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The First Berserker’s Ben Starr and Studio CEO Speak: Tough Games, AI and More

I sat down with Khazan’s voice actor Ben Starr and Neople CEO Myeongjin Yun to chat about their new game in the Dungeon & Fighter universe.

I’ve been enjoying The First Berserker: Khazan, the Souls-like dark fantasy action game that was released on March 27. During this year’s Game Developers Conference, I sat down with some of the development team to chat about the latest game in the Dungeon & Fighter series — and much more, from difficulty in Souls-like games to AI in the industry. 

I spoke to Myeongjin Yun, CEO of developer Neople, and Ben Starr, the voice of the titular character Khazan and many other iconic gaming roles including Clive, the protagonist of Final Fantasy XVI.  

We talked about where the game fits in the larger Dungeon & Fighter universe, how they tackled making a new entry in the crowded souls-like genre and where AI fits within their respective fields. This interview has been lightly edited for clarity.

Sean Booker: What is Dungeon & Fighter and how does it relate to The First Berserker Khazan? 

Myeongjin Yun: So basically Dungeon & Fighter is an action RPG, it’s been in service for 20 years as of this year in Korea. And Khazan actually plays a very core part of the story. So there is this iconic class in Dungeon & Fighter called the Demon Slayer, and they have a cursed red arm. It’s part of the lore, and basically Khazan is at the core of like, how that came to be, why all Demon Slayers have that red arm.

Then with The First Berserker: Khazan, we wanted to go a little bit deeper into the story and into the universe about, like, you know, what role does Khazan play in setting up the Dungeon & Fighter universe. How does his story expand? 

SB: Ben, what drew you to this project? 

Ben Starr: Cool, cool project. I remember seeing the first ever glimpse of it, I think in The Game Awards a couple of years ago, and I just thought it was the coolest looking game and I’m such a huge fan of this genre of games, like hardcore action RPGs is something that I have a deep, deep love on. After I did a blind audition for this game, but I knew exactly what it was because I’d already kind of been keeping tabs on it as a fan. And then I just saw what they were doing with story — I think with most actors, all they want to do is tell good stories and be good characters and it was just really, really fun. And I love, you know, a brooding protagonist who’s on a path for revenge, but this just felt really different and cool and I adore the art style. 

And I really love that the key of this story is the dynamic with Blade Phantom, and I’m really great friends with Anthony Howell who plays Blade Phantom, and I think he’s such an amazing, amazing actor. To get to work alongside him is just this incredible gift.

SB: Would you say people need to be familiar with Dungeon & Fighter in order to play The First Berserker, and if not, and they wanted to, where in the IP would you point them? 

MY: You could definitely play and enjoy Khazan, even if you did not know the Dungeon & Fighter IP at all. The setting, the learning curve, and even the story was all made with people who are new to the Dungeon & Fighter IP in mind. Of course, if you know the original story, you would have a lot more fun like, oh, here’s an Easter egg here and there. For example, in the original Dungeon & Fighter, when Khazan gets exiled to the mountains, the story kind of ends there, and we don’t really go that much into detail about what happened to Khazan after that. But here it kind of expands on the what if setting, so what if Khazan didn’t die in that exile snowy mountain? What if he stayed alive? What if he just continued his revenge? 

SB: Dungeon & Fighter games are typically beat ’em ups, and there’s also a fighting game. Now with Khazan we’re going into a Souls-like action game. Why the transition to this new genre? 

MY: We wanted to find a way for everyone to get immersed in the story, for them to really experience what it means to play Dungeon & Fighter. But then if you look at the original game, it’s a pixel game. It’s also side scrolling and that’s not the most popular genre as of right now. And so we were thinking, if we think about genre, what would be the best way to reach these players?

And of course, you know, we want 3D and we have this specific art style. We did take inspiration from games like Dark Souls, Sekiro, and Nioh because I actually personally love those games as well, but then, it does play a lot closer to the original Dungeon & Fighter, which is a hardcore action RPG at its core. So we really just wanted to emphasize, you know, that feeling of playing the original and being true to that, and so that’s what kind of ended up being Khazan. 

