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February 6, 2010

Sound Current: '21st Century Vinyl - Garry Schyman on the Orchestral BioShock LP'

[In this interview for GameSetWatch, Jeriaska talks to BioShock composer Garry Schyman about the new orchestral LP contained in the BioShock 2 special edition, his approach to making music for the two games in the series, and his influences in creating the franchise's evocative soundtrack.]

The score for BioShock, composed by Garry Schyman, has reached an enormously wide audience for a videogame soundtrack. Not only was the title a popular console release, but its orchestral recordings were posted to the Irrational Games website as a free download, attracting listeners both close to and unfamiliar with the world of Rapture.

Recognition of the album has led to the inclusion of the BioShock orchestral score on a heavyweight vinyl LP in the BioShock 2 Special Edition Set. The record will come with the game, a BioShock 2 orchestral score audio CD, three vintage posters and a 164-page art book.

In this interview, the composer describes how his music was intended to deliver an entirely new kind of sound to the in-game environment. This entailed fusing styles of aleatoric music, early 20th century classical compositions and musique concrète into something altogether new. The music for the sequel aspires to expand upon this thematic foundation, introducing elements of blues.

The orchestral score for BioShock was made available online for free. While this was not your decision, do you feel the free release may have worked out for the best?

Garry Schyman, Composer for BioShock 1 & 2: I’ve told this story before, and it’s worth retelling. When I first heard they were releasing the score for free, I was taken aback because I had been pushing for a soundtrack release. I think they were feeling there was some disappointment in the “inspired by” BioShock song tracks that were released with the premium edition and so went ahead and put a portion of the score online.

It’s always nice to have a soundtrack release, but in the end I think it really turned out to benefit me, as a lot of people downloaded and listen to it, and that may be why I won some awards. Though only a quarter of the score was actually release as a soundtrack at that time. They are now producing a much larger soundtrack album that will be released on an old fashioned LP and will come out as part of the premium edition of BioShock 2. There is also a CD of the BioShock 2 score included.

What direction were you given upon beginning the process of scoring BioShock 2?



I traveled up to 2K Marin to meet with audio director Michael Kamper and the game’s creative director Jordan Thomas. They were of the opinion that I’d done a great job on the first one and they didn’t want me to diverge dramatically from the style. 

I was really happy to be asked to do it again, and to hire some of the same people, like Martin Chalifour the principle concert master of the LA Phil, to do some solo violin playing. Armen Ksajikian played the cello. There also is new solo piano piece (though quite different in character) that was played by the same performer as “Cohen’s Masterpiece,” Bryan Pezzone. He’s a wonderful pianist and he really loved this piece and poured his heart into the performance.

For those who play through the two BioShock games, will there be particular musical themes that are unique to the first title?

I used almost no musique concrète on the Bioshock 2 score, though there’s a sound of electricity that I found that was really fantastic. Certain sounds just inspire me creatively, and this sound was evocative and eerie.

BioShock takes place in a failed utopia, built undersea in the mid 20th century. What discussions with the audio director on the first BioShock helped discover a style for the fantasy period piece?

Emily Ridgeway did not specify a style, though she said the game was really scary. We did talk about using early 20th century classical music. It’s a style that I love, that I’ve studied and enjoy writing in. Rapture was described to me as a place built especially for artists and great thinkers. It was a creative, artistic place that had become very scary and frightening.

Rapture has since fallen into chaos and is in a state of war and decay. Were you looking to find a balance between the promise envisioned by Rapture’s architects and the reality of the chaos that ensued?

Exactly. A cue like “Welcome to Rapture,” which plays as you are taking the bathysphere down, is more evocative than scary. There are a couple of sad pieces of music as well, that captured the sadness and tragedy of it all. A lot of 20th century music has elements that we perceive as scary, and it also served as the intellectual music that composers who came down to this utopia might have written.

It was in the mid-20th century that the aleatoric style, or “chance” music, was developed by Penderecki and others. This style can be super creepy and eerie. I certainly did not invent that, but I think the thing that made this score unique was the combination of several styles of music. Some cues are just aleatoric, but the ones that are really unique take that dark, ambient style and then add some solo violin over that. The melodies were sometimes tonal, sometimes atonal, but they were not aleatoric. As soon as I started playing around with that I realized that it was a great sound.

There is a randomized component to aleatoric music that could potentially be determined by a computer algorithm. Do you have any interest in this or other deployments of interactive music for games?

I have some concerns about it. I don’t want interactivity to have a detrimental effect on the creativity of the composer. I always tell people when I’ve never worked with them before that I have nothing against the music being interactive, but I don’t want it to be so interactive that it’s not interesting or emotionally involving. I certainly do not have trouble with layering music so that what’s happening is based upon the player’s experience.

The first game includes the track “Cohen’s Masterpiece,” a concert piece. Did you view this as a special request for the game?

It was really fun to be challenged to write a serious classical piece of music that could stand on its own as a concert piece. I was asked to write a piece of piano music that Sander Cohen composed. In the game he is torturing some poor pianist to play it properly. To be honest, I didn’t really know a lot about who Sander Cohen was at the time. I just knew that they needed a piece of classical piano music for this level.

The directors, when they heard it, felt it was almost too creative for Sander, but they dug it so much that it wasn’t an issue. Though it is not an easy piece to play a lot of people have enjoyed the piece and requested a pdf. I got so many requests that I put the sheet music on my website to download. A number of people have posted recordings on YouTube of themselves playing the piece. It’s struck a chord with some people—no pun intended—and it’s really a trip.

