Here's the link:
Hey guys! I recently made a youtube playlist to accompany my memoir, Sunshine.
Here's the link:
As you know, one of my favorite type of stories to write are science fiction stories with heavy anime and videogame influences. I've come up with a few weapons for my characters to use and each use similar in-world technology. These weapons' descriptions would be way simplified if used for stories but would be featured in an index section or something similar. Like all good writers, I realise that one mustn't use "2 kinds of magic" when creating interesting dynamics in the story world, so I've tried to keep them all tied to the same basic imaginary tech concepts. The first one I've already used in my Choose-Your-Own-Adventure story, Chuck Awesome: Action Hero, available on scrib.d:http://www.scribd.com/doc/190989621/Chuck-Awesome-Professional-Action-Hero
My Ideas for videogame weapons/weapon ideas for sci-fi action stories:
1. Transforming Gun Gauntlets
An explosive lightning punch, throwed objects booster, pneumatic antigravity lift protocol, and making gun shapes with your hands fires bullets out of your fingertips. Great for Mortal Combat-style takedowns. The guns are limited to 9mm bullets and basic shotgun rounds and slugs, so this is essentially the weapon you'd only want to use when you run out of ammo as the ammo is created from energy created by turbines that dig into the player's Ulnar Artery with a reverse e=mc^2 equation, with each pulse rotating the microscopic wheels. Takes 10 seconds to re-generate 60 rounds of ammo thanks to it's microscopic quantum proccessor and small colony of nanobots that heal the player as well as store body heat to generate constant energy pools. The gloves can also hack into almost any device and create a dynamic hud on the player-character's vision.
2. belt-fed, rotating cylinder grenade launcher. 5 bouncing-grenades per second with mild homing factor.
3. Flamethrower with explosive flechettes belched inside the flames.
Technically heat-seeking plasma and not fire, this ionized, nanomachine-generated plasma flamethrower takes basic carbon chunks as fuel and the nanomachines re-atomize it into basic plasma. Secondary fire mode lanches a swarm of nanomachine-explosive flechette rounds that once penetrated into one's enemy, fuses with it's armor to create an explosive flechette burst. This burst does not create more flechette from victims caught in the burst. Great for mobbing. The alternate fire has a 2 minute cooldown and lasts 15 seconds.
4. A homing, armor-piercing throwable dart that circles through multiple enemies before returning to one's hand. Good for 5 uses, 30 enemies per throw. Like Rip Van Winkle's Magic Bullet from hellsing
5. 7-league boots with double jump
Basically like titanfall's jumpkits only with mach-15 speeds.
6. Nanobot Swarm Pellet Machinegun
These nanobots can be customized to deatomize raw atomic material into basic elements needed for crafting. It would take 10 seconds to deatomize a human being causing excruciating amounts of pain. This mode would consume 12 pellets per second. Another mode would be a homing swarm of nanobots creating a 15-second berserk mode for your enemies, causing them to attack their compatriots before exploding into blood pinatas.
7. explosive homing chainsaw rocket launcher
This chainsaw would fly through the air, chewing through the armor of heavily armored enemies and mech suits before exploding into explosive flechette rounds. One round per 50 seconds. Maximum ammo count of 9.
8. Railgun Katana
This laser katana can be held like up by one's face with two fingers pressed against the activation beacon (nerds will know the pose) and it would shoot railgun blasts. Essentially a Lightsaber that shoots laser blasts.
9. Triple-shot homing drone swarm launcher
This drone swarm lancher is the big daddy version of the throwable dart launcher with the same deatomization mechanic as the nanobot swarm pellet lancher.
10. Dart-spike shotgun
This shotgun shoots a combination of small and large spikes similar to jungle rounds. Unlike the throwing spike, these rounds do not have a homing factor but instead use antimatter energy drives to generate enough intertia to plow through 50 enemies. The weapon instead uses laser-targeting algorythms to dynamically adjust spread and choke according to how close or how far the enemies are from the player.
11. Cyborg-Slave Knife
The rarest and most powerful item in the game, this knife is filled with nanomachines that can only be activated by a backstab on an unsuspecting target. Each knife has 2 uses and a third use that is half as effective. Once the blade is in your opponent for 3 seconds, the nanomachines brainwash your target and link them to your cerebral cortex antenna, allowing your enemies to become Friendly NPC's that fight with you. When they take enough damage, berserk mode becomes activated and they explode into Blood Pinatas. Large enemies may take multiple blades to convert, but bosses can be converted only once their health bars are drained for a nonlethal finisher.
12. Warp-Field Multiple Implosion Grenade
This grenade generates an inertia-boosting antimatter energy field around it to plow through 8 enemies with mild seeking factor. Each enemy will implode, sucking 3 enemies with it. The grenade targets the center of each group of enemies. For large enemies and bosses, the Grenade instead latches onto the enemy and slowly decomposes its armor.
