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March 21, 2009

GDC: Independent Games @ GDC 2009 - The Round-Up

[Having prepped this information to update IGF.com, thought it might be useful to GSW readers - here's one of the reasons that updates may be a little sluggish this week, even with our still-sekrit 'special guest' blogging from GDC.]

We're all very busy preparing for this week's Game Developers Conference in San Francisco, but here's all the information you'll need to know about the awards, summits and showcases taking place this week:

- The Independent Games Summit takes place on Monday and Tuesday, March 23rd-24th from 10.00am to 5.30pm, during GDC 2009 at the Moscone Center, with some of the top independent game creators talking about the art and business of making indie games.

- The IGF Mobile awards ceremony takes place on Tuesday, March 24th at GDC Mobile, from 10:45am to 11:30am, immediately following the morning keynote. (The ceremony's winners will also be highlighted at the main IGF Awards on Wednesday night.)

- Starting Wednesday, March 25th through Friday March 27th (Wed and Thur, 10am-6pm, Fri, 10am-3pm), the IGF and IGF Mobile Pavilions will be open on the show floor in the Moscone Center. All GDC attendees will be able to play the Independent Games Festival Main Competition, IGF Student Showcase and IGF Mobile finalists, and the developers will be on hand to talk and demonstrate the year's leading independent games.

- Finally, on Wednesday, March 25th, the Independent Games Festival Awards will be held in the Esplanade Room starting at 6.30pm, with thousands of developers on hand to see this year's IGF Awards given out, before the Game Developers Choice Awards take place.

Once again, Pocketwatch Games' Andy Schatz (Venture: Dinosauria) will be giving out the IGF Awards, with video skits from Mega64, introductory comments from IGF co-content directors, Flashbang Studios' Matthew Wegner and Steve Swink, and last year's Grand Prize winner, Crayon Physics' Petri Purho, giving away this year's $30,000 Seumas McNally Grand Prize.

- BONUS: other indie happenings at GDC that I'll note in this blog post include Student IGF Postmortems on Tuesday as part of the IGDA Education Summit, plus Experimental Gameplay Sessions, Jon Blow's unmissable 'extending the boundaries of games' session on Thursday 26th from 3pm-5pm (check out the speaker list!) And LOTS more, I'm sure.

Sound Current: 'Traversing Castlevania's Musical Timeline with Noisycroak'

[Continuing the prolific GameSetWatch-exclusive output of Jeriaska, he sits down with the folks at Noisycroak for an interview about the soundtrack for the latest in the seminal Castlevania series, fighting game Castlevania Judgment.]

Since its inception in 1986, the Castlevania series has witnessed its fair share of lasting musical creations. Joining us for a discussion of this auditory history are two members of Noisycroak, the videogame music studio responsible for original compositions and rock arrangements found on Konami's Castlevania Judgment soundtrack.

With a score directed by Hideki Sakamoto, the game features remixes from prior titles in the series for such game consoles as the 8-bit NES, Super Famicom, original Playstation, and Nintendo DS, arranged for the Nintendo Wii by composer and guitarist Yasushi Asada.

The familiar melodies are a reminder of past encounters with Simon Belmont, Maria Renard, Shanoa and Dracula. This discussion centers on an artist's personal rock music signature, an approach to the challenge of unifying selections from the long-running adventure series' musical timeline.

[Interview conducted by Jeriaska. Translation by Ryojiro Sato. This article is available in Japanese on Noisycroak via Game Design Current and in Russian on Game-OST.]


Hideki Sakamoto

GameSetWatch: Sakamoto-san, thank you for joining us for this conversation on the subject of the Castlevania Judgment soundtrack.

Hideki Sakamoto, Noisycroak Music Director: Good to have the opportunity.

GSW: Previously you have shared with English-language readers details on your compositions for Echochrome and Yakuza 2. This is our first time hearing about your supervisory role on game productions. How did it come about that Noisycroak was invited to contribute to the development of Castlevania Judgment?

Sakamoto: To start off with how we joined the Castlevania Judgment project I should mention that a certain person at Konami has been very supportive of Noisycroak since the company was founded. The offer was extended by this individual, which greatly motivated me to have it be a success.

Personally, I have always been a tremendous fan of Castlevania, so the idea of Asada-san writing original tracks and arranging familiar classics from the series brought with it some trepidation, together with a great deal of excitement.

Castlevania Judgment OST track list
Sound samples courtesy of Konamistyle

GSW: You served as a composer on the Wii exclusive sound novel "428: In a Blockaded Shibuya," which is one of few games to have received a perfect score from Famitsu Magazine. How did your responsibilities on the production of this title differ from your role on Castlevania Judgment?

Sakamoto: For "428: In a Blockaded Shibuya," I participated as a composer, while for Castlevania Judgment my role was as music director. In that sense the responsibilities were quite different. However, both as a director and as a composer a concern for maintaining the highest possible quality on each track remains the same, so these roles do share some commonalities.

To put it another way, the hurdles placed in front of me on "428" may have been more numerous, as it involved composing various styles of music. It was an eclectic mix, including everything from techno and funk to bossa nova and classical. Clearly, the genres were very diverse. By contrast, Castlevania Judgment was working with a comparatively consistent musical concept. While it was less difficult to dive right in, providing the needed variation between each track was where the difficulties lied. In that sense the challenges were of a different kind.

GSW: Whose decision was it to offer Asada-san the role of arranger on this soundtrack?

Sakamoto: In our first meeting, the formula we came up with for this project was "orchestral gothic horror meets rock." Naturally, this concept had been informed by long-running traditions of the series. Once this approach had been decided upon, it seemed completely appropriate that Yasushi Asada take on the role of composer.

Asada-san is dexterous in his treatment of genres and someone you can trust will invest tremendous effort in his work. He has a clear vision for his music. It should also not go unmentioned that he has world class competency with the guitar. Those were certainly some fitting qualifications for this project.


Yasushi Asada

GSW: Asada-san, thank you for joining us for this discussion of your music for Castlevania Judgment. How long have you been a member of Noisycroak and what originally made you decide to lend your musical training to the sound design company?

Yasushi Asada, composer on Castlevania Judgment: It was around 2005 that I began working at Noisycroak. I had been focused on making MIDI data for ringtones at my previous company, and during that interval I was writing demos and sending them out to music studios. I gradually began landing some jobs in videogames.

GSW: In terms of your background knowledge of the Castlevania series, what did you feel were important elements to bring to this game in offering a unified feel to two decades of Castlevania themes?

Asada: Overall the most important quality I could bring to these arrangements was my own performance style as a guitarist. After that, it was a matter of finding surprising new chord progressions for the original tracks. It also came down to an endeavor to get the most out of the sound equipment at my disposal at Noisycroak.

GSW: Did you consult with sound producers at Konami Digital Entertainment during the making of the game?

Asada: We got together for a meeting once all of the remixes for the game had been completed. They mentioned that the arrangements could deviate more from the source material, but beyond that I was left to my own devices.

GSW: On your staff bio listed on the Noisycroak site it says that you are a hard rock and heavy metal guitarist. How has this background helped to shape your work as a game composer?

Asada: To play the guitar well, I believe you have to pay attention to your form to bring both passion and control to your music, while electronic music allows for more leeway. Videogames often take the license to pick up cues from exotic or regional music sources, which I find to be a very attractive prospect for a composer.

GSW: For a rich history of rock music in videogames, you could hardly do better than Castlevania. Were you familiar with the game series or Konami's rock arrange albums prior to joining this project?

Asada: Certainly, I have strong memories of playing these games since the 8-bit era, when I was just a kid. I knew of the arrange albums, but I thought it would be a bad idea to listen to them while working on this project. I wanted for my personal interpretation to bring something new to the listening experience.

GSW: The Castlevania Judgment music includes arranged songs from different videogame consoles, though there is consistency in the game's musical style. What quality were you looking to achieve overall on this score?

Asada: I began thinking about the style after Sakamoto-san had met with Konami and I was assigned the job of composer. There are classical music conventions to be found in the Castlevania games, serving as threads that thematically unify the individual titles. What I sought to emphasize was the presence of this gothic horror component, one that was crossed with rock, something that had been in our minds at Noisycroak from the outset.

GSW: Compositions that originated as streaming music and as chiptunes are represented in Castlevania Judgment on tracks like "Bloody Tears" from Castlevania III and "Dracula's Castle," the theme of Alucard from Symphony of the Night. In the broadest sense, what are some of the differences of approach that were necessary in adapting these songs of different game hardware eras for the Wii title?

Asada: The audio on these versions were not created on internal synth, which allowed for more freedom in the kinds of compositional structures that could be employed and the various instruments that could be introduced in layered arrangements. That said, a lot of effort went into making sure that the familiar melodies remained recognizable on the new versions.

GSW: Maria’s Theme “Slash” will be familiar to anyone who has played the remake of Rondo of Blood for the PSP. Were you interested in conveying aspects of the character, such as her youth, through this theme?

Asada: Maria is very energetic and innocent, so I was looking for that quality in arranging the music theme. When I heard the original version, it somehow struck me as having a melancholic quality, despite its Latin rhythm. I felt that instruments like a nylon string guitar and accordion would help match the intensity of the character.

GSW: Another of the songs that many players are likely to recognize is "An Empy Tome," Shanoa’s theme from Order of Ecclesia, whose soundtrack is by Michiru Yamane and Yasushi Ichihashi. Shanoa is a very stoic character, but her theme is full of energy. How did you go about adapting this song from the version that appears in the Nintendo DS title?

Asada: On this track I was using orchestral instrumentation and was conscious of preserving the integrity of the composition. Including a rock-style drum and guitar combination lent the track some force, but fundamentally my concern was with carefully handling the original melody.

GSW: "Dance of Illusions" is Dracula's theme, which appeared in the score to Symphony of the Night. Seeing as this is the main antagonist in the game, and the only character to tie the entire series together, was it important to you to have this particular track stand out from the rest?

Asada: I was not paying special attention to this one song, but I wanted to give it a different quality from the original arrangement. The chords are a bit different. Incidentally, the latter half of the track is a nod to the Castlevania song "Black Night."

GSW: Castlevania Judgment places a strong emphasis on fighting, but there are also some subtler songs featuring wind instruments, harps and gentle percussion. Was it considered important to offer the player a breather amidst the battles?

Asada: Yes, though in addition to lending a cool and pleasant sounding atmosphere, on these peaceful songs I was looking to include some suspenseful and ominous qualities.

GSW: Your original song "Darkness of Fear" has a novel quality to it, while establishing itself thematically within the world of Castlevania. Can you tell us what concepts informed the sound of this song?

Asada: Thank you for saying so. The sound directors at Konami responded favorably toward this track. It was important here to stress originality, so it diverges thematically from prior Castlevania music. If asked to describe the category of music, I would have to call it neo-classical styled heavy metal. From listening to the song, perhaps you can also tell that I enjoy film soundtracks.

GSW: Most people who play Castlevania Judgment are likely familiar with the character designer Takeshi Obata through his illustrations for Death Note. In creating the soundtrack for the game, did the design of the characters offer you an indication of what style to employ on the various stage themes?

Asada: At the outset, when I was given the documents outlining these various characters, I was taken with the astonishing illustrations. It was another source of enjoyment in working on the project. Of course the artwork was able to capture Dracula's world of uncanny dread, but within that context the illustrator was providing a cool surface and beauty to the characters that I wished to reflect in my music choices. Even on tracks that foreground the electric guitar there are touches of woodwind instruments and the harp. These are ideas where the illustrations served as a valued reference. They compelled me to express feelings that were correspondingly intense and refined.

[Images courtesy of Konami. Photos by Noisycroak. Castlevania Judgment Original Soundtrack can be imported from Amazon.co.jp.]

Best Of Indie Games: Inside Pandora's Box, Indie Games

[Every week, IndieGames.com: The Weblog editor Tim W. will be summing up some of the top free-to-download and commercial indie games from the last seven days, as well as any notable features on his sister 'state of indie' weblog.]

This week on 'Best Of Indie Games', we take a look at some of the top independent PC Flash/downloadable titles released over this last week.

The delights in this edition include three roguelike picks from the recent 7DRL Challenge, a new seven-day project from up-and-coming developer Alex Vostrov, a collection of minigames in the style of WarioWare, a unique puzzle platformer, a strategic arcade game by the creator of the Advance Wars-styled Battalion, and a puzzler based on the idea plucking leaves from trees.

Game Pick: 'Pandora's Gearbox' (IndieBird, freeware)
"A physics-based puzzle game in which players must work their way through darkness, finding paths and moving machinery. At your disposal is a small flying robot which can shine a light through the pitch-blackness, allowing you to see the surrounding walls. Using this source, a ball must be guided through a maze and into the drop zone. It's interesting to see just how much the lack of light is a factor in these puzzles - simple switch flipping, bridge building solutions become so much harder when you can't see what you're doing."

Game Pick: 'Tiny Trials' (TinyMania, browser)
"A fast-paced minigame bonanza in which lots of small games are thrown at you, and the speed at which they are each completed will determine how good a score is achieved. At the end of each minigame you're given a star rating and a score and clearly the better you do, the higher you'll fly on the scoreboard. It's all wonderfully fun and definitely worthy of your free time."

Game Pick: 'TetRLs' (John L. Greco, freeware)
"TetRLs is a roguelike take on Alexey Pajitnov's classic puzzler, where players assume the role a prisoner forced to participate in a series of experiments inside the laboratory of a mad Soviet scientist. A new block is dropped at the starting point in each room with the press of a button, and it is up to you to shuffle it downwards and arrange them so that there is enough space to place the next one."

Game Pick: 'Fruits of the Forest' (Ido Yehieli, browser)
"Created for the 2009 edition of the friendly 7DRL challenge, Fruits of the Forest is a simple roguelike based on the idea of foraging food for the villagers in your town. Purple berries have to be collected and passed on to hungry villagers to feed them, but watch out for the bandits who are roaming around the forest in search of wanderers to murder and loot."

Game Pick: 'The Favored' (Joseph Larson, freeware)
"A loose remake of robotfindskitten with some changes to the original rules, created by Joseph for the 7 Day Roguelike Challenge. The game involves collecting rabbits by walking over them, then depositing enough of the creatures at the exit point so that the passage to the next level can be opened. Of course, there's an element of danger as one rabbit has the ability to strike you down if you accidentally attempt to catch the all-powerful creature."