You have mentioned on the ScoreNotes podcast that musique concrète was an important element of the score. How have you combined it with the improvisation within boundaries of the aleatoric orchestral style?

Musique concrète is a French style from the late ‘40s, where they took found sounds from the real world and created sound montages made possible by the invention of the tape recorder. Though all of these styles had been done before — it was the combination that made it so interesting and unique and it fit with the game. 



How did you find the recordings incorporated into the score for the game?

From sounds I had collected or had been given to me over the years there are also really interesting websites like the Freesound Project, where amateurs and professionals put sounds up there and make them available to anyone who wants to use them. Every now and then I found really interesting sounds. There’s an old recording of a concertina that I found, and that’s used as an atmospheric component on the wharfs in the original BioShock. Sometimes these found sounds are used as percussive instruments, like the machinery sounds I edited together to create a groove for the engineering deck.

Has having the chance to play BioShock informed the score for the sequel?

Yes, I think it helped. It was not nearly as hard writing for the second one. Once I came up with the concept, I could run with it. The opening of the second game relates musically to “Ocean on His Shoulders” from the first BioShock, before veering off and doing its own thing.

I’ve refined the style and the second game of course has different needs as well. I wrote a lot more combat music and could have an orchestra play it, which was very cool. I’ll let others be the judge of what they think of the second score, but I’m really pleased with both as creative opportunities.

[To learn more about the music of Garry Schyman, visit the official website. Images courtesy of 2K Games and BioShock 2 senior character designer Colin Fix.]

Best Of Indie Games: Flip That Switch

[Every week, IndieGames.com: The Weblog co-editor Tim W. will be summing up some of the top free-to-download and commercial indie games from the last seven days 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 a 2D vertical shooter with gorgeous graphics, a remake of Terry Cavanagh's VVVVVV that is 4,096 bytes in size, and a charming little RPG with two dozen mini side quests.

Other highlights include a quirky sheep herding game, a Unity-based 3D shooting gallery, and a procedurally-generated 2D platformer that plays similarly to Spelunky.

Here's the highlights from the last seven days:

Game Pick: 'Crimzon Clover' (Yotsubane, commercial indie - demo available)
"Crimzon Clover is truly a wet dream for shoot 'em up fans. Though labeled as a trial version, this vertical 2D shooter sports a generous three full levels to play, jaw-dropping graphics, a limited shop section for unlockables, and the obligatory yet awe-inspiring boss fights."

Game Pick: 'VVVV' (Markus Persson, browser)
"VVVV is Markus' remake of Terry Cavanagh's recent indie hit VVVVVV, created for the Java4K 2010 Competition. Your crew has been scattered, and it's your job to flip gravity, dodge spikes and rescue them all. While each room doesn't have a name, this remake does have its own version of 'Doing Things The Hard Way'."

Game Pick: 'Synopsis Quest' (Skipmore, browser)
"Synopsis Quest is a collection of puzzle and arcade-based side quests, where the hero can be trying to save a princess in one minute and attempting to loot treasure from the enemy's lair in the next. You are free to play the missions in any order, although the sequence that they are in sort of tells the story of our hero's noble quest to save the kingdom."

Game Pick: 'Sheep' (Ben Pettengill, freeware)
"Sheep is an animal herding game that has been done many times before, but Ben's version is slightly better than most because it introduces just enough variety to keep the player going. You play as a sheep dog who has to help his master with getting all of the sheeps to stay inside the green pen. As the game progresses, rams, wolves and rivers are introduced to further complicate the situation you are in."

Game Pick: 'Bullseye' (Zero Point Software, browser)
"Bullseye is a Unity-based 3D shooting gallery created by Zero Point Software as a showcase piece for their upcoming FPS release, Interstellar Marines. You play as a rookie marine who has to undergo a series of training modules, all designed to test his steady aim and gun handling skills."

Game Pick: 'Coptra' (Jan Willem Nijman, freeware)
"Coptra is an arena shooter in which you have to destroy enemy vehicles and survive for as long as possible. The power-ups that you collect can stack up, hence if you collect two or more power-up items their attributes will combine into a super-weapon until the ammo count is exhausted. Tips on increasing your survival chances are given at the end of each game, and support for standard dual analog and Xbox controllers are included as well."

Game Pick: 'TowerClimb' (Davioware, freeware)
"TowerClimb is a procedurally-generated 2D platformer created for Game Jolt's Rogue Contest, in which you play as a random explorer trying to reach the highest point of an endless tower. There is only one action button to use in addition to standard character movement controls, but when holding the jump key down you can leap off platforms, scale walls and even climb ceilings."

February 5, 2010

Yoshitaka Amano Prints, Postcards, And More

AmanoGalaxy, which hosts a Japanese online shop devoted to Final Fantasy artist Yoshitaka Amano, is now selling three prints from the illustrator's recent Sisters, Candy Girl, and Gatchaman collections. The artwork seems to be from his Deva Loka exhibit last September, which featured pieces coated with auto paint and glitter ("an ode to [Amano's] childhood love for American comics and automobiles").

