Monday, 23 December 2019

The Games of My Decade

The story of the games that made my decade is a story of coming of age, yet again, in yet another period of life. The games that consumed me express a lot about the person that I was during this decade, the things that occupied my mind, the issues I had to grapple with in my daily life, and my constant search for meaning in an otherwise meaningless world.
My ongoing attempts to be a good parent are reflected in the seeking of gaming experiences that can satisfy despite short exposures, leading me more and more away from the TV or the PC and towards the mobile. I went through ups and downs, falling for the games that were meticulously engineered to milk me for all that I am worth, but I also learnt to tell the better from the worse as the joyride went on.
Some games went much further than simply inducing me with reflections. Some games nudged, pushed, even kicked me and my life into new directions. Ultimately, these are the games I love the most. These are the games that are worth the most.

Mass Effect 3 (2012) on the PS3
If I had to pick just one game for this decade, ME3 would be it. I am a sucker for good science fiction presented soap opera style (think: Star Trek), and ME3 offered plenty of that sweet and delicious mana from heaven (in the shape of a Reaper attack). Between all the chores and missions one needs to fill as one goes about saving one’s galaxy through combat missions made of a team of three (hey, it made sense at the time), I got to develop romantic relationships with exceptionally well rounded characters in a setting full of grey areas.
Some serious questions were raised: who is the bad guy of the galaxy, really? Who is the destroyer of life? How should humans deal with artificial intelligence? And, when fighting the ultimate enemy, is it a case of anything goes, or do we still play by the values we always said we stand for?
Mass Effect 3 also offered me the first online co-op multiplayer I ever had a go at. Up to that point in time, online multiplayer meant being splattered within 5 seconds by a 5 year old; ME3 changed the scene by allowing me to join sides with them and forcing them to accept a noob by their side.
Other things ME3 is notable for are its world first mainstream packaging of loot boxes and - how could anyone forget - a very controversial ending. Frankly, I didn’t care much about either: I simply ignored the loot boxes, failing to realise their historical importance, and I chose to focus on the 40 or so hours that preceded that ending. That said, I agree the ending was rather underwhelming for a game that was all about the importance of personal choices. Or was it the game’s way to tell us that none of this really matters?
...And then came the gamers’ outcry and a failed attempt to “correct” the ending.

Fire Emblem Fates - Conquest (2016) on the 3DS
Whenever we hear of a conflict or a war in the news, we tend - very naturally - to pick a side. If we do not have any personal affiliations with the conflict at hand, we will usually go for the underdog.
One can dismiss Fire Emblem Fates for being “just another Fire Emblem”. One can even complain that “it’s not like the Fire Emblems I grew up on; those had greener greens”. I would beg to differ.
I think that of the three games that made up the Fates trilogy (?), Conquest is the pudding that is the proof. Here is a game where you are playing the aggressor, the baddie side if you will, yet - as the game progresses - you learn that the baddies are not that bad, that there is good in what you’d normally consider to be bad, and that there is bad in what you thought was good. You learn the world is a complicated place, too complicated to make binary choices of the Axis of Evil type (here’s looking at you, Dubya).
And you also play a hell of a tactical RPG game in the process.

The Legend of Zelda: Breath of the Wild (2017) on the Switch
I was actually a latecomer to BotW: I only got it in late 2018, and I only started playing it in anger in early 2019. I had my reasons to doubt it, being the open world skeptic that I am. Up to that point on the Zelda timeline, my favourite Zelda was a 2D one I played more than a decade before on the DS. Most of all, I was skeptic because of the problem that plagued all the other Zelda games of yonder: through having to play fairly long stretches in between saving points, time deprived me found it impossible to get any meaningful progress in a Zelda game.
With one single fix, Nintendo sorted all my Zelda universe problems: BotW allowed me to save the game anywhere I wanted. And with that, I was free!
Turned out, Nintendo not only fixed my technical problem, it totally bewitched me. Once I did start the journey, I simply couldn’t stop. I had to climb every mountain and search high and low; explore the high places and the pillars, look up the high hills and under every green tree.
For someone short on time, a so called gamer that wouldn’t allocate more than 3 hours to a game because life happens, I am happy to report my Switch claims I had spent around 220 hours on this one single game. I have no idea where those hours came from, and can therefore only conclude Nintendo had invented a time machine.

