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"Left 4k Dead was made by Markus Persson, for the 2009 Java 4k Competition. The entire game is less than 4kb." Impressive, and even a bit fun.
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"Mirror's Edge is not a perfect game, perhaps, but it is something more important: it is an interesting game. It can be played and experienced on its own terms, for its own sake, if players would only allow themselves to take a single videogame specimen at face value rather than as yet another data point on the endless trudge toward realistic perfection." Ian Bogost taking a considered approach to Mirror's Edge.
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"'Why do you build your own computers?' Gloria asked earlier this week. 'Why don't you buy just buy one that's already built?' … It's because computers are fire… If I was a caveman (I'd be dead, because I can't see clearly two feet in front of myself without glasses, but that's not the point), I wouldn't go to the guy who discovered fire and ask if I get a light off his torch. I might let him explain the process–documentation, as it were–but then I'd go off, hold the torch backwards, cut myself with the flint, and generally do it wrong."
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This appears to be some kind of 3D-tinged mind-mapping software; Flatblack were behind the rotoscoped look of Waking Life and A Scanner Darkly; this is clearly an interesting digression for them.
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The Offworld 20 "…isn't just a list of independently made and under-appreciated games, it's a list of the games that celebrate what makes Offworld Offworld: the beautiful and the bizarre, and the games trying to push the medium forward and give us something we've never seen before, in whatever incremental way." Smashing. I love Offworld already, and this is a lovely list.
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"Monopoly, in spite being the classiest of all board games, unfortunately is packaged just as boringly and uncreatively as every other garbage board game on the shelves. So, I decided to repackage it… turning the class up to 11." Very pretty, but I miss the original typeface: the 30s-style sans-serif was very important to the tone.
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"…my feeling is that the barriers to verismilitude in video games aren't technological– lighting effects, texture work, mocapping– but /technical/. They're matters of technique, mastering the extant toolset in order to produce the novelistic details that make for the feeling of authentic transport. Game design doesn't need a better camera, or a holodeck. What it requires is old-fashioned artistry and imaginativeness, an obsessive and nerdish Flaubert who will come along and show us how games work."
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"…it’s become apparent to me that social software is a medium turns all communication into a self-representation game whose ultimate goal is popularity."
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"I am a terrible gaming evangelist. Every time I think I’m onto something my mind’s invaded by Marcus Fenix and his sweaty, homoerotic pecs, by Cloud and his implausible sword and cod-philosophy and, most poignantly, by me, in my pajamas aged nine playing Tetris on the toilet and by me, in my pajamas aged twenty-nine, playing Tetris on the toilet." And Simon powers straight into /my/ favourite games writing of 2008. Bravo.
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"I am a terrible gaming evangelist. Every time I think I’m onto something my mind’s invaded by Marcus Fenix and his sweaty, homoerotic pecs, by Cloud and his implausible sword and cod-philosophy and, most poignantly, by me, in my pajamas aged nine playing Tetris on the toilet and by me, in my pajamas aged twenty-nine, playing Tetris on the toilet." And Simon powers straight into /my/ favourite games writing of 2008. Bravo.
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"I was startled to realize that stock photo and video purveyors actually create material in anticipation of demand… These suppliers of the world's commercial imagery are making bets on what life will look and feel like in the near future." But of course.
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"The city is here for me to use, and it tells me so." Indeed.
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Lanchester writing about games, from the point of view of a smart person who's actually played the games he described. I certainly don't agree with all his points, but I don't disagree with them all, and he's not mouthing off: he's making smart connections and indicating more than a passing familiarity with the medium. Might write a tad more on this.
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"1352 components driven by a 450 link chain and nickel silver drums, prices range from $275k–$400k." Ignoring the price: do want very much.
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It's basically Outrun 2 SP, but in hi-def, and on XBLA and PSN. And it looks like it has all the music intact. Very exciting!
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The metagame is the game. Use the elephant to earn achievements. Apart from earning slightly /too/ many instantly at the beginning, it's a lot of fun. Don't reach for the hints too early.
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Yes, it's an app about weight loss. But: the UI is superb in its touchability and suitability for task at hand, and the reporting functionality is solid (and looks like it'll get much better).
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"I’d recommend that if you’re considering or actively building Ajax/RIA applications, you should consider the Uncanny Valley of user interface design and recognize that when you build a “desktop in the web browser”-style application, you’re violating users’ unwritten expectations of how a web application should look and behave. This choice may have significant negative impact on learnability, pleasantness of use, and adoption." Yes.
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Video from the side of a solidrocket booster from a shuttle launch – through launch, into the atmosphere, separation, and back down to splashdown. Incredible; hypnotic; magical to think that we made that.