SB: There’s an ongoing discussion about difficulty settings in these more hardcore action games. Not only does Khazan have an easy mode option, but it also has this lacrima system, where you can keep going against a boss and still progress. What were your thoughts on difficulty?

MY: That’s a funny story because last year at Gamescom I was asked if we planned to add difficulty settings, back then I said no, we’re not gonna do that. But then winter, like in December last year, we actually did add an easy mode, right? And when we first thought about the difficulty settings and keeping it hard, we wanted players to really just feel the hardships that Khazan was going through, all the difficulty that he was going up against, but then we really thought to ourselves, like, what do we want from this? Like, what do we want the players to feel at the end of all this? 

Of course, there’s a sense of achievement from going through all these challenges and just getting better, but then we also wanted to make this experience a lot more accessible to players and for more people to know what it feels like to be immersed in Dungeon & Fighter.

There was a lot of internal discussion on whether we should be adding the difficulty settings or not, but then in the end, we decided to do so. Personally, I like Souls games, but I wouldn’t say I’m an expert master player in Souls games. Keeping that in mind, we wanted players who may not be that good at controlling or dodging to also be able to progress through repetition, and for them to really feel a sense of progression so that they can enjoy the game also. 

BS: I’ve just been massively impressed with the way the team has constantly engaged with players and interfaced with the team. Considering this is a single player hardcore action RPG, the fact that you as a team have constantly gone, here is a version of the game to play, please go and play it, give us feedback — that kind of really great conversation you’ve had with the public and how you’ve listened to people and what they want and what they don’t want, is really interesting.

When you think about how we use the word hardcore, instantly what you think is «this game isn’t for me.» But actually going, «it can be, and actually you can choose to play the game however you want» [has] been really lovely. 

SB: As someone behind the scenes, what are your thoughts on AI growing in the games industry? 

MY: Definitely we’re aware of what AI can do and also the ethical arguments that we’re having around it, and definitely around voice acting and all that as well. Personally, I feel that in the space of game making, in the space of developing games, AI definitely increases accessibility and allows smaller teams to come up with great ideas and develop new games in many different genres and just really bring their ideas to life.

But then we also need to be very aware of the fact that we’re in this very chaotic middle ground here. There are a lot of arguments about whether this is ethical. We see a lot of cases of copyright infringement, so we really need to learn where to draw the line and how we need to operate within a safe boundary. So definitely it has a lot of potential, but then it also involves a lot more discussion as well. 

BS: Yeah, it’s kind of the same thing, which is that AI isn’t inherently bad, it’s what the human fingerprint that holds it does with it. AI is also a very toxic word to use because it’s almost like it is no longer about AI, it’s about all of the things around it. You walk around GDC right now and you will hear many conversations about the importance of machine learning and how valuable that is. 

I’m an actor and obviously it’s a very hot topic right now for what we are doing. I think what SAG-AFTRA are doing right now, what the actors are fighting for is incredibly important, and it’s very good that they are elevating the importance in the public sphere. Ultimately AI isn’t the problem. AI can be a wonderful, wonderful tool for people to use in the right hands, but it’s like every single dystopian apocalyptic movie from the 90s. It’s like Skynet, man, is it coming? And it needs to be in the right hands. In the right way it can be used and useful and wonderful, but as you said, there has to be regulation. 

Technology is moving so fast that regulations cannot keep up and we need to make sure that we are putting things in place so when this technology does advance to a level where it’s doing some kind of crazy things, we already have those regulations in place and we are not reacting [by] preventing those things happening in the first place.

SB: When you’re not working on Khazan, what are you playing right now? 

MY: As a developer, I first came into the industry because I love games and I love playing games, but then it’s been ironic because I haven’t been able to play much. You hear a lot of other developers say «oh, I love to play games,» but then nowadays like gaming is actually more research, and so you would hear a lot of developers saying that. I don’t want this comment to sound too businessy, but I actually have been playing Khazan, and it’s wonderful. 

BS: I recently bought myself a Steam Deck. I have been a PlayStation kid since I was very, very young and that was my primary and still is my primary gaming machine. But I found myself traveling so much that I was like «I need to get a Steam Deck.»

On the way here I did 4 hours of Vampire Survivors. I did about 3 hours of Half-Life 2, which still holds up. My word, does that game hold up. And I think they’ve got like RTX there that just came out. The game series that really caught me in the past couple of months are The Case of the Golden Idol and The Rise of the Golden Idol. 

