Connect with us


Can you make a comedy set during COVID-19? Recovery takes the idea for a drive



The trailer for Recovery, which enjoyed its world premiere at SXSW 2021.

The second edition of South by Southwest to take place in the middle of our in-progress pandemic just wrapped. Maybe this should’ve been obvious beforehand—since everyone from Michael Bay to Netflix rolled out shot-in-quarantine films in recent months—but the era of COVID-19 films is clearly upon us, before the era of COVID-19 has subsided even a tad. Of the 75 feature-length films on the SXSW Online 2021 schedule, more than a tenth (at least eight) explicitly involve COVID-19.

Recovery is not a comedy about COVID-19; it’s a buddy comedy written by and starring actors Mallory Everton and Whitney Call. These first-time filmmakers use COVID-19 as their film’s setting in the same way that Harold and Kumar uses an insanely high night. During a panel on the film’s creation, in fact, co-director Stephen Meek said the team set out to make a road movie, taking a lot of inspiration from British films Locke and The Trip. That format, after all, could theoretically be executed safely and quickly in the middle of a global health crisis. (Apparently, roughly 20 pages of the script were all filmed on the same road.)

“This was during the time when we all were still really afraid to open our doors and breathe outside,” Call said. “It wasn’t that far after March 2020 that we made the March 2020 movie—it was June when we started writing it.”

“[A friend said] if you told me you’re going to make comedy, in a pandemic, about the pandemic, and that it’s a road trip movie, I would’ve advised you to do none of those things,” Meek said. “But we pulled it off.”

The road trip in Recovery puts sisters Jamie (Call) and Blake (Everton) behind the wheel. Shortly after Jamie’s 30th birthday, the two find themselves quarantined together in Albuquerque and slowly going a bit stir-crazy. So when they get an official notice that their grandmother in Washington state lives in a nursing home with some confirmed COVID-19 cases, the choice is clear: get in the car, get on the road, and go 20-plus hours to save Grandma.

Beyond giving the film’s two central sisters a reason to get in motion, artifacts from our COVID-times largely lurk in the background. Recovery’s ideas and punchlines about it never really move beyond surface-level. One family member ignores the increasingly clear grim reality to an alarming degree. Lysol spray flows amply. Multiple references to Tom Hanks’ well-being pop up. As with all of these comedic touches, a lot of audience can now laugh at something—say, having to rely on whatever plastic you can find in the console to touch a gas pump—because it’s become another universally relatable experience for these times. (Personally, I used dog waste bags instead of sandwich ones.) But the team had to constantly weigh the COVID-ness of it all: Which of these touchpoints could elicit laughter? Which would be relatable in a year or two? Which felt too glommed onto the story or too outside of these characters’ character?

“That was a huge fear—how much context [do you need]?” Everton said. “Do you need to really say something of value about the period you’re in? We were constantly wondering, ‘Are people going to care about this? Are they going to get this joke? Will it make sense?'”

Overall, the film can feel a little meandering at times. But whether or not it’s intentional, that attitude does genuinely mimic the experience of the 20-plus-hour road trip. When you’re in the car with only one other person for that amount of time, maybe it’s only natural to fixate a little too much on a text exchange with someone who still has the word “Tinder” attached to their name within the Contacts list, for instance. As the center of a confined buddy comedy, Jamie and Blake feel more real than some because they genuinely act like siblings would on such a tedious journey—they have inside jokes that don’t need explanation and there’s no rift just for the sake of narrative tension because these people get along and could do so for a few straight days.

Playing off that dynamic, the best bits in Recovery come from Jamie and Blake leaning into their unique brands of weirdness. Jamie teaches fourth grade and has kids watching the classroom pets while she’s away—”Have you ever smelled mouse afterbirth?” is a question that will stay with me (and reliably incite a chuckle) for a bit. She has some vivid passenger seat dreams, too. Blake has the more over-the-top personality, and her thoughts during a game of “Dealbreaker” (where you must consider whether things like having rotisserie chicken for hands would be a dealbreaker in a guy) emphasize that. They meet a few characters who reveal themselves as their oddity equal. The duo also get a few cinematically indulgent, slo-mo sequences where they dance in the middle of a desert or rollerblade down rural roads… well, because it’s fun and looks cool. Such moments earn a smirk through sheer absurdity, not from saying anything clever about COVID. (The idea of someone fermenting wine from Dial is probably a touch funnier considering the situation, though.)

Recovery could probably be a bit tighter than its current 80 minutes, or a few of the film’s slower moments could be spiked in favor of more sequences either showcasing the personalities of these two main characters or exploring the complications of the journey they’re on. For me, the film also seemed to have a false flag ending, and it’s possible that the film overall may have been more interesting if the teased route was followed. But the choice the Recovery team makes ultimately better fits the breezy, vibes-only tone of this largely hangout comedy; it’s the right way to wrap the story these writers wanted to tell.

Call, Everton, Meek, and the Recovery team managed to do all this within a short period of time while a global pandemic unfolded all around them and the industry. Considering that context, Recovery stands as a remarkably resilient bit of filmmaking—it’s a quick-turnaround project that incorporates a very scary, in-progress real world scenario and gives audiences more than a few chuckles to forget about that off-screen life for a while. Comedy, during COVID-19 or not, remains subjective, and this one won’t land for everyone. But it’s easy to root for the people you see in Recovery (both on-screen and off) as they face the unknown of life in 2020 head-on and push forward to do something.

“We decided to make this movie in the middle of 2020 to give shape to our suddenly purposeless lives, and, since we were horribly depressed, we wanted to make something that wasn’t horribly depressing,” Meek and Everton wrote in their directors’ statement. “It is a friendly wave to the world with which we miss colliding, a love letter to you and the year you’ve had… When we wrote the script, we didn’t know when the pandemic would end, and, as we write this statement, we still don’t.”

Recovery remains on the festival circuit and is currently seeking distribution. Stay tuned to production house Sorø Films’ Facebook page for the latest updates.

Listing image by Brenna Empey

Continue Reading


Ubisoft’s first NFT plans make no sense



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.

Continue Reading


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



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.

Continue Reading


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



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

Continue Reading