I don’t normally watch videos of other people playing video games. I’m even less inclined to watch “walkthroughs”.
This, though, isn’t a walkthrough. It’s basically the opposite of a walkthrough: this is somebody (slowly, painstakingly) playing through Skyrim: Special Edition
without using any of the movement controls (WASD/left stick) whatsoever. Wait, what? How is such a thing possible?
That’s what makes the video so compelling. The creator used so many bizarre quirks and exploits to even make this crazy stupid idea work at all. Like (among many, many more):
Dragging a bucket towards yourself to “push” yourself backwards (although not upstairs unless you do some very careful pushing “under” your feet).
Doing an unarmed heavy attack to “stumble” forward a little at a time, avoiding the stamina loss by eating vegetable soup or by cancelling the attack (e.g. by switching
quickselected arrows), which apparently works better if you’re overencumbered.
Mid-stumble, consuming a reagent that paralyses yourself to glitch through thin doors. Exploit a bug in dropping gear for your companion near an area-change doorway to get all of
the reagent you’ll ever need.
Rush-grinding your way to the Whirlwind Sprint shout and Vampire Lord “Bats” ability so you’ve got a way to move forward quickly, then pairing them with paralysis to catapult
yourself across the map.
When things get desperate, exploiting the fact that you can glitch-teleport yourself places by commanding your companion to go somewhere, quicksaving before they get there, then
quickloading to appear there yourself.
This video’s just beautiful: the cumulation of what must be hundreds or thousands of person-hours of probing the “edges” of Skyrim‘s engine to discover all of the potentially
exploitable bugs that make it possible.
Following the success of our last game of Dialect the previous month and once again in a one-week hiatus of our usual Friday
Dungeons & Dragons game, I hosted a second remote game of this strange “soft” RPG with linguistics and improv drama elements.
Thieves’ Cant
Our backdrop to this story was Portsmouth in 1834, where we were part of a group – the Gunwharf Ants – who worked as stevedores and made our living (on top of the abysmal wages for
manual handling) through the criminal pursuit of “skimming a little off the top” of the bulk-break cargo we moved between ships and onto and off the canal. These stolen goods would be
hidden in the basement of nearby pub The Duke of Wellington until they could be safely fenced, and this often-lucrative enterprise made us the envy of many of the docklands’ other
criminal gangs.
I played Katie – “Kegs” to her friends – the proprietor of the Duke (since her husband’s death) and matriarch of the group. I was joined by Nuek (Alec), a Scandinavian friend with a wealth of criminal experience, John “Tuck” Crawford (Matt), adoptee of the gang and our aspiring quartermaster, and
“Yellow” Mathias Hammond (Simon), a navy deserter who consistently delivers better than he expects to.
Our second tableau was somehow more-chaotic than the first, even after I accidentally removed several cards before taking this picture!
While each of us had our stories and some beautiful and hilarious moments, I felt that we all quickly converged on the idea that the principal storyline in our isolation was that of
young Tuck. The first act was dominated by his efforts to proof himself to the gang, and – with a little snuff – shake off his reputation as the “kid” of the group and
gain acceptance amongst his peers. His chance to prove himself with a caper aboard the Queen Anne went proper merry though after she turned up tin-ful and he found
himself kept in a second-place position for years longer. Tuck – and Yellow – got proofed eventually, but the extra time spent living hand-to-mouth might have been what first
planted the seed of charity in the young man’s head, and kept most of his numbers out of his pocket and into those of the families he supported in the St. Stevens area.
The second act turned political, as Spiky Dave, leader of the competing gang The Barbados Boys, based over Gosport way, offered a truce between the two rivals in exchange for sharing
the manpower – and profits – of a big job against a ship from South Africa… with a case of diamonds aboard. Disagreements over the deal undermined Kegs’ authority over the Ants, but
despite their March it went ahead anyway and the job was a success. Except… Spiky Dave kept more than his share of the loot, and agreed to share what was promised only in
exchange for the surrender of the Ants and their territory to his gang’s rulership.
We returned to interpersonal drama in the third act as Katie – tired of the gang wars and feeling her age – took perhaps more than her fair share of the barrel (the gang’s
shared social care fund) and bought herself clearance to leave aboard a ship to a beachside retirement in Jamaica. She gave up her stake in the future of the gang and
shrugged off their challenges in exchange for a quiet life, leaving Nuek as the senior remaining leader of the group… but Tuck the owner of the Duke of Wellington. The gang split into
those that integrated with their rivals and those that went their separate ways… and their curious pidgin dissolved with them. Well, except for a few terms which hung on in dockside
gang chatter, screeched amongst the gulls of Portsmouth without knowing their significance, for years to come.
Playing Out
Despite being fundamentally the same game and a similar setting to when we played The Outpost the previous month, this game felt very different. Dialect is
versatile enough that it can be used to write… adventures, coming-of-age tales, rags-to-riches stories, a comedies, horror, romance… and unless the tone is explicitly set out at the
start then it’ll (hopefully) settle somewhere mutually-acceptable to all of the players. But with a new game, new setting, and new players, it’s inevitable that a different kind of
story will be told.
