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Bus drivers bring adaptation of Alien to London’s West End in Alien on Stage

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Danielle Kummer and Lucy Harvey produced and directed the charming documentary Alien on Stage.

Imagine if your amateur high school theatrical production was suddenly asked to perform on Broadway, with just a few weeks to prepare. That’s the kind of thing that typically provides fodder for anxiety dreams. But in Alien on Stage, a group of British bus drivers overcomes the odds to bring their amateur production of Ridley Scott’s classic 1979 science fiction horror film Alien to London’s West End. This winsome documentary made its international premiere at the virtual SXSW festival last week.

Per the official premise:

This is a story about a unique crew of Dorset bus drivers whose amateur dramatics group decide to ditch doing another pantomime and try something different. Having never done anything like it before, they spent a year creating a serious adaptation of the sci-fi, horror film, Alien; finding ingenious solutions to pay homemade, homage to the original film. The show is a crushing flop but fate gives them a second chance to find their audience.

Whilst still adjusting to the idea that their serious show is actually a comedy, the group find out they’re suddenly being whisked from their village hall to a London West End theatre to perform this accidental masterpiece for one night only. With wobbly sets, awkward acting and special effects requiring “more luck than judgement,” will their West End debut be alright on the night? This bus driving crew are our space heroes. Their bus station is our space station. Dorset is outer-space and where is the Alien? It’s behind you!

The amateur company in question call themselves Paranoid Dramatics, and most of the members are employed by the Wilts and Dorset Bus Company. When we first meet them, they’ve been putting on annual holiday pantomimes locally for several years as a creative outlet, with proceeds going to charity. Their production of Robin Hood in particular proved to be a smashing success with the locals.

Pantomime, for the uninitiated, is a form of family-friendly musical theater with comic gags and slapstick, with audience participation encouraged. It usually draws upon well-known fables, legends, and folk tales. But Dave Mitchell, his wife, Lydia Hayward, and son Luc, were all huge Alien fans, and one year convinced the troupe to stage an adaptation of the film. (Other candidates for adaptation included Kill Bill, Pulp Fiction, and Tombstone; Alien won out.) 

Luc wrote the script, Lydia was cast in the starring role of Ripley (made iconic by Sigourney Weaver in the original film), and Dave was the director. They tapped grandfather Ray to build the sets, making it a three-generation family affair.

Jason Hill was cast as Dallas, captain of the Nostromo, with Jacqui Roe as science officer Ash (later revealed to be an android); Carolyn White as the ship’s navigator, Lambert; John Elliott as engineering technician Brett; Mike Rustici as chief engineer Parker; Penny Thorne as the voice of Mother, the ship’s computer; and Scott Douglas as both the ill-fated Kane and the Xenomorph. Various other co-workers and partners chipped in as needed for lighting, stage management, operations, sound, costumes, and props and special effects.

That latter category fell to Pete Lawford, late night supervisor at the bus company, who had to figure out how to recreate Ridley Scott’s original effects for the stage, and on a minuscule budget to boot. Pete admits on camera that his only prior experience had been building models of cars. But the Internet proved to be a treasure trove of useful information, especially a site called Instructables, which yielded specific instructions for various props, including the Xenomorph costume. (The head is adapted from a motorcycle helmet and the chin strap is used to operate the jaws.)

Lawford’s biggest challenge was the infamous chest-burster scene. He ended up using a rubber six-pack abs costume, placing the model alien in a bag just underneath it with two pints of fake blood. The chest-burster puppet was controlled (awkwardly) by wires on fishing poles, to hilarious effect, in large part because Lawford’s version looks decidedly phallic in operation. 

Alas, despite all their hard work, the opening performance of Alien at the local Allendale Community Center in Wimborne, Dorset, was a disaster, with a mere 20 people in the audience. Enter filmmakers Lucy Harvey and Danielle Kummer, a pair of Londoners who were among the rare few to catch the Paranoid Dramatics stage adaptation in Wimborne. They adored the show and set up a successful crowdfunding campaign to London. They were convinced the production just needed to find the right audience. Sure, the troupe had intended to stage a serious production, but those pantomime roots just proved too strong. The secret to eventual success was accepting that and leaning into the comedy.

Inspired by the group’s “fearlessness and creativity,” Harvey and Kummer borrowed all the necessary filmmaking equipment to document the process of moving the show from its Dorset village community center to the Leicester Square Theatre in the heart of London’s West End. “Like them, we had never attempted to do something on this scale before, and like them, we just said, ‘Yes! Let’s do it!'” Harvey and Kummer said in a statement. Their inexperience shows in the final documentary, but like the stage production that inspired it, the amateurism is a big part of the film’s charm.

The sold-out, one-night performance of Alien at Leicester Square Theatre, as the film documents, was a smashing success—so much so that the troupe was invited back for an encore performance the following year, with proceeds once again going to charity. (Theater employees voted the production their all-time favorite.) You’ll find yourself clapping and cheering along with the audience in Alien in Stage, rooting for this intrepid group of ordinary people as they achieve something truly extraordinary.