Game Pick: 'Bloody Fun Day' (Urbansquall, browser)
"A strategic arcade game where players control the Reaper as he ploughs his way through little critters. Everytime Death sticks his scythe into one of the creatures, he gains points but loses health. Destroying red creatures will bring his life back up. It's all about bagging as many points as possible before you run out of life."

Game Pick: 'Leaf Blight' (Terrapin Games, browser)
"A puzzle game where picking dead leaves off trees is the order of the day. Gameplay starts off fairly easy with only a couple of different colours to begin with, but the puzzles start to become more tricky as certain sets of leaves need to be removed at specific points to stop bad ones spreading. It's a nice little thought-shaker with some great ideas, there's plenty of levels to plough your way through, plus a level editor is included so you can make your own tree puzzles."

Game Pick: 'Transmover' (Polygon Gmen, browser)
"A platform puzzler based around the classic 'grab the key, take it to the door' scenario. Our little stickman can walk over obstacles which are just one block in height or depth, but to get past bigger problem areas, the zapper must be used. When the zapper is fired at one of the moveable blocks in a level, our hero and said zapped block swap places."

March 20, 2009

GameSetPlaying: Mister Raroo's Moments

Game Time With Mister Raroo logo [Mister Raroo's been a very busy man in the past few months, which means his regular GSW column has been a little on the sparse side a of late. However, anyone looking for a Raroo fix should note that he has been quietly chronicling the games he's been playing on his relatively new blog, Moments. Here's some highlights...]

Mass Effect (Xbox 360)
As my party and I approach the Presidium on our way to the Wards, we encounter an argument between a Turian officer and a Hanar evangelist. The poor officer seems at wit’s end trying to dissuade the Hanar from continuing to preach without a license. Even though I’ve got more important business to take care of, I decide to step in and see if there’s anything I can do to help.

The Hanar claims to have no money but feels it’s wrong to have to pay to spread its message. The Turian, on the other hand, is just trying to do his job and obviously would rather not be dealing with such a trivial issue. After hearing both parties out I decide to pay for the Hanar’s permit and everyone is happy. I linger for just a moment to take in the strangeness of the jellyfish-like Hanar’s appearance before continuing on my way.

Lumines Supernova (Playstation 3)
It’s nearing 10:00 and my son is sleeping on my chest, breathing deeply. My wife sits near me, knitting and chatting with me about nothing in particular. My eyes are focused on the television, watching Lumines Supernova on the screen. Even though I’m playing the game, my mind isn’t paying attention.

Instead, I’m content to enjoy a quiet, relaxing Saturday evening with my family. I notice the blocks rise and fall, the music periodically changes, and the visuals shift from one scene to the next, but the game seems more like something far off in the distance. Happily, so do the worries and responsibilites that usually consume my thoughts.

Ridge Racer 6 (XBox 360)
I make the first turn on my favorite course, Airport Lap. It’s sunset and the sky is adorned with a beautiful orange hue. My car drifts through the curve and I power ahead. “Whoa-ho-ho! Nitrous ready!” The game’s announcer is extremely excited. “Watch out! Someone just fired off some nitrous!” A rival car speeds up behind me from the left. It’s time to take action.

I use a can of nitrous and regain the lead. “Woo hoo! Nitrous!” Turn after turn, drift after drift, “nitrous” is the only thing the announcer is concerned with. As the race progresses, planes come and go all around the course, but I’m too focused to take much notice. I speed past the finish line with the help of my last bit of “crazy” nitrous. “Ha! Ha! You did it! First place!” How I love that nitrous-obsessed announcer.

Tetris DS (Nintendo DS)
My wife and son are in bed next to me, fast asleep. The sound patterns of their snoring intertwine and create an odd but calming unison of white noise. Lying on my back with my head propped up on a couple pillows, I’m holding my Nintendo DS overhead. I’ve got the system tilted away from the sleepers so as not to disturb them with the light of the screens. Too lazy to put in headphones, I have the volume all but turned off, with only a faint sound effect or hint of music escaping the DS’s speakers from time to time.

As I arrange the falling blocks to clear lines, I smile at Mario adorably running across the top screen. My eyes are getting heavy and harder to keep open, but I want to play for just a few minutes more. I know that once I turn off the DS and close my eyes, I’ll be fast asleep, speeding towards the sound of my alarm clock barking at me to get out of bed and get ready for work.

Trax (Game Boy)
At first glance, my tank doesn’t seem like it has what it takes to topple the enemy. In fact, it’s downright cute. But take another look and you’ll see that not only can it move in any direction in a flash, but it’s easily upgradable with formidable firepower. In other words, my tank may be small but it is definitely mighty. That’s a good thing, too, as I’ve got to charge through plenty of hostile territory before the day is done.

I’m being blasted at from every direction, but my vehicle is deft enough to dodge the attacks and lob plenty of explosives back at ‘em. Still, it seems amazing that one vehicle can topple such a massive army. Then again, with enemies including a dragon-headed tank wearing boxing gloves, a gigantic mech that keeps tripping over its own two feet, and a lunatic metal clown whose main weapon appears to be its long tongue, perhaps my enemy is more comedic than fierce after all.

Opoona (Wii)
Opoona the Ranger has been assigned to patrol a nearby mine in order to keep it free from monsters. However, he’s standing behind a counter at Eat Everyday taking orders. The current customer has asked for popcorn, minestrone soup, and eel sushi, and Opoona is scrambling to fulfil the order quickly and accurately.

Should he impress the manager, not only will Opoona earn his pay, but he may improve the chances of getting an assignment at the Blue Desert Hotel, where there is a man who can help him get his Miner’s License. As a Ranger assigned to patrol the mine, a Miner’s License would come in very handy. But for now Opoona needs to focus and make sure not to goof up any of the customers’ orders.

[Mister Raroo is a happy husband, proud father, full-time public library employee, and active gamer. He currently lives in El Cajon, CA with his family and many pets. You may reach Mister Raroo at mister.raroo@gmail.com.]

In-Depth: Successful Indies Discuss Routes To Success

[We had some neat coverage of the recent SXSW Interactive show in Austin, thanks to local journo N. Evan Van Zelfden, and here's his report on an indie summit starring a lot of the obvious, but obviously cool indie types.]

Games like Alien Hominid, Flower, and World of Goo all have a certain level of name-recognition -- so it's no surprise that the South by Southwest Interactive conference in Austin, Texas featured a panel on not just indie games, but successful indie game developers.

When first asked how to define being indie, Kellee Santiago, president of thatgamecompany (flOw, Flower) says, "I do think that’s an important distinction to make in some circles." Because of the business relationship with Sony, they’re not financially independent. Santiago sees indie as process, or content, or both.

For John Baez, producer at The Behemoth (Alien Hominid, Castle Crashers), it’s the company itself that defines it, but adds that many companies calling themselves indie actually have two-hundred employees. "It’s really all about the mindset," he says.

And Ron Carmel, half of the team at World of Goo developer 2D Boy, remarks: "I don’t know how to define indie per se, but I do notice a lot of things that indies have in common."

Small size is one factor, he says. "Another thing is an emphasis on design over finance." Larger companies have a top-down direction, looking at when a game needs to ship, and therefore what features to invest in. With an indie studio, says Carmel, there’s the need to create a good game, which results in the typically-indie question: "When’s the latest we can ship?"

Santiago adds she believes it’s detrimental to the sector for people to believe that indie development is about not having cash flow.

"Early on," says Baez, "We knew we weren’t going to make money. We needed to find alternate revenue streams." The Behemoth did that with selling the game rights for other territories, and through toys and t-shirts.

"Discovering alternate revenue streams was the most exciting," recalls Baez. "None of us has a business background. I was an artist."

Santiago agrees, saying that ownership is an incredibly powerful thing. "Even when things are crap, we like, at least own it." She says she’s learned more in the first year than she ever would have at an established company. When something goes wrong, "We can’t blame a boss -– we have to fix it."

Carmel adds that it’s good to "keep things balanced, despite a sense of ownership."

Meanwhile, Baez tells the story of mortgaging his house –- twice -– during his company’s early days, and only having $500 left in the bank, and how being indie is a risk. "That’s why it’s important to work on quality games that you want to see through to the end."

He notes that it gets "really tough, especially when you have kids and family." The only thing that sees you through, believes Baez, is a good game that you’re driven to complete.

Santiago also warns: "Someone once told me, 'Don’t start a game studio if you like making games – start a game studio if you like running a business.’"

Having defined indie, the panel moved on to broader topics. Santiago, whose games are available through the PlayStation Network, talks about digital distribution taking hold soon. "I remember when people thought you wouldn’t watch content on YouTube. And a year later, they completely flipped around."

Baez warns that the business of indie games will change. Currently, major publishers are ignoring the sector, but: "Once real money starts being made, we can be marginalized. It’s a real danger."

"2008 was a great year for indie games," adds Carmel. But he adds his opinion that publishers will look at the market. "It’s already happening at EA," he notes, detailing the indie team within Electronic Arts at work on Henry Hatsworth.

Carmel wishes them the best, and the panel speculates that a successful indie team inside a publisher will be free to leave at any time, replicating their success on their own, outside the walls of a publisher –- but there’s a certain uneasiness about this new development in a clearly passionate corner of game development.

Turning to the subject of the recession, Baez says, "Downloadable games are a good niche to be in." Santiago looks at it from the console standpoint, saying that, for a platform holder like Sony to attract people, "you still need to be funding content for your platform."

Santiago expressed her interest in pursuing the Facebook platform, saying the company had looked at it, but would be exclusive to Sony’s PlayStation Network platform for the next several years.

Part of a successful business is knowing what you’re good at, and what you’re not good at. When asked about indie game developers being represented by agents, Baez says agents are to be avoided.

When an audience member specifically asked about Creative Artists Agency, whose game program is headed by former Xbox mastermind Seamus Blackley, Santiago said that her company was repped by CAA.

Baez advised against such representation, saying The Behemoth had relationships with Microsoft, Nintendo, and Sony. And anyone who’s able to stand in front of a crowd, articulate a question, and is dressed normally meets the publisher criteria for presentability.

Baez concludes with the story of meeting with a development relations manager from a console maker, who remarked: "I don’t’ know why anyone would use an agent, because what we’re looking for is really good work."

[Photo Credit: Ryan Chahanovich]

GameSetLinks: Casual, Hard, Magical, Wasteland

[GameSetLinks is GameSetWatch's daily link round-up post, culling from hundreds of weblogs and outlets to compile the most interesting longform writing, links, and criticism on the art and culture of video games.]

Catching up with some notable GameSetLinks from earlier in the week, here's the results of our RSS machinations, headed up by Matthew Wasteland discussing lyrically why games "help us postpone the end of childhood" over and over.

Also in here - Hardcasual continues to get funny, games and music videos compared, Clive Thompson on Peggle's goodness for both the casual and hardcore, and plenty more.

Chuckle brothers:

The Madeleine in Eight Bits (Magical Wasteland)
Just beautiful writing from the Game Developer magazine columnist and mysterious auteur.

Fan Petitions For More Innovative Games He Won’t Buy « Hardcasual
HC is really hitting the spot on parody, recently - nice idea to relaunch with that bent.

Experience Points: Video Games Should Watch the Watchmen
Kinda an unholy combo of Watchmen and top list, but I liked it!

Daniel Primed:: Gaming Analysis, Critique and Culture » Likening Games to Music (Videos)
A nice idea, and something I've meant to get round to - Mr. Primed does a good job here.

Vorpal Bunny Ranch: You're brilliant, gorgeous, and ampersand after ampersand
An interesting discussion of romance in games.

Wired.com: 'Getting Lucky: Hard-Core Gamers Penetrate Peggle's Physics'
'Bejeweled, PopCap's single biggest hit with casual gamers, is in reality far more luck-based than Peggle.'

March 19, 2009

Gamasutra Expert Blogs: DS Game Insights, Engine Specifics

In our weekly Best of Expert Blogs column, we showcase notable pieces of writing from members of the game development community who maintain Expert Blogs over on Gamasutra.

Member Blogs -- also highlighted weekly -- can be maintained by any registered Gamasutra user, while the invitation-only Expert Blogs are written by development professionals with a wealth of experience to share.

We hope that both sections can provide useful and interesting viewpoints on our industry. For more information about the blogs, check out the official posting guidelines.

This week's standout expert blogs are as follows:

Five Years, 20 Lessons, 20 DS Games
(J.C. Connors)

Everyone making a Nintendo DS game will want to read this excellent compilation of mini-postmortems from Griptonite Games studio head J.C. Connors -- and, for that matter, so will anyone making a game for pretty much any platform, because nearly all of the lessons learned can be applied to development at any scale. (Griptonite's Spore Creatures is pictured above.)

The Engine Survey: Technology Results
(Mark DeLoura)

Continuing the release of his impressive and exhaustive data about developers and game engine solutions, Mark DeLoura delves into concerns about licensed engines, important engine capabilities, crucial tools, and why developers say they would rather use an in-house engine if they could -- another must-read.

Cross-Platform Development For A Single Platform Game?
(Glenn Corpes)

In his ongoing progress blog about his upcoming iPhone game, longtime programmer Glenn Corpes, a Bullfrog veteran, thinks back to his time developing Populous to explain why simultaneous multiplatform development can pay dividends in knowledge beyond simply reaching a broader audience.

How To Replace Levels In MMOs, Part 2
(Brian "Psychochild" Green)

In his previous Gamasutra Blogs post, MMO consultant and Meridian 59 lead engineer Brian Green proposed eliminating character levels from MMOs -- and in his followup post, he delves into what's wrong (and right) with levels, and points to some design routes that have mitigated their negatives.

Class Acts: Getting Girl Scouts in the Game!
(Stephen Jacobs)

Compared to their male counterparts, young girls tend to be less often courted by the game industry. Here, RIT associate professor (and father of a Girl Scout) Stephen Jacobs recounts a Girl Scout badge program he designed to expose girls to game mechanics and design, with the help of some of his female students as well as some notable game industry women.

Interview: Fallout Co-Creator Anderson Goes inXile

[A treat for you RPG and Fallout fans - after being named creative director at inXile, Fallout co-creator Jason Anderson spoke to sister site Gamasutra's Chris Remo about his career history and plans -- and Fallout 3 impressions. Neat.]

