Macho Posturing

Saw this story on Eurogamer today.  Apparently Kaz Hirai (SCE President) thinks that Sony is the ‘official’ leader of the gaming industry.  This status is conferred upon the illustrious lords of Sony, not because of retail sales figures (in which they are being thoroughly spanked), or install base (the smallest of current generation consoles), but simply in terms of an anticipated longevity.

It would seem, in fact, that Hirai-san does not even see Nintendo and Microsoft as competitors.  Nintendo, he claims, is in “a different world”, which I guess is how you address a company that has nearly matched sales of your best selling console in a third of the time.  Microsoft, on the other hand, “lacks longevity”, and I suppose is beneath contempt in this regard.

My favorite quote from the article is as follows:

“We don’t provide the ‘easy to program for’ console that [developers] want, because ‘easy to program for’ means that anybody will be able to take advantage of pretty much what the hardware can do, so then the question is what do you do for the rest of the nine-and-a-half years?” -Kaz Hirai

It’s very simple.  You WANT developers to be able to take advantage of what the hardware can do.  What that means is that for the rest of the nine and a half years, while PS3 developers finally learn to master the console and push it to its limits, Xbox 360 developers will have mastered the console years before, and can concentrate on Design.  If there’s anything we should have learned from this generation, it’s that you don’t get great games by forcing the developers to work against the tools you give them.  The fun comes from a great, polished design and execution.  Sony should be working as fast as they can to make it EASIER for developers to harness the PS3s power, not treating it as some kind of gauntlet to be overcome.

The Electronic Arts Revival

Once upon a time, I was a wee lad in college applying for internships.  I had an interview with EA over the phone, at the end of which they asked me if I had any questions.  I asked them what they thought they were doing to advance the medium of Video Games.

They didn’t like that so much.

See, inherent in a question like that is the implication that I don’t really think you ARE doing anything to advance the medium, because if I did, I wouldn’t have needed to ask.  The interviewers mumbled something about graphics, and we ended the interview there, neither of us being particularly impressed with the other.  I went to go work for Microsoft instead, which eventually resulted in my position with Xbox now.

EA has in the past decade purchased and then eviscerated some of the most best and most promising studios the world had to offer.  In addition to this lovely practice, they had the unfortunate habit of working their employees to death and discarding their burnt out husks, primarily on insipid franchises which change only incrementally from year to year, and yet are released for full price.

John Riccitiello said he was going to turn this around.  Apparently I’ve assumed that CEOs and Politicians seems to share the trait of spewing whatever bullshit the public wants to hear, but it seems EA has actually gone and done it.

Dead Space, above, looks scary and fucking awesome.  Do you know that this game is banned in three countries?  That’s a far cry from the policies of the old EA.  Spore (say no more) comes out on Sunday.  Mirror’s Edge, a critically acclaimed first person runner, is a game that does not contain the color green.  BattleForge is an RTS that uses a collectible card game mechanic to drive gameplay (through micro-transactions even).

EA, you’ve either totally lost your shit, or you’re starting a Renaissance.  Either way, I forgive your past sins, and I look forward to what you’ve got to say for yourself in the future.

Jonny B. Good

I’ve not had the pleasure of meeting Jonathan Blow yet, but I get the impression that he’s the type of man who does what he does, not for the attention of the gaming media, but because he thinks that’s the way things should be.

And I’m going to have to agree.

I’ve spoken of Jonathan before, and if you haven’t heard any of his talks on design, you should, if that’s the kind of thing that interests you. Jonathan has made news recently based around many of his design philosophies. I had thought that these views were lofty and optimistic, it was difficult to point to any one of them and demonstrate a successful title that really embodied it. Then it came about that Jonathan was bringing a game to market, and I had intended to draw a bead upon it with a critical eye, looking forward to pointing out in his game where he was defying his own rules.

So much for that.

I realize that Braid is currently only available for Xbox Live Arcade, which I’m happy about from a business standpoint, but I almost wish it was more widely available in this case. I feel bad for friends of mine who would rather spend a few hundred dollars in coffee than own an Xbox, because they are missing out on an a profound experience. Braid is coming to PC later this year, but many of these friends own Macs (probably for the same reason they don’t own an Xbox 360). So let’s talk about Braid and Jonathan’s design beliefs.