 

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Ubisoft’s first NFT plans make no sense

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Enlarge / Galaxy brain, meet Ubisoft brain…

Ubisoft became the first big-name game publisher to jump on the non-fungible token bandwagon Tuesday. After teasing its interest in the space last month, the company is officially rolling out Quartz, a system of in-game cosmetic items powered by a new kind of NFT, called “Digits.”

By using a decentralized NFT blockchain, Ubisoft promises its Quartz system will “grant players more control than ever” and “more autonomy and agency” in order to “genuinely make players stakeholders of our games.” But as currently described, Ubisoft’s Quartz system seems like an overcomplicated repackaging of a run-of-the-mill system of DLC cosmetics—but now with extra buzzwords and artificial scarcity layered on top.

And despite all the bold talk of “decentralization,” the Quartz system is still so deeply controlled by Ubisoft that we wonder whether a simple internal database managed directly by the company would be a better fit.

Quartz, explained

Quartz—which rolls out later this month—is simply a system that provides access to cosmetic items for a single game, Ghost Recon Breakpoint. The first three such cosmetics—representing a specific gun, a face mask, and “enhanced pants” in the game—will be available for free on three days in the coming weeks.

Unlike traditional DLC, where supply is unlimited and every purchased copy is identical, Ubisoft stresses three ways in which Quartz cosmetics are unique:

  • Limited editions: Each Quartz NFT “edition” will be limited to a set number, ranging from “a few units to a few thousands,” Ubisoft says. It’s not clear how many will be available for each of these first three “free” editions.
  • Serial Numbers: Each individual NFT in a single edition has a unique serial number that “is displayed on the collectible and on the in-game item.”
  • Player names: A Digit’s metadata will contain “the history of its previous owners,” represented by their Ubisoft player names.
The first three
Enlarge / The first three “editions” of Quartz NFTs will be available at specific times later this month.

So in practice, your “Wolf Enhanced Helmet A” will look and function a lot like mine. But if you look closely, you’ll see a different number etched into the virtual forehead of that helmet. And if you dig into the NFT’s metadata, you’ll be able to see who used to own that particular copy of the helmet.

Ubisoft seems to foresee a chase-the-collectible metagame forming around these minor differences. “Owning a Digit will make you an actual part of its history,” the company says in its FAQ. Elsewhere, Ubisoft encourages players to “be the first owner of a particular Digit or chase the one of your favorite streamer.”

OK, sure. Maybe some people will get really excited about “owning” the only digital pair of Wolf Enhanced Pants numbered “69420” and once owned by Ninja. We can’t say that we’re excited about it, but there may be some market for such a thing.

But marketing rare or unique in-game items—and letting players resell them—isn’t a new thing. Ubisoft doesn’t need NFTs or “the blockchain” to enable this kind of artificially scarce digital collectible; a basic centrally controlled database could do the same thing much more simply.

Anyone who has sold a special-edition ship in Eve Online‘s strictly regulated economy knows how this can work. The same goes for anyone who bought and sold Artifact cards on the Steam marketplace or those who remember the ill-fated Diablo III real-money auction house.

All these examples and more predated the widespread adoption of NFTs and didn’t need the technology for any of the features Ubisoft is touting here.

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Halo Infinite’s PC version looks like it needs more work

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Enlarge / Get ready for choppy frame rates on this bad guy’s animations, even on your most powerful PC, thanks to certain missing optimizations on Halo Infinite‘s upcoming PC version.

Xbox Game Studios / 343 Industries

Ars Technica will eventually go hands-on with Halo Infinite‘s campaign on PC, but as I noted in my feature-length review, our repeated requests to test the game on PC were declined.

So ahead of the version’s Wednesday launch, we’re left sifting through reports from the few outlets that were deemed worthy of getting a PC-specific look at the Infinite campaign. The most comprehensive analysis thus far, delivered by Digital Foundry PC gaming legend Alex Battaglia, ends with a pretty strong judgment.

“I will not be playing to beat the campaign to completion until a number of issues I mentioned are sorted out, as I really want to have a super-smooth Halo experience that the current game does not always offer,” Battaglia says.

See for yourself (kind of)

Head to Steam or the Windows Store right now, and you can download the free-to-play competitive multiplayer version of Halo Infinite. If you do, you’ll find a pretty robust settings menu that includes the all-important toggles for visual settings, along with sliders for both your field of view and your monitor’s aspect ratio.

The best news ahead of the campaign’s launch is that the PC ultrawide monitor ratios—which can reach extremes like 32:9, compared to the HDTV standard of 16:9—seem to be working well in the versus modes, which focus primarily on first-person combat, along with brief cinematic camera pulls before and after a match.