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"The first UK Maker Faire will take place in Newcastle 14-15 March 2009 as part of Newcastle ScienceFest – a 10 day festival celebrating creativity and innovation." Never been to Newcastle. That could be exciting.
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"Don't be stuck staring at the screen! Mightier's unique puzzles are designed to be solved by hand with pencil and paper." You print out the puzzle, solve it with a pen, take a webcam picture of it… and the in-game laser carves the path you drew. Wow.
What Left 4 Dead needs: an arrange mode
16 December 2008
Left 4 Dead is a wonderful game, and there is, to be honest, almost nothing in it I’d change. It’s deceptively simple, lots of fun, and brilliantly executed. But it has a big problem: what happens when the players’ competency doesn’t live up to the drama the AI Director wants to portray.
(Quick digression, for those of you who don’t know: the AI Director is the name Valve has given the enemy AI; it’s a smart move, because the magic of the game really is the AI, and personifying highlights the importance of this game system to the players. It decides what to spawn, when to spawn them, and when to take advantage of players’ sloppiness; as such, it appears cruel and sadistic to most players, and it’s nice that the system has a name you can curse).
My friends and I are reasonably competent and we like a challenge, so we tend to start most levels in Advanced difficulty. Normal is a bit too easy in the early stages, and the apocalypse was never meant to be easy. Anyhow, we make good progress on Advanced for quite a while. The problem tends to come between stages 3 and 5 of any campaign, when we start to get wiped out a lot more.
We all die, and we restart, and we remind each other to stick closer and not shoot each other and not get distracted. And we do a bit better, and then we die. But this is OK; it’s a game, and we want to get better, and we like the challenge.
But after nine restarts, the challenge is wearing thin. And here’s where the problem kicks in: we would like to go to bed soon – it’s a school night, after all – and yet our pride reminds us that we would rather finish the scenario than give up. And so we grudgingly take a vote, drop the difficulty to normal, and thoroughly enjoy the challenge of the always-tough grand finales.
I’m ashamed we dropped the difficultly, but I’d be more ashamed if we didn’t finish the campaign. When this happened for the second time at the weekend, I got thinking as to how you could fix this problem, and I came across one possible solution.
What Left 4 Dead needs is an “arrange mode”.
I would like to be able to tell the game “there are X of us, and we should like to play an exciting zombie-slaying adventure for approximately Y minutes on difficulty Z“.
All the AI has to do is keep pace, supplying the appropriate numbers of highs, a really big finish, but backing off the volume of the zombie horde when it looks like we’re not going to make our time limit. As it stands, a decent run-through on Normal usually takes about 40 minutes, but Advanced sessions are taking me and my regular teammates about 1h45. This way, we could peg the session at, say, 75 minutes, and still have a decent evening’s fun.
If possible, the AI shouldn’t be adjusting the difficulty as it goes along. Players pick a particular difficulty for a reason – challenge, bravado, personal reasons – and you shouldn’t then throw easy-level enemies at them just because they’re running out of time; what Left 4 Dead has already proven is that much of the difficulty can come from pacing (how often the big encounters are, how weak the players are when you jump them) just as well as from hit points.
A good example of a game that already does this it the original PSP Ridge Racer; its “Custom Tour” mode lets you choose how long you wish to play for, and then it assembles a series of tracks that ought to take an average player that length of time; perfect for its handheld platform, as you’re often likely to be playing for known periods of time – a commute – rather than any other knowns. And, you know, I think there’s a lot of other games you can apply this model to successfully too, without any significant impact.
Other than that, though, I don’t want anything changed – and this should be in addition to the current gametypes, not instead of. I’m just a bit tired of admitting defeat and dropping the difficulty so we can get to the finale. Maybe that’s pride talking, but I don’t want to think that Louis, Bill, Francis and Zoey died because I wimped out.
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"Ikaruga doesn’t treat you mean because it wants to see you fail. Ikaruga treats you mean because it wants winning to feel wonderful. But the more I became addicted to that mechanic, the more uneasy I started to feel. Volunteering to be beaten and humiliated on the promise of eventual pleasure? Isn’t there a word for that?" I can't get on with Ikaruga – too much of a memory test, too much punishment, not enough pleasure – but I can totally understand these sentiments. Lovely writing.
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The Wire has started airing on German TV, in a dubbed version; fascinating interview on how to translate it whilst keep the flavour of the original show.
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How come I have not seen this before?
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Preserved at least in the screengrab of this post: today is the 15th anniversary of the release of Doom, and Offworld have reskinned accordingly. Fun.