Jon holds the stance that playing a video games should be a holistic experience - you shouldn’t need to be artificially prodded into doing one thing or another, rather the game play space should naturally draw you to areas and concept that should be interesting, and you should discover them for yourself. Braid contains no tutorials, and as the central game mechanic is about playing with the flow of time, describes a world in which things can happen which are not expected. Nevertheless, the game is built in such a way that you will naturally discover the quirks of this world, in a very organic fashion, and every time you do, you feel really good about it.

Jon is vehemently against scheduled rewards (a term I used, and I believe he coined). These are the little meaningless bonuses that at their best, try to get you to explore areas of the playspace you might not have, and at their worst, are a cheap mental trick designed to keep you in front of your box. Nearly all games contain these in some way, they’re so prevelant, it’s difficult to imagine a game without them. Braid is such a game. Taking them away gives the game a clean, minimalistic feel. It invokes the feeling that you’re free of distractions, and can be focused on the exploration at hand.

Jon is of the opinion that there is often a dichotomy between what the gameplay is trying to tell the player, and what the story is telling the player. The canonical example is Bioshock, in which the story tells you that the choice between saving or destroying the little sisters is critical, and the game play tells you it doesn’t matter (because the difference in rewards for doing one or the other are trivial). Braid’s story is tightly integrated with gameplay, and in fact it didn’t occur to me until the sixth world that the story being told was an allegory for what was happening in each level, and vice versa.

Finally, Jon believes that developers should think about what they’re teaching their players when they give them a game to play. On this point I think the world needs a balance, and in general we are lacking developers who live in Blow’s camp. Games have been used to teach people since time immemorial. As a tool for teaching, it is certainly important that what is being taught is a Good Thing. I think, however, that from a pragmatic standpoint, not everyone is interested in learning. There is a place in the world for people who want nothing but to be entertained, and someone will always be there to fill that desire.

So what is Braid? It is a world turning experience on both an intellectual and emotional level. Braid integrates complexity out of simplicity, it evokes a sense of wonder and delight. Free of distractions, you are brought into a masterfully crafted world where you are repeatly filled with a sense of delight as you learn. The feeling is much like the feeling of exploring in Portal, only more so. Jonathan values this feeling so much, that the official walkthrough simply urges you not to use a walkthrough - and he’s right. Using a walkthrough robs you of much of the experience you get out of this game, and you can never get it again.

Braid is a bittersweet, magical journey, and missing it would leave your hand off the touchstone of our generation. Jonathan Blow earns my respect in spades, and the world will never be the same again.

The Shifting Revel

Aside from my Achievement addiction, I have a profound love of Magic: The Gathering.  Over the years I have abandoned the game, stayed away for several years, and then come back to it, each time harder than before.  The last time I seriously got into playing Magic was during the Odyssey block, back in 2001.  I played reasonably seriously, going to tournaments occasionally and spending hundreds of dollars on pieces of cardboard.  Just before I began University, I gave up the game, and I haven’t played it since.  Most of my friends at the time sold their collections and bailed out for good, perhaps keeping a couple of really well built decks for posterity.

Last week, a bunch of us got together and decided to do a booster draft - a game where everyone buys three $4.00 packs of 15 cards, and the cards are cycled around in a systematic way so that it’s possible to build a functional (although not very good) deck with a small investment, and play using only those cards.  This has had much the same effect as a bunch of coke addicts deciding to do a line for old time’s sake.  The game is so addictive that with that one brief exposure, most of us are considering getting back into the game, and building real decks once again.

Scott Lynch, in his extremely excellent The Lies of Locke Lamora describes a scene he calls The Shifting Revel.  In order to defray tempers and choke off any uprising before it can gain traction, the Duke of Camor underwrites a giant festival which takes place at regular intervals in the local bay.  It’s called the shifting revel because the festival takes place in the form of hundreds of boats - those of the attendees and local merchants - who lash themselves together in the bay.  The attendance changes from revel to revel, as does the specifics of the entertainment - but there are always keystone features which remain the same and give the revel a grounding.