I just think they are wonderful, and even in those three games that I’ve listed they are in the same idea of video games, but they tell stories in completely different ways. Vampire Survivors doesn’t really tell a story at all, but it’s just wonderful how we can interface with that and stories can be revealed to us in all of these ways, and I think the Golden Idol series is really, really, really special.

Technologies

Verum Messenger introduces Verum Mail integration in the latest update

Verum Messenger introduces Verum Mail integration in the latest update

The Verum team continues to expand its ecosystem of secure digital solutions. The latest update of Verum Messenger brings full integration with Verum Mail — a tool for instant and fully anonymous email communication.

Now, users can generate temporary email addresses directly within the messenger — no registration, no passwords, no extra steps. The integration enables real-time message delivery, attachments, receiving and composing emails, and automatic deletion of emails after 1 hour.

What’s new:

  • Verum Mail integration in the messenger interface
  • One-tap temporary email creation
  • Real-time email delivery and viewing
  • Reply to emails without leaving the app
  • Full privacy: no account linking or data storage
  • File attachments: Send and receive files

Verum Mail compatible with all major email services — send and receive emails from iCloud, Gmail, Proton Mail, etc.

Verum Messenger + Verum Mail means a new level of privacy, where your messages and emails work together — fast, secure, and truly private.

This update is now available for all Verum Messenger users.

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Technologies

Today’s NYT Connections: Sports Edition Hints and Answers for April 12, #201

Hints and answers for the NYT Connections: Sports Edition puzzle, No. 201, for Saturday, April 12.

Looking for the most recent regular Connections answers? Click here for today’s Connections hints, as well as our daily answers and hints for The New York Times Mini Crossword, Wordle and Strands puzzles.


Connections: Sports Edition is still the toughest NYT puzzle for me every day. Sometimes, the topics feel like a bit of a reach as far as sports go, and today’s yellow group is a good example. The purple group is a good reminder that some athletes have names that are also regular words, so they can trick you. Read on for hints and the answers.

Connections: Sports Edition is out of beta now, making its debut on Super Bowl Sunday, Feb. 9. That’s a sign that the game has earned enough loyal players that The Athletic, the subscription-based sports journalism site owned by the Times, will continue to publish it. It doesn’t show up in the NYT Games app but now appears in The Athletic’s own app. Or you can continue to play it free online.  

Read more: NYT Connections: Sports Edition Puzzle Comes Out of Beta

Hints for today’s Connections: Sports Edition groups

Here are four hints for the groupings in today’s Connections: Sports Edition puzzle, ranked from the easiest yellow group to the tough (and sometimes bizarre) purple group.

Yellow group hint: Think Nike.

Green group hint: En garde!

Blue group hint: Wonderboy in The Natural.

Purple group hint: Hoopster stars.

Answers for today’s Connections: Sports Edition groups

Yellow group: Parts of a sneaker.

Green group: Fencing terms.

Blue group: Baseball bat materials.

Purple group: Last four WNBA finals MVPs.

Read more: Wordle Cheat Sheet: Here Are the Most Popular Letters Used in English Words

What are today’s Connections: Sports Edition answers?

The yellow words in today’s Connections

The theme is parts of a sneaker. The four answers are eyelet, laces, sole and tongue.

The green words in today’s Connections

The theme is fencing terms. The four answers are epee, foil, piste and sabre.

The blue words in today’s Connections

The theme is baseball bat materials. The four answers are aluminum, ash, birch and maple.

The purple words in today’s Connections

The theme is last four WNBA MVPs. The four answers are Copper, Gray, Jones and Wilson.

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Technologies

Love ‘Black Mirror’? You Can Play the Actual Game From the Episode ‘Plaything’ Now

The throng needs you.

Netflix launched the seventh season of Black Mirror on Thursday, and alongside it the streaming giant released a mobile game called Thronglets, a tie-in game for the episode Plaything. Thronglets is different from other Netflix tie-in games, like Too Hot to Handle. Thronglets is a game within the Black Mirror universe that’s central to the plot of Plaything, not just a game based on Black Mirror.