The limited edition 43.4cm x 44.8cm prints are super expensive at ¥105,000 ($1,173.58), but there are some much cheaper options for those who really want to buy some of his art. AmanoGalaxy is also selling postcards, metal pill cases, metal necklaces, artbooks, keychains, and some kind of shop membership card, all featuring artwork from Amano.

[Via Super Punch]

Round-Up: Gamasutra Network Jobs, Week Of Feb 5

In our latest employment-specific round-up, we highlight some of the notable jobs posted in big sister site Gamasutra's industry-leading game jobs section this week, including positions from Black Rock Studio, Blizzard and more.

Each position posted by employers will appear on the main Gamasutra job board, and appear in the site's daily and weekly newsletters, reaching our readers directly.

It will also be cross-posted for free across its network of submarket sites, which includes content sites focused on online worlds, cellphone games, 'serious games', independent games and more.

Some of the notable jobs posted this week include:

Black Rock Studio: Lead Vehicle Artist
"When a company the size of Disney steps into European development, it's pretty big news. Disney employs over 100,000 staff. It’s one of the biggest Entertainment companies in the world and it's getting serious about original games. We're a strong studio of just over a hundred people, based at the heart of beautiful and cosmopolitan Brighton, UK. Just a quick train ride away from London in an office where pretty much everyone gets a sea view. The atmosphere is relaxed and friendly but focussed and our role is to create original racing game franchises."

CCP China: Senior Programmer
"CCP, makers of the largest game universe in existence, is looking for a Senior Engineer to be a part of the creative team that brought the world the groundbreaking MMO title, EVE Online. Successful applicants will join a seasoned team based in Shanghai, China where they will work on original games for the Xbox 360 and PlayStation 3."

Ubisoft San Francisco: Lead Artist
"Ubisoft Entertainment, a global leader in the video games and entertainment software industry, is currently seeking a full-time Lead Artist. We are looking for a talented, motivated and experienced person to create and manage art development on an exciting next-generation cross platform project. Qualified individuals are expected to be organized, with excellent communication skills, and have a proven track record in management and art direction for both internal and external outsourcing studios."

Blizzard: Senior Exterior Level Designer
"Blizzard Entertainment is looking for a senior exterior level designer with experience building outdoor levels similar to those of World of Warcraft. The ideal candidate has industry experience on a shipping game or has created and distributed levels in the fan/mod community. Level designers need to be able to create fun and interesting environments that look and play great. Game design experience and skills in general 3D modeling/texturing are preferred. The senior level designer must have experience leading a team but also works well in an environment of peers who are passionate about making great games."

Monolith: Staff Software Engineer, Engine
"Over the past 10 years, Monolith has risen to critical acclaim with products such as the FEAR franchise, the Condemned series, the No One Lives Forever franchise, Aliens vs. Predator 2; and Shogo: Mobile Armor Division. Monolith has focused primarily on first person action games with a strong emphasis on storytelling and atmosphere. In addition, Monolith has extensive internal expertise creating cutting edge tools and technology to support our products. The company’s number one goal is to create fun, compelling games to excite the imaginations of gamers everywhere."

Sony Computer Entertainment America: Senior Developer Support Engineer, Audio
"Be a part of the most exciting and innovating computer entertainment in North America. Sony Computer Entertainment America (SCEA) markets the PlayStation® family of products and develops, publishes, markets, and distributes software for the PS one™ console, the PlayStation®2 and PlayStation®3 computer entertainment systems and the PlayStation Portable (PSP™)."

To browse hundreds of similar jobs, and for more information on searching, responding to, or posting game industry-relevant jobs to the top source for jobs in the business, please visit Gamasutra's job board now.

Capcom's Cancelled Iron Man Football

The PlayStation Museum continues its not-to-be-missed monthly feature on cancelled PS1 games with a look at Capcom's unreleased Iron Man Football -- a perfect warm-up to this weekend's Super Bowl XLIV festivities, though it's unlikely you'll find the Saints or Colts in this game's selection of teams.

To provide some insight on the game, PSM brought in a couple ex-Capcom employees who worked on the project. Here, a former producer describes what the team planned during the two months of development before the company canned Iron Man Football, as well as why the game was terminated:

"We had to do Iron Man Football because Capcom was unable to obtain an NFL license. Iron Man was going to be old time football with all the real old plays, one of our guys went to the football hall of fame and copied all the plays, like razzle dazzle and statue of liberty…

Why it was cancelled? One contributing reason was Bernie Stolar, the VP of 3rd Party Relations at SCEA, did not approve the title because there were too many football games already in the queue. Please also note, what you see is two months of work, we could have finished the game by September for Christmas of 96 for sure."

You can read the full retrospective at PSM. If you haven't seen the site's other recent postmortems of unreleased PS1 games, here are a couple links to help you catch up on Quintessential Art of Destruction and Pac-Man Ghost Zone.

Road To The IGF: Klei Entertainment's Shank

[In the latest Road to the IGF interview with 2010 IGF finalists, we speak with Jamie Cheng, executive producer of the brutally attractive 2D brawler Shank, nominated for Excellence in Visual Art.]

A staple of the arcade scene in its heyday, the 2D side-scrolling beat-'em-up genre let quarter pumpers take control of a character who would use a combination of weapons and knuckles to accomplish a singular ultimate goal: to keep advancing to the right, by any means necessary.

Klei Entertainment's Independent Games Festival finalist Shank looks to recapture the essence of the 2D brawler genre--the action, the intensity, and the violence--albeit with plenty of modern day visual polish, which was enough to earn the game a 2010 IGF nomination for Excellence in Visual Art.