In 1997, Interplay shipped the post-apocalyptic RPG Fallout, which received considerable acclaim and established a reputation that only increased over the years.

Now, inXile Entertainment -- headed up by Interplay founder Brian Fargo -- has hired Jason Anderson, one of Fallout's original leads, to serve as creative director on a new game to "push the boundaries of RPGs."

Before the completion of Fallout 2, Anderson and fellow leads Tim Cain and Leonard Boyarsky departed to form Troika Games, which existed from 1998 to 2005 and developed the ambitious Arcanum: Of Steamworks & Magic Obscura and Vampire: The Masquerade: Bloodlines.

More recently, Anderson was briefly reunited back at Interplay with another Fallout designer, Chris Taylor, on the company's MMO codenamed Project V13 -- widely speculated to be the Fallout MMO to which Interplay retained rights after selling the franchise to Bethesda Softworks.

Following the inXile announcement, we sat down with Anderson for a chat about his plans on the new team, what he learned at Troika, and what he thinks about Bethesda's recent Fallout 3:

What can you say about the project you're making? You're pitched as an original Fallout designer; is the game in line with Fallout at all?

Jason Anderson: I basically bring all my experience from Troika and all the games we did there were RPGs. When they tapped me and asked if I'd be interested in coming over, it was a perfect fit. Working on an RPG is the thing I really know how to do. Before that, I was involved with the project V13 at Interplay. But definitely, we're going to be doing an RPG. I don't know to say whether it would be in line with Fallout.

Troika's games developed a dedicated following and a good deal of acclaim, but were often plagued by technical issues that arguably led to the company's closure. Are there lessons learned you'll be applying to inXile?

JA: Well, just on a personal note for me, one of the biggest things, especially being part of a smaller development house, is that you wear so many hats. In the early game development days, that worked really well. Even on Fallout, I was responsible for many things other than art, which is what I was originally hired for.

But games became much more demanding with the amount of content and their sophistication. That was kind of a growing pain, and Troika was right in the middle of that. For example, I took on a lot of different responsibilities -- art, design, running the company -- and I think in the end that was detrimental to the company.

After Troika, I actually took a short break from the game industry.

That was in real estate, right?

JA: Yes, sort of. My wife was going to take a shot at real estate. We actually ended up putting our money into houses in Arizona, which is probably the worst thing anyone could ever do.

But going back to Troika, I really loved the creative process of making games, and that's just where I wanted to be.

Heading up Troika for many years, my art skills kind of fell behind, even though I tried to stay current. So my strongest thing going for me is that I have a really good sense of design. When I got back into the industry, it was very clear that that was the position I wanted to be in -- to oversee the creative side of development.

How do you see that role?

JA: To define creative director, at least for me, the creative director keeps the focus on what's the game is to be, facilitates the creative process, and helps everyone's ideas all come together. The creative director hones in everyoene's creative visision into one vision. But I'm not coming in as the be-all, end-all, "my word is law" kind of thing; it's really a facilitator's position.

By joining up with inXile, you're in a way returning to working with Brian Fargo, who founded Interplay. Did you actually work with him much during the Fallout days?

JA: He was actually more a step away from me. When the Fallout team had interactions with Brian, it was usually through Tim [Cain]. I never really had personal interaction with him.

Presumably you are working more directly with him now, given the setup.

JA: Definitely. When I came on, I spoke with Brian a number of times. It was a very hard decision to leave Project V13. I loved the project, and we spent so much time on it, and it was not an easy decision to make. But in talking with Brian, it made it a lot easier. We really clicked, and saw eye to eye on what we wanted to see happen to RPGs.

In what sense do you see eye to eye?

JA: Well, RPGs have been kind of in a lull as of late. But there have been a handful of good ones out there -- especially with Bethesda successfully rebooting the Fallout franchise, and generally showing that RPGs are viable forms of entertainment.

I want to get back to RPGs that are very story-driven and character-driven. Personally, I've never gotten out of [single-player] RPGs. There was the short stint working on the MMO for the past year, but that was pretty much it. I've always been about RPGs and RPG design. Even before Interplay I was a big RPG player.

Have you displaced inXile creative director Michael Kaufman, or is he taking a different role?

JA: No, no. I'm going to be a separate team. He's still there.

Is there anything you can say about the design direction for the new game?

JA: We're still very much in the early stages.

Going back to Project V13, you worked worked with Chris Taylor, another Fallout co-creator, right?

JA: Yes.

Did you leave that project because of internal factors, or simply because inXile seemed better for you?

JA: The future of the -- well, I don't know if I want to go there. [inXile] was a more stable opportunity. I wasn't even in the process of looking when this opportunity arose. It was a perfect fit.

So have you played Fallout 3?

JA: Yeah.

What did you think?

JA: I really enjoyed it. I enjoyed it more than I thought I would. In some ways I really felt they captured the Fallout feeling, and other things were somewhat different than what I expected from a Fallout game. That being said, I definitely understand that these things take on a life of their own. All in all, I felt it was really good. I liked it.

Did you play the other pre-Bethesda Fallout followups, Fallout Tactics and Brotherhood of Steel?

JA: A little bit. Well, not Brotherhood of Steel. I could tell from the screenshots I didn't want to play that one.

So it sounds like you felt Bethesda was a better caretaker than some.

JA. Oh yeah.

IGF, Direct2Drive Announces $10,000 D2D Vision Award Finalists

[As well as the >$50,000 we're giving out at the IGF Awards next week, download partner Direct2Drive are kicking in another $10,000 for their own special award, which is nice of them.

Oh, and check out their indie games section if you haven't seen it, we helped A&R games for it and it has pretty decent stuff in it.]

IGN's digital retail store Direct2Drive announced the four finalists for the Independent Games Festival's D2D Vision Award, which seeks to celebrate independent developers exemplifying innovation in design coupled with excellence in game-play.

The sponsored award will be presented at 2009’s Independent Games Festival on March 25 in conjunction with the Game Developers Conference (GDC) in San Francisco.

The team behind the winning title will take home a $10,000 cash prize and will be recognized during the 11th Annual IGF Awards show taking place in conjunction with the Game Developers Choice Awards at GDC.

The four finalists include Data Realms' Cortex Command, an offbeat real-time strategy 2D title featuring fully destructible terrain; Hemisphere Games' Osmos, an elegant "orbital osmosis simulator"; Rudolf Kremers and Alex May's Dyson, an RTS/colonization game where players try to gain control of an entire asteroid belt; and Pieces Interactive's Puzzlegeddon, a "puzzle brawler" with action and strategy elements.

IGN insiders voted on the winning game based on five criteria: game design, innovation, visual arts, audio and overall enjoyment. Three of the four finalists have already signed agreements to make their respective games available to consumers through Direct2Drive.

"Indie games and the developers that are creating them are incredibly important to the future of the games industry, and with that in mind, we can’t wait to reward one of these deserving developers with a $10,000 prize to help them continue to build new and unique games," says IGN Entertainment Digital Content VP Sutton Trout.

"Our independent games channel on Direct2Drive, partnership with the IGF, and D2D’s Vision Award are testament to our commitment and support of the independent game development community," he continues "We expect these games to continue to become increasingly popular with gamers and thus we will continue to promote indie games via Direct2Drive."

Interview: Metalocalypse Animators Birth Titmouse Games Division

[We're running just a prodigally large amount of interviews on big sister site Gamasutra right now, and here's a fun little one I conducted with the Metalocalypse animators at Titmouse, who are teaming up with an ex-Neversoft dev to do their own neat-looking console game.]

Los Angeles-based Titmouse, the animation studio "creative force" behind Adult Swim's Metalocalypse animated series, has started its own game studio, Titmouse Games -- and Gamasutra had a chance to talk to Titmouse Games creative director Aaron Habibipour about its plans.

Animators at the studio have worked on series like Avatar: The Last Airbender, Afro Samurai and the Amazing Screw on Head, but this won't be their first outing into the game world. Titmouse also created the cartoon rock cinematics for the last four Guitar Hero series, and most recently finished work on the upcoming Guitar Hero: Metallica.

As Neversoft veteran Habibipour is announced as the new division's creative director, Titmouse also announces its first project: Seven Haunted Seas, an original console action-RPG.

Described as "...a mixture of steam-punk and graphic novel-like artwork", the game is a dark comedic tale about an undead pirate, Scurvy Pete, that "returns from hell to find a dark, post-apocalyptic future where he must right all his wrongs to restore the world."

We sat down with Habibipour to discuss the forming of the division, their first title, and whether a Metalocalypse game might possibly be on the horizon:

Why set up a new studio division now? What opportunities for smaller developers really excited you?

Aaron: Well, for me, It was time to break out on my own. As much as Guitar Hero is a great property to be attached to, I was looking for something quite different.

I left before the holidays to take some time and figure out a plan of attack, and the Titmouse guys told me that they had been looking to work on games for a while. it seemed like fate honestly, to combine what we were wanting to do and make something that had a much stronger chance of coming together.

The best thing about being a small developer is the ability to stretch your imagination and really try new things, and not have some massive corporation hanging over your every move -- and telling you what can and can’t be done, because you have demographic A and retailer B to appease.

Let’s make something that we will love to play, and hope that others will enjoy it as well.

Is your new RPG title planned for retail or digital download release?

Aaron: Seven Haunted Seas is going to be a console game, so we’re working within the confines of how those games are currently distributed. If there was a way to get the whole game to folks via the Internet, I’m all for it. If we can only do retail, then I would love to look into ways of getting more content to players after a retail purchase.

The scope of the game will totally support having new content piped into it, and that’s one thing that I’m really excited about with where games are going. Episodic content.

Given the company's background in rockin' Cartoon Network series and animations for the Guitar Hero series, are you at all tempted to try a music game?

Aaron: Music games are fun. I like to play Rock Band and I like to play Guitar Hero. And while I wouldn’t rule out an opportunity to make a rhythm game or something with rhythm elements, I just don’t see us making a music game.

I believe that game mechanics need to serve the theme of the game. If some fantastic idea comes along and a rhythm/music based mechanic is what best suits the situation, then I’m all for it. But there’s already a Rock Band and there’s already a Guitar Hero. It would have to be one hell of an idea.

Do you think you have advantages in terms of art direction compared to game studios, having worked on complex animation projects?

Aaron: Having worked at it from both ends, I would have to say there is a lot that the game industry still needs to learn about story telling and presentation. It’s still very much a fledgling medium that needs people breaking new ground to truly come into its own.

The great thing is we’ve already heard a lot of interest from non-game oriented writers/creators that want to work with us in an interactive format to create something altogether different, and that’s what we would love to do.

I’m completely stoked that we’re one of the first hybrid studios out there that’s going to be doing both – and I'm tremendously excited about cross-media immersion.

Any chance of a Metalocalypse game? Who owns the rights?

Aaron: Brendan [Small, co-creator] is down for it, Chris [Prynoski, Titmouse CEO] is down for it, and I’m certainly down for it. Beyond that there’s not much we can really talk about here at this time.

Best Of GamerBytes: Astro Tripping Beats

bittripping.png[Every week, sister site GamerBytes' editor Ryan Langley passes along the top console digital download news tidbits from the past 7 days, including brand new game announcements and scoops through the world of Xbox Live Arcade, PlayStation Network and WiiWare.]

This week on GamerBytes, it was all about the special features. We chat with Steve Fawkner on Galactrix, stroke our beards about the future of the Xbox Live Marketplace, and become armchair analysts with the XBLA and PSN sales ranks. We would track WiiWare numbers, and others certainly try, but without completely certain data, it's a difficult task.

This week on XBLA we've got Connect 4, Battleship, Scrabble and Yahtzee now available for 800 MSP each. The PlayStation Network got Astro Tripper, Buzz Jr. and Red Baron Arcade, while they will also be getting Wheel of Fortune this week. European Wii owners can now grab Jungle Speed and Family Table Tennis, while North America now now enjoy BIT.TRIP BEAT.

Here are the top stories for the week:

GamerBytes Specials

GamerBytes Interview: Traveling The Galactrix With Steve Fawkner
We speak with the head of Infinite Interactive about their upcoming Xbox Live Arcade and PlayStation Network puzzle action game, and what they'll be working on in the future.

GamerBytes Analysis: Top 10 XBLA Games For February 2009
We grab the official lists of Xbox Live Arcade sales and see what's hot and what's not.

GamerBytes Analysis: Top 10 PSN Games For February 2009
The 10 best selling games of February were released through Sony's Pulse program, and we dig into it to see how the latest releases are faring.

GamerBytes Analysis: NCAA Basketball MME - The Beginning Of Something More?
NCAA Basketball breaks all the rules, and doesn't even consider itself to be an Arcade title. Is this a look at the future of Xbox Live Arcade and the Xbox Live Marketplace?

Xbox Live Arcade

Hasbro Family Game Night - Connect 4, Scrabble, Yahtzee, Battleship Now Available On XBLA
EA's testing the waters with 4 new releases this week.

XNA Roundup Episode #9 - SLAM
SLAM is Arkanoid in a circular arena - check out the latest episode of XNA Roundup for the latest information about it.

The Behemoth Game #3 Teaser Trailer Released
The Behemoth go back to straight-up block based platforming - but with coop and multiplayer modes!

PlayStation Network

NA PSN Store Update - Red Baron Arcade, Buzz Junior, Astro Tripper
Surprise release of Red Baron Arcade this week, as well as PomPom Games' latest space shooter, and their first for PSN.

EU PSN Store Update - Even More Burnout DLC
You want a car? I can get you a car. I can get you a car by three o'clock.

Creat Working On Wakeboarding, Kart Game For PSN
Creators of Magic Ball and Cuboid move onto bigger and brighter games for their next PSN releases.

WiiWare

EU WiiWare Update - Jungle Speed, Family Table Tennis
Europe gets to pass the totem and hit some balls with bats this week.

NA WiiWare Update: BIT.TRIP BEAT
It's Pong meets Rez in this bit trippy game.

Scale Walls With Rock N’ Roll Climber
The ESRB spies us a new WiiWare title about the sport of Rock Climbing.

March 18, 2009

GameSetInterview: 'The Maw's Deleted Scenes - A Twisted Pixel Approach to DLC'

[Continuing a series of exclusive interviews for GameSetWatch from Jeriaska, this one strays out of his normal audio-specific territory, and into downloadable content for the IGF-nominated indie studio Twisted Pixel, which is trying DLC for its digitally distributed game, with some interesting results.]

