I Know Jack: My History with the You Don’t Know Jack Franchise

Back in the 90’s, there was an online magazine for the blind called the Audyssey magazine. It was our gaming magazine, and talked about audio games, text games, and even what we called mainstream or commercial games as long as they were accessible. According to that magazine, a certain game series known to party gamers as You Don’t Know Jack, was the second most accessible commercial game in existence. This was, at the time, probably true. It’s a series I grew up loving, and it is likely part of the reason for my current appreciation of modern comedy. Today, I just want to talk about it, and about my history with this amazing game series.

You Don’t Know Jack was named the second most accessible game back in the day because it was about 98% accessible. It was and is a comedy trivia game. You could play alone, or against your friends, and the game had a host who would read aloud all of the questions and answers. They would even make jokes between questions, and sometimes question-specific jokes for choosing certain wrong answers. Features like this actually got more complex as the series went on, and hosts gained the ability to criticize an individual player for getting specific answers wrong throughout a game. For instance, “Man, Player 2, you must be tone deaf or something because you got the last 2 music questions wrong. Take note, other players, now’s your chance!” That’s not a word for word quote from the game, but it’s an example of what later games did.

Anyway, the only inaccessible part of the game is, sadly, at the end. A segment called the Jack Attack leaves you with a clue, and bunches of words scrolling across the screen that you must match up with that clue, hitting your buzzer at the correct time when the right answer is present. The problem here is that nothing but the primary clue is read aloud, leaving us virtually unable to play this portion unless we decided to randomly press our buzzers and hope for the best. It ultimately didn’t detract too much, as we could still win the game if we were far enough ahead or if the other players did poorly, but it was still kind of unfair.

Fair or not, I enjoy many many hours spent playing each and every version of the game, loving the ways in which the game changed, the new question types that were added, the occasional appearance of celebrities, all of it. The first 3 volumes contained what I would say were minor changes at most, but the fourth volume, officially called You Don’t Know Jack: The Ride, was something special. For the first time, each game session was a linear episode. No longer were you able to choose your own categories, but the upshot is that it allowed the developers to do creative things, like giving each episode its own little story. The language episode, where the host gets progressively more and more drunk as the game progresses, stands out as one of the best, as he can barely read the questions toward the end.

Best of all, the whole game had an overarching story as well. This was never done again in the world of You Don’t Know Jack, but I think it was great. The story wasn’t anything to write home about really, but it did contain a couple funny plot twists, and resulted in one particularly awesome game feature. As the story progressed, the hosts of your games would actually change between those who had hosted you Don’t Know Jack games previously. This even included the host of a You Don’t Know Jack spinoff game called Headrush. It was awesome, and made for a grand experience as each host had different attitudes and entirely different commentary on your gameplay than the others. It was a lot of fun.

Things continued to progress, and there were more spinoff games as well, such as You Don’t Know Jack: Louder Faster Funnier, which is for some reason not included in the collection available on Steam. You Don’t Know Jack 5th Dimentia, essentially Volume 5, allowed for online play, but for some reason sacrificed audio quality. The humor was there, the complex in-game responses were there, (you were criticized if you happened to be using AOL at the time), but all audio quality suffered a downgrade. The game was still quite fun, however, so I didn’t complain too much about that.

You Don’t Know Jack Volume 6: The Lost Gold was, I feared, the last outing for the game. It only had 300 questions when most other games in the series had 800 to 1200 questions, it had the same low audio quality as 5th dementia, and had an uninspired and weird story about reclaiming the lost gold for some ghost pirate. I still enjoyed the questions, and found humor in them, but the game was the most meh of the bunch.

Fortunately, You Don’t Know Jack saw a revival on last generation game consoles, including 4 awesome DLC packs. This brought back the episode format, and some new features, such as the Wrong Answer of the Game, which would give you a prize for choosing the sponsored wrong answer. All this was tremendous, and audio quality was back up to standard. This was the revival I had been waiting for.

The revival continued when the You Don’t Know Jack mobile game came out. The accessibility of the app wasn’t great, but once you worked it out, this was really cool. It brought us back to the days of what used to be called the Netshow, which had new episodes coming out on a regular basis. This was like that, with a new episode coming out every week, referencing modern pop culture, or real current events in that typical You Don’t Know Jack way. Personally I wish this had lasted longer. The inaccessibility troubles were worth suffering through, in my opinion.