13. Nano-alchemy Personal Nano-Drone Swarm.
This is the basic crafting element. The drone swarm can only be used when not in combat and deconstruct enemies' biomatter into usable ammo and currency. When not in combat, they are stored in the player's backpack and deconstruct and reconstruct the player's inventory on command for near-limitless storage capacity.
14. Homing-spike autorifle
This autorifle fires a constant stream of 150mm homing spikes that dig through enemies like a snake.
15. Warp-Field Barrage SMG
This side-loading smg fires a spread of burrowing rounds with a weak Warp-Field Inertia generators. Great for crowds of enemies, but the weaker intertia field makes it only useful for smaller enemies and must be used up close. Secondary fire creates a non-warp field implosion grenade that aborbs surrounding enemies for a 3-foot radius. 500 rounds per second. 90,000 rounds per clip thanks to a nano-alchemy drone buffer.
"Backstory? Who the hell needs backstory?" you ask. Well, it's true that 90% of backstory doesn't make it to the main story and is instead only hinted at. However, I'm here to tell you that it is one of the most important parts of storytelling for several reasons.
The first, and perhaps the most obvious, is that it "reels in" your wild ideas and gives you a clear idea of how the world, characters, and plot you're writing operates. If a character has a backstory, it can greatly enhance your idea of how to write one's motivations- even when it's not stated in the plot. (For a great example, see Iago from Shakespeare's Othello).
Here are a few character backstories I made up on the spot from famous videogames:
1. Duke Nukem is a man with a troubled past. His father died when he was 10 shortly after he divorced his mother for sleeping with other men. He dealt with his turmoil by adopting an ultra-manly attitude, illusions of grandeur, and a womanizing attitude. As an adult, he was given great opportunities to succeed in the Earth Defense Force, where his self-gratifying behavior enabled him to kill many of his enemies without the moral problems of other men in his unit. Soon later, his actions in stopping the evil plots of the criminal mastermind Dr. Pluton, as well as thwarting invasion and abducion attempts of alien varieties helped him cope with the loss of his father, but further prevented him from ever becoming stable, and this only pushed him further towards defending the earth.
Now imagine if this was the true backstory for the Duke Nukem 3D games. Notice here that it gives the game some sort of validity in terms of its plot and overall narrative, and how it clearly sets in the player's mind that Duke's self-gratifying personality is a part of his troubled past. The game clearly gives no origin story for duke, but perhaps something similar was imagined in order to assist the developer's creation of their character, his goals, and his struggles.
2. Pong is a simplified representation of a tennis match where at any moment, one wrong move can ensure your failure. Except it isn't really about pong at all; it's about two scientists bouncing electrons back and forth in order to ensure their survival after a cataclysmic meltdown. Neither scientist wishes for his side of the security doors blocking exits to the two sides of the reactor, and thus their game goes on until the other gets deatomized.
This is perhaps the most unneccessary backstory here, but it serves as a reminder that a good sense of time and place can greatly enhance one's interest of the game, story, or other form of media a person is experiencing.
As you can see, even basic backstories can give new meaning for otherwise bland forms of media with little to no emotional content besides that of base excitement. Backstory is a very important part of the proccess of creating a story, a character, or a story's world, and should never be avoided even if it has no relation to what you are portraying in one's creation.
I'm sorry, but as far as I'm concerned the Xbone is one of the worst things ever to happen to microsoft. Microsoft has made it clear that they can only exist in a world filled with gold accounts microtransactions, casual gaming and Xbox One exclusive releases. They have obviously shanked the PC Gaming market and their pandering to the mainstream casual consumerbase has shifted the industry from catering to gamers to catering to people that are new to gaming and/or play casually. This isn't to say that there aren't hardcore gamers on xbox, and in fact there was a gigantic scene on the Xbox 360 that generated many great games, like Borderlands 2 and Bulletstorm, two games that I love to play on PC. But instead we get games like the in-app-purchase ridden Plants vs Zombies Garden Warfare and games that are rated T and under because of the lack of sales in the M-rated shooter market, which I think inhibit their action-oriented status, such as Destiny... but that's mostly because I'm a "violence-loving bastard" as Suda51 would call in in his seminal classic, "No More Heroes" which was in more ways than one a slanted parody and criticism on violence-oriented games as a whole. As a pc gamer, I applaud the new consoles for ditching the classical console hardware and pipeline technology for something pc-based and truly 64-bit, and since the xbox one uses directx 11 I was hoping that the market would soon be filled with 64-bit-only, high-graphics intensive pc ports that would focus on the hardcore market, but instead we get washed out and dumbed down ports like Watch Dogs, a game I found to be very boring and filled with oversimplified and boring game mechanics that turned off working graphics enhancements to make the game look as good on console as it did on PC, and then again games like titanfall, a very simplistic yet fun to play game, but still more open to beginners in a way that diminishes it's artistic value and originality.