Mass Effect 2 (2010) on the PS3
I discussed my Mass Effect fetish enough already, but one does feel the need to point out how great Mass Effect 2 was in its own rights. Looking back, it was perhaps the lack of a need to provide an ending that made this space opera stand out. For me, at the time, ME2 stood out as the perfect team building story of a game ever, accompanied as it was by a very enjoyable third person shooter mechanic. I guess what I’m trying to say is, it’s all about the writing, and ME2’s was superb!

Mario Kart 8 (2014) on the Wii U
There is something to be said in favour of unassuming entertainment, the type of entertainment that seeks to make its subjects enjoy themselves but which does not pretend to expand their horizons or, heavens forbid, burden their neurones with extra thoughts. Of all publishers, Nintendo seems the master of this particular domain, and Mario Kart 8 is the pinnacle of its creation - the best of the best. No wonder it is still a top seller, years later and on another console altogether.
As testimony for Nintendo’s achievement in the field of excellence, this household evening routine has included an all family Mario Kart grand prix (or two) per evening for several years in a row. Mario Kart is one of those games one can never tire of.

World of Tanks (2010) on PC and World of Tanks Blitz (2013) on iOS
On paper, me diving deeply into a world of tanks seems a rather odd choice. Yes, my father had a history with a real tank, and yes, World of Tanks does a lot to remove the graphic violence out of the experience, but at the end of the day it is still war gaming that we are talking about.
I therefore pinpoint World of Tanks’ attraction to that inherent drive we all have for optimisation, the need to make things better. You start with a basic tank (or what the game poses as one) and you want to make it better; then you want the slightly better tank, that faster one; then the one with more fire power; and so on and so on. The ability to switch into different flavours of armoured warfare, such as tank destroyers or even artillery, adds further complication to an already hard to solve equation. And it all has to work in the context of team battles!
All I will say is that I have let down my teams so often my father would be ashamed of what I had become. I did enjoy it, though…

Human Resources Machine (2015) on iOS
Back in the early eighties, when personal computers first started to invade households en force, most of us [now old timers] used them to play games that we bought (or pirated). If we wanted to write our own game, which wasn’t as inconceivable as it sounds today, we usually had to write them using the single language our computer came equipped with (at the time, BASIC was the lay of the land). However, because performance was lacking, the way to get your games to shine was to write them in machine language: that is, write your code at a level that the CPU itself would understand, thus getting rid of the inefficient BASIC middleman. To get there, you had to learn how your CPU works; you had to understand what inputs it would take, what outputs it could provide, and how to manage those. It was fun, but it wasn’t a trivial pursuit.
As it happens, Human Resources Machine is an otherwise unassuming game that simulates exactly how machine language programming works at the CPU level without ever telling you that what you are doing is machine language programming. You’re simply a new employee in a big corporation’s Human Resources department, and it is your job to do the mundane [nasty] stuff that human resources departments do, such as sorting employees by their performance and such. It’s just that the tasks you’re doing, and the way you will be doing these tasks, happen to be an exact match of the way a CPU runs computer programs. In other words, if you wanted to teach your kid the very basics of computer programming concepts, let them play Human Resources Machine.
For me, playing had reignited the passion to write code, a passion this kid once had before it was exhumed by life’s circumstances. It even made me have a serious go at it again. Thus far, all my efforts in this direction have failed, but there’s only that far that a video game can take you.

