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Gaming Today: Guarding against mind control in modern computer multimedia

March 18, 2014

Today was the day that I signed up with OnLive in search of game-play for an article I’ve been busy writing on the new Helium Network. I stuck around to try a couple games.

After a couple trys playing Madballs in Babo:Invasion, I became acquainted with just how powerful modern games have become. They can be compared to space invaders in a lot of cases nowadays that may take control of too much space for comfort. That’s not trying to find any fault with the game, although there were some notable suspicious events. Both sound and distorted imaging were used to produce something of a continuity of control that clashes with tolerance limit criteria. This probably should be explained, but remember we’ve got kids and minors to consider. Which leads up to the basic concept below that details how to  make modern games safe by controlling hardware with software.

And then I headed for a Tom Clancy game, basically the next game in the queue: Tom Clancy: Splinter Cell. No particular reason for playing this game except that it looked film noir-ish. The test for mind control risk hit a fault as soon as the introductory action spiralled with this guy, the game’s apparent protagonist, using an animated remote phone provided by a sidewalk plaza restaurant, receiving a call from a woman who offered to save his life if he did exactly as she said. He gets up and explains that he’s not going anywhere or doing anything until he finds out how she got his location. That was when the action spiralled beyond the simple tolerance limit that I’m willing to consider safe.

These may well be quite playable and enjoyable. The issue with mind control can be stated better as control going against preferred user preference limitations. At which point, either the player retains control or the game takes control of space and time in general continuity fashion — which may cause otherwise willing players, or minors themselves, some trouble for reasons that probably won’t be seeing print anytime soon. Capacity for computer to define what were being looked at goes very much as capacity for other people to define what were being looked at, which were something of a den of evil surrounding those innocent of contest. Put another way, human tolerance differs from person to person, and sometimes even leading authorities base their conclusions and political support not upon what were possible but upon what were statistically common — and let that represent risk. Likewise, mind control theory involves not an ideal as to what anything should look like, but rather a hypothetical standard for determining what constitutes excessive conduct or epidemic trouble spots.

Mind control theory

Mind control theory does not purport to exempt nor to qualify anyone for any particular thing but rather to examine the conduct of Things and determine whether it exceeds common, accepted standards for human interaction. Such theory holds that reasonable expectations deserve regard and in effect aims to establish useful gauges that can be used to arrive at fairness instead of disgruntled or permanently damaged comfort. In general, no one can be gung-ho about everything all the time, and adding gauge with what to cite that unpleasant conduct can be recognized as possible and consequential can hope to glue a little realism into place by what to negotiation consideration for any given endeavor.

For example, mind control theory might reveal subversive potential in rock n’ roll concerts while simultaneously showing how to get around conflicts of interest — and ultimately enjoy something that would probably not become the center of daily focus to many. Risks can be addressed and revealed so that in the end anyone can hope to acquire useful approach to risk management.

It’s not that standards should exist but because such already do. And it’s not about eliminating enjoyable activities but rather about detailing qualifiers. It’s not about linear obedience to treating all things like thin ice but rather about having occasional adventures aware of consequences and what to do about them.

Taking mind control risk out of video games

The simple idea that came to mind was that a software program that can take over as a sound card handler could in effect be used to establish something of a spheric mute that would not produce noise beyond the threshold tolerance of the user.

The dynamics of spheric or graduated mute refer to surround sound dynamics, stereo or other standard, that inevitably interact not only with the player but also with the very environment. The environmental component consists, for example, of contamination-class conditions that involve pollution. Anyone who can see the huge gaseous installation of sufuric air pollution on rarer days of the year can similarly interpret its threat as combining the multimedia experience with the full potential of its own electrics. Visual range were at stake. Seeing this sulphur gas cloud and its range of electrical activity rather says something about wanting to see it but wanting a padded or buffered distance from it. And this very idea requires use of coordination in order for multimedia not to interfere.

Applying graduated mute to hardware

Computer software control computer hardware. Therefore, using the software to take hold of all sound card potential function and handle all commands that other programs — and thus games — send it means that users can configure their own actual comfort zone by using graduated mute configuration options. These options in effect use a GUI that cycles surround sound interaction effects and lets any gamer determine what sort of limits that the waveforms must adhere to. And, once you know, it were that very fact of being in control — you know that nothing short of malware can cause your computing activities any trouble.

Surround sound

The surround sound waveform configuration setting represents the full power and given, relative volume that can be produced. Then the handler of the software ingenuity takes control of the sound card and processes all commands sent to the hardware, scaling all commands not to surpass limits determined in the configuration settings.

So, if understood, that fact enables the greatest user comfort and satisfaction for any purpose and in any game, not the leastwise because any setting that can be configured can also be turned off or even changed again until tweaked to suit.

Screen teleportation

Distortion can, of course, be used to skew over-attunement to screen in some rather sophisticated and wizardly ways. Combined use of electrical power to manage control of space and sound necessarily entails potential to control space where photon activity takes place — and can be overwhelming.