Magic is a Shifting Revel, and I think this is one of the reasons it’s both so addictive, and that it’s remained so popular over the years when nearly every other collectible card game has sputtered and failed.  There is no specific strategy in Magic that is predominant - there are several major strategies, none of which is better than any other in general.  The game is simple enough that the basics can be grasped in ten minutes, but complex enough that the building of a good deck requires knowledge of statistics.  There are endless combinations of cards that can put together to make a deck, and no two players will use even the same deck in exactly the same way.  The game is very well balanced, but this isn’t what makes it a shifting revel.

Most people who play magic at the tournament level play with what is referred to as “Standard Edition” rules.  Essentially standard play limits the cards you’re allowed to use to the two most recently released blocks of cards, each block containing three sets.  New sets are introduced every roughly 2 to 3 months.  The effect this has on gameplay is profound.  With any given set of cards, in a matter of weeks, tournament play solidifies around several ‘types’ of decks, based around the cards that are legal in the last two blocks.  Each type of deck will revolve around a particular strategy for winning and involve several major strategic cards from these blocks.

The trick is that every time a new block is begun, an old block of cards will no longer be legal in standard tournaments.   This typically has the effect of crippling all deck ‘types’ that are currently used in tournaments - and the scene shifts.  New deck types emerge as players explore the possible combinations of cards from what is left, along with the new cards being slowly filtered in every two months as the new sets emerge - in fact, as each of the new sets in the block emerge, new possibilities emerge as well.  These possibilities are not as severe as the shakeup when a block rotates out of use, but are enough that a fury of new deck styles must be explored.

The business potential of this strategy is huge.  Games are fundamentally about exploring a possibility space, and when that space has been explored to its limit, the game ceases to be interesting.  In Magic this possibility space is expanded at a rate that gives people time to master the space, but not long enough that it becomes uninteresting, and then is grown.  On a yearly basis (or so) the entire space is turned upside down, things you used to know no longer apply, and there are new details to take into account.  This is a shifting revel, and it allows the old to become new again, and again and again.

This is much to the profit of Wizards of the Coast, who have managed to create a game so popular that many pieces of cardboard sell for 500% of the price of a booster pack in the secondary market - some particularly useful cards can go for many times that.  That’s a lot of money for a card that won’t be legal in standard play two years from now.  The thing I find particularly interesting about this is that it hasn’t been done in online play (other than in the online version of MTG of course) for any other game that I know of.

Digital Distribution systems provide a very smooth way of rolling this out.  Any game that contained the addictive hooks of MTG and based around shifting revel - potentially fueled by micro-transactions - that rotated on appropriate basis in line with the exploration curve of the possibility space…  Well my friend, that would a license to print money.  Systems like Xbox Live provide even further hooks such as Achievements (Imagine getting badges for beating someone using only direct damage, by milling their library to depletion, by using only creatures, for using a particular combination of cards, etc.), and if it was done well, might even outstrip the fanfare that Wizards of the Coast has been raking in for nearly the past two decades.  This would allow for a game that is not only highly addictive, but extremely interesting ludologically as well.  In any given year, MTG is recognizable enough as MTG - there are certain rules that never change - but the dynamics of the gameplay are totally different, if you’re willing to pay the price to keep up.  There are very few games that evolve so organically over such a long period of time, and I think it’s time we had another one.

Turn 10 Studios: Impressions

I meant to post this about 5 months ago, but I’ve had a lot of difficulty coming up with more to say than a strictly emotional impression, nevertheless, I thought I’d punch it out.

In November I was fortunate enough to have some lunch-time conversations with Bill Giese and Korey Krauskopf from Turn 10 studios. While I can’t speak to the specifics of much of the things we talked about, I spent a lot of the time talking to them about what it’s like to work in the studio.

I’ve found that many of the people at Microsoft have a gleam in their eyes, the kind that comes from doing something you love. Turn 10 has this gleam in spades, but moreover they have a tremendous amount of energy.  I’ve never really had the chance before to speak at length with people who have been developing games in full blown professional studios for a large tract of time.  If Turn 10 is my only datapoint, it’s probably a good one.