Mini Metro (2014) on iOS
Fully accepting the self contradiction, I would like to point out that this world is often not as complicated as it seems. Take video games as an example: not all of them need to be made of gigantic open worlds served at 120 frames per second in 8K resolution. Sometimes, all one needs is a line connecting pretend symbolic customers with where they want to get to in a made up, minimalist, world of finite resources.
Mini Metro is thus the best example I can cite for a universe from nothing. It is also the Christmas gift I have been giving the most. It being the creation of a small team of lovely people from Wellington, whom I had the pleasure of meeting on several occasions, is the cherry on top of a perfect cake.

Fire Emblem Heroes (2017) on iOS
Sometimes you have to learn things the hard way. For me, the lessons I needed to take regarding concepts such as loot boxes and in-app purchases were all learnt, the hard way, through Fire Emblem Heroes. And I enjoyed every minute of it (discounting the times I did not manage to score my hero of choice through the luck of the loot draw).
Fire Emblem Heroes had such an effect on me because it captured the very essence of the Fire Emblem battle formula to a T, offering quick rounds of battles that helped me level up the team of warriors I was so personally connected with. It lured me even further by offering me the chance of having even more of these favourite heroes.
For almost a year, I mind numbingly played an hour or so a day. Until, that is, I finally grew a spine of my own and decided that enough is enough - this isn’t taking me anywhere. I deleted the game, making sure I have no backups.
These days, I’m singing songs of praise for Apple Arcade.

Florence (2018) on iOS
As a game (a visual novel?), Florence took me less than 45 minutes to finish. Yet it is not an absurd for me to list it as one of the games that made my decade, because Florence stands for much more than the time it takes to play it through.
Florence is a game that tells an elaborate (yet, admittedly, far from extraordinary) story in ways that have been impossible to portray were it not a video game. Florence also achieves that in an efficient, bang for the minute, way that most if not all works of art preceding it can only be jealous of.
It might have not knocked your graphics card’s teeth out. It might have not forced you to come back and play for yet another hour in order to unlock this really cool fluff. It might not be a treasure trove of contents. But Florence is a breakthrough in story telling using the very latest media available to earthbound humans. And it is a game that totally respected me not having much in the way of spare time.

Also published at Digitally Downloaded.

Tuesday, 22 October 2019

PAX 2019 Impressions

As an attendee to all PAX AUS events to ever take place, it has been my habit to post post PAX impressions. I will do so again, albeit with too much of a delay (it's been more than a week since PAX).

There were tons of police all across the floors at PAX on the Friday this year. I never saw them before, and (to my relief) I never saw them again after the Friday. Thank the goddess.
Police may be a necessity at most public event, but at PAX? The closest thing to a crime I could ever detect at PAX was the impossibility of having so many people being so nice to one another and the overabundance of smiles on display. No, we cannot possibly have that.
I suspect police was there on that particular day because of the climate protests. But what’s the worse thing the protestors could do to PAX? Assuming power boards are actually secure, what would they do? Tie themselves to a panel on Zelda game music to the tune of sympathetic cheers?

Pins everywhere
The old habit of selling people on game related “collectable” pins continued in force at this PAX. The main difference was the asking price: last year they started at $15, this year they started at $20.

As has been the trend, PAX’ panels seem to be more and more oriented towards the YouTuber generation. How shall I put it? I find them OK entertainment if I need a rest from the hustle & bustle of the show floor, but otherwise I’d call them disappointing.
Pay attention, though, the occasional exception is there to be found, even if none is as serious or as professional as I would like them to be.