Game company Twisted Pixel captured the attention of Xbox 360 owners when their action adventure title The Maw was chosen for the 2008 Audience Choice Award at the Penny Arcade Expo. The Xbox Live Arcade game has since been named a finalist of this year's Independent Games Festival.

Following up on previous coverage, this interview with Twisted Pixel CEO Michael Wilford focuses on the approach to recently released and upcoming downloadable content, which will debut on both XBLA and PC, the latter thanks to the Steam service. In addition we hear about some of the core audio design concepts, including the minimalistic yet effective use of voice acting and the score by composer Winifred Phillips.

The discussion centers on how the game company has gone about building on the framework of The Maw's core experience by introducing the movie metaphor of "deleted scenes" for DLC.

GSW: To start off, it's been a couple months since the CTO of Twisted Pixel mentioned in a GamerBytes interview that the company moved its headquarters to Austin at the end of the year. Has the change of location in any way influenced the downloadable content for The Maw?

Michael Wilford, CEO of Twisted Pixel: It's true, we relocated our entire operation from Madison, Indiana to Austin, Texas. We needed to make the move in order to tap into a broader talent pool for a new project we were starting up. Plus we like sweating. Aside from taking a week off to drive to Texas and get all set up, the DLC development hasn't been affected. We planned the move pretty well, so we minimized the downtime a great deal. We'll see if we can come up with a way to incorporate BBQ and spurs into the new levels.

GSW: Can you tell us how with co-founder Josh Bear the three of you have managed to reinforce each others' strengths and build a successful game company?

Wilford: Every now and then you meet someone that is so good at what they do that you can build an entire company around them. Twisted Pixel is lucky to have two such people. Frank Wilson is our CTO and there is no technical problem he can't solve. And he usually does it in a day.

Josh Bear is our CCO and I have yet to meet anyone that knows as much about games and movies as he does. But most importantly, just like any good script writer, Josh is really good at designing around the resources he has available at the time. He knows where to spend a lot of time for the big moments and where to conserve. If you met Josh you'd know how he's an avalanche of energy, personality and ideas.

As for me, I stepped into the business role to keep money coming in so everyone can do what they do best. As a generalist, I get to throw in my design or art ideas into the mix and occasionally toss in a few lines of code into the engine. Together, I think we have the three major bases covered: technical, creative, and business. It works really well for us.

GSW: At what point did Twisted Pixel commit to creating downloadable content for the game?

Wilford: When you pitch a concept to Microsoft you have to tell them your plans for downloadable content up front. Being that this was our first game, we didn't plan on going too crazy with our DLC plans, like turning the whole game into a zombie game or something. Doing new levels seemed like a pretty good way to go, so that's what we told Microsoft. Since we could add three new achievements, we figured we would start with three DLC levels and if people wanted more we could always add more later.

To answer your question, we knew we were going to do downloadable levels before we even started the main game, but we didn't work on them in any way until after the main game was wrapped. The main game's development wasn't affected at all by our plans for DLC. Once the game was out of our hands, we went back to the drawing board to design everything from scratch, but we obviously had a lot of half-finished pieces on the cutting room floor that we could leverage.

GSW: What is meant by dubbing the new levels "deleted scenes?"

Wilford: Good question. This seems to have caused some of confusion amongst fans. Since Maw starts out as a basketball-sized blob and grows to be planet-sized by the end of the game, we had to be creative about how the new levels fit into the continuity. If you finished the game, then you know that we couldn't just tack on three more levels to the end. So we decided to interject them into the main game's storyline.

Once we did that, it seemed natural to call them "deleted scenes" like you'd find on a special edition DVD or something. We thought it would be cool, but I think some people took it to mean that we intentionally stripped out levels that were 100% complete only to sell them as DLC, which is not the case.

GSW: What do you feel are some of the potential risks that attend taking a fully-developed story, one that people already associate with the game experience, and then adding additional content through downloads?

Wilford: The biggest risk that caught us off guard is the public perception that you're trying to rip them off. DLC is an experiment for us since we never tried it before. It's always a financial risk to do something when you don't know how well it's going to do or how well it's going to be perceived, but we decided that we would give it a try so that we could learn about it. At this point, I think the argument could be made that DLC just has so much negative stigma attached to it that it's not even worth attempting. There are obviously examples of successful DLC, but they seem to be far and few between.

GSW: Now that the first new scene "Brute Force" is online, what direction can we expect for the as of yet unrevealed stages?

Wilford: Like "Brute Force" the other new levels will be larger than the levels in the main game. The next level "River Redirect" will offer what a lot of people seem to be looking for, which is a challenging level that requires using more than one of Maw's powers in order to solve the puzzles. The final level "Speeder Lane" will offer a completely new gameplay mechanic where Frank must ride a speeder bike alongside Maw and face off against a boss soldier base.

GSW: The soundtrack to The Maw was written by Winifred Phillips, who a lot of people know from her music for the God of War series and more recently SimAnimals. In what context had you worked with her prior to The Maw and how did she go about creating a soundtrack that was unique to the game?

Wilford: A few of us worked with Winifred on a retail title at a previous company. The game sucked, but the music was really awesome. So when The Maw concept was formed, we had Winifred in mind right away. Her style and approach to composition was perfect for The Maw.

The music in The Maw is interactive, so when you start the game all you hear is a bass line, but as you progress and solve puzzles you'll hear additional layers of music come in. Each level has several "stems" that kick in based on player actions. Winifred actually scored each part of the game as if she were scoring a movie and she sent us a Quicktime movie of what she wanted. We then had our programmers go in and introduce the themes the way she designed them. It was a lot of fun and she was great to work with.

GSW: While still on the subject of the audio, Frank has a very distinctive high-pitched voice. How did you find the right actors to voice for the game?

Wilford: We worked with an Austin-based company called Gl33k for all our sound design. They hooked us up with Chris Sabat (Maw) and Brina Palencia (Frank), who were perfect. They have extensive experience voicing animated characters such as those in Dragonball Z. Chris is the voice of Piccolo.

GSW: There isn't a lot in the way dialog, though much is communicated through looks and gestures. Was this a strategic decision for making the title easy to localize for other regions?

Wilford: Yes, definitely. As our first indie title, we knew that localization costs could balloon out of control if we weren't careful. So we intentionally designed the game from the start to keep translation costs to a minimum.

This left us with the interesting challenge of communicating a lot of personality and humor through animation. In the middle of development WALL-E came out and reassured us that it was possible to tell a good story and convey a lot of emotion without dialog or text. Our Art Director, Dave Leung, is the man responsible for making it work.

GSW: There's one gameplay element in particular I wanted to bring up. It seems like these days we are seeing a lot of bullet-time events in high intensity action games. It makes it fun to see the convention implemented in a humorous context, namely when Frank pulls off a slow-motion somersault to dodge a projectile. How did this come about?

Wilford: This was an idea Josh had early on in the project. I don't think the rest of the team was convinced that it would work, precisely because it can be super cheesy when every other game is doing it, but once we got it working we all saw how over the top and funny it was. We all laughed immediately. That's how we knew it had to stay in the game.

[Images courtesy of Twisted Pixel Games.]

Game Developer March Issue Showcases Far Cry 2 Postmortem, Dirty Coding Tricks

[We've just debuted the bumper GDC issue of Game Developer magazine, which you can pick up at the show next week, and has also shipped to subscribers - lots of goodness in here, and the 'dirty coding tricks' article is particular fun.]

The March 2009 issue of Game Developer magazine, the sister print publication to Gamasutra and the leading U.S. trade publication for the video game industry, has shipped to print and digital subscribers and is available from the Game Developer Digital service in both subscription and single-issue formats.

The cover feature for the issue is an exclusive postmortem of Ubisoft Montreal's open-world first-person shooter Far Cry 2. The article offers insight on the challenges and successes experienced by Ubisoft Montreal while developing the ambitious title. The piece is described as follows:

"Far Cry 2 had extremely lofty goals. The aim was to create a first-person shooter with an engaging and truly dynamic narrative, in a vibrant persistent living world. After three and a half years of development, creative director Clint Hocking shares the hits and misses of this fascinating and rather under-discussed franchise reboot."

Another major feature in the issue is "Dirty Coding Tricks," a compilation of sometimes-shifty shenanigans perpetrated by professional programmers:

"In this tell-all article, eight programmers share harrowing tales of last-minute hacks performed to ship or save game projects. These often humorous anecdotes contain a lot of lessons for programmers, but should also be quite amusing for anyone who's ever worked with one."

In addition, University of Zielona Gora electrical engineering faculty member Korneliusz Warszawski argues for particle effects rather than more traditional deformation when creating terrain:

"Why build general terrain the hard way, when you could have a particle system generate it for you? Korneliusz Warszawski proposes that particle-based terrain generation can save both coders and artists plenty of time."

Finally, David Sirlin delves into the oft-overlooked principles of subtractive design:

"The idea behind subtractive design is to start with the core of what a game should be about, and then cut away everything that doesn't fit as the game progresses. This method, or something like it, is what led the Ico and Portal tames to such critical success."

In addition, our regular columnists contribute detailed and important pieces on numerous areas of game development.

This issue, we include Bungie's Steve Theodore on tiled textures, Noel Llopis on dynamic memory allocation, BioWare Austin's Damion Schubert on focusing innovation, LucasArts' Jesse Harlin talking with female sound designers, and Matthew Wasteland with his monthly humor column.

Worldwide paper-based subscriptions to Game Developer magazine are currently available at the official magazine website, and the Game Developer Digital version of the issue is also now available, with the site offering six months' and a year's subscriptions, alongside access to back issues and PDF downloads of all issues, all for a reduced price. There is now also an opportunity to buy the digital version of March 2009's magazine as a single issue.

COLUMN: Pixel Journeys: 'Corewar - The Ultimate Game?'

Pixel Journeys thumbnail['Pixel Journeys' is a monthly GameSetWatch-exclusive column by John Harris discussing games with unusual design attributes that have lessons to teach modern game designers. This month covers the competitive programming game of Corewar.]

When we think of computer games, what is the image that comes to mind?

Often, these days, it is something that involves a control pad or analog stick. It might instead have a keyboard and a mouse. There’s usually some kind of 3D graphics involved and some kind of soundtrack, and to facilitate those you’d need a monitor and some speakers.

At a deeper level, there’s the presumption of interactivity, that something you do is countered by the machine, and then you do something to counter it, back and forth in an iterative fashion. And after all that, many people then go on to claim that the game requires some degree of something called immersion.

But how many of those things is actually necessary? This month, we talk about an essentially computer-oriented game that relies upon absolutely none of these things: the awesome and unique game of Corewar.

corewar1.pngIntroduction

Corewar was first popularized in a series of articles printed as part of the Scientific American column "Computer Recreations," a successor of Martin Gardner’s legendary Mathematical Games. This puts it in the same kind of company as John Horton Conway's Game of Life, the prototypical cellular automata. It was created by the column's author A. K. Dewdney, and the columns themselves, linked above, are still a decent introduction to the game for programmers. My own description here is simplified by comparison; if you become further interested in the game, the linked columns are the best place to start.

Corewar is a battle for survival between two or more opponents, all of whom happen to be computer programs. There is no monolithic shell to host the battles, the same tools are used to write them as one might write in C. These programs, or "warriors," are written in a language similar to assembly called Redcode, and are submitted to a MARS, or "Memory Array Redcode Simulator," a simulated computer that runs both programs in a shared memory space called the core. The programs do not manipulate vehicles in a physical system in an attempt to vanquish opposing vehicles, as with some other types of programming games. Instead, the programs try to directly destroy the opposing program by overwriting their code. A program thread dies only when it executes an illegal instruction or tries to divide by zero. A program wins when all opposing threads crash in this manner, and it loses if it, itself, is entirely crashed.

The warriors take turns executing, first an instruction from one, then from the next, and so on until they've all run an instruction, then the queue starts over from the first. All instructions take the same amount of game time, one "cycle," to execute. As with ordinary machine code programs, after an instruction executes that program's instruction counter increases to the next instruction in memory. (In most traditional machine languages instructions consist of multiple memory locations, each comprised of a single byte. Under the Redcode system all instructions, including arguments, are only one memory location in size. The word "byte" is not used.) The warriors are loaded into memory at random locations before the match starts, and their counters set to the appropriate starting points. Memory is cyclical; programs falling off the end of memory wind up back at the start, and all accesses that overflow will similarly wrap around.

corewar2.pngThe random starting points are an essential aspect of the game, and are the sole element of chance in the simulation. If a warrior always knew where to find its opponents it could crash one immediately by copying an unexecutable DAT instruction right over its initial instruction. Still, some warriors lash out and try to hit an essential memory location without taking the time to look first; these are called "bombers." Some other warriors, "scanners," look first and attack when they think they've found a competitor. Then there are warriors that copy their code elsewhere in memory in case of attack. There are a surprising wealth of strategies in what may appear at first to be a rather simple game.

Competing programmers must strike a careful balance between size and complexity. The shorter a program is the harder it is to find and attack in the large core, but with fewer instructions the less nuanced its strategy can be. But a well-written long program can be faster than a short one because it doesn't have to waste time looping. Because keeping size down and speed up are so important, successful Corewar programs can be fiendishly elegant, and like many assembly programs, may be hard to read.

Here are some additional quirks of the Redcode language of interest to programmers, so other readers may want to skip to the next paragraph....

  • Corewar's instruction set is fairly small: the original version of the game only had ten instructions, and the version most-often played today has just 18.
  • All addresses are relative to the current value of the instruction counter, so "MOV 0, 1" would copy the current instruction one space ahead.
  • The size of memory is always exactly the same as the size of the maximum integer, and all integers are considered signless. Overflows and negatives are handled by replacing the value with (itself % coresize). Because of this, negative numbers can be used in source listings, which will be increased by coresize at compile time.
  • There are no numeric values other than integers.
  • All memory locations actually contain three spaces for values, or "fields": an instruction, and A and B fields that can be used as arguments for the instruction.
  • There are many addressing modes that can be used; some of them can be used to refer, or even incidentally modify, the field values of memory locations.

Playing the game

corewar3.pngBecause the act of playing consists solely of writing a warrior's code, watching battles and learning their results, this section is going to look over the sources of three prominent warriors from the game's earliest days, all drawn from the pages of Scientific American.