The Infinite campaign will arguably put more of an emphasis on arbitrary monitor ratios, as it includes a lot of cut scenes. These scenes also play with Master Chief’s perspective in clever ways, as they move from his in-helmet view to third-person perspectives at a moment’s notice. Previous promotional footage for Infinite confirmed that the game’s PC development team has focused on making sure those cut scenes work with ultrawide monitor ratios. So far, though, we haven’t seen anyone test these perspective-shifting cut scenes, nor Infinite‘s ambitious open-world environment, on screens beyond the 16:9 standard.

Not feeling so dynamic

Exactly how much will this scene stutter in <em>Infinite</em>'s PC version? According to Digital Foundry, perhaps quite a bit.
Enlarge / Exactly how much will this scene stutter in Infinite‘s PC version? According to Digital Foundry, perhaps quite a bit.

Xbox Game Studios

Battaglia also says there are a few curious issues with the PC build’s performance that aren’t found in the console versions. The biggest problem is a constant “frame time” bump when the game’s dynamic resolution scaling (DRS) system is enabled.

Infinite can strain an average gaming PC’s CPU, even when the game is running at a 720p resolution and low visual settings. The problem occurs on both Intel and AMD CPUs. Because of this, Battaglia recommends enabling Infinite‘s built-in dynamic resolution setting so that pixel counts can rise and fall to help stabilize performance during frantic, open-world encounters.

But something about this DRS system is triggering a constant, predictable freeze in the game’s frame time steadiness. Worse, the freeze is triggered by some form of rendering measurement inside the engine. So if you crank your frame rates higher, the freeze happens more often—like every four seconds when running at 120 fps. Yikes.

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Tesla’s center-screen games can now be played while the car is moving

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An August video shows a game being played on a Tesla central console while the car is in motion.

When we covered the first video games available on Tesla’s center-console video screen back in 2019, we noted that the feature only worked when the car was parked. Now, though, those Tesla games can apparently be played even when the car is moving, a feature that could run afoul of National Highway Traffic Safety Administration guidelines and state laws designed to combat distracted driving.

While the ability to play Tesla games outside of Park is being highlighted in a New York Times report today, the change was seemingly rolled out months ago. A YouTube video from January shows Solitaire being played on a Tesla screen while the car is shifted into Autopilot mode, for instance (though other games appear not to work with Autopilot in the same video).

In another video posted in July, a Tesla owner shows space shoot-em-up Sky Force Reloaded being played while the car is shifted into drive. That video says the new capability was added as an unannounced feature of July’s 2021.12.25.6 firmware update.

While Tesla also added the ability to stream video services such as Netflix and Hulu on the car’s central console in 2019, those services are still completely disabled when a Tesla is not in park (though some owners have tried to find ways around this limitation). “When full self-driving is approved by regulators, we will enable video while moving,” Tesla founder and CEO Elon Musk tweeted ahead of that streaming-video rollout.

When it comes to games, though, Tesla’s software now notes the possibility of titles running while the car is moving. “Use of Touch Arcade while the vehicle is in motion is only for passengers,” reads a warning that pops up before a game launches in the second video. Users must confirm that the player is a passenger. “Please check local laws prior to playing,” the warning says.

Laws and regulations

Those “local laws” seem aligned against the idea of having a game visibly running while a car is in motion, even if the driver isn’t the one playing. A 2014 round-up from the Consumer Electronics Association found “video screen restriction” laws on the books in 34 states and the District of Columbia. While the specific laws vary, most regulations are focused on the operation of “television” screens that are visible to the driver while the car is in motion (California’s law more broadly restricts the use of any “video monitor or a video screen or any other similar device that displays a video signal”).

Enlarge / Sky Force Reloaded running on a Tesla’s central screen while the car is driving down the road.

The NHTSA also suggests that showing active gameplay on a Tesla’s central console is likely to be a significant distraction to drivers. The agency’s 2013 “distraction guidelines” (PDF) suggest that “displaying images or video not related to driving” on a monitor visible to the driver will “inherently interfere with a driver’s ability to safely operate the vehicle.”

The NHTSA specifically calls out any display of “video and continuously moving images” and includes “things such as video phone calls and other forms of video communication, as well as prerecorded video footage, and television” as examples of what to disable when a car is in motion.

True, these laws and safety guidelines generally don’t mention video games on an in-car display specifically. But that’s likely because the concept of playable games on a car’s central console wasn’t even in consideration when the laws were written. Video games are specifically mentioned in a handful of laws targeting cell phone use while driving, however.

“It’s a big concern if it plays in view of the driver, for sure,” Jonathan Adkins, executive director of the Governors Highway Safety Association, told The New York Times about games on a car’s console screen. It’s a problem that “is crying out for NHTSA to provide some guidance and regulation,” he added.

Tesla has come under fire recently for dangerous failures of its “Autopilot” system, including many in which a distracted driver was allegedly not actively monitoring the car as required. Last year, police filed charges against a North Carolina man who was watching a movie on his phone when his Autopilot-enabled car crashed into a police cruiser. And forensic data from a fatal 2018 Tesla crash suggests the driver may have been playing mobile game Three Kingdoms when his Autopilot-driven car crashed into a concrete lane divider.

Listing image by YouTube / Cf Tesla

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