Since we’ve talked pins, I will continue with the theme:
I cannot say I was too impressed with Nintendo’s pin quests. I.e., take photos and post them on social media to get a Link’s Awakening pin etc. First, there was lack of clarity on what's actually required to get a pin: we actually did play the required Pokemon demo, but were unaware of having to show this particular website on my phone in order to earn a pin; not to mention the error on Nintendo's landing page that was required for yet another pin. Second,  I’m not the kind of person who posts pictures of themselves online nor will the promise of a badge make me change old habits. And third, with kids at a certain age it might even be illegal to do so.
Let’s just say I did not bother with Nintendo’s pins.
On the more important side, I did try a few of their other games and hardware:
  • Pokemon Sword and Shield: I cannot say I was impressed with the demo. The new Pokemon “models" failed to attract me, and the gaming itself seemed to be trying too hard to differentiate itself from previous generations of Pokemon games. The Let’s Go games, the first Pokemon games on the Switch, tried to do it by using the Pokemon Go capture mechanics; Sword and Shield don’t even have that.
    I think I’ll pass on this one. I still think the best Pokemon experience to be had is on the DS.
  • Link’s Awakening: What a cute, charming game! Which is perhaps why I bought it the day after PAX.
  • Switch Lite: I know it sounds stupid, but - playing with the Switch Lite felt so natural and so nice. Way better than playing the “normal” Switch handheld. I’m seriously considering getting one, although I’d feel very stupid paying Nintendo’s current asking price.
Overall, Nintendo seems to be doing very well in the games department. It is no coincidence I bought 3 Switch games this past month alone, and that’s despite being flooded with quality games through Apple Arcade (which is to say, if you didn’t get Untitled Goose Game yet, drop everything and get it).

How disappointing can Sony be? Very and utterly is the answer.
The short statement here is that there is absolutely nothing on the PlayStation’s horizon that seems even slightly interesting; it’s all more of the same sh*t, literally, in the form of more A title “contents”, usually in the form of sequels, with little to no originality and spark to it.
The contrast with Untitled Goose Game could not be any larger.
It therefore looks like my PlayStation career will elapse with the upcoming death of my PlayStation Plus subscription. There will be no PlayStation 5 for me; what’s the point? Instead, I will focus on where the good games are.

When I say social, I am not referring to the detestable “get this discount through the app” or “look us up in the app” or “find us on Facebook” (what’s wrong with having your own website?), all of which require one to sell one’s soul to a myriad of detestable companies trading in one’s private info.
This PAX was unique, for me, in that I did not bump or socialise with any friend or colleague.
That, however, does not mean I did not have any social interactions. It’s just that most of my social interacting took place with game developers who know me through this and that (and through previous PAXes).
I will note down, in particular, the lovely people from Dinosaur Polo Club, makers of Mini Metro and the new Mini Motorways (that other game of the year winner, as far as I am concerned, along with the Goose). They actually remembered the whole family, and entertained us with discussions about Wellington and life in general. It really does seem like being great people is a mandatory ingredient to being able to produce truly great games.
I will be amiss not to mention Robot Circus, makers of Ticket to Earth, as well as the UK crew of Massive Monster (whom we got to know, originally, through the game Adventure Pals).

Board gaming
One of the highlights of all PAXes, for me, has been the ability to try and play board games (by which I am referring to pretty much any game that’s not a video game).
This year we tried PAX' Dungeons & Dragons for Beginners sessions twice. For the record, I’m no D&D beginner, but I haven’t played for a while (“while” being a relative term) and I definitely lack experience with the current incarnation of the rules. Trying the same starter adventure twice, under two DMs, was certainly an appetising affair: each DM brought distinct flavours and approaches, reminding me just how far D&D can go. Especially when you have a group of interested friends that can adjust to one another. Which is what I don’t have and why it’s been a while since this rogue last poked an arm into someone else’s treasure chest.
The area where one can playtest board games under the guidance of some instructor or sales person of sorts was way too crowded (did anyone mention PAX needing more space?). We did, however, manage to land ourselves a table with a game designer trying out her new board game, and the result was - undoubtedly - the highlight of my PAX. Not only was her game great to play (made greater through being different to the type of games we usually play), the interactive nature of the session and the notes she took from us about her game’s design turned us into game designers in our own rights. We ended up exchanging emails after PAX, and I can say that I met a wonderful person and learned a lot from it.