Jamie Cheng, CEO of Klei and executive producer on Shank, gives more background on the development of Shank, life after releasing the digital release Eets, and why the studio decided to explore the classic 2D brawler genre:

What kind of background do you and your team have making games?

We've got a pretty wide range of experience, but you could say we're decently seasoned. We have team members who previously worked at Relic, EA, Blue Castle, and a bunch of other studios. Most recently Andrew Chambers came on as a senior designer, and he's had a myriad of experience, including one of my personal favorites Freedom Force.

What development tools did you use for Shank?

We spent the better part of the year building a brand new pipeline for Shank. We built in-house Level and FX tools designed for our 2D look, a custom Flash pipeline for the artists to animate in, and a new game engine that the designers use to control behaviors.

I can't say enough about our programming team -- Alex, Chris, Ju-Lian and Kevin -- they really worked some magic to free the artists and designers and create something really special.

How long has your team been working on the game?

Shank started in January 2009 -- pretty much the day after our previous publisher closed its doors. In retrospect, it was a huge blessing to be able to spend most of the year working with our team on something that is entirely in our control.

How did you come up with the concept for the game? Why a 2D brawler?

Shank is an idea Jeff [Jeffrey Agala, creative director] and I came up with while working on our previous game, Sugar Rush. We felt that the genre wasn't fully explored, and had a ton of potential, so we decided to push some of those boundaries and give players something they weren't expecting. Pushing the visuals to be cinematic without sacrificing gameplay is something we feel really strongly about, and so far the feedback has been very encouraging.

Were there any specific 2D brawlers that heavily influenced the game, or was it just the genre in general?

It's interesting how often I get asked this question! We definitely take some our roots in the spirit of Double Dragon, where it was one of the first times players were able to choose what sorts of attacks they wanted to inflict and it had real meaning to them. But in our discussions I find our references are all over the map -- from Prince of Persia to Uncharted to Street Fighter to... pretty much anything.

The animation gives the feeling of weightiness and power. What's the secret to achieving that? It's satisfying to play and even watch.

Thank you! The majority of the animation you see is created by Aaron Bouthillier. He, like our other artists, are trained 2D animators, and that's obviously something that really shows. We also spent countless hours poring through gameplay mechanics and animation to give it that weight. I definitely think it's the product of all parties -- the engine, the animation, and the design tweaking that all came together.

The art direction is pretty stunning. Is this the look that you had in mind from the start?

This is definitely the direction that Jeff was going for since the early days. What we were able to achieve evolved over time as our tools continued to improve, but since February, when Meghan Shaw painted the first mockup of our level, we pretty much had our look down.

What lessons learned from the development of Eets did Klei apply towards Shank?

I could probably write a book on that! I think my favorite lesson is that it's a great feeling to make a game authentically -- when we built Eets, we knew what we were building and we simply had fun building it. I don't think we've ever had as much fun creating games as we have been creating Shank.

Have you played any of the other IGF finalists? Any games you particularly enjoyed?

I'm a bit sheepish to say that I haven't played most of them, but I did check out Rocketbirds Revolution! and it's certainly impressive what they managed to do in Flash. Really early on, I had whipped up a brief Shank test in Flash and I got stuck quickly on performance issues, so I was pleasantly surprised with the tricks they used to bring it to the next level.

What do you think of the current state of the indie scene?

I was reading back on this same question in 2007, 2008 and 2009, and every year the answer is the same: it's better than before. I think as an industry we're in need of promoting the talent behind the games more than ever, and the indie movement is key for that to happen.

Of course, it helps that amazingly quality games are being made by increasingly smaller resources. All the work that other independents are creating definitely pushes us to reach higher, and the people in the industry simply couldn't be any more supportive.

Can the 2D brawler become more than a niche in today's market?

I suppose that depends on how you define niche and market. Semantics aside, I think the genre has a lot more to give than it has so far and we'll see more and more hybrids of the 2D brawler coming out that will be very successful. I'm looking forward to playing them!

[Previous 'Road To The IGF' interview subjects have included Enviro-Bear 2000 developer Justin Smith, Rocketbirds: Revolution's co-creators Sian Yue Tan and Teck Lee Tan, Vessel co-creator John Krajewski, Trauma creator Krystian Majewski, Super Meat Boy co-creators Edmund McMillen and Tommy Refenes, Sidhe's Mario Wynands, who worked on Shatter, and Daniel Benmergui, creator of Today I Die]

Insert Coffee To Play: Arcade Mugs

ThinkGeek just added two neat mugs based on your favorite classic arcade games: Pac Boy and Space Intruders. Alright, so they're totally knock-offs, but what's cool about them is they're heat sensing, so they initially display an empty maze and clear sky if you don't have anything warm in the mugs.

But when you pour hot coffee or any other warm beverage in, pellets and ghosts appear to haunt your mug (or aliens fly in to invade your drink). You can see a video demonstration of the heat-changing magic after the break. Both mugs are available to purchase now for just $7.99 before shipping/handling.

[Via Gamefreaks]

Concept Art From EA's Gunhead, Oliver Twist

Game industry sleuth Supperannuation points out that UK artist Ross Dearsley, formerly a senior conceptual designer at Electronic Arts for nine years, has a fabulous collection of work posted on his personal site from EA's released and cancelled internal projects. You can see several of my favorites after the break.