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"The outcome of this rampant illegal software copying is that Windows is seen as "the first world standard" and any attempt to push a cheaper alternative is strongly resisted. They consider it trying to cheat local people out of getting the same quality of software that is used in the developed world, even though it's a legal way of getting quality software for free." Not what you'd expect, but totally understandable: as said before, there is a middle class everywhere, and it has the same aspirations everywhere.
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…and here's a tiny bit that got cut from the final interviewer, from Tom Chick's own site. Spielberg talks in more detail about balancing storytelling and gameplay, and expands a bit on the cutscene problem.
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Tom Chick interviews Spielberg on games for Yahoo!. Spielberg is consumate and smart, as you'd expect, but also well-grounded; he really does _play games_. "Yes, I've played Half-Life, of course" – the "of course" is the important bit.
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“Sackboy will be tremendously popular and this is the perfect time of year to knit the little chap. Knitting and customizing him means that he will be utterly unique and a very cool accessory. We’re very lucky to have him in the magazine and we hope that he’ll help to increase the already sizable crossover between the great communities of gamers and knitters, online or not.” Frankly smashing. I wonder if Mum's looking for a Christmas knitting project?
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"In short, [MSG] defies many of the characteristics we normally ascribe to a tabletop RPG — in the context of a very cynical, and very cool, cyberpunky future where even the minimal constraints on corporate action that currently apply are removed, and any residual ethical norms for businessmen are considered the domain of chumps. Excellent, in a word." Ordered, based upon Greg's writeup and also the fantastic downloadable version of the ruleset. Now, to find some players.
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"Herzog Zwei was a lot of fun, but I have to say the other inspiration for Dune II was the Mac software interface. The whole design/interface dynamics of mouse clicking and selecting desktop items got me thinking, ‘Why not allow the same inside the game environment? Why not a context-sensitive playfield? To hell with all these hot keys, to hell with keyboard as the primary means of manipulating the game!" Brett Sperry, of Westwood, on the making of Dune II. Via Offworld.
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"Changing the Game (order via Amazon or B&N) is a fast-paced tour of the many ways in which games, already an influential part of millions of people’s lives, have become a profoundly important part of the business world. From connecting with customers, to attracting and training employees, to developing new products and spurring innovation, games have introduced a new level of fun and engagement to the workplace.
Changing the Game introduces you to the ways in which games are being used to enhance productivity at Microsoft, increase profits at Burger King, and raise employee loyalty at Sun Microsystems, among other remarkable examples. It is proof that work not only can be fun–it should be." I shall have to check this out.
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"As a result, vendors here are more likely to decline to sell you something than to cough up any of their increasingly precious coins in change. I've tried to buy a 2-peso candy bar with a 5-peso note only to be refused, suggesting that the 2-peso sale is worth less to the vendor than the 1-peso coin he would be forced to give me in change." They're running out of coins in Argentina, and it makes for a seriously odd situation – and a reminder of the differences between value and worth.
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"The artist Keith Tyson is offering 5,000 Guardian readers the opportunity to own a free downloadable artwork by him. The costs you'll have to bear are those of printing out the work on A3 photographic paper – and framing, if you so choose… You will be asked to enter your geographical location – which forms part of the unique title of each print."
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"The media would have us believe that those with the best ability in Parkour require and condition to bodies of hypermasculine levels, and the first notions of this concept seem quite logical. However, it is known to any traceur that the spectacle of the masculinized body is not in necessary relation to one’s ability of movement. Mass media tries to paint another picture with a careful selection of handsome, muscular men as traceurs… At its simplest, the hypermasculine spectacle is an easier sell to masses. However, our problem does not end at the body. It is not only the body that is masculinized, though, as we see the same pattern occurring to the discipline itself." Interesting article on Parkour and gender; specifically, the hyper-masculinisation of the art by the media.
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"Over three years ago I set a goal for myself. That goal was to have a max level character for every class in the game… Tonight, at long last, I’ve finally achieved my goal." Blimey.
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"…most public objects – and certainly all municipal objects – should offer APIs. Furthermore, specifically with regard to public infrastructures like transit systems, I believe that this should be a matter of explicit government policy. What’s a public object? A sidewalk. A building facade. A parking meter. Any discrete object in the common spatial domain, intended for the use and enjoyment of the general public. Any artifact located in or bounding upon public rights-of-way. Any discrete object which is de facto shared by and accessible to the public, regardless of its ownership or original intention. How’s that for starters?"
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Better than GetBundle, apparently – hunts down unofficial bundles on github and the like, as well. Nifty.
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"What a wonderful idea," Jennifer noted. "We never get to see the people who make the games." Michael Abbott is talking about LittleBigPlanet.