Fortunately, the geniuses at Jellyvision weren’t done yet. You Don’t Know Jack came back again, episodes and all, in the first Jackbox Party Pack, which allowed you to play with up to 8 players for the first time. It retained the format of the previous console releases otherwise, including the wrong answer of the game, and was awesome. It didn’t stick around for Party Packs 2, 3, and 4, but I’m happy to say that it’s about to return again in the Jackbox Party Pack 5. You Don’t Know Jack will never die!

It has been over 2 decades since the YDKJ series began, and it remains one of my favorite game franchises to this day. I wish the devs would take a shot at making that last portion of the game accessible, but though it appears this may never happen, my love for the series lives on. If you’ve never tried it before, you can get 9 of the YDKJ games in a collection on Steam, which includes the amazing YDKJ: The Ride. Thanks for reading, and please feel free to provide feedback, or leave comments, or conversate with me about this. Continue to be awesome!

Blind Gamer Logic: Why the Old Republic is Better Than WOW

Thousands, perhaps millions of people would likely linch me for the title of this blog, but the sad news is, if you’re a blind gamer, it’s true. Granted, we can’t really play either of these games, (I personally don’t count autofollowing people in WOW as playing since it leaves you unable to do anything on your own), but we can sure listen to both, and the Old Republic stands out as a better game for us to listen to on the surface. Let’s discuss why.

I’m going to start with the biggest and most obvious thing. The entirety of The Old Republic’s dialog is fully voiced by a record-setting voice cast. Even your character’s responses are voiced. In fact, conversations have a sort of flow to them, like cutscenes. This is far from perfect in the early game, as they use a lot of simple sound effects and, I assume, animations, but picks up a great deal when you get into the expansion content. Conversational cutscenes feel much more fluid, and like an animated TV show. Don’t get me wrong, though, the whole game is fun.

WOW’s dialog is, sadly, not fully voiced. Your character doesn’t have a voice at all aside from pain and death cries and a few battle-related phrases, and quest givers tend to only speak words of introduction, leaving the rest of what they have to say to you to text. I will add, though, that I’ve been told by a friend of mine that later quests in WOW are fully voiced, and that it’s only the early game that isn’t. This is somewhat reasonable, considering WOW is 14 years old, but at the same time I find it a little curious as well. Look at Diablo 3, where Blizard gave voices to characters who didn’t even need them. Every book you find in Diablo 3 is read aloud by the voice of its author, which is great, but certainly not necessary considering many of these authors are characters you never meet. If Blizard is willing to go the extra mile and get a massive voice cast, why could they not add voices to the early game characters since they constantly update WOW anyway? It’s forgiveable, but I think it is a worthy question at least.

The next reason The Old Republic is more easily digested by the blind is something I’m calling Sound Education. The thing about the Old Republic is, well, it’s a Star Wars game. If you’re listening to someone play it, you’re probably already a Star Wars fan. If you’re a Star Wars fan, you are already familiar with Star Wars sound effects, which The Old Republic uses heavily. They even use the obscure ones, like the sounds for different types of speeders and so on. There are new, game-specific sounds to learn, sure, but the barrier is much, much smaller if you know what Star Wars sounds like. The Old Republic is Star Wars through and through.

This is a luxury you simply don’t have with WOW. It is its own beast, and thus the sound for every ability, every type of equipment, all of it must be learned from scratch. This isn’t actually a problem, since we blind gamers are used to learning new sounds all the time, but the differences between the learning curves of these 2 games is worth mentioning.

Now, keep in mind that I said the Old Republic is better for us to listen to on the surface. It is, as it provides all we need in order to enjoy the experience, even if the person playing tells us very little. However, WOW’s history cannot be denied. Its world, its story has developed over years and years and years, and is thus much larger and even more filled out than that of the Old Republic. If you have someone who is willing to tell you the things you aren’t told and can’t figure out from context, if you have someone who is willing to read that unspoken dialog and carry you through the story as well, WOW could potentially turn out to be the better game for story than TOR.