Turn 10, if you’re not aware, are the developers of the Forza Motorsport series.  This series is essentially Microsoft’s answer to the Grand Turismo series, and they’ve done a pretty amazing job.  Walking around in their studio, you can see why.  Every scrap of wall that isn’t spackled with design plans is brimming with racing gear.  They even have a test setup with full on racing bucket seats.

When Korey and Bill talk about their game, I was struck by how excited they were about it.  I guess on reflection I’ve always seen this happen, in interviews with game developers, even transcripts of those interviews, you can tell from the text how much they love their game.  It’s a spectacular thing to be able to do what you love for a living, and this industry demands it, because that love gets channeled into passion for the game and hopefully into something that will excite gamers just as much.  I think Turn 10 has done a pretty decent job at this so far, and I’m looking forward to their future offerings

If you want the opportunity to talk to Korey, or one of several others at Turn 10, they’re holding a promotion where you can play Forza 2 against them, tomorrow night.  Check it out here.

What Ever Happened to Tex Murphy?

Chris Jones and Aaron Conners?

Backup.  Today’s Zero Punctuation regarding Zack and Wiki features references to several old adventure games (Yahtzee himself being a designer of some very emotive ones).  Among these are two piece of box art that are probably unfamiliar to most people:  Under a Killing Moon and The Pandora Directive.

These two games are are the 3rd and 4th installments in what is generally referred to as the Tex Murphy adventure series.  You play a cynical middle-aged Private Investigator set in post WW3 San Francisco.  The first two games (Mean Streets and Martian Memorandum) are controlled in a reasonably standard side view that we have come to expect of adventure games, with the addition of a flight simulator-esque interface to travel from place to place.  Mean Streets in fact was originally designed as a flight simulator with some adventure elements added in, although the reverse ended up being the result.

The three latter games (Under a Killing Moon, The Pandora Directive, and Overseer) all use live character actors, and most of the game takes place in a first person view of a mostly photo-realistic environment which is accomplished by projecting photographs onto 2D meshes.  These adventure games were hilariously funny, intuitive, and kept you playing until the very end.  The interface was extremely ambitious for the time (Moon came on 4 CDs in 1994, Pandora came on 6, and Overseer on 5 plus an alternate version on DVD, the first game I ever saw do this).  Nevertheless, the game suffered from a variety of mostly technical issues, and were being made during the twilight of adventure game popularity.  Sales were, one can assume, not exemplary.

A year after Overseer was released, the Utah based Studio - Access Software - was acquired by, wouldn’t you know it, my company, Microsoft!  Microsoft was, I assume, primarily interested in Access software’s more lucrative property in Links Golf, because the Tex Murphy series was never heard from again.  This is particularly unfortunate because Overseer ends in a cliff-hanger.  In 2004 Microsoft sold Access Software, now known as Indie Built, to Take Two Interactive, and it became part of the 2K Sports brand, again emphasizing the golf label over the now defunct Tex Murphy series.  Indie Built created a snowboarding game for the launch of the 360, and was then closed by Take Two in 2006, with no public reasons given for the closure.

Chris Jones and Aaron Conners were the designer and writer, respectively, for this phenomenal series, with Jones playing the titular Tex Murphy.  Aaron Conners also made novel versions of Under a Killing Moon and Pandora Directive, which are pretty good for pulp fiction.

Both Chris and Aaron moved with the acquisition to Microsoft to work on projects there, primarily on the Links series and the Amped snowboarding series.  Aaron seems to have moved to 2K Sports following the second sale, and worked under the 2K label until Indie Built was closed.  He has subsequently left the software industry entirely, and has started a contracting company called WordPlay LLC.

Chris on the other hand appears to have left around the same time Indie Built was sold to Take Two, becoming a partner in an new company called TRUGOLF that makes life-sized golf simulators for what I can only assume to be the “I have a vacation house in the Hampton’s” crowd (One can assume that Chris Jones really, really likes Golf).  Both he and Conners still live in Salt Lake City, Utah.
So what’s to become of Tex? Well, Tex has a sizable following over at James LeMosy’s Unofficial Tex Murphy Site.  Last month Aaron Conners left a note on the forums saying that he and Chris have a new game they’d like to make, and are actively searching for a publisher.  If that goes well, they’ll try to use it as a shoe-horn to make the final chapter of the Tex Murphy series, in some capacity.  The story is finished, apparently, and waiting to be told.  It’s been 10 years since we last heard from Tex Murphy, hopefully it won’t be another 10 before he finishes his tale.