In essence, the xbox one creed is that of "Not taking risks" and "Optimizing profits based on market research" instead of user-statistics gathering like steam and a hard design philosophy like the PS4. Now, the Wii U and PS4 both have a very niche and dedicated consumerbase; I say this because for the most part, their user experience is heavily shifted towards the main users of those consoles and their game experiences are heavily shifted towards the kinds of games that the users of that console play. The Wii U is a great console for people that like nintendo games, eastern games, and games that have interesting and game-changing mechanics. The PS4 is for hardcore graphics and game enthusiasts that don't want to bother with PC or Xbox becuase they prefer their user experiences to be both game-focused, unlike the xbox, and graphics-intensive like the PC but without the hassle. I'm very sympathetic towards the playstation userbase and the xbox 360 userbase as well as Wii U players because for the most part I'm very comfortable with the actions of the company and how it responds to their user's tastes over their own corporate agenda. However, I believe the Xbox One to be focused not so much "User-Satisfaction and responding to feedback" as much as pushing propiganda, ad campaigns, and a publishing practice people refer to as "Tastemaking". Imaging artists like Kanye West and LMFAO and Niki Manaj, and how they are heavily pressed by their publishers, themselves, and their executive editors in order to generate mass-appeal, and compare them to artists like Daft Punk, who are very heavily focused on doing their thing and their thing alone, and Usher and P Diddy, who both are very focused on doing recording their way (P Diddy I hear refuses to do collabs without the person there, but obviously I'm not very knowledgeable about most of these artists). The prior is how I see the Xbox One, and the latter is how I see the PS4 and Wii U communities, the Wii U being like Daft Punk and the PS4 Being like the Playstation 4. Despite the openness to new ideas that Microsoft brings, Sony is very dismissive towards any business practice that clashes with their overall philosophy and this includes the eastern mindset of disallowing user-based content and mods, and Nintendo is like daft punk, very classical for the genre but still very heavily focused on their developmental and design philosophy.
The philosophy Microsoft brings towards the Xbox One is one focused on market research instead of aggregated user play data, which is why their games for windows and the games for windows live data has failed very poorly and Valve's steam store, and even the intrusive Origin service, are still doing very well despite their obvious pricing tactics, with the origin service being focused on dlc and the steam tactic on constant sales that influence the buyer to get games they normally wouldn't consider on making. The reason they can do this is because unlike the console publishing state of affairs that require a 30% markup fee for licensing, steam and origin do not require markup fees and allow the publisher to do things as necessary in order to benefit the community and thus allow the individual companies that work for them (at least in steam's case) to do things as necessary to benefit from their product. The Microsoft mentality is that of "if you publish on our system, we enforce its marketing and will do all things necessary design-wise to greater influence it's base appeal." This doesn't allow the publisher to take necessary risks because Microsoft won't accept it, and it won't allow the publisher to cater to the individual needs of the licensees because it is so focused on maintaining the suitability of the ever-changing tv-based gaming platform.
This is also a problem with the gaming media as well as Xbox One, because gaming media is constantly loosing relativity and will do anything it needs to make money, which includes the pejorative (which I dislike using but lack any other means of describing) term "Selling Out" because they are left with no options.
Now, PS4 and PC both have very blatant problems. The pc market is so focused on PC gamers in the hardcore sense that it is very scary for one to get into, especially when more often than not your gaming choices are based around the hardware you currently have. That is one reason why I got into classical FPS games and oldschool shooters. PS4 on the other hand is focused on making great and top-of-the-line hardware which doesn't always benefit the company. Look at the E.D.O, look at the PS Vita. They were to high-end and lost considerable profits because of their public image as being a "luxury item" instead of a "media pastime enabler".
If I were to say anything good towards the Xbox one, it would be that they are doing a better job than most towards increasing the gaming population in a way that in one way or another benefits all gamers everywhere, and that they are doing great things with multiple-support of more types of media than gaming. They have Netflix, they have XBOX video, they have sports packages that are more interactive and easier to use than cable sports packages. They have user-aggregated show recommendations, one thing they should do with their flagship game titles more often. But above all, they are doing all things possible to keep things simple and take hard and annoying tasks out of the hands of the gamer, and into the hands of its hardware, such as "Kinect Voice Support" and other such things.
However, this is a double-edged sword and I really don't see people who are married to Xbox one leaving it anytime soon as it traps you and the entire industry as a whole to what Xbox says you can and cannot do.
I don't hate xbox gamers, as that would be idiotic. All gamers are gamers, and thus deserve the title of "gamer" no matter if they share your platform of choice. Being a gamer is a sort-of hidden badge of honor in my opinion, and I don't think the gamers are the ones doing wrong here. I think it's instead the Microsoft's flexibility of philosophy that is so bad about it, and if you like the Xbox One, then more power to you- but I foresee your possible game options to be far less than that of the XBOX 360 and the PS4.
Randomguy7 (aka Matthew E. Reynolds or just Matt) is a writing, gaming, computer, and electronics enthusiast. He is known to be intriguing and eccentric and always has a thing to say about his interests.