To sum up...
One more year till next PAX! I hope they schedule them back to the early November slot we were used to; I definitely did not appreciate the traffic chaos caused by running PAX on the same weekend as the Melbourne Marathon.
For now, I left PAX 2019 with a vision about the future to come. A vision in which my gaming is completely dominated by the Nintendo Switch and Apple Arcade.

Sunday, 26 May 2019

The BBC & I on Dust

BBC Crowd Science is one of my favourite podcasts. Essentially, it's a podcast where people from all over the world send them questions on matters of science, and they answer them.

Back at the end of 2017, Crowd Science has featured an episode based on a question from yours truly. I asked them to tell me about the dust in my home and whether I should worry about it (or even clean it). To help them answer my questions, I had posted them dust samples from various sources in my home. Luckily, there is no supply shortage there.
You can read and listen to this episode here.

This week, Crowd Science followed up on my question with yet another episode that goes even deeper into the matter and looks at whether household microbes help or harm us.
You can listen to this newer episode (and to yours truly, again), here.

While at it, do consider subscribing to BBC Crowd Science on whatever platform it is that you're listening to podcasts through. It's a great podcast even on episodes that do not feature me.

Thursday, 9 May 2019

Thoughts on the up and coming Apple Arcade

The App Store is dead.
No, hear me out. I know it’s been making more money than ever, but the financial figures only tell part of the story. Money may be up, probably due to subscriptions, but downloads are down. That is probably because, these days, what used to be the open range safari of an App Store is mostly catered for by a very few companies delivering the big apps that almost everybody uses (thing Facebook, Instagram, Snapchat, Google Maps) and a tiny bit of a few other things on the side that are probably struggling to survive (think Evernote).
That old concept that said all one needs in order to make a killer app and retire a millionaire hasn’t been cutting the threshold of reality since around 2014. Exceptions exist, true, but so do lottery winners, and none of us take lottery winning for granted; we’re smart enough to know the odds mean it’ll never happen to us.
Looking at games, specifically, the App Store is even more than dead. It’s a dead zombie walking. Have a look at all the charts and you will have a hard time finding a premium game; everything is freemium, and - by definition - a freemium game cannot be a good game.  A good game is a game that’s focused on being a good game, usually by delivering a good narrative; a freemium game is a game that’s focused on drawing money out of the coffers of its players.
If Apple was truly caring for us, its users, it would offer search options where games are ranked in depending order of cost. Better yet, it would allow the option of ignoring freemium apps in the search.

If the iOS App Store is dying, then the tvOS App Store can never be said to have been alive in the first place. Sure, when the fourth generation Apple TV came out there was this promise that it would turn our living room into a gaming arena, but that was hampered by two factors:
First, those of us who wanted a gaming arena around their TV already had much superior options to do so with. Think PlayStation.
Second, anyone who tried the Siri remote that comes with the Apple TV will know it’s a pain to use when all one seeks to do is watch something on Netflix; for gaming purposes, it’s a total nightmare. Proper console like controllers can be purchased, yes, but they’re expensive and they are trapped in that chicken-and-egg conundrum of having the games first before bothering to buy a controller.

Into this scene Apple is now proposing to bring the Apple Arcade. For a fee rumoured to be $10 (USD) a month, users would be able to play some 100 games Apple had paid hundreds of millions ($500M, according to this report) for external game developers to create. Assuming the catalog will only grow in size over time, expect the Apple Arcade to open around September 2019 with the release of iOS 13.
Further, those Apple Arcade games would be playable on iOS (that’s iPhone and iPad for you), tvOS (Apple TV), and macOS. In effect, through iCloud sync, that would create an environment not unlike the Nintendo Switch’s: you could play at home on your big TV with a controller, then take the game with you to play when you’re out and about. Or even at work, but don’t tell anyone. The technical capabilities of these devices is certainly not far off the Switch’s, if not better in certain aspects.
The question is, what would Apple Arcade achieve? Would we be better off for its existence, or would it create a worse world as far as good games are concerned?