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Leanoard rounds up his favourite DS homebrew games. Some good stuff in here that I didn't know of.
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"This is just one of many examples that show you can participate in online community without having to pretend to be something you’re not. In fact, participating with authenticity is not just morally good, it’s measurably more effective."
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Powazek is right; this is definitely smart advertising, and full props to EA/W+K for just taking the credit and not trying to make it "viral"; it'll do that anyway. Although: it really is a glitch, you know.
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"AlterEgo is a Ruby implementation of the State pattern as described by the Gang of Four. It differs from other Ruby state machine libraries in that it focuses on providing polymorphic behavior based on object state. In effect, it makes it easy to give an object different “personalities” depending on the state it is in." Oh, that could be really handy.
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Oh gosh this is brilliant.
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"Simply stick your finger in the hole and a virtual representation appears on the screen. Then you can use your virtual finger to play all kinds of cool mini games… from swinging a panda to having a karate fight with a tiny little man." Um, wow. Although I'm always afraid of putting appendages in boxes I can't see inside, though.
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I think they're wrong, you know. It's not theatre; it's protocol. Maybe people aren't used to the protocol; if yours is the first app they encounter, they'll think that it's OK to show what passwords are – and perhaps that it's OK to write them down elsewhere in plaintext. Applications have a degree of responsibility for users' interactions across the internet, and quirky and cute as this may be, it's just not the place to demonstrate your shining personality.
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The Brian Dettmer is beautiful. Also: didn't realise the heart/cube cogs were paper, not wood.
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"…it's another little example of the way the ipod/iphone is such an attention-demanding device. It doesn't orient to you, it orients to itself." Yes. This is a problem.
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"The US auto industry is on the verge of imploding. People are losing their homes to foreclosure. And, on the off chance that you had the nerve to try to buy something, credit is almost impossible to come by. It is against that backdrop that I would like to talk about working for free. Why? Because I think it is one of the fastest ways to make yourself a better photographer, whether you are a pro or an amateur."
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"To the extent that the web is becoming truly ubiquitous, and involves increasingly multimodal paradigms of interaction, it seems appropriate to define a Web standard for representing emotion-related states, which can provide the required functionality." No, it does not seem appropriate. It seems bonkers.
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Hey, I've been in that relationship too! These made me laugh a lot.
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"bill. francis. louis – look here. help." Ah, the fun of the farm. It's all coming back to me now.
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"The Whale Hunt is an experiment in human storytelling." 3000+ photographs, with what seems like a confusing-and-shiny interface to explore them – but hides a detailed metadata manipulation layer underneath. Beautiful pictures, too. Something really quite special; the "interface" pages should explain more.
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"Still, overall, Left 4 Dead's opening cinematic is a shockingly complete primer to the rest of the game. With only a few exceptions, almost any player going into Left 4 Dead for the first time will know exactly how to play the game: they already know the gameplay, the weapons, the enemies, the win scenario and the strategies they need to get through the game alive… the only thing not covered in the opening movie is the specifics of the interface." Yes – had this exact same conversation a few days ago. Although John is awfully down on Louis, which seems a tad unfair…
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"The obstacles that exist are mere impediments to my motion, puzzles placed only to slow me down or stop my free-flow kinetic improvisation. No time to think or overanylize, only time enough to move. This is what the essence of gaming should feel like: a sincere, wholehearted attachment to the action (or actions) that one sets into play. It is a moment where the motivation at hand is intention only, whose aim is exploration and discovery, refined. It is the escape, distilled and realized." GWJ on Mirror's Edge, and never rewinding, never looking back.
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"Metro Rules of Conduct is a game about the awkward situation of commuting in my hometown, Stockholm. Look at mobile phones, MP3 players and breast for score, but whatever you do – avoid eye contact!" Wonderful; the art-style works really well, as does the head-bob.
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"Melville was torn between writing a ripping nautical yarn and a metaphysical odyssey, and it shows. Rockstar was torn between constructing a sandbox and a stage, and it shows. The result was a tenuously fused work of genuine Americana: a disorderly paean to the American city, a bit of ultraviolence, a stonkingly beautiful soundtrack, a fable, a simulation, a gonzo critique of capitalism. It's a game we deserve. " Pliskin on what GTA4 meant. Perhaps hyperbolic, but it's an important signifier of this year. The Redding quotation about Far Cry 2 is also a stonker.
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All 226 entrants for the 2009 IGF. Heard of – and played – some of these, but many are unknown. Exciting to see the list, though, if only to be reminded that there's this many games being made and funded independently, at the large and small scale.
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"aphex twin + vassily kandinsky + doom 2" – now that's a tagline.