Along with a look at character designs from the previously discussed current generation remake for Road Rash, Dearsley's site offers concept artwork for titles like Gunhead and Oliver Twist -- Dante's Inferno wasn't EA's first go at adapting a classic literary text into a video game!

Music and Lyrics: Konami Releases Rhyme Player

Rhythm game king Konami (well, if you forget the past few years of Guitar Hero/Rock Band dominance) has released an original music-based title to iPhone, Rhyme Player, a neat little title that ignores its songs' instruments and has you interacting with their lyrics. As a stream of words scroll past the screen, you need to tap them to the beat.

There are more than a few music games on the App Store already, including Konami's own DanceDanceRevolution S and S+, but this release immediately caught my eye when I saw it includes Bell Biv DeVoe's classic "Poison", a song so close to my heart that I need to load up its Youtube video and listen to it at least twice whenever anyone mentions it.

Rhyme Player includes four other tracks -- "Just Dance" by Lady Gaga, "First Time" by Lifehouse, "ABC" by the Jackson 5, and "Show me" by The Cover Girls -- and I'm sure Konami will release additional song packs in the future, but I would be perfectly happy if this were just a $2 game/app that only played "Poison".

For those preferring more depth and options, the game offers two difficulties (Easy and Normal) for each track. It also features two gameplay modes, Shuffle and Ensemble, to "challenge players with different lyric flow patterns". You can download Rhyme Player from the App Store right now.

[Via FingerGaming]

The Art History... Of Games? A New Conference, Romero Explain

[Do video games have an "art history"? A new Atlanta event, the Art History of Games symposium, is trying to explain, and GSW correspondent Charles J Pratt was there to see the organizers kick off the conference by tackling this very question.]

It may not be obvious that games have an "art history," or why there needs to be a conference that's entirely focused on that particular subject.

So, in their opening panel for the Art History of Games conference in Atlanta, Georgia, which Gamasutra will be covering in-depth, organizers Ian Bogost, Michael Nitsche, and John Sharp entertained those very questions as to why an art history of games is needed.

The overall event is a three-day public symposium in which, according to organizers, "members of the fields of game studies, art history and related areas of cultural studies gather to investigate games as an art form."

Also featured in the conference is the premiere of commissioned art games by Jason Rohrer, Tale of Tales and Nathalie Pozzi and Eric Zimmerman, of which there's more information available on the official Art History Of Games commissioned game site.

So, how about the concept of "an art history of games," and whether it's valid?

"It's interesting that we have to justify this question in the first place," said co-organizer, author and IGF Nuovo Award finalist Bogost (A Slow Year) in his opening remark.

Fellow organizer John Sharp added that the idea for the Art History of Games conference was to "start the process of looking at the question of art and games more closely."

They presented three ways of looking at the art of games. "Is the art of games found in the visual arts?" Sharp asked, adding, "Another place we can look is that the art of games is in their worlds. This lends itself to thinking of games as sculptural."

The speakers pointed out that, of course, games can also be enjoyed from a technical point of view. "We can appreciate all video games from the technical perspective," Bogost said, and noted wryly that "this is how we tend to market games."

"Finally, is the art of games in the game design?" Sharp asked. There are plenty of examples of beautifully designed game systems, as the game designer and art historian noted. "Basketball is a great example," he offered. "There's an abstract system, but the experience within that system can be quite magical."

None of these issues are clear-cut. Pointing to Rod Humble's art game The Marriage, Ian Bogost mused, "What if we stripped everything away? What would remain? What makes Wii Sports different from real tennis?"

Sharp laid out one final way that one could claim games are art. He pointed out that the act of play itself has creative aspects. "Is the art of games found in the player's performance?" he mused. "This suggests that the real power lies with the player rather than the designer."

Co-organizer Michael Nitsche added, "If we think that the art happens in the process of playing, then we have to look at the artist in front of the screen -- the Doom god or the SoulCalibur dancer."

There are other areas in which video games are perhaps underappreciated, said the panelists. Sharp pointed out that "you don't usually see games in a museum. A lot of our historical understanding of games comes from representations in art. There's a sort of paradox there."

But what's important, the trio concluded, is that these issues continue to be discussed out in the open, to improve the lot and standing of games alongside the medium's creative counterparts. As John Sharp offered in conclusion, "If we knew [the answers to all of these questions], we wouldn't have organized this symposium!"

With speakers spanning industry veterans like Brenda Brathwaite (Wizardry series) and newcomers like Jason Rohrer (Passage), as well as former id Software superstar and keen game historian John Romero, now of Slipgate Ironworks, those issues are sure to be discussed further.

[UPDATE: Vital to any art form is its living history -- embodied the craftsmen and women who have pushed it forward. The development of games is no different.

So in his keynote address at the Art History of Games Conference, industry veteran John Romero -- formerly at Id and involved in Doom and Quake, and now heading up MMO house Slipgate Ironworks -- talked about the masters of game design, and how the pioneers had some advantages over modern developers.

Romero started his talk by honoring some of the masters of the game industry that are still with us, or have recently passed on -- living notables like Nasir Gebelli and Bill Budge, and those not still with us like Dani Bunten Berry and Gunpei Yokoi.

"Our masters worked within a lot of constraints." Romero pointed out. "The Atari 2600 was created to play just two games. However, designers today are more constrained."