That, my friends, was the inspiration for writing this blog. My fiancé has just recently started playing WOW, new character and all, and she has been reading all that lovely text. I already find myself being drawn into the history of the race we chose, (which was Blood Elf), and the specific quests that pertain to that race. This made me really think about these 2 games, and give WOW a little credit where it is certainly due. I hope you’ve found this article interesting, and I encourage you to discuss and give feedback. Thanks for reading, and continue to be awesome!

The Constant Rise of Our Standards: We are Funny Folk

This blog is not quite a gamebreak, but it is an accessibility break. I was recently struck by an interesting thought, and I wanted to blog about it. We are an interesting people. We do a lot of interesting things. In particular, and the subject of this blog, is the way we raise our standards, but also keep them in check in a way. I’ll explain what I mean.

Have you ever heard the phraise “movie quality graphics” applied to video games? I’ll bet you have, and in fact I’ll bet you’ve heard it several times over several years. You want to know how far back I heard that phraise? I heard it in a description of Mortal Kombat 1. Yes, the original Mortal Kombat, with its revolutionary use of digitized actors and such. Mortal Kombat 1, whose entire arcade imprint was only a hundred megabytes or so. Movie quality graphics.

That’s not actually me ragging on MK1, or the quality of its graphics. My point here is that we never, ever stop raising our standards. If we did, one would have to wonder exactly what movie quality graphics are these days. Follow the trail of graphically praised games, and you’ll see phraises like “movie quality graphics” or the word photorealistic used quite often. Yet, graphics keep improving. Games keep expanding, and the systems that run them keep getting more powerful.

This is what I meant, though, when I talked about how we keep our standards in check in a sense. We all know that progress is happening all the time, yet we are willing to hoist games on a pedestal that, quite honestly, many may not actually deserve. I genuinely think this is because we have a sort of maximum expectation. We believe in our hearts that a video game can only look and sound so good, so when it looks as good or sounds as good as we believe it possibly can, we hold it up to the highest height, only to bestow the exact same praise on the next game.

And speaking of sound, don’t worry, we blind folks aren’t immune to this either. I remember listening to the trailer for Mortal Kombat Deception and thinking, “Man! That sounds real!” The game didn’t sound as good as the trailer, but Mortal Kombat X, the most recent MK game, sounds far, far better than that trailer ever did. Yet still, at the time I was utterly convinced that this was it. My first reaction to hearing the fully voiced cutscenes and full motion videos of Final Fantasy X was that I was certain the game would be short, because there’s no way the PS2 can handle all that. I was glad to be wrong.

Again, I’m not trying to send a specific message with this blog. This sequence of thoughts that I’ve laid out on this page is simply something that intrigued me, and I hope it intrigues you too. We are funny folk, aren’t we? Thanks for reading, keep on gaming, and continue to be awesome!

Leaning IN: Game Trailers and Blind Gamers

Occasionally, I get asked what I get out of a game trailer. The answer is a complicated one, so what better way to discuss it than in a blog? Well, I suppose I could do a highly-edited video where I narrate over a series of shots of me in random locations, but… Nah, we’re just gonna go with the blog. I hope some game industry folks read this one, because I personally believe notes can be taken from it. With that, let’s go.

Game trailers are an interesting beast. We blind gamers don’t hate them, but there a few beats a game trailer has to hit before we can truly appreciate them. Let’s highlight those things by talking about the worst kind of game trailer for a blind person. It’s pretty simple, really. If the audio of a trailer primarily consists of music, it’s a bad trailer for us. Luckily for you, I am prepared to provide examples. Say hello to the resident evil 7 announcement trailer, found at https://www.youtube.com/watch?v=9YetHMnhnhM

We can take a couple things from this trailer. The ambience of rain pelting a roof is gloomy, the length of time the character takes to answer the phone is suspicious, and the way he says “She’s back,” is ominous. After that, guess what? We’re done. The trailer fades into music, and while the song is creepy and contains some discordant audio samples, we are told literally nothing. Even when it’s all over, we don’t even know what game we just watched a trailer for. The character, and thus his voice, are unfamiliar to us, so we have no association whatsoever. This trailer, which got loads of hype afterward, is actually useless to us.

