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Star Wars Galaxies launched in 2003 to critical and commercial acclaim. The game is being regularly updated with new content, that expands the post apocalyptic nuclear world of DUST.Defy all limits and game whenever and wherever you want to with now.gg. This incredible cloud platform by the makers of BlueStacks lets you run all your favorite Android games and apps directly from your browser.Other popular survival games include Advanced Pixel Apocalypse 3, Zombocalypse 2 and Resident Evil. Advanced Pixel Apocalypse 3 is an awesome FPS game in which you can fight against both humans and zombies using a myriad of high-tech weaponry.If your device has a browser and an internet connection, you’ve already got all you need to enjoy a premium Android experience with now.gg. Even old laptops and outdated phones can become monster Android gaming machines! Even better, you no longer have to deal with long download times and those annoying updates and patches that keep you from getting right into the action.Now.gg is the ultimate platform for playing games online for free without downloading. Please play Zombie Apocalypse on Hot-games.net for free.
Sega’s ill-fated MMO The Matrix Online ran from 2005 to July 2009, when it was brought down with little warning by none other than SOE, which had purchased the property from Sega some years before. The death-knell came in 2011, when SOE announced, to no one’s surprise, that Galaxies would be shut down for good in December of that year (not coincidentally, the same month that BioWare launched its dreary Star Wars MMO, The Old Republic).Not every apocalypse is so poetic. Players revolted, and, by 2006 barely 10,000 people could be found in Galaxies on any given Friday. Alas, in 2005, in response to a lack of new players, Sony Online Entertainment redesigned the game to emphasize combat, trading the game’s supreme sense of inhabitation and belonging for a sense of power (the lure of the dark side indeed!). That might seem hopelessly jejune in 2015, but Galaxies was a tremendous success for several years. Instead of saving the Star Wars universe for the umpteenth time, the player was asked merely to live in that universe, getting by doing anything from bounty hunting to stripping in dusty cantinas on the Outer Rim.
In both cases, survivors were cut down by an unexplained electrical phenomenon (a glitch in the matrix, so to speak). A bloodbath ensued anyone whose character died found that death, suddenly, was permanent. On PvE servers, SOE flooded common areas with high-level monsters that slaughtered every player in sight on PvP servers, players discovered that their weapons had been augmented to kill other players with a single shot. But unlike Galaxies, it wasn’t so much a celebration as a genocide fitting of an apocalypse.
Most titles, though, take a simpler route: passing out free high-level gear or experience boosts to offer players a sense of closure, however insufficient. Shutting down.” The machines win after all.The last moments of Star Wars Galaxies and The Matrix Online stand out among MMO apocalypses as a conscious attempt to script a proper “end” to their universes, whether celebratory or catastrophic. Someone asks “Is it over?” A pop window answers: “Failed to reconnect to the margin server. After, the only sound is an irregular beep, like an old modem. The contortions are horrific the screams are worse. Someone in the server-wide chat yells, “I’m smoking weed and crying” someone replies, “Please don’t cry.” Seconds later, a bolt of ochre lightning tears through the crowd, killing everyone.
The plausibility of these scenarios matters little the point of premediation, Grusin holds, isn’t “prediction” but “practice”—we steel ourselves for any number of possible futures so that we might overcome whatever trauma awaits us, like swallowing a pill to prevent the heartburn we know is coming. With two weeks to go, Toontown Online arranged for its holiday events to take place two months early and flooded Toontown with the game’s most iconic foe, The Big Cheeses (“Watch out! I can be a real Muenster at times”), a parody of corporate greed, which, in retrospect, is an oddly apropos metaphor for a beloved children’s game whittled into extinction by the budget hawks at Disney Interactive.The media scholar Richard Grusin attributes the popularity of end-of-the-world scenarios in popular media to a phenomenon he calls “premediation,” the representation of cataclysm to build the public’s expectations for a real cataclysm. Another Disney Property, Toontown Online, ran for over a decade before being shuttered in 2013. But in the end, the small population of remaining players watched the world go dark from the beaches of Port Royale.
But if not because of premediation, why should we care about the end of MMOs at all? What knowledge is there that isn’t present elsewhere?An apocalypse can help bridge the gap between what we experience and why we experience it.If there can be said to be any good in an apocalypse, it’s that it almost always reveals something about what went wrong. In this respect, all-but-forgotten Hellgate: London is an object lesson in this distinction, a game about an apocalypse that eventually fell victim to its own. Premediation, like its prefix implies, is rooted in what comes before by the time an MMO shuts down, it’s already too late. Yet premediation isn’t quite sufficient to describe the end of an MMO—SOE likely didn’t imagine or at least didn’t intend for Galaxies to suffer its gradual blackout. Premediation helps us rehearse our reaction so that, in the event of real chaos, we might behave in a manner more rational and productive.It’s easy to see how games like Fallout 4 (2015), Mass Effect 3 (2012), and Mad Max (2015) constitute a kind of premediation, rehearsing our collective anxieties over nuclear war, AI takeover, and ecological devastation, respectively.
In Hellgate: London, the lack of new content for players to experience in-game signaled that something was deeply wrong outside of the game Flagship Studios filed for bankruptcy in July 2008 and all of its intellectual property was seized as assets, halting the creation of new material.And closure doesn’t have to be about failing revenues it can be about building new ones. In Galaxies, the attempt to simplify combat galled old players the subsequent reversal of these changes alienated new ones. With that duality comes the ability to wander between personal identification and reflection on the institutions that give rise to identification.Looking back at Galaxies, Hellgate, ToonTown, and everything else that occupies the immaterial junkyard of discarded universes, the signs of their impending doom are all too obvious. What’s unique and valuable about the end of an MMO is that it can be read as a kind of representation, but it’s also a kind of “real” event that destroys representation, the destruction of an imagined world. Identity or system, narrative or simulation, representation is always a failed project—if a game could represent everything, it wouldn’t be a game at all, but (and just) a perfect simulacrum of the real.
Only a hopeless optimist would think that games can save us from whatever fates await us, as individuals or more. There’s always truth in a ruin.An apocalypse cares for nothing but its own being, bought at the expense of everyone else’s. And when those machines shut down, even (and especially) when their indifference doesn’t match our own investment, we should know that the heraldry of the end times were there all along. In every case, built into the experience of play is something larger about the architects of the machines in which we play. Rather, as Disney Interactive wrote in the press release announcing its end, “we are shifting our development focus towards other online and mobile play experiences, such as a growing selection of Disney Mobile apps.” The simplicity of ToonTown’s mechanics lent itself to the uncomplicated interfaces of mobile devices, the preferred platform for the game’s target demographic, children age 7 to 12.
Eventually, there will be nothing to save but ourselves.This post appears courtesy of Kill Screen. Before it can be changed, it must be understood.
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