Romero then walked the audience through the history of the first-person shooter, the genre he helped to create with games like Wolfenstein 3D, Doom, and Quake. "The shooter genre exploded after the release of Quake," Romero said -- "and now our design patterns are being 'genre-fied'."

In fact, the Id veteran noted, with today's expanding budgets and relatively mature mainstream game industry, opportunities for big-budget diversification are dwindling: "We have five or six types of games that are going to be funded."

Romero then turned to games on Facebook, saying that -- even in the nimbler areas like social gaming -- the same thing was happening with games like Farmville. He mused: "A publisher is going to look at the numbers for a game like Farmville, and say to a developer: 'That's what I want!'"

Continuing the theme of constraints, Romero said: "Another limitation we have are APIs... the more we put between us and the hardware, the more we're constrained."

But all is not lost -- in his final remarks, Romero noted that plenty was still possible in games, and called for students to go back and study the early masters of the game industry. He reminisced: "We need to go back to the beginning. There was unbridled creativity."

[Charles J Pratt is a freelance game designer and a researcher at NYU's new Game Center. He will be covering the Art History Of Games event for Gamasutra.]

February 4, 2010

Glorg: One-Button Action RPG

Taking a cue from Diablo, which simplified RPG experience into a point-and-click-and-loot experience, Glorg pares the formula down even further by taking over control of your hero's movement, managing where you want to explore or adventure off to while you worry about reacting to whatever you come across.

Martin Jonasson created this procedurally generated Flash game as his submission to the Gamma 4 one-button game competition. According to Crayon Physics developer Petri Purho, who's apparently played Glorg already, the game is "very addicting" and "basically a very streamlined version of Diablo".

Sister site IndieGames pointed out another fun looking single-button game: Tom Vencel's One Button Bob, now playable at Armor Games. The action title presents a series of screens in which you have to push your button at the right time for your explorer to react in a way that allows him to survive.

[Via IndieGames.com]

NECA's Big Daddy Plush With Baseball Head

Mimicking the Big Daddy doll seen in BioShock 2's trailer and promotional images, toy manufacturer NECA has created plush dolls that look like they've been sewn and stuck together from junk laying around in Rapture: a baseball for a head, a wire frame cage, a corkscrew arm, rubberbands across the chest, and more.

Fans of the game have already produced more than a few homemade versions of the Big Daddy doll, but lazy gamers without any craft skills will soon be able to buy a pre-made 7"-tall version for just $24. Tenacious Toys says NECA is already shipping the item retailer, so you should be able to order one soon.

[Via Super Punch]

COLUMN: @Play: Crawlapalooza Part 2: What's With All These Skills, Anyway?

Roguelike column thumbnail ['@ Play' is a monthly column by John Harris which discusses the history, present and future of the Roguelike dungeon exploring genre. This time, he continues a length series on roguelike Dungeon Crawl Stone Soup by examining its intriguing - but complex - skill-based gameplay system.]

In Part 1 of this article series, we examined the experience and skill advancement system of that rising star of roguelikedom, Dungeon Crawl Stone Soup. It’s a mixture of a straight-forward level gaining mechanism and a practice system that balances out the problems with characters doing something over and over just to gain skill by requiring he kill monsters to provide the fuel for advancement.

Like how Nethack, in many ways, is best experienced playing via telnet, with a community score list to place on and player ghosts to encounter, so is Crawl (although it tends to make Crawl games harder rather than easier, due to ghosts being so much more dangerous there). The two primary places you can play Dungeon Crawl Stone Soup online is at crawl.akrasiac.org for the current stable version and crawl.develz.com for the current development version. Both versions are ASCII only, and Windows users will probably have to install PuTTY. Helpful instructions can be found on the akrasaic site.

(Warning: This is a full examination of all of Crawl's many skills. This article is quite lengthy!)

Character Planning

Crawl’s character development system is designed so that, if you don’t want to bother with planning your guy’s growth, you don’t technically have to. Other than being asked to pick a stat to increase every three levels, all advancement is done passively. Since character growth happens using a practicing system, and many times you must take advantage of character strengths to survive and propser, playing this way will result in a strong focus on those initial strengths, which suits some characters more than others. Strong melee characters can do very well with this, given careful play. Spellcasters, on the other hand, require a bit more care to survive, since an ogre-type monster will sometimes get into melee range without your being able to do anything about it. And even melee guys would do well to diversify their weapon skills a little, in case a powerful artifact of a different weapon type shows up or an interesting spellbook is found.

Increasing skills you don’t know requires free pool experience (which, as we discussed last time, comes from beating monsters) and an opportunity to practice. Many of those practice opportunities, especially for melee skills, come from fighting monsters, so we should be grateful that there are an ample supply throughout the dungeon. Increasing Traps & Doors happens on its own, but is greatly accelerated by trying to disarm traps (press Ctrl plus the direction of an adjacent trap to try to disarm). Dodge goes up generally whenever you’re attacked in light armor, and Stealth goes up randomly just from moving around in light armor. Shields and Armor skills go up similarly, when wearing the appropriate equipment.