Application of handling controls on monitor capability can further enable advance detection of irregular shifts of perspective and bear options that can literally break action down into frames that the user can step through, frame by frame, and select any particular frame not to repeat again. This occurs in case of subliminal gestures that establish cycles of association and then flash defining control image or images. These may be purely mood gestures to give the game depth, but they can also be used in grander schemes in order to reify monstrousities that “may” relate to predatory intentions. One story to tell would be to demonstrate how violence — conflict — were lured directly to one’s very vicinity by certain types of conditioning that define limits by impervious conditioning that necessitates priority regard such as imminent hurricane or earthquake risk endemic to an area, in essence that cause were defined both by effect and assertion of affirmative psychoses, not unlikely because of criminal predominance having established certain ranges of unhindered control.

One simple control that can be applied to screen would be to revert color to grayscale. Such an option probably wouldn’t be used exclusively but rather with intent to adjust to stimuli added by coloration that also means more specific references.

Of course, persons may have trouble with graphic references whom have been traumatized by any number of actual damaging incidents. The power factor means that a game of checkers would be serious entertainment, but wants to play DOOM or the first game acknowledged above. Sensitivity can inspire anyone to want to use as much free energy as possible and get away from any resemblance to control locks used in applications where following the lead of rapid sequences leave impressions far deeper than, say, comparatively mindless games such as Tetris, Solitaire, Pac-Man, or stock “match-3” games. DOOM may have its own sleeper effects, appearing tame next to Madballs …, but was definitely relevant to known cases of epidemic violent outbreak, making it an ideal subject to express findings of endangerment on. The very license to do so can easily be taken from the “Mature” players M-rating that the game used. (I guess that means those of legal age may find every harm in it at this point out of sheer obligation 😉

Reinterpreting video can also occur similar to reinterpreting audio by monitoring a program for loops that trigger irregular loops. This would be user-guided with emphasis on control, although the step-frame procedure would probably be the greatest innovation.

There could also be a general mode to scan a game for all graphics files that would literally break them into categories and let the user target irregularities or even modify these. The handling engine would thereby segueway into the edited sequences. A thorough effort might be sure to handle all the background and monsters and mainstay elements of the game by pre-selecting these and running each animated special effect in demonstrative reel form. Any subliminal irregularity can be identified and featured in its own frame and given replacement with any image selected by the user.

Of course, if companies whom employ game designers were a little more aware, they could deliberately scale their games to turn off the sorts of actions that we have been alluding to herein.

That may seem awfully involved when all anyone has to do were to get a different game to play altogether. But when the user has control over the full experience and wishes that games were straightforward like classic arcade games, then parsing the game mechanically or otherwise taking control of the sound card hardware and screen hardware can definitely be done.

Maybe a player wants to play the game with one-pixel blue rings dithering up the screen from one point on-out. Any competent coder make simple overlay window that will seat over the game with top-layer master priority dithered in whatever insignificant pattern available. Setting the density and color of the pattern can essentially establish facets that the video of the game exists inside of.

Sound can also be given matching patterns by syncing coordinated cycles to the screen pattern that oscillate to each facet overlain in the video structure of the game.

One further video effect that could be applied would be to designate a graphical element of the game correspondent to the very figure being played, such as the face of a character, and blow this up to fill the screen pattern overlay. That way, each time the player avatar appears on the screen ready for new action — else continuously — the control element will be focused in that refractive sort of way.

Granted, these features would ruin the game for more than a few, but for those of us easily diverted there would finally be some options that might make the difference in deciding whether to buy the game or not or play against other players.

When mind control becomes troubling

What maliciousness or unscrupulous intentions could potentially cause by purely hypothetical unethical persons may be left to the discerning. But in general, high popularity and favor for a game carry certain credibility in serial format, such as on Amazon.com reviews where thousands of positive reviews and satisfied customers probably aren’t having bad experiences. Mind control theory takes MPAA and video game ratings, in concept, one step beyond to empower users to make their own decisions and ideally, equip them with ideas they never thought of that express intuitively obvious risks that most and inexperienced players may have never thought of. Expanding horizons of risk combined with seeing issues dealt with in constructive resolution of sound theory and basis, via well-founded proofs, can hope to take mind control theory to status of science. Mind control theory should not be mistaken for aggressive marketing tactics and were intended as worthy complement to the branch of psychological sciences that show the most constructive and hopeful potential.

Mind control should not be underestimated. The ideal scenario is not Doctor Doom takes over the world but that the player sees Doctor Doom trying to take over the world and can act effectively and with precautionary comfort to see the views, observe any reach of megalomania, yet from a distance and with such control that there is no need for involvement nor direct engagement with anything about the computer, nor even the offending executable itself. Game-play can continue, and then let them think they have won by acknowledging the game in play.

Constructive action doesn’t have to let any control achieved via electrical manipulation impose any degree of influence nor nuisance on behalf of orchestrated multimedia or coordinated subliminal impressioning that may be considered to be qualified for mind control influence or sleeper effect. Electrical power and computer capacity bear far more potential than people may realize to act in concert even to telekinetic effect sufficient to etch, distort, and skew impressioning into the mind in general and to actuate effective simulation of transactional motions that can modify electric polarity and migrate information that meets certain logical descriptors out of mind then into a more visible place, at least to the eyes of machines, generally by exploiting susceptibility and vulnerability. These scary sights have already been observed in use in certain film of the modern era, meaning that their importance represents new capacity that can be eked out of causing computer to play with electricity and shift or transfer it from one place to another or from its control zone and into (limited) controlled range of physical manipulations that gain in plausible cumulative effect upon repeat exposure.

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