Imp, written by A. K. Dewdney

MOV 0, 1
END

The oldest and simplest useful warrior, Imp is as short as possible, as fast as possible, difficult to attack, and surprisingly effective for its limitations. All it does is move the contents of the current location of the program counter (that is, itself) one space ahead. When its execution turn comes around again, it'll find the new copy of its sole instruction, which will then also be copied ahead. It will continue on like this forever unless stopped by another program, leaving a trail of MOVs behind it at a rate of one per cycle.

When Imp reaches another program, it'll just bulldoze over its code with copies of itself. When a bulldozed program tries to execute its next instruction it'll find a MOV 0, 1 there, lobotomizing it, basically turning it into an Imp! And to destroy an Imp, a write must hit its current memory location, since it'll copy over whatever lies in front of it on its next turn.

All these advantages come with a huge drawback however: Imp cannot win the game on its own. All it can do is copy self-perpetuating MOV instructions. It moves no DATs, which are the only way to halt an opposing program. An opponent who is Imp'd is just as hard to kill as Imp itself, so although it's doing no attacking it's still not dead, and so still has not lost. Because of this, unless a coding error causes the opposing warrior to halt accidentally, the best Imp can do by itself is tie. However, because it's short and easy to set up, Imps are a useful weapon for more sophisticated programs.

Dwarf, original version by A. K. Dewdney, modified for modern Redcode by Ilmari Karonen. Obtained from The Beginner's Guide to Redcode.

ADD #4, 3 ; Adds a literal 4 to the value in the DAT, below, and stores the result there.
MOV 2, @2
JMP -2
DAT #0, #0
END

The DAT instruction here holds a pointer, initialized to zero. MARS provides no accumulator or registers, so all pointers and temporary storage must be kept in main memory. (Or in PSpace, but that's an advanced topic beyond the scope of this column.) Execution begins with the ADD instruction, which immediately adds a literal value of four to the B field three locations later in memory, that is, the second value of the DAT. The MOV then copies the DAT instruction to the location pointed to by the DAT's B field. After that, it loops back to the ADD. In this way, it methodically peppers memory with walls at four-location intervals.

corewar4.pngSince it drops its mines quickly without checking first, Dwarf is classified as a bomber. It can drop a mine every three cycles, which means it extends its reach faster than Imp, but it leaves holes through which a very small program, like Imp or another Dwarf, might slip. In fact this is by design, since if it didn't do this Dwarf would bomb itself when the pointer came back around through memory. Since Dwarf is only four locations in size, the DAT copy will neatly miss all of Dwarf's executable code.

Take note of two things: one, the core is initialized with DAT 0, 0 instructions, so the last line is actually unnecessary. And second, under modern Redcode, the ADD could be used on the MOV instruction directly, removing the reliance on one more memory location. Self-modifying code is not a sin in Redcode. Programs are always getting changed at runtime, whether on purpose, due to opponents, or accidentally. In fact, making use of it can help keep code sizes down, reducing vulnerability.

In Redcode, no instruction can modify more than one memory location at a time, and the most locations that can be read, using compare instructions, is two. It takes extra instructions, and more time, to make sure a location contains an opponent before writing to it. Dwarf uses up a lot of time bombing empty memory, but it takes about as much time to find opponents as to attack, and the process of searching looks a lot like bombing anyway, just with compares instead of writes. There are programs that take advantage of the fact that compare instructions reference two locations to each other to effectively search twice as fast, and there are even programs that copy themselves around specifically so those comparisons will find identical contents waiting for them.


Mice, written by Chip Wendell


ptr: DAT #12
prg: MOV #12, ptr
loop: MOV @ptr, <copy
DJN loop, ptr
SPL @copy
ADD #653, copy
JMZ prg, ptr
copy: DAT #833
END loop

(The listing above, which I won't step through, is the original version written in Redcode '86.)

Mice is classified as a replicator. It makes a copy of itself to another location in memory, then forks execution to it with a SPL instruction. The old copy then starts making another copy, while the new copy makes a copy of itself. This continues until memory is filled with copies of Mice, the reasoning behind its name hopefully obvious by now.

When a program splits execution the task of the opposition becomes substantially harder, since all threads must be terminated before victory can be declared. It should be noted, though, that Mice does not gain speed with its many additional copies. When a warrior splits execution, its various threads must take turns with each other for execution time. So if there's three Mice running around the core, but an opponent only has a single thread, then that thread is operating three times faster than each individual copy.

Mice does gain longevity with its endless self-copying, since only one Mice has to survive to continue the battle, which propelled it to victory in the first Corewar tournament, held back in 1986 in the days before the internet.


Beneath the surface

corewar5.pngThere are three primary tactics in Coreware strategy today, roughly corresponding to (and named after) the throws in a game of Rock-Scissors-Paper:

Replicators like Mice are called "papers" in Corewar lingo. They get their power from the longevity provided from having many threads running at once, and from being able to work on different things at once. With many copies in operation, the task of the opposition becomes that much harder, although each individual thread operates more slowly.

The best way to beat replicators is by using a scanner, also called a "scissors," a program designed to look for replicators and hunt down their many threads. One way to do this is by, instead of bombing each copy with a DAT instruction once found, to instead hit it with a SPL 0 instruction, causing it to endlessly generate useless threads and drag its execution down even further. The advantage here is only one thread must be found in order to be effective; the more copies there are in the core, the easier it is for the attack to hit.

Scanners must be fairly long in order to house the logic needed to hunt down replicators, making them vulnerable to bombers like Dwarf, which take the name "stones." But bombers, while fast, will often lose to replicators and their many hard-to-kill threads, completing the triad.

There are many variants of these types too, going by exotic names such as imp spirals, vampires and quickscanners. They're detailed at the Wikipedia entry for Corewar.


What can we learn from Corewar?

First: computer games can come in all shapes and sizes. Corewar is a game that is sometimes played without even a UI, with only the results of matches presented to a user. It is work done for the sake of enjoyment. There is nothing interactive or immersive about it.

But what makes the task of playing this unusually studious game fun? Part of it is something that is easy to forget, sometimes: the act of programming, itself, can be fun. This is why people do insane things like hack Linux kernels as a hobby, in their spare time; these crazy folk actually like it.

But in order to create a game in which developing solutions through programming is the objective, the people creating the game must foresee all of the outcomes and make sure the tasks are possible and balanced, a task tantamount to being smarter than all the players who might play it. This, itself, is impossible, especially when they collude through avenues such as message boards and FAQs. Corewar's solution, then, is to pit players against each other, making those opponents into the "designers" a player is pitted against.

A system like that requires a certain degree of open-endedness and richness, and it is by no means simple to create. Care must be taken that the first side to act (or second for that matter) cannot act upon it to immediately win, or receive some overriding advantage. Corewar's rules are carefully balanced so that a warrior's resources may change from moment to moment, but do not actually increase or decrease. Splitting execution reduces the number of instructions each thread can process. Longer programs can utilize more complex algorithms, but are easier for other programs to find or bomb.

The fascinating thing about this balance is that it comes about by taking the behavior of real processors from the time of its creation as an analogue. The limitations of those processors match up nicely with the limits on warriors executing in a MARS.


Appendix: Getting involved in Corewar

corewarui.pngCorewar has declined in popularity since its introduction in Scientific American but people still play it today.

Here are those Scientific American articles, once again.

More basic information can be found at the rec.games.corewar FAQ.

For personal simulation, the two most popular simulators for running the game are pMARS, for many OSes, and CoreWin for Windows. A Corewar battle taking place on a modern computer, it must be said, goes by almost faster than the eye can see unless it has been slowed down.

A good number of tutorials for the game can be found on this tutorial links page.

One of the most interesting ways to play is by participating on "hills," automated, perpetual Corewar tournaments scattered around the internet. One will typically upload or email his warrior's source code to the hill, which will then be scheduled for playing against the warriors already there. When its turn comes up, a large number of trial matches is staged between it and each of the ranked opponents, and score is kept. When the matches are complete, its score is compared with that of the other warriors. If the new program ranks above one of the others, it'll be placed as the new warrior at that slot and those at and below that level pushed down. The lowest is bumped off. There are also "infinite" hills, which don't bump anyone off but continue ranking new warriors indefinitely. A beginner's hill, which automatically removes warriors who remain on the hill for a period of time, can be found here.

An interesting thing about Corewar is that some genetic algorithms, given enough iterations, do a good-enough job of writing programs for it that they occasionally win tournaments. It might have something to do with the value placed on brevity and the relatively low number of opcodes (although there are plenty of addressing modes to make up for it). The Corewar Info page has a listing of useful tools in this area.

GameSetLinks: Pimp My... Blockparty?

[GameSetLinks is GameSetWatch's daily link round-up post, culling from hundreds of weblogs and outlets to compile the most interesting longform writing, links, and criticism on the art and culture of video games.]

A return to GameSetLinks then, even in this super-hectic pre-GDC time, oh, and look out for a special guest blogger on GSW next week, related to a special Game Developers Conference-related project that is wacky, hopefully cool, and... you'll find out about soon!

Hanging out in this round-up, we see game quality over time discussed, demo-scene goodness explored in not one, but two posts, and PSP indies sharing time with Clay Shirky on the future of journalism.

Huzzah, huzzah, huzzah:

Man-Months to Quality - Zack Hiwiller
The claim - if you spend too long on a game, the quality goes down again. No 'real' stats, but some fun graphs!

How the 2600 forged the home video game future. - By Michael Agger - Slate Magazine
'What still amazes me, in spite of my scholarly concerns here, is the nostalgic punch of early video games—how transporting the blocky sounds and sights can be.'

8bit today: SCENE.ORG AWARDS 2008
Good explanations of the retro finalists in the demo-scene category - always worth checking out for bleeptastic inspiration, even for gamegeeks.

No Gravity - The Plague of Mind: Indie PSP space shooter hotness - NeoGAF
Download-only, and this is pretty interesting overall.

Newspapers and Thinking the Unthinkable « Clay Shirky
Tremendously important in the game biz, too: 'Society doesn’t need newspapers. What we need is journalism.'

ASCII by Jason Scott / Blockparty! April 16-19th. Be there.
U.S. demo-scene party goodness, next month in Cleveland - don't forget!

March 17, 2009

Interview: Loudcrowd's Alternate Approach To Music Games

[Seems like a lot of the music-themed games out there so far have been either classic rock or J-Pop/K-Pop themed. So it's interesting to see Gamasutra's Christian Nutt interviewing Loudcrowd on their music game/social network hybrid that caters very much to the hip Pitchfork-y music crowd.]

Today, Conduit Labs launched the public beta of Loudcrowd, its online music game-social networking hybrid.

Developed by a staff with a mixed web and game development background, Loudcrowd hopes to blend the social aspects of a music site like Pandora or Last.fm with the gameplay appeal of a Rock Band -- while leveraging the design concepts behind hardcore MMOs, Conduit Labs' CEO Nabeel Hyatt says.

"I would call it more of a music games channel than I would a single game," says Hyatt. While the Loudcrowd dance game is a "a very quick 30-60 seconds" of gameplay, according to Hyatt, "the DJ game has a competitive leaderboard mode similar to the way you might be competitive in Rock Band or Guitar Hero or any Xbox Live game."

Tracks from artists like Cut Copy, Santigold and The Twelves are included, and special items can be unlocked and stored with the player's persistent character. While there is no navigable virtual world in this version of the game, players can network and exchange info, tracks, and playlists. The game will support microtransactions for both music tracks and character items.

Conduit's Background

Hyatt, who characterizes himself as a "serial entrepreneur" formed Conduit Labs with game designers "mostly" from Harmonix, as well as MMO front and back end engineers and designers, many from Turbine. The Harmonix ex-pats are "focused on trying to make games that fairly universal, the way that you really try and make kind of a Guitar Hero or Rock Band appeal to both a hardcore gamer and the casual gamer," says Hyatt.

On the other hand, the MMO vets' skills are leveraged for their expertise in using "game mechanics to encourage community development," he says. "And that's kind of our approach. I don't think most people who would ever play this game would say, 'Oh, this is an MMO I'm playing?' And that's certainly not what we were going for. But I think we've used a lot of those lessons."

Interested to find out more? We present here a full Q&A:

You have people with backgrounds in both the game industry and also on the social web space. Why is the composition of the team important to Loudcrowd?

Nabeel Hyatt: I think the core of our team is a mixture of understanding the fundamentals of game mechanics and how to use that to grow a community and to get people to interact, and then the kind of universality that comes with the social web. So, our backgrounds are from building consumer web start-ups. They're also from building launch titles for the PlayStation 3 like Resistance. And they're from building somewhat universal games like Guitar Hero and Rock Band.

And I think it is those combinations that are the strength of the company. We have constant discussions about where we should lie in a certain area. "Should we lean more on a consumer community in this service? Should we create more game mechanics around this situation?" I think it actually allows us to draw from more lessons than just say what I would have learned from just building websites or what I would have learned from just building Xbox 360 games.

Do you find these kinds of collaborations offer more give-and-take in terms of shared knowledge? Was it surprising?

NH: Yeah, and differences, too. I think there's a little bit of tension between the way a web company is built, where you build this tiny little nugget, and then you put it out there and try to grow it, and grow it, and grow it.

The opposite, which is the way most games are built, which is you built a whole package over a certain amount of time, and then you try and release it to the public. We definitely had a process that was kind of like that where our vision for what Loudcrowd is as a product is still not complete, and we're going into public beta.

We went into private beta with probably five percent of the features that we thought would really make the full product, but we felt like it was a compelling enough offering that we wanted to get feedback from our consumers early. That's very much along the line with what you do with a web product. That's certainly, for some folks who had come out of the game business, an adaptation.

You talked about people having MMO backgrounds -- what role do those skill sets play when they're translated to a new medium like this?

NH: I think it's really the core of the kind of product we're building. We're first and foremost building a community, but I think you hear people who build music websites, like imeem say that. And then you hear people who are building World of Warcraft say that. And yet, they go about that process very, very differently.

Yeah, it's been incredibly enjoyable to have people like Dan O'Brien talking about the lessons they learned from when they were building Asheron's Call, and the way certain types of game mechanics went awry and messed up the community. We learned from that -- on my side, I learned from that.

The hallmark of an early web community is the amount of freedom they're given to shape their own community. The idea around user-generated content is that the community really is shaping the product in a way that people talk about MMOs, but don't really execute on. And that's a scenario of cross-pollination in both directions.