If you’ve been negligent, you should try to get your hands on a copy of Under a Killing Moon and The Pandora Directive.  If you copy the contents of the CDs into folders on your hard-drive, you can get DosBox to mount them as separate CD-ROMs, and you can avoid the interruptions you would have encountered at the time of having to switch CDs constantly because the games natively support putting each CD in it’s own CD drive (if you for some reason had 4 CD-ROMs in your PC in 1994).  There’s a lot to learn - both good and bad - in terms of game design from these games, and the writing is extremely rich in both.  I would highly recommend the investiture.

A Week in Cuba

As previously mentioned, I went on vacation last week, and apparently the world does not stop while I’m laying on the beach.

Big news of the last week.  Apparently it was GDC or something.  I wasn’t there, so if you want juicy GDC goodness, you’ll have to look elsewhere.

Microsoft

• Microsoft, in a new initiative called Dreamspark is making much of its developer software free to students.  This software includes Visual Studio 2008, SQL Server, XNA Game Studio, XNA Creator’s Club Subscription, and Expression Studio.  That should be plenty of tools for would be game developers to muck about in.  Details are here.
• Microsoft is dropping support for HD-DVD with the discontinuation of the add-on for the Xbox 360.  All remaining units are being cleared at firesale for $50.  I would not be surprised if there was a Blu-ray add-on in the future.
• Microsoft announced during the GDC 2008 Keynote a new service, the so-called Xbox Live Community Games.  Under this service, users can build a game using XNA Game Studio, and then upload it directly to a community portal where the game is democratically reviewed.  The reviewing process is intended to look for infringing or objectionable material.  The best of these games get automatically uploaded to Xbox Live for the masses to enjoy.  No specifics on pricing, or if the developer is getting kickbacks (as one would assume they would if Microsoft is collecting on their work).

Sony
On the Sony side of things, Phil Harrison, one of the founding members of Sony Computer Entertainment, and the president of SCE Worldwide Studios, has submitted his resignation.  Changes in leadership often come with widespread changes across the board, but it depends on the size and momentum of the company in question, and Sony is rather largeish, so I would not anticipate a massive change in the direction of their games.

Australia

Australia is talking about finally getting a new rating that will allow more mature titles to be sold there.  Unfortunately, I doubt this will alleviate the massive delays they usually incur before North American/Japanese release, and release to the land down under.

Electronic Arts

EA is offering to buy Take Two!  I would suggest in reaction to the recent Activision/Vivendi merger, EA is looking to add some more meat to its already colossal frame.  EA’s new CEO John Riccitiello has mentioned that he’s extremely unhappy with the scores EA’s games have been getting of late, so there might be some incentive to own some games that are critically acclaimed (which might have fueled the recent acquisition of Bioware as well).  Take Two is brimming with talent, including the developers of the Grand Theft Auto series (Rockstar), Bioshock (2K Games), and Civilization (Firaxis).  While EA’s initial bid is a bit lower than Take Two is looking for, most analysts are expecting this deal to go through eventually at some price point.

On a side note, Take Two is the current owner of one of my favorite IPs of all time, the Tex Murphy series.  This series was created by Access Software (later renamed to Indie Built) in the 90s.  Microsoft acquired them for the Links Golf series, and then sold the company to Take-Two who then shut it down.  While a revival is not likely at EA, it’s marginally more likely than at the parent who shut them down in the first place.

EA has a habit of killing great teams by using simple business math.  If you have everyone using the same tools and processes, costs are lower.  Unfortunately, this slows down and breaks the dynamic that produced the great team in the first place.  This is something you can do with teams that are having trouble realizing their full potential, perhaps due to infrastructural problems, but when you acquire a really solid team, it’s important that you just leave them alone to do their thing.  Riccitiello seems to be aware of this, so perhaps Take Two’s properties are not going to join the legacies of Westwood, Bullfrog, and Origin.

