The Perils of being a Zombie

How easy is it to manipulate and control people? What kind of power do officials, experts and authority figures have over our thoughts and actions? These questions are more relevant than ever but we’re being systematically conditioned to never ask them in the first place. These are questions that go to the root of power – questions that story in a game like OZombie can explore and illuminate. Some background on the topic…

The Milgram Experiments were carried out at Yale University during the 1960s. Researchers wanted to understand how, during WWII, so many seemingly normal individuals committed atrocities against their fellow human beings. An experiment was created where a test subject (in the role of “teacher”) would ask another subject (in the role of “student”) a series of memory challenge questions. The “teacher” was told to punish the “student” with an electric shock if any question was answered incorrectly. Each incorrect answer also caused the subsequent shock to be delivered at a higher voltage – starting at a mild 20-volts and ultimately ending with a beyond-lethal 450-volts. The teacher was always a random test subject (a person “off the street”), unaware that the student was an actor – and the electric shock and pain reaction fake. Throughout the tests a research scientist (an authority figure) remained in the room with the teacher to oversee and record results. 

These tests revealed something very disturbing about human psychology. Teachers would ask their questions, students would respond incorrectly and shocks would be administered. The voltage would increase with each incorrect answer. Mild yelps of discomfort would turn to screams of pain. The student would ask that the test be stopped. At this point the teacher would look to the researcher for guidance and the researcher would insist that the test continue. This is where things got really scary.Even as the voltage increased to near lethal levels and the student begged for the test to stop, the teacher would continue – so long as the researcher insisted that the test continue. 

Can you guess what percentage of teachers continued the test, administered shocks and increased the voltage up to and beyond lethal levels? How many normal test subjects would harm and even kill another human being simply because a scientist overseeing a university research experiment demanded that the shocks be administered? You’re probably sitting there thinking there’s no way you or anyone you know would continue.

Up to 65% of test subjects continued administering shocks all the way up to the lethal 450-volt level. That’s 65% of subjects who would kill another human being because an authority figure told them to continue. Read the Wikipedia article – it’s sobering stuff. 

Milgram, the guy running these experiments, drew two powerful conclusions from the results: 

First, “…a subject who has neither ability nor expertise to make decisions, especially in a crisis, will leave decision making to the group and its hierarchy. The group is the person’s behavioral model.”

Second, “…the essence of obedience consists in the fact that a person comes to view themselves as the instrument for carrying out another person’s wishes, and they therefore no longer see themselves as responsible for their actions. Once this critical shift of viewpoint has occurred in the person, all of the essential features of obedience follow.”

Within the world of OZombie we’re going to discover and must repair instances where Ozites are being turned against each other by abuse of this same knowledge. You’ll find Munchkins engaged in ritual sacrifice of their friends and family members, Quadlings committing mass suicide, Winkies snitching on each other, Vegetable People on death marches and the inhabitants of China Country smashing their own homes – all because authority figures have convinced them these things must be done. More critically, you’ll find yourself in positions of power over others with trusted authority figures asking you to do things you know are wrong. How will you respond? 

It’s a fascinating topic and one that few games (“Fallout” is one) have properly explored. And it’s this type of conformity we’re referring to with the use of “zombie” in the game’s title. What’s interesting to me is reading the different tone in reaction comments on websites announcing our Kickstarter campaign. On those sites where the writer (an authority figure) details the game’s narrative theme and alternative use of the word “zombie,” the reactions are largely positive. On those sites where the narrative isn’t mentioned or the “zombie” idea is highlighted in a negative way, the comments are largely negative. Goes to show that independent thinking is a rare and special thing. 

Zombies, What’re They Good For?!

There’s been a fair amount of commentary on the idea of “zombies” in OZombie. The title is pretty in-your-face about the whole “zombie” thing, but as I’ve detailed on the Kickstarter page, in recent updates and in interviews, these are not your typical, shamble of the mill, brain-eating zombies. In this instance we’re applying one of the alternate definitions of the word:

zom•bie [zom-bee] noun

1. the body of a dead person given the semblance of life, but mute and will-less, by a supernatural force, usually for some evil purpose.

2. a person whose behavior or responses are wooden, listless, or seemingly rote; an automaton.

3. a tall drink made typically with several kinds of rum, citrus juice, and often apricot liqueur.

4. Canadian Slang. an army conscript assigned to home defense during World War II.

Yes, that’s right. OZombie actually casts Dorothy as an army conscript assigned to Canadian home defense during WWII. You got me. This is the game I’ve ALWAYS wanted to make. She’s drank too many zombies and lost her marbles – resulting in a psychedelic journey to an imagined world of Oz. We were going to call it “OZ-CanadianArmyConscript,” but it just didn’t have the right ring.