But more than that, the backdrop itself impacted on the tale we wove. On Mars, we were physically isolated from the rest of humankind and living in an environment in which the
necessities of a new lifestyle and society necessitates new language. But the isolation of criminal gangs in Portsmouth docklands in the late Georgian era is a very different
kind: it’s a partial isolation, imposed (where it is) by its members and to a lesser extent by the society around them. Which meant that while their language was still a defining aspect
of their isolation, it also felt more-artificial; deliberately so, because those who developed it did so specifically in order to communicate surreptitiously… and, we
discovered, to encode their group’s identity into their pidgin.
While our first game of Dialect felt like the language lead the story, this second game felt more like the language and the story co-evolved but were mostly unrelated. That’s
not necessarily a problem, and I think we all had fun, but it wasn’t what we expected. I’m glad this wasn’t our first experience of Dialect, because if it were I think
it might have tainted our understanding of what the game can be.
As with The Outpost, we found that some of the concepts we came up with didn’t see much use: on Mars, the concept of fibs was rooted in a history of of how our medical
records were linked to one another (for e.g. transplant compatibility), but aside from our shared understanding of the background of the word this storyline didn’t really come up.
Similarly, in Thieves Cant’ we developed a background about the (vegan!) roots of our gang’s ethics, but it barely got used as more than conversational flavour. In both cases
I’ve wondered, after the fact, whether a “flashback” scene framed from one of our prompts might have helped solidify the concept. But I’m also not sure whether or not such a thing would
be necessary. We seemed to collectively latch onto a story hook – this time around, centred around Matt’s character John Crawford’s life and our influences on it – and it played out
fine.
And hey; nobody died before the epilogue, this time!
I’m looking forward to another game next time we’re on a D&D break, or perhaps some other time.
Dr. Doe’s latest Sexplanations vlog is on polyamorous language, and despite being – or, perhaps, because I’m – a bit of a long-toothed polyamorist these days, fully a quarter
or more of the terms she introduced were new to me! Fascinating!
I’ve been doing a course provided through work to try to improve my ability to connect with an
audience over video.
This is my fourth week in the course, and I opted to revisit a video I made during my second week and try to do it again with more engagement, more focus, more punch, and more
emotion. I’m pretty pleased with how it turned out. Interestingly, it somewhat mirrors my Howdymattic video from when I first started at
Automattic, but I pivoted my “origin story” a little bit and twisted it to fit one of my favourite parts of
the Automattic Creed.
I’ve been doing a course provided through work to try to improve my ability to connect with an audience over
video. For one of my assignments in this, my fourth week, I picked a topic out from the “welcome” survey I filled out when I first started the course. The topic: the Devil’s Quoits. This stone circle – not far from my new house – has such a bizarre
history of construction, demolition, and reconstruction… as well as a fun folk myth about its creation… that I’d thought it’d make a great follow-up to my previous “local history”
piece, Oxford’s Long-Lost Zoo. I’d already hidden a “virtual” geocache at the henge, as I previously did for the zoo: a video seemed like the next logical step.
My brief required that the video be only about a minute long, which presented its own challenge in cutting down the story I’d like to tell to a bare minimum. Then on top of that, it
took me at least eight takes until I was confident that I’d have one I was happy with, and there’s still things I’d do differently if I did it again (including a better windbreak on my
lapel mic, and timing my takes for when geese weren’t honking their way past overhead!).
In any case: part of the ritual of this particular course encourages you to “make videos… as if people will see them”, and I’ve been taking that seriously! Firstly, I’ve been
sharing many of my videos with others either at work or on my blog, like the one about how GPS works or the one about the secret of magic. Secondly, I’ve been doing “extra credit” by
recording many of my daily-standup messages as videos, in addition to providing them through our usual Slack bot.
Anyway, the short of it is: you’re among the folks who get to see this one. Also available on YouTube.
Hi, ONS! I know we haven’t really spoken since you ghosted me in 2011, but
I just wanted to clear something up for you –
This is not a mistake (except for the missing last names):
It’s perfectly possible for somebody to live with multiple partners, even if they’re forbidden from marrying more than one.
Back in 2011 you thought it was a mistake, and this prevented my partner, her husband and I from filling out the digital version of the
census. I’m sure it’s not common for somebody to have multiple cohabiting romantic relationships (though it’s possibly more common than some other things you track…), but
surely an “Are you sure?” would be better than a “No you don’t!”
For all I know, you already fixed it. If not: I mocked-up a UI for you.
We worked around it in 2011 by using the paper forms. Apparently this way you still end up “correcting” our relationship status for
us (gee, thanks!) but at least – I gather – the originals are retained. So maybe in a more-enlightened time, future statisticians might be able ask about the demographics
of domestic nonmonogamy and have at least some data to work with from the early 21st century.
I know you’re keen for as many people as possible to do the census digitally this year. But
unless you’ve fixed your forms then my family and I – and thousands of others like us – will either have to use the paper copies you’re trying to phase out… or else
knowingly lie on the digital versions. Which would you prefer?
Jack and the Beanstalk, as told by the kids via paper puppets. With thanks to Robin for direction, camera operation, editing and – I’m
guessing – creative consultancy.