Havok

Havok is free, to which I say, OMGWTFBBQ.  Well, okay, it’s only free on the PC, but as of May 2008, you at home will be able to download your very own copy of Havok Complete (which includes the Physics and Animation packages).  This is a non-commercial license, but it allows hobbyists to get their hands dirty with the most widely used physics engine in the PC gaming space, which is good for companies looking to hire people who know Havok already.  This theoretically lays some groundwork for Havok’s more specialized products for behavioral animation, deformable solids, and cloth rendering.

And that’s all that happened this week, I’ll be posting on a more semi-regular basis now.

Ontario Developers Get Government Funding

As reported by The Escapist.  Excellent.  Drink it up Ontario, drink long and deep.  If there isn’t a richly flourishing ecosystem of Game Development when I make my return in a few years, I will be gravely disappointed.  Prepare the verdant soil, and let the rivers of cash flow.

While I most definitely support government funding of this type to compete with our friends in B.C. and Quebec, $500,000 bucks apiece between two developers (indeed, the two largest in Ontario), is better than a poke in the eye with a sharp stick, but it’s not exactly a presumptive basis for a buoyant ecosystem.  This is better seen in the form of tax cuts for developers and grants for the establishment of new companies undertaking this most serious endevour.

Exclusive: Will Wright on Emergent Game Design (Part 2)

This is a multi-part post.  Jump to:

Part 1

In a previous post, I discussed a lecture recently given at Microsoft by famed Game Designer, Will Wright. The topic of this lecture was Emergence and Game Design. The first part of this post discussed what emergence is, how it relates to Game Design, and the problems it solves. It also discussed some of the problems it creates, specifically that it’s impossible to predict a priori whether a game will be interesting based on the basic mechanics which form it. It would be useful, nonetheless, to be able to discern particular areas of mechanics which tend to work well together to compose a whole game. That toolkit is the subject of this post.

Will’s toolkit draw many parallels to the concept of game grammar, advocated by such industry tycoons as Raph Koster. There are three independent groups which any given game rule-set will derive from. These sets, called Topologies, Dynamics, and Paradigms roughly correspond to the linguistic concepts of nouns, verbs, and grammar rules. Each of these groups is further broken down into specific techniques. Any game system will draw on a mix of techniques from all three systems, but there is no express order in which the groups must be explored.

Topologies

The first of these, Topologies, is the noun analog. Topologies represent the framework upon which the rules act, and create structure for the game environment. Interestingly, Will considers game communities to be part of topologies. A good example is the advancement progression in most games. Some games have a very linear progression, as you advance through levels and are led from one place to the next (e.g. Gears of War). Others are gated - the possibility space branches outward after each gate, only to collapse to a single node at the next (e.g. Mass Effect).

There are three outlined techniques within Topologies, from most rigid to most flexible: Agents, Networks, and Layers. Agents represent particular objects and beings which perform actions, or have actions performed upon them. In Sim City, individual buildings would be considered agents. Nearly all games make use of agents in some form.

The second, networks, represents the framework that defines interactions between agents. These linkages may be spacial (Buildings can be connected by roads), temporal (an action by one agent causes an event in another), functional (companion cubes can be placed on buttons), or relational (forests and gold mines are resource providers).

The last topology, Layers, is a technique whereby several layers of agent-network graphs can be laid upon each other to create a different facet of the same game. Battle for Middle Earth’s War of the Ring mode is a good example of this, as one game is placed on top of another game, and the outcomes of each affect the other. Different views on information (such as seeing the amount of crime in your city), or statically linked layers of graphs (In Sim City, electrical system, water system and road system) would fall under this as well.

Topologies are the most straightforward of the three concepts, and a similar concept is covered in nearly all books on game design. The next concept, dynamics, brings these simple structures to life. Dynamics will be covered in part 3.

Top 10 Overall Game Developers of 2007

I’m now home from Seattle after my internship with Microsoft this past fall.  I thought a good way to back into things, now that I have access to my server again, would be to run the best of query against 2007, and see what we pull up.

While we often hear about the best games, or the best publishers, rarely do we hear about the people who make those games possible.  Go check out the top ten overall game developers of 2007.

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