Seriously, the definition we’re going for here is #2 – an automaton. Specifically, of the type found throughout our modern society. The person who goes about their daily lives oblivious to the political and financial forces that shape and determine the quality and content of life. “The Matrix” offered beautiful commentary on this concept – of an entire race plugged into a simulation of life, and of a certain number of people who would prefer the illusion to the reality. These are the kinds of zombies we’re talking about.

I know the name is causing some confusion, but to be honest, I think that confusion only serves to prove the point. You’re reading this because you know the truth, because you know there’s another layer to the story. The knee-jerk reactions from readers in the comment sections on Eurogamer or Kotaku shows they haven’t bothered to go beyond the headline. They jump to a lazy conclusion and deprive themselves from a deeper, more meaningful understanding. You can’t force understanding and I don’t think it’s my responsibility to force a more “descriptive” title on the game for the sake of those zombies.

Beyond the metaphorical, there’s the literal usefulness of the name “OZombie.” It creates a clear and defend-able name space for the game, was available as a domain name and it’s instantly recognizable and it’s easy to remember. Even the current controversy around the name is useful because it’s forcing people to talk about the project.

A zombie by any other name would smell as rotten.

News Flash: Things Cost Money

I read an excerpt from an upcoming interview with Strategy Informer on the topic of our OZombie Kickstarter Campaign. Apparently, in view of what’s happening with Double Fine, my honest suggestion that Spicy Horse might seek additional funding above and beyond what’s raised on Kickstarter, is a bad thing. There’s enough attention on this topic that this excerpt from the larger interview was published prior to the main article… here’s a bit of it:

While $950,000 may seem like a lot of money, but it’s not a massive amount when it comes to making games. Spicy Horse have recently started a Kickstarter for the Oz-set game titled OZombie and eyebrows have been raised at the scope versus the goal price.

We spoke with lead designer American McGee and he suggested that the price would only be to start the game and fund a few chapters. After that they would need to get further funding, including the possibility of publishing deals which might upset a few backers.

Just want to say to all the press, public and others who are gnashing their fangs at Kickstarter, Double Fine and anyone they think look “fishy,” you can’t have it both ways. You can’t complain about big publishers and their bad business models – highlighting all the times they’ve pushed overpriced, buggy, unfinished product onto the shelves in hopes of a quick buck. Then when an indie developer lays bare their business model and struggles, crucify them for taking risks and being honest. In both cases the hyperbole is through the roof and completely unproductive.

“Kickstarter is done!” “Consoles are dead!” “Always Online is the devil child of DRM!” “Get the pitchforks and burn Microsoft!” “She’s a witch!” “Early Access is a scam!” “Publishers are evil!” “F2P is evil!” “Mobile phones are Lucifer’s gaming device!” “Game developer are the devil!” “Moar COD!” “Sequels! Kill them with fire!” On and on and on… these chants of rage make it so no one can do anything right. Any attempt at honesty or innovation is met with derision and contempt. Even the slightest mistake must be repaid by public lynching or Hara-Kiri.

What’s going on here? Why are we so bent on finding enemies and destroying them? What’s happened to civility and constructive debate? Could it be true… all this video-game playing HAS had a significant psychological impact on us all? Are we unable to go through a day without seeing a bag of MacDonald’s as a power-up and misquoted game developer as a demon from hell who must be beheaded with a shotgun and cast into a lake of lava? Why are gamers becoming so antagonistic, combative and resistant to constructive engagement? Have all those hours spent destroying and killing rotted our brains and turned us into robotic griefers?

Note to the online kill squads:

Developers aren’t your enemies. They’re just people, like you, trying to make a living doing what they love. Publishers aren’t the spawn of Satan. They’re just corporations trying to compete with other corporations for your wallet, soul and first born. Accept these things and the world around you. Not everything should be answered with criticism, negativity and buckshot to the face.

The games you play cost HUGE amounts of money to develop and market. Productions are insanely complex, which means there are many places where they can breakdown or fail. Outcomes aren’t predictable, so that money to fund these things is nearly impossible to come by. Simply put, this shit is hard.

Things are going to go sideways and sometimes horribly wrong. Instead of wanting to murder someone when they level with you about these facts, embrace them. The choice is yours – support transparency, honesty and constructive involvement… or don’t complain when the industry shrugs and shifts back to a model dominated by monolithic, uncaring publishers.

Message in a Bottle

I sometimes feel like a castaway on a deserted island. Surrounded by water, without a drop to drink. From the vantage of a passing cruise ship my situation looks idyllic, I’m a happy man in his own private tropical paradise. If only that mirrored the reality of my existence: marooned, desperate for rain and talking to seashells. A misconception wrapped in a conundrum that would drive many people mad.

My life is viewed like that island – as being a private paradise, wanting for nothing, enjoying the ease and fortune and fame that comes with “having your name on the box.” Nothing could be further from the truth. Yes, I once worked for uber-successful companies like id Software and Electronic Arts, even had brief moments of (some would say undeserved) fame.