Spellcasting is a bit special. Most of the time you do not need an appropriate circumstance to practice a spell, even if it ordinarily requires a special situation such as a skeleton or a handful of arrows. You won’t get much game use out of the spell in those cases, but it still counts for practicing the skill. Even unsuccessful spellcasting attempts practice magic skills, but those can cause miscast effects, which can be extraordinarily dangerous in Crawl’s system. Every class of spells has its own assortment of miscast effects, ranked from slight to perilous. The worse ones tend not to happen unless you cast spells well outside your ability. This may come as a shock to players coming from Nethack, where some of the most powerful spells like Identify and Magic Mapping can be made useful even if you have only slight skill just by trying again and again until successful. In Nethack, the penalty for spell failure is wasting a turn and some magic points; in Crawl, depending on the spell, it can include high damage or Abyss banishment, among other harsh punishments. It really sucks to die due to damage from miscasting a desperation spell, so it is best to stick with spells you know you can cast well in dangerous situations. Casting high-level spells you have no skill in should be avoided unless you have some other factor balancing it out.

dc3-1.pngOverall skills: Fighting & Spellcasting

These two skills are special in that they are overskills, which add small bonuses to multiple other abilities. They tend to train more slowly than the subskills, and their effects are more subtle, but their bonuses extend to every skill they cover. This way, if a player becomes skilled in Conjurations, along the way his Spellcasting skill will improve. If he then tries to learn Enchantments, he’ll have a slightly easier time of it than if he started from minimum Spellcasting. One level of that skill is roughly equal to a quarter-level of skill in each individual magic school.

These skills are also special in that, no matter which of Crawl’s many classes you choose, your major abilities will likely fall under at least one of them. It can be useful for characters who do not seek to gain major ability in both areas to gain at least a little anyway.

  • Characters with Fighting skill begin gaining extra hit points at character level 5, with the amount proportional to the amount of skill. If you are already character level 5 the you gain hit points immediately every time Fighting goes up! (There is no advantage based on when you gain Fighting skill; the hit point bonus is applied, effectively, retroactively. Notably, Nethack’s Constitution score, which applies bonus hit points in a similar manner, does not do this. This is the source of a subtle, long-standing exploit for that game.)

  • Characters with Spellcasting may also receive magic point bonuses according to their level in that, although characters can also gain maximum magic points by instead having skill in Invocations. (Why the weasel word “may?” Magic points are actually determined by a complex system that decreases the liklihood of gaining additional magic points as the total increases, so when you have many MP increasing Spellcasting might not help here.)

Spellcasting is useful for one other thing. WIthout at least one level of Spellcasting skill, spells cannot be learned or cast at all! As I said last time, all characters have the opportunity to gain Spellcasting skill, but seeing as how the way to gain Spellcasting is to cast spells, how does a character do this without being able to use magic? The key is in reading scrolls; if the player has a zero in Spellcasting skill, then reading scrolls with points in the experience pool advances Spellcasting a bit, and when level 1 is achieved (you “gain Spellcasting skill”) the wide world of magical aptitude opens up to you.

Similarly, Fighting skill can be trained up to level two by fighting inert opponents like plants and fungi. Since that grants maximum hit point bonuses, it is a good idea even for magic-using classes to do that, although with care magicians can fairly safely train combat skills against weak monsters like giant newts and goblins.

dc3-2.pngWeapon Skills: Short Blades, Long Blades, Axes, Polearms, Axes & Flails, Unarmed Combat

These skills all affect their individual weapons’ usefulness, so their worth is tied to the worth of their respective weapons. In brief:

Short Blades: Relatively low-damage weapons, but the best at Stabbing which makes them the best weapons by far for certain classes. Contains the dagger, which is a special case in the Stabbing rules. This skill “cross-trains” with Long Blades, meaning learing one makes it much easier to learn the other to the same level.

Short blades are weak as weapons go, but one area in which they excel is stabbing (see below). Additionally, they all provide large to-hit bonuses.

Crawl generates some guaranteed knives in the first few levels of the dungeon, plus daggers are favorite weapons of kobolds, which the early game is loaded with, so there is usually no difficulty in finding a short blade to train with. Some weapons one might consider to be in the long blades category, such as sabers, in fact count as short. To discover which category a weapon belongs to in-game, go to inventory and enter the item’s letter. (This can be used to describe any object you can carry, and is excellent for figuring out how to use a mysterious object.)

Some sort of bladed weapon is useful for nearly all characters as a means of chopping up corpses for snacks, among other uses. That use probably does not depend on skills, but if the character can use it in combat anyway it means one less thing to carry around.

Long Blades: Crosstrains with Short Blades. Starting weapon skills are assigned based on the weapons a character begins with, and so only Paladins begin the game with Long Blades skill. Interestingly, Long Blades are better than most other weapons at Stabbing, but Paladins, as worshippers of The Shining One, are forbidden from doing that. Because it cross-trains with Short Blades, the best way for stabbing characters is probably to raise that skill first. Long bladed-weapons tend to do more damage, obviously, than short-bladed ones, but short-bladed weapons are better at stabbing.

Traditionally, in D&D, longswords are the “default” weapon, the most likely one to start with and the most likely to be found enchanted in the world. In Nethack, in particular, many of its best artifacts are longswords. Crawl has a good distribution of fixed artifacts among its weapon classes, but long blades ties Maces & Flails for the most fixedart-filled category. (Of course most artifacts are randarts, which are rather more random.)

Of particular note, both short and long-bladed weapons are bad to use against Hydras, which become stronger as their heads are cut off and new ones grow in their place.