When you went in beta, you said that about five percent of the features were available. Now that you're on the other side of the beta and about to launch publicly, are you planning additions over time?

NH: Yeah. It's a very large-scale product vision that we have, and this is not a small product by any stance. I think it's not completely unheard of in a game. In game development, people do talk a lot about getting to first prototype as quickly as possible, having something within a couple of weeks in some cases where you can do internal demos so that everyone can find the fun fast.

That said, it's usually only for internal demos, right? I think the big difference with the path that we walked was, "How about if we polished it up a little bit, and we get it to a point where we can actually get direct feedback from users from day one, and start building the product with the community?"

So, I think at this point, it's a really solid product. There are multiple types of interactions that you can have with users. There's a real depth to the amount of music content that we have on the site. Certainly, we're seeing now users logging in twenty, thirty times a month; they're logging in daily.

People in a web context versus a game context seem to have very different expectations. Can you talk about working within those expectations?

NH: Exactly, exactly. And we also think about the lifecycle of a customer differently. Having them involved early and help shape the product is only going to keep them more engaged for a longer period of time.

You know, I was a very early user of Flickr, and watching that product evolve over time, watching them engage the community and shape the product based on community feedback, made me all the more loyal to that product. And we've seen the same thing.

We started out with something that was very overtly more competitive in the early dance game days, and it became very apparent that people were really enjoying the music an awful lot, and in some cases wanted to play with more light social type of interaction. And so we ended up kind of augmenting the dance game and the scoring in that direction.

We ended up programming a lot more music and a lot more variety of music to kind of listen to the community and grow with the community in a way that we would never have gotten if we had decided to build the whole thing for two years and then released it to the public.

There's a big question about monetization with a product like this. You could sell tracks, you could sell avatar updates -- am I on the right track here?

NH: It's a completely free to play game, and we rely on virtual goods.

I think that aligns us with the customer in the right way, which is to say our job is to make experiences interesting enough and engaging enough and fun enough that you want to buy music to use on the site. That means we continue to try and make more interesting and engaging experiences to try and reach that threshold. You can earn music tracks through playing the game, but if you want a very specific music track, very soon you'll be able to buy that track.

There are also areas of the game that will be blocked off, that you'll need to pay to get access to, but never in a way, of course, that will allow somebody to get more powerful by paying their way to get more powerful. The way you grow in the game is always through gameplay itself and skill.

It's interesting that you say "more powerful" because we're talking about the evolution of developers with MMO knowledge applying it to a game that has a very different feel. What does "more powerful" mean here -- like, "Are you the most disdainful hipster on the block?" (laughs)

NH: (laughs) Well, you know, power is really two things in an MMO. There's status, and then there's game effect. I might want to wear the fancy red cloak because everybody knows it's a rare item when they see me. I also might want to wear the fancy red cloak because it does more damage to the ten rats I'm about to kill.

So, I think the analogy is that you want to make sure that when you see somebody in any kind of community, if they have a position of respect in that community, that they've earned it, they haven't bought their way to it. And that's just a sense of justice that isn't really from MMOs necessarily, but certainly you can see it there.

That's just from the offline world, that's from our real life. The debutante who didn't do anything in real life but somehow became a celebrity is someone who usually isn't seen with high respect.

Gee, who could you be talking about?

NH: (laughs) Yes, exactly. No need to name names. The person who has scrimped and saved, and worked their way from the garage up to starting a major corporation is someone who's seen in high esteem. A lot of I think what MMO design has done is that it surfaces things that already exist for people. It puts them down on paper.

I'd say that a primary difference [between Loudcrowd and an MMO] is -- you can probably see it from the site -- we think of ourselves first as a community and as a game, not as a virtual world. In other words, I don't think that our primary value to users is that we have created a virtual space, which you can navigate in 3D.

Which means that despite the fact that we're actually using some very unique proprietary 3D in Flash software that we build and patented, we didn't actually create an environment that you can walk around in because I don't think it added anything to the experience.

The interesting thing about being in a space is that sense of presence that you have with other people, that sense that you get in instant messaging as well, where you know you can do something and immediately get a reaction. You get that same thing when you're playing online in Rock Band as well, and you don't have a virtual space you're walking around in either.

And so, for us, we wanted to focus on the gameplay. We wanted to focus on the interaction with people, the feedback that helps build relationships and make you have fun, and less on the hard to navigate interfaces that MMOs and virtual worlds bring along with them.

Best of FingerGaming: From Eliss to The Oregon Trail

[Every week, we sum up sister iPhone site FingerGaming's top news and reviews for Apple's nascent -- and increasingly exciting -- portable games platform, as written by guest editor Danny Cowan.]

This week's notable items in the iPhone gaming space, as covered by FingerGaming, include a port of the classic PC educational title The Oregon Trail, a review for the abstract space puzzler Eliss, and the debuts of free titles like One-Dot Enemies and Anamusu!

Here are the top stories for the week:

- Review: Eliss
"Eliss's vector-styled graphics work incredibly well in its space setting, and every sound effect and musical cue is perfectly suited to the on-screen action. It creates a soothing vibe similar to the kind you feel in games like Katamari Damacy and the WiiWare title Art Style: Orbient; it's the sort of game that just feels good to play."

- Top Free Game App Downloads for the Week
"Tap Tap Revenge 2 tops the free app charts for the second week running, achieving daily download numbers that surpass those of all competing titles in every App Store category. Who Wants to Be a Millionaire Lite also makes an impressive showing this week."

- LuckyWheel, Wheel of Fortune Battle it Out in App Store
"The Wheel of Fortune clone LuckyWheel was approved for sale in the App Store earlier today... mere minutes before the release of Sony’s officially licensed iPhone version of Wheel of Fortune."

- The Oregon Trail Debuts in App Store
"It's been a long wait since Gameloft first announced its iPhone version of The Oregon Trail, but the title finally hits the App Store today, arriving as what looks to be a fully featured port of the classic educational PC adventure game."

- Free App Roundup for the Week
"This week’s free releases include demo versions of Cameltry and Diner Dash, along with full versions of One-Dot Enemies and Anamusu!

- Skyworks Releases Four New iPhone Games
"Skyworks has been busy lately, following up on its hit iPhone apps Arcade Bowling and Arcade Hoops Basketball with a quartet of new releases that hit the App Store this week."

- Top-Selling Paid Game Apps for the Week
"It's been a slow climb to the top, but Flick Fishing has at last surpassed the reigning chart champion iDracula in daily App Store sales. Zombieville USA premieres this week at third place, meanwhile, as ngmoco's WordFu finishes its debut week at fifth."

Game Time With Mister Raroo: Gaming in the Now

Game Time With Mister Raroo logo[Returning to his GameSetWatch-exclusive column after a break, gaming's very own Garrison Keillor, the permanently sunny Mister Raroo looks at why, although many gamers are accustomed to certain types of structure in games, the moment-to-moment enjoyment of playing may be even more important.]

Just Noodling Around

Recently I was trying to describe the Playstation 3’s delightfully odd Noby Noby Boy to some of my friends, but the same question kept coming up: “What do you do?”

I tried to explain how basically you control a kind of a stretchy noodle that can make itself longer and shorter, and you can direct the noodle to eat objects in its environment only to expel them out of its rear end. Noby Noby Boy is certainly more of a plaything than a game, and this concept was difficult for many of my friends to grasp.

As for me, some of my favorite video games are those in which there really isn’t a point to them. I can lose myself for hours in a title such as Electroplankton on the Nintendo DS.

Though many people may not understand the appeal of what is essentially a musical toy, Electroplankton’s allocation for seemingly infinite sound combinations is like heaven for me. There are no levels to complete, no Achievements to unlock, no story to keep track of. Some gamers may get frustrated and ask, “How do I win? When does the game end? What am I supposed to be doing?” Instead, I can just have fun with musical experimentation.

Catching bugsIn fact, being left with no bearing is perhaps too much for some gamers to handle. Even games that have overall objectives and goals, such as Animal Crossing or The Sims, can prove upsetting to some individuals because the games lack any true direction other than that which players create.

Looking further at a game like Animal Crossing, most gamers eventually find their own rhythm and work toward general goals like collecting bugs or paying off their mortgage, but what about the games in which there really is no rhythm to find? I’m not a fan of games that hold gamers’ hands as they play, but I can understand why many developers feel the need to guide players so as to avoid frustration.

Sometimes it’s nice to not have a reason to play a game other than for the sake of enjoying it. In fact, in some cases it’s not so much that I even “play” a “game” in so much as I immerse myself in an experience. Take a piece of software such as My Aquarium on the Wii, which is truly nothing beyond a virtual aquarium. You decorate an aquarium, select which fish to put into it, and pretty much just watch them swim around.

It’s even less of a proper game than Noby Noby Boy and Electroplankton in that it lacks almost any type of interaction. As the title suggests, it’s your aquarium, and that’s about all there is to it. However, even though My Aquarium isn’t even what one would consider a game, I believe it holds the same potential for providing players with satisfaction as any other video game does.

Letting the Next Level Stay There

It’s not difficult to realize that games like Electroplankton and My Aquarium represent in-the-moment experiences above all else. Other than perhaps unlocking some additional features, these types of games provide little to look forward to in subsequent plays. That is, while other games may have additional levels or worlds to explore, combatants to fight, or puzzles to solve, a title like Electroplankton provides nothing more than what the gamer is experiencing at any given moment. To me, that is not a bad thing.

Raroo's level is lowEven though the “non-games” described above are easy examples, I believe the truth of the matter is that any video game has the potential to be enjoyed in a similar fashion. Sure, this sounds obvious, but I don’t think the vast majority of gamers stop and smell the flowers in the games they play, so to speak. Rather, gamers are often looking ahead to reaching a certain goal.

I tried playing Final Fantasy XI for a few months and even though I had a splendid time exploring the online world of Vana’diel, my personal life left little room for dedicating a lot of time to the game. Just about every player I encountered in Vana'diel was obsessed with one thing: Leveling up their character as high as possible.

For me, there were only a few reasons to do the same, with the largest being to have access to riding chocobos, which made traversing the landscape much quicker and easier. But for the most part, I was content to spend my time traveling between the game’s different cities, exploring the countryside, and just enjoying escaping from the real world, if only for a short while. By the time I stopped playing Final Fantasy XI my character’s level was still embarrassingly low, but I had a nice time playing all the same.

The Parts Versus the Sum

I believe the enjoyment that comes from playing video games is king above all else, but there exist gamers whose main concern is to boost their virtual reputations. More specifically, the Xbox 360’s “GamerScores” and Playstation 3’s “Trophies” seem to be the focus of their game playing.

Fulfilling in-game objectives just for the sake of unlocking Achievements or earning Trophies just doesn’t appeal to me, but it has caused countless individuals to spend tedious hours playing games they aren’t necessarily having a good time with.

Even worse, some people will chose to play games with “easy” Achievements even if there is absolutely no pleasure to be had in the gaming experience. Perhaps the argument can be made that the satisfaction that comes from fulfilling Achievements is worth the hassle, but with so many fantastic games to play, it seems silly to spend one’s precious spare time doing something that’s not very rewarding.

Just enjoy playing!Personally, I’d rather just play a video game for the pure satisfaction that comes with doing so. Of course, like all other forms of art, there exists a great deal of diversity within the medium of video games, and different gamers play for different purposes. Still, it seems with each passing day I have an increasingly limited amount of time available to enjoy my favorite hobby, and I’d rather not waste it doing something that I don’t like.

I can appreciate games on many levels, be it their control schemes, art design, music, storylines, characters, gameplay mechanics, and more, but if none of these factors equate to me enjoying the act of playing a game, then in some ways they’re all for naught. I don’t play to boost my virtual reputation or grind my virtual character to the next level. I just play video games because I like the act of doing so.

I can enjoy the overall experience and appreciate elements such as plot pacing or character development, but for the most part I just want to lose myself in the moment and enjoy the games I play.

Sometimes the games I end up liking may not sit atop the higher echelons of aggregate review score sites such as Metacritic, but personal, moment-to-moment enjoyment doesn’t always fall in line with professional scores. So although I can recognize that Castlevania Judgment is far from being an exceptional game by any standard, that doesn’t mean I don’t have a blast whenever I play it.

While I believe the encapsulation of video games as a whole is important, for me my satisfaction mainly lies in the time I’m actually playing. If video games are a journey I’m taking the time to embark upon, I believe that as many steps along the way should be worth my while. Some people may view their trips through video games in terms of the destination, but to me it’s the actual parts, not necessarily their sum, that may actually matter the most.

[Mister Raroo is a happy husband, proud father, full-time public library employee, and active gamer. He currently lives in El Cajon, CA with his family and many pets. In addition to writing for GameSetWatch, Mister Raroo irregularly writes content for his blog, Moments. You may reach Mister Raroo at mister.raroo@gmail.com.]

GameSetLinks: Which Mountain? That Mountain!

[GameSetLinks is GameSetWatch's daily link round-up post, culling from hundreds of weblogs and outlets to compile the most interesting longform writing, links, and criticism on the art and culture of video games.]

If we're known for anything here on GameSetWatch, apart from strange columns from odd, wonderful coves, it's for lists of links from RSS-land - and this latest set of GameSetLinks is headed by strange video game songs from actually not Chris Remo this time.

Also hanging out in here - strange Vienna-based residencies for game historians, further explanations of the Dr. Dobbs Silverlight platformer we helped to make, competition in gaming, strange game-related Dwayne Johnson CG from the movie _before_ Witch Mountain, and, uh, more.

Up up up:

the doyouinverts: New Track: "Fingers Turned Into Fists"
Our own Kumar + video game band + One Life Left = excellent.

subotron.com » Blog Archive » open call : SUBOTRON artist in residence fall 2009 wanted
'As part of the air-program of MuseumsQuartier´s quartier21, SUBOTRON invites international artists in residence to work here in Vienna on a regular basis. Artists get a studio at the Museumsquartier for free and money to cover expenses.' And it's 'the history of digital game culture' this time - neat.

dobbschallenge2.com - Getting Started Creating Your Own Levels
A handy guide to Adam Atomic's Silverlight-based platform game creator/UCC thing that I produced, and Mathew Kumar is community managing. Includes some stuff I didn't know! Here's my amazing level, if you haven't seen it.

