a solution on the books-
That's a great opportunity to show people struggling against the limits of being human.
Even when you've been told the way forward. Even if you've personally seen the way forward. It's not always easy to go forward, is it?
That's a fuckin' conceit, right there. I could write two hundred episodes of that.
Anyway, the point is that writing today's troubles as "solved" or "unsolved" in your sci fi setting is not a binary thing.
It's always about the story you're trying to tell with today's troubles.
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Well, I was stuck on the Sam & Max remaster's only bad point last night. The ambient occlusion was so awful I woke up at 4 AM thinking about it.
So let's talk about big cartoon mouths.
Small human mouths don't really move much. You can presume the back teeth are hidden and the front teeth can be simply lit because that's how tiny human lips work.
The problem is that as the mouth gets bigger, you see a lot more of the teeth.
You see the outsides of the teeth as their cheeks roll back, you see the crowns and the inner faces as they open their huge, hinging jaws.
Cartoons are really disturbing if you think about it.
Anyway, how are the teeth lit when this sort of nonsense happens?
So, the thing I adored about these games is that you could play them.
Most adventure games aren't made to be played. The puzzles are meant to "challenge" you, which for me always boils down to "read the dev's mind and then get a walkthrough".
Not these.
These are basically just interactive movies - in the best sense of the term. They're fun to watch and fun to play and they don't ever make you stop to look shit up online.
They are - strangely, given the humor - the least "meta" adventure games. You never have to leave the game to find a solution.
The point is that you will end up destroying yourself. This is not a competitive spreadsheet with a board-game skin. It's about how far you can go.
Most games use an external force to test you.
For example, Dwarf Fortress uses endless waves of monsters. And if you figure out how to deal with that using trap hallways, you'll get another bad shock when you find more monsters in your basement.
There are also stealth incursions of various sorts.
But at the end of the day, even DF knows it has to have internal mechanics to create stories, so it's infamous for its tantrum spirals.
However, these internal mechanics don't shift too much based on what kind of fort you want to make.
Waiting on lunch, so let's talk about an imaginary not-quite-4X game.
Each planet you settle has a population cap. You can only raise the cap with 'projects', large scale endeavors that create a reason for the colony to exist.
These also create the colony's place in the stars.
If you land in a strange alien ecosystem, one project might be to adapt it. Another to study it. A third to clearcut it.
Each would lock and unlock 'paths'.
Clearcutting would lock the alien biome path, the other two would unlock it. But clearcutting unlocks other paths...
Once a project is completed, the unlocked paths create a set of facilities you can build. There are also generics, but they suck.
For example, alien biome unlocks might allow endemic farms. These are very good, but create colonist biodivergence from species norm or whatever.
There's something charming about just... endless text crawl in an indie game. Especially clearly translated stuff. Clearly you must know all of this before you go pew pew with your space ships.
It just goes on and on and on, it's amazing.
The smeerps of 1022 were particularly gromulent in their unending assault on the Tromblelands of Karpolina 9. The great science-monks of Zosorch unveiled their greatest masterpiece, the Maque Starland Bumbergloss. Unfortunately, it was defeated on the Yuyumaigrek Nebula battle of
I'd take more screenshots, but the alt button skips dialog in the game proper, so I can't do it easily.