By letting people play the game that characters in the series play, Netflix has opened up a new avenue for people to interact with and experience the stories the service is telling. After I watched the episode Plaything and played the game, I thought, «Is this a joke? Where are the cameras?» 

The whole experience made me feel uneasy. Surely that’s the point, because I can see myself getting lost in Thronglets. Not to the extent that the main character in Plaything does, but enough to make me heed the push alerts the game sends to my iPhone when the Thronglets ask for help. 

Thronglets is a game within Black Mirror that you can actually play

Black Mirror’s episode Plaything is a tragedy that follows the yearslong downward spiral of game journalist Cameron Walker (played by Lewis Gribben and Peter Capaldi). In his younger years, he becomes engrossed with an in-universe, yet-to-be-released game called — you guessed it — Thronglets. We meet Walker years later when he’s recounting to the police how he’s dedicated his life to the game.

The in-episode game was developed by the fictitious game developer Colin Ritman (Will Poulter) and the company Tuckersoft, from the interactive Black Mirror: Bandersnatch movie Netflix released in 2018.

Ritman describes the Thronglets as the first creatures in history whose biology is entirely digital, and these creatures are capable of learning and expanding. This leads to devastating consequences for Walker and those around him.

Netflix’s game mimics that experience, letting you play it and raise a single Thronglet to a vast and expanding society. Thus, you can become engrossed with the digital creatures like Walker does in the show. And the game and episode work together to deliver a deeper storytelling experience. 

Here’s how to get started with Thronglets on Netflix Games, and what you should know about the game.

What are Thronglets?

In the game, they’re yellow creatures with a single antenna and large ears who reproduce by mitosis — they split into two whole and complete Thronglets. However, the very first Thronglet is hatched from an egg, and in the game, you have to tap the egg to get it to hatch.

Can you control the Thronglets?

You can’t. As Ritman says in Plaything, «They’re not some obscene puppets like Sonic the Hedgehog.» The Thronglets wander around and interact with things on their own, but you aren’t just watching them in the game. 

Thronglets are kind of like Tamagotchis in that they require food, amusement and cleanliness. You provide these things to the Thronglets by dropping digital apples and beach balls onto the screen or scrubbing a Thronglet with virtual soap and sponge. 

You can tap on individual Thronglets to see if they need food, amusement or a bath, as represented by three bars labeled Fed, Amused and Clean. If each of these bars is full, the Throng is happy. But if Fed is low, for instance, you can give the Thronglet an apple by dropping one near it, and it’ll eat the apple. Similarly, if Amused is low, drop a beach ball near the Thronglet and watch it kick the ball across the screen for fun.

Sometimes a Thronglet will display a speech bubble with an apple or a beach ball to tell you what it wants. Other times, the Thronglet will appear visibly dirty and in need of a bath. Occasionally, a Thronglet will squat down and seem to cry — which is sad to see, and I just want to give it a hug.

If you don’t meet a Thronglet’s needs, it’ll die, eventually decomposing till there’s nothing left but bones. 

The Thronglets can also talk to you. They’ll ask you questions and suggest how you should proceed, such as using Thronglet bones to construct a bridge to another landmass.

Wait… what?

Yeah, it’s a pretty gruesome suggestion. But this leads into another aspect of the game. You’re not only caring for the Thronglets’ basic needs, you’re also teaching them how to behave toward one another.

The Thronglets will ask you questions like, What is power? and, What is love? and you’ll be presented with two responses to choose from. Later in the game, when the Thronglets are beginning to industrialize, they’ll ask you whether they should sleep in their homes as much, or work more. You can respond however you want, but it’s important to remember the Thronglets see you as an all-powerful entity and will do whatever you say. 

So when I told the Thronglets not to work so hard and to sleep as much as they needed, they took my advice to heart, resulting in slower resource growth. But they appeared happier.

And that seems to be the result involved with many of the choices the Thronglets present you with — whether you accumulate resources more or less quickly. Most of the options I chose were more peaceful, like not using bones to construct a bridge, and thus resulted in slower production. But those choices never stopped or stalled the game. I tried to pick the kinder approach every chance I got — I can’t bring myself to do an evil run of any game.