Tony Hawk :: Official Website
Hey, nice, the official Tony Hawk site linked Barton and Loguidice's history of the skating game franchise.

Strange Horizons Articles: Playing Fair: A Look at Competition in Gaming, by Mark Newheiser
'Unless they bet large sums of money on the outcome of every game they participate in, most people will probably end up playing video games and tabletop games just to have fun. Since there's no end goal in mind other than the game itself, a person's willingness to play a game depends on whether it's enjoyable for them.' A great point!

It's in the details: Utah's Sandman Studios contributes to 'Witch Mountain' - Salt Lake Tribune
Funny game-related sidenote here: ' Sandman landed the "Witch Mountain" gig after impressing Disney and director Andy Fickman with its work on "The Game Plan." For that movie, Sandman created a realistic copy of the Madden '07 video game, featuring Dwayne Johnson's character.'

March 16, 2009

Column: 'The Interactive Palette' - Personality in Team Fortress 2

The cast of TF2['The Interactive Palette' is a biweekly GameSetWatch-exclusive column by Gregory Weir that examines the tools and techniques of the digital games trade with a focus on games as art, using a single game as an example. This time - a look at character roles in Team Fortress 2.]

The concept of character roles in video games is a common one. It's most common in traditional RPGs, where the player chooses a certain character class with unique skills and abilities. In the mid-to-late-nineties, the concept of class or character role spread to other kinds of games, with one of the first examples being the original Team Fortress mod for Quake.

The Team Fortress series features first-person, multiplayer, team-based gameplay where each player selects a class and the classes compliment each other. Each class has an important role, and the strength of the team as a whole depends on each player properly fulfilling their role. The series came into its own with the release of Team Fortress Classic, an official mod for Half-Life. TFC refined the classes and reinforced team-based goals like capturing the flag or protecting territory.

Multiplayer class-based games like Team Fortress can be quite entertaining. The separate character roles make it necessary to work together, which promotes socialization among teammates and increases the feeling of accomplishment when the team succeeds.

The multiple classes also broaden the appeal of the game; a player who doesn't feel comfortable dodging and weaving can choose a slow-but-strong class like TF's Heavy Weapon Guy, and there are even roles for players who like to avoid combat, like the Medic class.

However, these roles also mean that there is a bigger barrier to entry for the game, as new players don't necessarily understand their role or how to carry it out. Additionally, everyone's experience in the game can be hurt by a player who doesn't serve their purpose.

Anyone who's played with a medic who doesn't heal people knows the frustration that can cause. In the interest of fun and accessibility, it's important for players to comprehend their character role as quickly as possible, and to be interested in fulfilling that role. The latest game in the series excels at this.

Valve's Team Fortress 2 was a bit of a surprise for eager fans. Many were expecting a World-War-II-themed, realistic war simulation, as described in previews years before the release. However, in the intervening time, Valve completely changed their design, and the final product was a silly, colorful game with cartoon characters inspired by early 20th-century commercial illustration.

One of the most memorable parts of the new game is the cast of colorful characters. Each character class in TF2 is represented by a quirky, distinctive personality with an easily-recognized voice and appearance. There is discussion in the game's commentary of how the distinctive class silhouettes enable players to easily identify opponents, but there's little mention of how these characters enable the team-based gameplay by allowing class roles to be easily understood and internalized.

Comparison of TFC and TF2 Heavies"We Make Good Team."

In most games with character roles — including the previous TF games — there's little individuality to the classes. Yes, characters look different, and have different effects, but they lack identity. Sometimes, this is a good thing. In World of Warcraft, for example, race and gender give a distinct appearance, but not a strong personality. This allows players to roleplay a character of their choice. However, it does mean that character personality has little affect on gameplay.

In TF2, things are different. Comparing the old Heavy Weapon Guy to the new Heavy, or the old Spy to the new one, shows that there has been a drastic change in character design. Previous games in the series let you play a scout, but in TF2, you play The Scout. The Scout has a distinctive accent, appearance, and personality. He is conceited, sarcastic, and sadistic.

Through Valve's "Meet the Team" promotional videos and through the in-game voice taunts and reaction sound bytes, each class is provided with a unique and easily-identified identity. This is amusing and easy to identify with, but it also serves as a simple introduction to the class.

By looking at and listening to the Scout, new players immediately know several things about him. The Scout is thin, but wiry, implying his speed and lack of fortitude. His rapid-fire taunts match the class's preferred fighting style of circle-strafing around enemies. Because of this, players can easily tell what role the Scout is meant to fulfill, and are encouraged to roleplay the character and therefore be a useful member of the team.

As a contrast, we can look at the Spy. He is dressed in a suit and balaclava, implying that he is perhaps not the most physical of classes. His voice is haughty and sly, which matches his sneak-and-stab play style. A player who sees the Spy in action understands that he is a tricky character who is meant to attack from the shadows.

The same inferences can be made about the other classes. The Heavy is slow but sturdy, while the Medic is a weak technician. The Soldier is, well, a soldier. The Demoman makes clever use of explosives, the Sniper calmly waits, and the Engineer makes intelligent constructions. As for the Pyro? He (or she?) clearly just likes fire. These are not complex, deep human beings; they are stereotypes. That's fine in TF2, a game with little emotional depth which demands quick thinking and trained instincts.

Not only do the personalities educate new players, but they also help players pick a favorite class. Someone who sympathizes with the slow-but-forceful Heavy is likely to also enjoy the class's methodical approach. Likewise, a player who identifies with the Demoman will find herself satisfied by bouncing grenades off of walls and laying explosive traps.

Comparison of TFC and TF2 Spies"I am Credit to Team."

The technique of giving character classes distinct personalities can be applied to any game which separates players into distinct roles that should be understood quickly. A similar thing was done in Blizzard's Diablo, which gives the Warrior, Rogue, and Sorcerer unique appearances that helped to indicate their roles. In Diablo, however, there is little personality assigned to each class, and teamwork is much less important than in TF2.

The primary lessons to take from TF2's personalities are to create unique identities for each class, to make the identities reflect the class's role, and to make the identities easy to identify and identify with.

Making the class identities distinct allows players to easily differentiate the classes by sight, sound, and behavior. Matching the class identities to the class roles allows the player to easily understand and remember a class's strengths, weaknesses, and responsibilities. Lastly, when the identities are memorable and likable, players are more likely to feel connected to their character and to pick a class based on personality.

Few people would claim that Team Fortress 2's world is especially deep, or that it has a particularly complex storyline. What the game does have is a distinctive, appealing cast of characters, and it portrays its characters in a way that supports the gameplay. TF2 is so easy to learn and fun to play in part because of the excellent character design, including appearance, voice talent, and personality.

[Gregory Weir is a writer, game developer (The Majesty Of Colors), and software programmer. He maintains Ludus Novus, a podcast and accompanying blog dedicated to the art of interaction. He can be reached at Gregory.Weir@gmail.com.]

Previewing GDC 2009: The Top 20 Design Talks

[For possibly self-flagellatory reason, but more likely a desire to make sure people go to as many of the awesome Game Developers Conference lectures as possible, we'll be finding the top lectures in each major GDC track this week - starting with game design goodness.]

With the 2009 Game Developers Conference's start just one week away, GameSetWatch will be spending all week previewing the major conference tracks, starting out with 20 of the top lectures (in no particular order) from the Game Design track.

This major discipline-specific track, to be held from Wednesday, March 25th to Friday, March 27th at the Moscone Center in San Francisco, with a multitude of highlights, including a newly announced lecture with Will Wright, Lorne Lanning and Bing Gordon discussing gaming and social change.

The list of twenty of the top GDC 2009 design lectures is as follows:

1. Ubisoft Montreal's Clint Hocking, fresh from Far Cry 2's positive critical reception, discusses 'Fault Tolerance: From Intentionality to Improvisation', discussing "how game systems can be designed to encourage the player to improvise and recover from incremental failures and set-backs."

2. In an all-star, relatively underdiscussed panel called 'Stretching Beyond Entertainment: The Role of Games in Personal and Social Change', industry figures including Maxis' Will Wright, Oddworld's Lorne Lanning, Lionhead's Peter Molyneux, former Electronic Arts CCO Bing Gordon, and Ed Fries discuss "what we can do with the creativity of design to help inspire a better world."

3. An extremely rare public design discussion sees Blizzard's Jeff Kaplan present 'The Cruise Director of Azeroth: Directed Gameplay within World Of WarCraft', specifically focusing on "focus on the original development of WoW's quest system and how it has changed over time."

4. Media Molecule: 'Winging It' - Ups, Downs, Mistakes, Successes in the Making of LittleBigPlanet features the firm's Mark Healey and Alex Evans discussing "the processes behind the making of a game designed to bring creativity to the masses."

5. In From Counter-Strike to Left 4 Dead: Creating Replayable Cooperative Experiences, Valve South's Michael Booth talks about "the high-level design of Left 4 Dead, how it evolved from Counter-Strike, and the importance of procedural systems such as the AI Director in creating replayable and compelling cooperative experiences."

6. Far Cry 2 narrative designer Patrick Redding has a 20-minute lecture called 'Aarf! Arf Arf Arf: Talking to the Player with Barks', identifying "...both common pitfalls and practical solutions that keep NPCs sounding smart." (This is in addition to a previously highlighted 60-minute lecture on 'Read Me: Closing the Readability Gap in Immersive Games'.)

7. Lionhead's Peter Molyneux (Populous, Fable series) is presenting a special lecture called 'Lionhead Experiments Revealed' including prototypes of "a range of ideas which are bubbling under the surface at Lionhead Studios which may or may not make it into full games."

8. 'Balancing Multiplayer Competitive Games' is a lecture from controversial Street Fighter HD Remix and Kongai designer David Sirlin, discussing "how good games designed balance into their systems."

9. Continuing the always packed series, Braid creator Jon Blow's 'Experimental Gameplay Sessions' 2-hour lecture will highlight the most interesting experimental, innovative titles from major studios and indies alike.

10. Katamari Damacy creator Keita Takahashi puts forth a lecture simply called 'All About Noby Noby Boy'.

11. Former Maxis developer and Spore Creature Creator lead designer Chaim Gingold presents an intriguing design discussion in the form of 'The Human Play Machine', analyzing "how existing game genres map onto the human brain and body, and how our design decisions affect who will be attracted to our games, and how they will play."

12. In a rare hardware design lecture, Nintendo's Masato Kuwahara will discuss 'The Inspiration Behind Nintendo DSi Development', focusing on "how the company came to develop the system with all these new features and what kind of new software development opportunities the team had in mind."

13. An all-star panel called 'Evolving Game Design: Today and Tomorrow, Eastern and Western Game Design" features Fallout 3's Emil Pagliarulo alongside ICO/Shadow Of The Colossus' Fumito Ueda and No More Heroes' Suda51 talking about trends and the future in open-world game design.

14. Game design veteran Ken Rolston (Oblivion), currently at Big Huge Games, presents 'Vast Narratives and Open Worlds, Part Deux -- Big Huge Problems' alongside Mark Nelson, discussing "new approaches taken on the speakers' current open-world RPG."

15. Harmonix's Dan Teasdale rocks out with 'Dirty Deeds Done Dirt Cheap: Design Lessons Learned from Rock Band, discussing the series and why "yearly sequels and design innovation arguably don't mix", but the Boston-based team has strived to accomplish this.

16. Discussing Volition's Saints Row 2, Scott Phillips presents 'Breathing LIFE into an Open World', in which attendees "will learn about the inspiration, organization, methodology, successes and failures of the LIFE system used to add life to the open world city of Stilwater."

17. As recently highlighted, the latest iteration of the Eric Zimmerman-organized Game Design Challenge is 'The Game Design Challenge: My First Time', with Portal's Kim Swift, Habbo's Sulka Haro and Infocom veteran Steve Meretzky all participating in a challenge to create "a concept that brings together two unexplored themes for games: sex and autobiography."

18. The fourth in a popular and long-running GDC lecture series, 'Game Studies Download 4.0' sees : Ian Bogost, Jane McGonigal, and Mia Consalvo present "the 10 most surprising and relevant [academic] insights for game designers and developers" published this year.

19. Maxis' Caryl Shaw will talk about 'Spore: Fulfilling the Massively-Single Player Promise - How'd We Do?', covering "the specifics of working with the community-created content in Spore during the first six months after ship."

20. EA Montreal creative director Alex Hutchinson discusses 'Making Friends is Hard: Social Mechanics in Contemporary Design', which will "survey social mechanics between player avatars and simulated characters in several recent titles", including games like The Sims 2 which Hutchinson worked on.

There are multitude of other notable lectures in the GDC 2009 Design Track, among them 'Valve's Approach to Playtesting: the Application of Empiricism' from the firm's Mike Ambinder, 'Paper Prototypes Of Spore from Stone Librande, Naughy Dog and Big Red Button design guru E. Daniel Arey on 'Master Metrics: The Science Behind the Art of Game Design', and writer and design Ian Bogost on 'Learning From The Atari 2600'.

We'll be previewing other tracks from the 2009 Game Developers Conference, held in San Francisco's Moscone Center from March 23rd-27th, all of this week. (For those overwhelmed by choice, every single GDC 2009 lecture is being recorded for the GDC Vault, with some free lectures available, and GDC 2009 All-Access Pass holders getting access to video and slides from every single lecture this year.)

For more information on Game Developers Conference 2009 track schedules and registration, please visit the official GDC 2009 website.

GameSetNetwork: Best Of The Week

So hopefully you won't be tiring of these cross-posted roundups (look for some GameSetWatch changes and enhancements after GDC which should space 'em out, yay!), but we're ever-expanding Gamasutra coverage after our redesign, yay.

Here's the most notable new features of the week, including an excellent Alex Evans/Media Molecule interview from Brandon Sheffield, our Games Of 2020 winners, the history of Tony Hawk's Pro Skater, some neat magazine column reprints on audio and art, and lots more.

Here's the week's highlights:

LittleBigGalaxy? Alex Evans On What's Next For Media Molecule
"LittleBigPlanet co-creator Alex Evans has a multitude of fascinating opinions on development, game criticism, and where his company is going next, all showcased in this in-depth Gamasutra interview."

Game Artists: The Three Cardinal Rules
"What guidelines do video game artists need to follow to succeed? Volition manager Self-Ballard draws from his experience to suggest three key traits of the best game art creators."