Naturally, the knee jerk reaction is to welcome any initiative where games receive proper funding and where games are being properly paid for. At first glance, Apple Arcade could be a life saver.
Nothing, however, is simple as it may seem. There is a lot to question with regards to Apple’s approach with Apple Arcade.
Consider the developers it had engaged. The likes of Will Wright of Sim City and The Sims fame; or Hironobu Sakaguchi, the creator of Final Fantasy. Are these the sort of people that need Apple’s cash to create a good game in the first place?
Take a look at the companies Apple has been engaging with. Are Lego and Sega, to pick a couple, the sort of companies that have any problems releasing video games on their own?
Sure, there is nothing wrong with us having more games from these makers. Spare a thought, though, for the small indie developer out there, armed with fantastic ideas and no funding: what hope lies in their future when all the money goes towards the already rich and famous? Worse, who in their sound mind would pay to buy their games when they’re already paying $10 a month to Apple Arcade?
Apple Arcade could be a boon for all those involved, but it could be a disaster for all those left out. And those left behind are the majority of developers out there, the ones that - once upon a time - helped Apple make the App Store the giant it is.
Me, I’d rather see Apple spend its money on smaller developers. Or initiate some sort of a program that would allow them to come up with something, rather than invest in the already tried and tested that we are generally saturated with already.

Then there is the discussion on whether $10 a month would work. Most of us are already spending considerable sums a month on various entertainment subscriptions, be they cable or Netflix for video or Spotify and Apple Music for music. Gamers are already paying for the likes of PlayStation Plus or Nintendo’s generally struggling online service. Do we care to add the considerable sum of $10 a month on top? $120 a year?
I expect many, if not most, to be pushed back by this price. Personally, I’d love to pay for games but I hardly get the time to play them; spending $10 a month when I can only play 1-2 hours a week seems highly irrational to me, no matter the good thoughts that paying for good games bring.
I would have preferred some sort of a tiered payment structure that could ease the pain.

Last, but not least (at least for yours truly), is the matter of privacy.
Ads, tracking, and data harvesting are the hidden bane of modern gaming. Most people are unaware or turn a blind eye, but there are hardly any games or games platforms out there that don’t watch you as you’re playing and go home to talk about it to anyone willing to pay. Most game publishers consider the money they earn through these avenues another legitimate revenue streams, but in effect they are selling our data - who we are - to the highest bidder (and to the lowest as well).
Do you really want anyone out there to know what you’re playing, when you’re playing, and where you’re playing? Maybe you’d consider that data harmless; but it is not so harmless when it is added to data collected about you elsewhere, which allows companies like Facebook to categorise who you are to an extremely fine degree so that the likes of Brexit and Donald Trump can then be sold on to you.
Call me old fashioned, but when I read a book I like to do so by myself. And when I play a game, I also like to do so by myself. Therefore, when Apple announced its Apple Arcade games would come with no in app purchases, no ads, and no tracking, that was - by far - the thing that attracted me most to this service. No longer will I have to switch my phone offline in order to be able to privately play a game without some nasty company like Facebook peering over my shoulder!
The questions I had (and still have) is, how private is private? I have seen (and reported) cases where a company states one thing with regards to privacy but does another thing altogether. Where will Apple lie on this spectrum?
We still don’t know, because Apple Arcade isn’t out yet. And we would have to constantly check in order to be sure over time. However, we got a bit of a promising glimpse into the future when Apple released its own game, for the first time in goddess knows when, to the App Store. This free game is called ‎Warren Buffett's Paper Wizard.
Granted, it’s not much of a game; the back story suggests it’s more of a joke. Regardless, last time I checked yours truly was holding the #8 high score in the world. Not bad for a n00b.
More importantly, yours truly checked Paper Wizard to see if Apple is true to its word when it comes to privacy and tracking. The image below shows all the internet connections made by my iPad while playing the game:

Let me translate it to you: other than normal iOS communications that the device does anyway, and other than saving my position to iCloud, no external ad agency, data harvester, or external analytics service was deployed. Assuming one trusts Apple (and one has to when buying an iPhone), things could not be better on the privacy front.

