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GONE BY MICHAEL GRANT!!!

I have been reading this series of book and i think it is AMAZING no joke this book is one of the best I have EVER read I luuuuve it i i would recommend it to anyone with a strong stomach!!!!

It’s axiomatic that for the fun to start the adults must be disposed of. Michael Grant does this in the most perfunctory and audacious way. From a chunk of southern California, everyone over the age of 15 vanishes in an instant, just like that – poof! Teachers in mid-sentence, drivers from cars, parents at home, all gone. These opening pages are excellent; the “liberated” children’s swift modulation from thrilled excitement to panic is deftly, economically and wittily written. (The first screams come when the kids realise their cellphones and the internet are down.)

It transpires that the small town of Perdido Beach and its environs have been isolated from the world by an egg-shaped force-field. Our hero, Sam Templeton, and his friends Astrid, Quinn and Edilio assume responsibility for holding anarchy at bay. A sweet girl called “Mother” Mary takes charge of the pre-school nursery. In a lovely touch, a boy named Albert sombrely reopens McDonald’s, aware that the availability of number-one combos is the linchpin of civilisation as we know it. Then a convoy of cars from Coates Academy creeps into town. Coates is a residential school for “difficult” (for which read “deeply weird”) children. The leader of the contingent is Caine, a charismatic boy who mellifluously assumes power. He is, of course, Bad, and soon enough a battle between Sam and Caine, Good and Evil, develops.

We would seem, then, to be in Lord of the Flies territory. But Gone is no dystopian parable. It is not bothered overmuch with questions about social cohesion in the absence of authority. Grant addresses a far more pressing FAQ, namely “What the hell can we write to lure boys away from their PlayStations and Xboxes?” His answer – and he’s not a lone voice – is “Books that are prose versions of games”. And he has succeeded brilliantly in producing one. The action is incessant; the kids discover or acquire superpowers (death ray or healing hands, telekinesis, invisibility); they mutate (into Gravel Boy or Whip Hand); violence is continuous and incrementally gruesome; there’s a clock running (both Sam and Caine, who turn out to be – surprise, surprise – twin brothers, are fast approaching their 15th birthdays); religion is scattered throughout the text, but it’s nothing more than another grab from the tool bar. It’s like reading through your jittering thumbs.

Writing the “game novel” involves certain sacrifices, of course, but these are only literary. In Gone, the characters are crude two-dimensional digitisations, their motives sketchy. Dialogue is recycled from American action movies. Narrative moves from level to level, answerable to no logic other than its own, unconcerned with authenticity. Like the game, it refuses joyfully to have anything to do with real life. It’s very exciting.

Grant knows exactly what he’s doing. Now and again, he allows himself irony. In the best chapter of the book, Albert goes to the library to research the meaning of “work”. “He found a set of encylopedias – like Wikipedia, but paper and very bulky … It was exactly like following hyperlinks, but slower, and with more lifting.”

Does it all work? Well, yes, in one respect at least. Gone comes across the Atlantic on a tsunami of rave reviews, most of them posted on websites by teenagers. That’s a result, and you really can’t argue with it. Grant left me wondering if it might be possible to marry the reductive conventions of the game console to real writing. In total there shall be 6 books in order 1 to 6 Gone, Hunger, Lies, Plague, Darkness, Light. The book has quite a large online fan base on a site of which I am a member of called http://www.gaiaphage.com on the website people can chat and make there own F,ART and Fan Endings and there is even a text RPG forum on there it is a community of around 170 users I hope that anyone who CAN read reads this.

Sourced from TheGuardian.co.uk

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by AaronNM_65

I don’t know if anone has heard of this game but it is very good

Crayon Physics Deluxe is a fairly unique game, but it doesn’t feel it. If anything it feels very familiar and easy to get into – like your favourite pair of mud-caked shoes. The very premise of being able to draw all over the screen and have your doodles turn into in-game objects is an interesting innovation, but at the same time it feels like it’s old news at best.

The reason for this familiarity is simple; the games concept is one nearly all of us have thought up at some point or other, usually while struggling with a game of Tetris or being frustrated by a point and click adventure. Wouldn’t it just be easier if I could just make what I need in the game?

As familiar as it all is though, Crayon Physics Deluxe still is very innovative and compelling – enough that it won developer Petri Purho the grand prize in last year’s Independent Games Festival, prize money and all.

It was only with the beta that Purho managed to bag the much-clamoured for cash though – and in beta the game has been since, only recently emerging to give players a chance to play the full game.

The finished product is actually quite different from the beta though, laying the individual puzzles out over a large explorable game-world reminiscent of the early Mario Bros. games. There are just shy of eighty levels in the entire game that are spread out over about seven islands, each of which focuses on a different aspect of level design.

The missions themselves aren’t complex either, each one filling a single non-scrolling screen. The levels are typically littered with visual clues and hints at how you’re supposed to beat it, which is done by guiding a crayon ball to a pulsing star.

As the title suggests, physics play a rather large role in solving the crayola conundrums. If the star is above the ball then you’ll need to build a simple lift. If it’s off to the right then you’ll need a ramp or a swing to hit it with – simple physics tricks like that.

The first few islands in the game in fact actually do little more than introduce you to these ideas, slowly making sure you’re aware of how to place pivots and use pulleys, where to use hammers and how to build towers that don’t fall over.

The use of the crayola-style graphics is persistent throughout too, with coloured lines flickering a little and shimmering around as you lay them down on the yellowed paper backdrop. Petri has built some nice touches around this too, letting players doodle and write messages all over the world map, for example. Though it makes no actual difference to the gameplay you can switch through different colours with the mousewheel too.

The game itself is totally without story and context though and, to be honest, we’re quite glad that that’s the case. Arthouse games like Braid and super-cute squealers like World of Goo are great in small doses, but we’re honestly getting a bit sick of the irrepressible sense of smug joy those games ooze.

Like the writing on bottles of fruit juice in trendy coffee shops those games are just a little too sickly-sweet for regular indulgence, so finding an indie game that isn’t so pretentiously twee for once is a welcome breath of fresh air.

Crayon Physics Deluxe from Petri Purho on Vimeo.

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by AaronNM_65

Okay so i did this for work at school but wanted to upload it. In 1945 Colonel tibbets was a guy who flew a plane called the Enola Gay over the japanese town of Hiroshima and bombed it the bomb was called the little boy:

I fly over Hiroshima in the Enola Gay armed only with a bomb called the Little Boy. I do not know much about it only that it is one of a kind and truly devastating! I have been told that my mission will be a massive contributing factor to the end of the war to the the final end of the war. Hopefully now Japan will surrender to us, if not there will be more bombs like this one.

We are at the target location now, and the photographer plane next to me gives me the thumbs up to initiate the attack. I slowly move my index finger toward the the button. The time space before I push it feels like a decade even though I know it’s not. Now my heart is racing , like a horse, fighting to break out my chest. My hands feel as if buckets of water are tipping on to them as I press the release button. Now I struggle to think, as I see a large black shape drop towards the ground. The Captain of the photographer plane shouts, “Get the hell out of there now,” over the crackling radio.

I turn the plane around just as i see a blinding orange light through my special goggles, and then hear a loud bang; it is a cacophony so immense that it hurts my ear drums. Then I wonder what is happening to the plane, as it starts to shake uncontrollably. I try to ignore the shaking as much as I can as I fly over the East China Sea. I just want to get home to my family, and try not to think about the devastation I have caused, as much as I can, although I cannot shake it off my mind. I feel like my are drenched with blood as I think of all the people I have killed. Then i think of the families who would have dead relatives and I feel their grief as they do.

Colonel Paul Tibbets