Gameplay Fundamentals: The Identity Crisis in the Racing Genre
"In this design article, veteran EA, Radical and THQ designer Mike Lopez looks at the make-up of the racing game genre, asking what factors truly differentiate one title from another, and how we can communicate them effectively to players."

The History of Tony Hawk's Pro Skater: Ollies, Grabs, and Grinds
"In a detailed historical article, Loguidice and Barton chart the $1 billion skating game franchise's genesis and evolution, from its antecedents to the present day."

Ahead of the Curve
"In this specialized audio article, LucasArts' Harlin discusses crossfading and shaping for good music edits."

Can You Create A Must-Have Wii Game?
"What are consumers looking for in Wii games? Producers from Ubisoft and Midway and analyst Michael Pachter weigh in on making a successful Wii title, from developer choice to box art and beyond."

Games Of 2020 - The Winners
"What will games be like in the year 2020? Gamasutra's competition gave away 20 GDC All-Access Passes and had more than 150 excellent entries -- here are the winning essays."

March 15, 2009

The Game Anthropologist: 'Shoryuken! How SFIV Made Its Niche More Mainstream'

[The 'Game Anthropologist' is Michael Walbridge's GameSetWatch-exclusive column about communities built around gaming. This week features the real life adventure of going to a complete stranger's house just to find a challenge in Street Fighter IV.]

Recently I found myself going to a stranger’s house to play video games with a bunch of other strangers. No one knowing anyone. This is not a typical occurrence, not even for someone who writes about the way gamers organize themselves, but here it happened.

I really think there’s only one kind of digital game that has that intense of a driving force to make a bunch of awkward nerds come out of their crawling places to meet someone, anyone who will play the game they play.

Fighting games, especially Street Fighter, have the peculiar property of turning its most devoted players into the subject material, and I say this with all seriousness. Pokemon fanatics might actually strategize like some of the characters, but they don’t spend their lives like the characters or Pokemon.

Those who admire science fiction and fantasy characters are often subject to ridicule because they don’t know how little they resemble the characters when they imitate them. But fighting game fans become like the characters: glory is important, and they do anything to find a good fight.

Even the strategy guide by Prima has tiers, notes on competition and how seriously to take online play. “There will be many occasions when you’ll face a well-known Street Fighter player in online combat. If you beat this player, even if you didn’t abuse online tactics, it’s almost guaranteed that the outcome will be very different if you played this person at a major offline tournament,” the strategy guide chides. References to EVO and Devastate follow.

There is no game love deeper than the love given to fighting games. This is the only genre of digital games for which people will travel long distances in order to play others. Even though you can play fighting games online now, the old memories of arcades and neighborhood friends doesn’t die. Plus, in the mind of competitive players, the lag affects the action much more than it would even an FPS.

This is why, even though we can now have each other’s GamerTags, we will travel across counties and go to strangers houses just to play other people at a game. If you play Street Fighter enough you become a street fighter of sorts, complete with the grudges, friendly rivalries, an earnest desire to prove one’s worth, and a desire to achieve glory amongst one’s peers.

Even the way the game plays—the difficulty of the moveset, the ability to execute them all in practice but rarely able to execute them all on command at a moment’s notice (and even then, there is always a challenge awaiting); all of it turns the players into street fighters; people who take incredible beatings on a frequent basis but don’t actually get hurt, people who are always looking for a fight, usually of the friendly sort.

This diaspora of player-traveler-fighters has always existed; the EVO tournament has been around for years, and the forum at Shoryuken.com have regional sections so people can find their local scene. Even Salt Lake has had one for a long time.

Some people went way back. Someone commented on what looked like a new poster: “Konqrr...dude. YES! I'm glad that you're back. I'm guessing that you never left, though. Guys, this is quality people right here. He used to play up at Trolley Square when they had a scene...early 2000's? Late 90's? Anyway, when I got active with Tekken, he'd travel from Tooele to be a part of things. Good, good times.”

At the stranger’s house, it turned out to be only partly a stranger; HadoukenMD was my high-school valedictorian, now a doctor. The only other two of about five or six who said they’d show up had driven over 30 miles. They’re twins.

“We’re triplets,” they tell me and HadoukenMD. “The third one has a girlfriend, so he doesn’t really play so much anymore. But his favorite is Zangief too. All three of us love Zangief.” After they leave, me and Hadouken catch up.

“Well, I get out almost every night off with the guys at the hospital,” he tells me. “But none of them game—they don’t get it. I miss Street Fighter. I’ve been itching to play it again,” he tells me. “I know how you feel,” I say.

There’s another meetup soon after. Lured perhaps by the reports on the Utah thread that HadoukenMD is not crazy or weird and also gives free pizza, the twins brought another friend from the adjacent county while four others in Salt Lake showed up. The mix was curious: the two youngest were highly quiet brothers that mostly played Smash Bros. but were interested in trying something new; another fellow with the most expensive stick looked like Chuck Klosterman, only with darker hair.

He casually mentioned a Street Fighter IV podcast. I thought, “listening to a podcast about something proves you care a lot.” He tells me to go to Gootecks.com. Another guy is young and only vaguely gamerish: he doesn’t seem to try very hard or take it very seriously but is highly talented and versatile. Lastly, there’s a 30-year-old father of two children who has been out of the loop but is so interested he travelled with the two triplets. He now wants to organize a tournament.

Talk was typical and masculine, but it mostly focused on all things Street Fighter: characters, experiences, EVO (“You going this year? We can carpool”), 360 vs. PS3, Street Fighter III, our schedules, and of course the pricing, differences, and preferences of arcade sticks. Plenty of matches were played. Only two people can play, but it’s so fun to watch and analyze that no one seemed to mind waiting his turn.

I’ve seen HadoukenMD three times already, and there are even more people to meet and play. Meetups seem like they will be occurring frequently in the future and perhaps for a very, very long time.

Best Of Indie Games: Catch! But Don't Look Back

[Every week, IndieGames.com: The Weblog editor Tim W. will be summing up some of the top free-to-download and commercial indie games from the last seven days, as well as any notable features on his sister 'state of indie' weblog.]

This week on 'Best Of Indie Games', we take a look at some of the top independent PC Flash/downloadable titles released over this last week.

The goodies in this edition include two music rhythm games, a stitching simulator from an IGF finalist, a challenging platformer from the developer of Pathways, an intense arena shooter with plenty of enemies to shoot at, and finally a new puzzler from the creator of (I Fell in Love With) The Majesty of Colors.

Game Pick: 'Music Catch 2' (Reflexive Games, browser)
"A simple browser game which asks the player to catch notes with their mouse. Reflexive Games have taken a great concept and improved on it in this sequel, adding a host of beautiful arrangements to listen to and making the game look and play a lot nicer."

Game Pick: 'Sew 'Em Up' (Kian Bashiri, freeware)
"A stitching simulator with an arcade feel to it, created by the developer of IGF finalist You Have to Burn the Rope. The game is surprisingly relaxing to play, and your performance is rated by the amount of thread used to stitch all the patterns."

Game Pick: 'Death vs. Monstars' (GameReclaim, browser)
"A Geometry Wars style blaster containing such gimmicks as 'Berserk Mode' and 'Bullet Time', plus it's great fun. The game even has a Boss battle to deal with at the end which is pretty challenging."

Game Pick: 'Raycatcher' (Thinking Studios, commercial indie - demo available)
"A unique offering from the fledgling development team which demands quick reactions and a sturdy music collection. Utilizing the ability to import all your musical purchases into the game, each song is transformed into an array of rays which must be caught appropriately. It's a simple premise and, for the most part, is pulled off fashionably."

Game Pick: 'Don't Look Back' (Terry Cavanagh, browser)
"Don't Look Back is a challenging platformer with quite an evil side. Everything from the dark visuals to the atmospheric soundtrack set the scene perfectly, and it has all the elements you'd expect from a platformer - pitfalls, speedy baddies and big boss fights."

Game Pick: 'Exploit' (Gregory Weir, browser)
"Exploit is a puzzler about terrorism through hacking. By using ports to fire packets of data, the objective of the game is to break the code and access the root node. It's a great little brain teaser which very early on feels extremely complicated, yet once the solution has been identified, it exposes itself as actually quite a simple set-up which makes you feel rather clever from figuring it out."

Interview: Namco Bandai's Iwai Talks Tricky Topics In Western Markets

[Another one of those Brandon Sheffield interviews for big sis site Gamasutra that I think show humor, insight, and general readability, thus the GSW reprint, he gets Namco's Makoto Iwai to open up about the company's plans for the West.]

Like many of its fellow long-standing Japanese publishers, veteran creator Namco Bandai is making a concentrated push for Western markets -- and Makoto Iwai, EVP and COO of the company's American operations, admits peers like Sega and Capcom are "a little bit ahead" in that respect.

But Iwai's entering the fight swinging, promising to get ahead before long, and in this frank discussion, he talks about the company's new Western-focused Surge label, the disappointing reception for Afro Samurai, the tricky situation with Bottlerocket and Splatterhouse, and what it'll take to get ahead in the U.S:

What was the decision behind making Surge as kind of a new publishing brand?

Makoto Iwai: There was always a discussion internally - I don't know how you describe our company logo, but some people describe it as a pig logo; it's not the official way of describing it (laughs).

So, under the Namco Bandai logo, we'll be releasing Tamagotchi, Naruto, or one of the lower teen or high teen [titles]. And now we're releasing some more M-rated games, which we believe are more appealing to Western audiences.

There was a question, like, "Can we just keep releasing mixed genres under one company logo?" This is expressed the sort of interlocking logos of Namco and Bandai, which we currently use.

Bandai is a toy business. One of the philosophies that the founders had in the past, and still have, is that there should be no violence, no blood, no sex -- that kind of thing.

Some people were worried, even myself, with trying to create Afro Samurai and saying that this is one of the ways we should take to be successful. So, we tried to come up with something new as a label. Of course, before reaching towards Surge, we tried to do some enhanced Namco logo, for instance. You know, 3D, or a black label even.

Then again, Namco is a well respected IP, and attached to the memories of Mr. [Masaya] Nakamura. I've been trying to get like a Namco black label; I thought it was cool, and Namco is well known to begin with. But it can't happen because not many people are willing to talk about it to Nakamura-san face-to-face.

You know, he's retiring. So, to show some respect, we don't want to disrupt his process. And there was a deadline that we needed to come up with because Afro Samurai's release was around the corner.

So, we came up with several ideas, but after research, not many of them were available. So, we ended up with Surge. To sort of sum it up, we wanted to promote it as a new brand to represent us and our U.S.-developed titles. That was the idea.

How have you felt about Afro Samurai's performance so far?

MI: The team did a great job with the limited amount of time, which allowed them to make improvements up to the last moment. But again, this is the very first internal project that we have started as a newly born Namco Bandai Games America. And, of course, there are many things that happened [bad and good].

And, so, the result is that it's not really a 100 percent achievement, but it's still receiving repeat orders. I was not really happy to see some brutal reviews. At the same time, I was happy to see the reviews from the end users who really actually played the game.

I knew those kinds of licensed products always -- just because it's licensed, the review gets lower, it's a tendency. Everybody has that sort of prejudice about licensed products. We knew it, and we tried to make a change. Well, it's working in some way.

Can you talk a little bit about Bottlerocket and Splatterhouse, and how that went?

MI: So, basically, the only reason why publishers pull the project out from the developer is when the developer isn't really meeting the requirements. So, unfortunately, this was the case.

I have to be very careful so we don't make any direct comment on it because whatever we say, people will try to be on the developer side. You know, "The developer is an independent developer trying hard, and evil publishers are trying to get rid of the business by doing whatever they feel like."

That's not the case. I just want to be 100 percent clear. There was a performance issue.

How do you make sure your U.S.-developed games still retain the Namco Bandai flavor to them?

MI: Good question. It's kind of like the Wii. I'd like to change the people's perception of Namco Bandai. In the past, people never thought about Namco Bandai releasing bloody games, for instance.

But why not, if there's a market? Why don't we just make a zombie game, for instance? --Though that doesn't mean we're making one! (laughs)

But every company has got some sort of corporate image created internally or by outside people. I just want to change it, because we don't want to rely just on the good old franchises anymore. Rather than having those big franchises, and revitalize them... We'd like to create a new idea.

So it's not too important to you that the new games have kind of a Namco Bandai feeling to them so long as they're good? Is that kind of what you mean?

MI: Yeah.

One thing that someone was complaining to me about [at DICE] is when Japanese companies still send very, very Japanese executives to come and run the studios in the U.S. More companies are trying to move toward getting people who actually have some experience in the West. What is your perception of that? I feel you're doing a good job, based on what I've seen.

MI: Thank you. Let's keep it that way! You might view these sorts of organization changes in line with the changes happening in Japan, but it's going more in a positive direction, I think. People in Japan want to communicate more, so they start coming [to the West].

We have global meetings internally, share ideas, criticize each other, try to streamline and make uniform the process and terminology as well. But if you take a term like "Vertical slice" - their definition [in Japan] and our definition are different. "High concept" - what is that?

Even a number of my people, local American people, their definitions can be different from each other.

That can be difficult with job titles, because we don't have a "planner" in the U.S., though that's a common Japanese game job, and a director in Japan actually means something very different than what it means here.

MI: That's true, that's true. But again, the important thing is trying to understand how different the development approaches are. We're doing that, too.

Then there's a tech meeting, where only those engineers get together, exchanging information, and talking about the glossary and stuff. It's happening for us now, which is good, because it never happened before.

I believe all Japanese companies are trying to go to the Western market. We are not the only one. Capcom and Sega -- let's be honest, they are a few steps ahead of us, maybe. But I'm sure we'll catch up, and we'll be ahead of them in the near future.

Oh yeah? You think you can get ahead of Capcom? That's the toughest one.

MI: Ah, we will be.

I'm going to hold you to that.

MI: Okay, we'll try!

What do you think is the best philosophy for bringing stuff to the Western market? A lot of companies seem to be approaching it in a less-progressive way -- [Jun Takeuchi] said in his DICE talk, 'if we put an actor in it that many people know, then it will sell,' and that's what it takes. To you, what is the best way to tackle the Western market?

MI: Well actually, the company needs to have the eyes and ears for specific market demands. That's something where we can't rely on Japanese people.

You need to have a willingness to listen to local people [in Western markets]. They have to be good people who can talk about markets and end-users. More communication, more delegation. I think those will be key.



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