There are many trailers like that. EA, sadly, is often guilty of trailers without meaningful audio. Now, though, let’s climb the ladder a bit. I introduce you to, and link you to, the E32018 Cyberpunk 2077 trailer. https://www.youtube.com/watch?v=iXaogHDLosI

This trailer is better. Why? Because we have narration. We have a story to follow that the trailer is telling us. If we’ve been paying attention, we probably even know what game this trailer is for, as it literally mentioned the year 2077. There are sound effects in the background, and while we have no idea if those are actual gameplay sounds, we can determine that some pretty cool stuf is happening. And yeah, OK, the music is bumpin. Still, it could be argued that we don’t know enough. While we’re getting a feel for the game’s tone thanks to that narrator, we don’t actually know what’s going on visually. I remember how cool people were saying this trailer looked after it dropped, talking about the blades that come out of your wrists and such, and I was just like, “Huh? Wow, that’s cool.” The talk after is the first I knew of it. So this trailer was better, yes, but it generated curiosity more than it generated hype. “Oh man, this sounds cool. I wonder what’s happening? What does that sound mean?” And so on.

Now it’s time to show a trailer that can definitely generate hype, even for a blind gamer. The third rung of our trailer ladder. I now give you the E3 2018 Last of Us 2 Gameplay Trailer. https://www.youtube.com/watch?v=btmN-bWwv0A

Now this is one to talk about, folks. There’s no narration here, so at first there is some confusion. But keep listening, and you soon hear the familiar voice of Elly, one of the stars of the Last of Us Part 1, and this game’s protagonist. Suddenly, you know just what game this is. So you listen harder, trying to glean what information you can, and boy oh boy is there a lot to glean. Even the party here sounds full of people, their voices coming from all around, showing you how good this game’s audio will be. That is then bolstered as we move further into the trailer, where we get to hear Elly sneaking about and stealthily taking out her foes. The audio hear is a marvel, showing off positioning and echo effects, and excellent use of character breaths and sound effects. There are times when I questioned whether what we were hearing was gameplay, only to realize it was thanks to the return of a couple sound effects from the first game. This trailer is mindblowing, and despite having no narration, does its job of generating hype for the game. I have watched this trailer multiple times myself, because there is so much to pick up from its audio. This is a good trailer.

There is of course, a glaring problem with this trailer, however. I knew what it was for both because I recognized Elly’s voice, but even before that, because I recognized the song that was playing as part of Sony’s interesting presentation of the trailer when it was being shown live at E3. The Last of Us main theme was played live before the trailer was shown, and it’s a theme I am familiar with, as my fiancé has played the first game twice. However, had I not possessed that information, had I not recognized that theme or that voice, I would probably still love the trailer, but have no idea at all what game it was for. In this way, its lack of narration is still a problem. But don’t worry, there is one more rung on this ladder.

We now come to the reason I decided to write this article. The very trailer that cemented in my head what I wanted this article to be. And, interestingly enough, we do this by going back to a game we’ve already talked about, Cyberpunk 2077. Beware, if you click the link below, and haven’t seen this gameplay trailer yet, you’re going to be sucked in for 48 straight minutes. https://www.youtube.com/watch?v=vjF9GgrY9c0

Seriously, folks, I just did the search to find that trailer, clicked the link so I could get that address to paste in here, and was still tempted to watch it again myself. This trailer has everything, even if you’re blind. Right off the bat, about 20 seconds in, the narrator, (yes the whole thing is narrated), directly introduces the game. There is no question of what we’re watching here. As we move forward, the narrator remains a solid reference point for events occurring in the trailer, keeping us in the know about what’s going on, or what mechanic is being shown. With nearly complete knowledge and understanding of the gameplay we’re hearing, we can then proceed to admire the audio. We can listen to how every dialog choice doesn’t seem to break the flow. How everything just smoothly moves like a cutscene despite all of it being gameplay. We can imagine what an entire, huge open-world RPG will be like if it’s all as good as this demo, and we can struggle to contain that awesomeness in our heads. It is a real struggle, let me tell you. Even in this day and age, I find it difficult to imagine a 100+ hour game, assuming this reaches the scale of the Witcher 3, that maintains this level of awesomeness.