In conclusion, let me ask again: would Apple Arcade improve the world of gaming or hamper it?
We don’t know yet. Personally, I hope it would; it could be the last time a company with coffers as big as Apple’s decides to invest in gaming.  But I suspect some sort of a mixed bag that easily could, if Apple doesn’t pay enough attention, actually reinforce the current status quo. Do we want to continue living in a world where only big companies can release games, and therefore those games they do release tend  to come off the uninspiring pre-established moulds?

Sunday, 28 April 2019

What good is a Privacy Policy?

A friend recently pointed out the existence of an Israeli app called Shiri (שירי), which allows its users to freely listen a large collection of Israeli songs. Generally speaking, I hesitate to install new apps on my phone on account of the regular abuse of my privacy and security performed by most apps (a phenomenon I had already discussed here). However, out of curiosity, I decided to give this particular app a proper examination.

First, I went to the app's iTunes page in order to check its website out. It is there that I found Shiri's privacy policy, which - to my eyes - seemed quite impressive. Under the assumption of fair use (which I believe I have on my side here, as I am about to critically assess this policy), I will quote some of its more appealing aspects:
The National Library collects only personal information provided by you, willingly [emphasis by yours truly], with active and informed consent granted during your user registration process and\or during your request of services and\or...
The National Library will not transfer your personal information to third parties unless (a) it is required to do so by law, and\or (b) it was required to submit information to an authorized authority according to that authority's request, and\or (c) it was necessary for the provision of the requested services and you approved the transfer of the information to that third party.
Given such a lovely privacy policy, I went out and installed the free app. However, before starting the app for the first time I set up a proxy service in order to capture all the online activities performed by the app.
The next thing I did was start the app. I will emphasise here that I only started the app, did not press anything, and got only as far as its welcome page. However, by then my proxy service already showed the following online connections were made by the Shiri app:

Three usual suspects are immediately noticeable: Google, Facebook, and Apple. Apple can be excused by the fact it is the phone's operating system itself that contacts Apple every time an app is started in order to support Apple's app usage statistics. However, there is no excuse for Facebook nor Google to be there. Not when the above quoted privacy policy says that no personal information of mine will be transferred to third parties (which is exactly what Google and Facebook are, in this particular case).
Even if the inclusion of Facebook and Google was included because "it was necessary for the provision of the requested services", I do not recall having "approved the transfer of the information to that third party"; all I did was start the app for the very first time. It cannot be said that I had willingly provided my consent for my information to be collected!
Further, Google and Facebook were not the only trackers to join the Shiri party; they are just the most famous. As you can see in the above screen shot, we also had, appsflyer, hockeyapp, and crashlytics. Now, it may be argued that these are not your average data harvesting services out there to suck as much information about you (the way Google and Facebook act), but rather services that are there to help the app developer ensure they are providing good service. However, these are still third parties, they are still collecting my information, and I still haven't provided any consent for them to do that. More importantly, in the context of this post, they were never supposed to exist in the first place given Shiri's privacy policy!

Why is it, then, that Shiri is acting this way? Why is Shiri publishing a privacy policy which it then completely ignores?
I strongly suspect there was no ill will on behalf of Shiri here; just good old ignorance. One part of the organisation, with all the good idealism on its side, wrote a marvelous privacy policy; then another part of the organisation (probably with the help of external contractors) went out to develop an app, and that part chose to use SDKs from Google and Facebook. While at it, they chose to use several third party services to help them with the app's development and running. I suspect they did not even bother to read their organisation's own privacy policy.
Who does, these days?