Your actions also influence how the Thronglets see you. Once, I accidentally killed a Thronglet with a chain saw when I was cutting down some trees. From that action, a box appeared on the screen to let me know this taught the Thronglets that tools can be dangerous. It’s unclear whether these instances have any effect on the game other than some comic relief, but I still tried to minimize future accidental deaths or workplace mishaps. 

After each stage, you’ll see a screen with different stats, like how many Thronglets died. You’ll also see observations the Thronglets made about you during the stage. Once, the Thronglets noted that I taught them Shakespeare — which made my English-major heart very proud.

What’s the goal of Thronglets?

That’s a great question. For me, my goal was to help the Thronglets in whatever way I could. Sometimes that meant building them a theater for entertainment or cleaning up toxic waste and pollution to keep them healthy. Other times, it meant shooting them into the abyss of space or nuking their land so they could progress — I swear, they insisted these were the right things to do. 

But since it’s unclear how my choices affected the game and the upbringing of the Thronglets, it’s possible the goal is to get the Thronglets to progress as fast as possible. That would potentially mean making far more Thronglet sacrifices for the greater good.

But like Ritman asks in Plaything, «Why do you need a goal?»

Anything else interesting about the game?

The most interesting thing about Thronglets doesn’t have anything to do with the game itself, but with how Netflix is using different forms of media to tell intertwining stories. 

When Netflix released Black Mirror: Bandersnatch in 2018, that was the service’s first step into interactive films — which some people consider video games. The streaming service then pushed into gaming in 2021, and since then it’s turned some of its most popular series, like Squid Game, into mobile games. 

But Thronglets isn’t just a game based on a series. Characters in Black Mirror interact with this game, and then we can put ourselves in the characters’ shoes by playing the same game in the real world. The game represents another step in Netflix’s creation of more immersive storytelling through games and other media, not just films and TV series.

When I started playing Thronglets after watching the Black Mirror episode Plaything, I felt weirded out. Interacting with this piece of media that has dire consequences in the show tricked me into thinking I was playing with fire. I know the game is just a game, but it felt like playing was in some way dangerous. I know how irrational that sounds. 

I also couldn’t help but feel that while I was playing this game, I was isolating myself from others, like Walker does in the show. Walker begins to neglect the world around him to care for the Thronglets, and I’d spend time playing the game and ignoring the world around me, too. Granted, I didn’t get arrested for the little yellow guys — but I also didn’t take drugs to communicate with them.

The game didn’t make me more sympathetic toward Walker. He was scared of the world and said early in the episode that games are a kind of escapism. Maybe the game and episode are working in tandem to refute that. Maybe they’re trying to say that even if we find solace in games like Thronglets because the outside world is scary, we still might encounter something just as grisly in games, like a bridge made of bones.

I can see Netflix making more game tie-ins like this in the future to deepen the level of storytelling the service offers. And I’m looking forward to whatever the next tie-in is — maybe one of the arcade games from Stranger Things?

Here’s how to access this game, and more

Accessing Netflix Games on iOS and Android devices is a little different. But you have to subscribe to Netflix ($8 a month) for each.

Here’s how to access games on iOS if you’re a subscriber.

1. Download the Netflix app onto your iPhone or iPad.
2. Open the Netflix app.
3. Tap your profile and sign in to your account.
4. Tap Home at the bottom of your screen.
5. Scroll down your homepage until you see the Mobile Games carousel.
6. Tap into a game to learn more about it.
7. Tap Get Game to download a game you’re interested in. 

Here’s how to access Netflix Games on Android if you’re a subscriber.

1. Download the Netflix app onto your Android device.
2. Open the Netflix app.
3. Tap your profile and sign in to your account.
4. Tap Games at the bottom of your screen.
5. Tap into a game to learn more about it.
6. Tap Get Game to download a game you’re interested in. 

You can also search for games in the Netflix app by tapping the magnifying glass in the top right corner of the app and entering the game’s name.

After you tap Get Game, a pop-up from either Apple’s App Store or the Google Play Store will open, asking if you want to download the game. After you confirm that action, the game will download on your device, like other apps. 

For more on Netflix Games, here’s what to know about the first MMO coming to the service, and what to know about playing Hades and the Grand Theft Auto series on Netflix.

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