Anyway, the point is that this trailer’s amazing. It uses narration to guide us while giving us a healthy dose of actual gameplay. It’s essentially perfect for us. Now, I’m not saying all trailers need to be 48 minutes, but this type of trailer, with these specific qualities, works wonders to excite us about a game. Before, I was just curious. Now, I’m completely sold. This is one of those games I will ache for, though I know I won’t be able to play it. It’s a happy sad feeling all at once.

So take note, trailer people. You can show us your game in a trailer too, just give us audio. Honestly, it’s actually sort of baffling when you encounter trailers like the RE7 announcement, as a lot of developers are coming to understand that audio is as important as graphics. It’s as though the people who decide what’s in a trailer are still behind. All of this could probably be fixed with audio described versions of game trailers, but I don’t think the industry has reached that level quite yet. I really, really hope you’ve found this blog intriguing, and thanks as always for reading it. Continue to be awesome!

Twitch: Another Day, Another Fight

Hey everyone, it’s rant time! Today’s topic, the gameplay streaming service known as Twitch. “But Brandon,” I hear you say. “You use Twitch yourself!” I do, because certain aspects of Twitch make it the best option for what I am doing. However, that does not mean it is free from all judgement, and ladies and gentlemen, it’s time to judge.

We of the disabled community are fighting inaccessibility all the time. Sometimes we fight it where we work. Sometimes we fight it when we go out. Sometimes we fight it in video games, as I do. It feels like all day, every day, we’re fighting society’s refusal to simply accommodate us. If that sounds like whining to you, you’re probably not disabled, and have no idea how honest I am being right now. Regardless of what you might think, access to everything should be a wright for all. Inaccessibility is more than a lack of access, it’s a lack of freedom to do things and experience things others can. It is wrong.

I have been working to correct assumptions, and right wrongs where I can where video games are concerned. Video games have been my focus because I have always loved them, and as a result I’m passionate about playing them. Long story short, this brings me to where I am today, attempting to educate and entertain with my gameplay analysis and discussions about accessibility and whatnot. Wouldn’t it figure, though, that one of the tools I use to do this, (this is where we come back to Twitch), is now partially inaccessible?

The worst part of this situation is that there used to be no problem. Even up until a couple weeks ago, the ability to edit info on Twitch videos, and then export them to Youtube was perfectly accessible. Oh sure there had been problems before that while the new site was in beta, but it seemed as though all had been fixed. I actually thought that perhaps my concerns had been listened to and addressed. I was wrong.

Everything was fine the first couple days after I started doing this full time. I was delighted with how things were going. Then, somewhere, some switch got flipped, or some process was altered, and everything changed. Suddenly, attempting to export my video pulled up a page that a screenreader can’t even read. Even using additional tactics such as Optical Character Recognition wasn’t enough to get an idea of where I should be clicking. Overnight, this functionality has become totally inaccessible to the blind.

As before, I attempted to get a response from Twitch’s support account on Twitter, @twitchsupport. I had heard they really do answer requests. But just as before, I got no response. My supposedly more highly-valued affiliate status doesn’t seem to matter much to them, because addressing accessibility concerns is, as it is for many companies I’ve learned over the years, too big a task. Or, if anything, it is something that is placed on the back burner, and I mean the one in the way, way back, which is covered in dust from disuse.

So how have I overcome this issue? Well, for the moment, I have actually recruited a friend of mine. This friend has graciously agreed to, with my permission, log into my Twitch account every day, and export the relevant videos. Is that not the dumbest and most unnecessary thing you’ve heard all day? It’s necessity. It’s responding to Twitch ignoring the problem. It’s doing what I have to do to make something out of this. I do it because I want people to see these videos and learn from some, and be entertained by all. This work matters to me. It’s just a shame I have to take such measures in order to do it.

I’m not expecting a miracle to spring forth from this blog. This is, as advertised, a rant. I would love to see change. I would love for this to result in a conversation with the Twitch development team. Believe me, it’s a conversation I would love to have. But I’m going to leave you with this. Consider, for a moment, what it means that I don’t expect anything. It is, unfortunately, still a general expectation that people will not listen or care, and that’s a sad state of affairs. At any rate, I’m done for now. Thanks as always for reading, and continue to be awesome!