The reality is that I’ve worked for 12 years (out of 20 in the industry) as an independent game developer, far away from the safety and certainty of a well established corporate HQ. Being independent means my income isn’t guaranteed. Neither is my development work. It’s a constant, ongoing effort to secure business for myself and my studio. These efforts have produced games, but not security. Because most of the work I’ve done as an indie has been under standard publisher-development agreements, the support only lasts until the game is delivered.

To understand the challenge of this existence, look no further than my first months living in Shanghai. I’d spent every dime of my savings to get across the Pacific and build a new life for myself. To survive while working to secure a new development deal I lived on less than $5 a day and rode on the back of someone else’s bike. I tell this not to paint a picture of woe, I genuinely enjoyed those days of humble struggle, but to illustrate for you the truth of who I am. Not wealthy, not a name on a box, not someone with a sense of entitlement or a massive ego. Just a person, like you, overcoming obstacles so that I can have a chance to do the work I love.

This is my message in a bottle, an attempt at wiping out those misconceptions that keep me trapped on this island.

Now that we’re seeking funding via Kickstarter we might have a chance at something better. Self-publishing to web, mobile and via platforms like Steam and Kongregate also helps increase our chances of actually turning a profit. These efforts cannot be successful without a broad understanding of who I am, what Spicy Horse is about as a studio and the support that comes with those things. Support from you, from fans of the “Alice” games, from supporters of independent game development , from those who would like to see the traditional publishing models disrupted so that unique ideas can have a chance.

Please, do what you can to spread the word. Tell your friends, family and seashells that Spicy Horse needs their support to get OZombie made and to continue making unique content for many years to come.

American Interview: Chris Vrenna

Continuing with a series of interviews geared towards support of our ongoing OZombie Kickstarter campaign, I’ve asked musician Chris Vrenna a couple of questions. Chris and I met back in the day, while I was at id Software and he was banging drums for Nine Inch Nails. He was instrumental (pun intended) in establishing the tone for the first “Alice” game and I’ve been a fan of his work (Tweaker and other projects) for years. To the interview!

AJM: Let’s start off by getting out of the way some of the basics… Who you are and what you’ve been up to since you made the soundtrack for the first “Alice” game over 10 years ago?

CV: I am Chris Vrenna. I scored your first “American McGee’s Alice” game over 10 years ago. I can’t believe how long it’s been! I have had a pretty amazing post-Alice decade. I released three records by my side project, tweaker. tweaker is primarily a studio collaborative project where I have been fortunate enough to work with many of my personal idols. Robert Smith, David Sylvian, Will Oldham, and Johnny Marr to name a few. I also spent an amazing year or so drumming for Gnarls Barkley. Their single “Crazy” was a massive #1 hit in almost every country in the world. I was honored to play with, and become friends with CeeLo and Dangermouse. And I spent 7 years working with Marilyn Manson. I co-produced and co-wrote the last two records and toured the world as either drummer or keyboard player numerous times. In my “free time” I take on remixing, programming, and/or mixing projects.

AJM: You’re attached to the OZombie Kickstarter campaign as a “Stretch Goal.” Have you ever been a goal of any sort or particularly stretchy? How does it feel to be a Stretch Goal on a KS campaign?

CV: I have never been a goal, “stretch” or otherwise, on a KS campaign. And I am SO excited to once again team up with you (American) to score OZombie. I am the opposite of having any “stretchy” abilities, except maybe time-stretching samples! (Insert rimshot sound effect here.)

AJM: It’s a little early for final thoughts on many things related to the project, but have you had any early thoughts on directions you might take with the music for OZombie? We promise not to hold you too severely to any ideas you might express here.

CV: Wow! It is definitely a little early to talk specifics. But, I am SO inspired by all the early concept art I’ve seen. Like with all your games, the design is so vivid it instantly gets my brain spinning with ideas for both sound palettes and melodies.

AJM: You had a chance to visit Spicy Horse Games in Shanghai back in 2009 (is that right?). Can you share some of the impressions you took away about Shanghai?

CV: I believe it was 2009. It was my first, and still to this day, my only visit to China. I found Shanghai so fascinating and was surprised by how varied the city is culturally and architecturally. The ancient city, the European riverfront, and the incredibly futuristic business district just show the long history of Shanghai.

AJM: What do you do when you’re not creating music? Any hobbies or past-times you’d like to share? Any links between those hobbies and the inspiration you find to make music?

CV: My passion is art. I buy and collect as much art as I can. There is such a connection when a piece of art (whether painting, sculpture, photography, etc) grabs you and draws you to it. It becomes so personal and that’s when you know you just have to buy it so you can feel that connection forever.

AJM: Lastly, do you have a favorite character from the Oz books or films? If so, why?

CV: I have a few favorites. First has to be the flying monkeys. They were the most terrifying creatures as a child. And, at 46 years old, I STILL find them scary. And I have always had a soft spot for the Cowardly Lion. Can’t really put it into words, but I always empathized with him. maybe because I was picked on in school.