Long blades are quite difficult to find in the first levels of the dungeon. Most players find their first off of an orc, such as an orcish falchion.

Axes: Axes are one of the most powerful weapon categories that can be reliably found in the dungeon early on, and are a great weapon choice for the burlier races. The orcs frequently found in the early dungeon often carry them, along with short blades, maces and polearms.

Maces & Flails: This wide-ranging skill covers maces, clubs, flails, whips, hammers and morning stars. The earliest ultra-powerful weapon usually found in the dungeon are the giant clubs and maces usually carried by ogres, but like all the powerful weapons, they are slow, heavy and using them causes large to-hit penalities. Note that Crawl does not support the traditional D&D prohibition on priests against cutting weapons, so there is no particular reason for them to wield maces if they don’t begin with skill in them.

Polearms: Also a surprisingly inclusive weapon category. In addition to the sticks-with-knives-tied-to sorts of weapons it includes spears and scythes too. Sigmund, a deadly unique opponent frequently encountered in the early game, comes with a scythe, but to get it first you have to kill him. Many players try to put this off for when they’re a couple of levels up on him.

Two special weapon brands, dragon-slaying and reaching, can only be generated on polearms. The former is limited in application, especially in the early game, but reaching allows you to strike one space away by using the ‘v’ key with it wielded. This feature can be utilized by monsters too, especially by gnolls, who are prone to suddenly having this weapon when you’re trying to cast spells on them.

Staves: The least inclusive of all the melee weapons, this category only includes quarterstaves and the exotic and rare lajatangs. The random staves found in the dungeon, as of version 0.5.2, are useful for their magical properties, not too useful in combat. Although there are some special battle applications (some inflict special damage types depending on effect), they cannot carry the enchantments that make other weapons so useful later in the game. Word is that the current development version of Dungeon Crawl Stone Soup, called “trunk” in the developers’ parlance, promotes magic staves to full weaponhood. [[check]]

Unarmed Combat: Okay, so it's not a weapons skill, but it fills the same kind of hole in the skill system. This is best trained if your character has, or is likely to receive, some kind of special attack mutation, like horns on your head or claws on your hands, so you're doing more than just punching damage. It also trains if you're wielding no weapons when fighting in melee. Notably, Unarmed Combat skill allows you sometimes to get in free hits in battle, such as punches with your off-hand and headbutts, even if you're using a weapon, so many melee characters could stand to get a little training in it.

Missile Skills: Bows, Crossbows, Slings, Darts, and Throwing

The choice of missile weapon matters a little more than melee weapon due to some requiring spending a turn to switch to in order to make use of them and availability of both weapon and ammo.

Bows: This skill covers use of both normal bows and longbows. It requires a turn to equip the bow, so it can be a good idea to make the bow your exploration weapon, and switch to melee if the situation demands it. Arrows are very common, on the ground and in the inventory of centaurs. Centaurs always carry bows, too. In 0.5.2 missile weapon ammo can carry a brand. Bows can have a brand too. Either case will impart a magic property to a shot, but will always destroy the ammo in the process. (Exception: if the arrow is flaming and the bow is freezing, or vice versa, the shots will be normal!)

Crossbows: Faster to fire than bows, and hand crossbows can be fired one-handed. (Important note: it looks like hand crossbows will be removed in 0.6.0.) It is much harder to find crossbows and ammo than bows. Sometimes the player will have to wait until the Elven Halls, a dangerous mid-game dungeon, before he can start building his crossbow skills. A useful trick for conserving ammo is to wield a stack of bolts and reading a scroll of enchant weapon; ammo that carries a plus is much less likely to be destroyed by firing than unenchanted.

Slings: These are midway between the power of bows and the ease-of-use of darts. Slings can be used on both sling bullets (which may carry a brand) and stones (which do not). [[check]] Although it may seem counter-intuitive, the Throwing skill is neither checked nor trained by using slings. The two skills do cross-train, however. Stones are an important missile weapon in the early game for being the best way for a non-magic character to kill Jellies, since they do not consume rocks.

Darts: Using darts as a weapon practices both the Darts weapon skill and the Throwing skill. Darts are convenient due to their being able to be thrown without wielding anything ahead of time; they can be tossed directly out of the quivver. Darts are also governed by the Throwing skill. The word from the Crawl Dev Team is that 0.6.0 will remove the Darts skill in favor of using Throwing entirely.

Throwing: In addition to darts, this skill governs everything else that is thrown, including stones that are not launched from a sling. Although this is technically an overskill like Fighting and Spellcasting, it is very limited in application and doesn’t carry extra benefits as do those other skills.

dc3-3.pngMiscellaneous skills: Stabbing, Stealth, Dodge, Armor, Shields, Traps & Doors, Invocations and Evocations

Stabbing: An extremely useful skill for certain character classes, stabbing is Crawl’s term for what other games call a backstab, a highly-damaging attack made against a compromised foe. Whenever you make a melee attack against a monster with (in the tiles version of the game) either an exclamation point or a question mark in the monster’s tile, there is a chance relative to the level of the Stabbing skill that the character will carry out a stab. The damage done depends on the level of Stabbing, the level of the weapon skill corresponding to the wielded weapon, the kind of weapon, and how incapacitated was the opponent, with the best cases being stabbing with a dagger and a sleeping monster.

A character with full-level Stabbing skill, stabbing with a dagger, and attacking a sleeping monster, does over twelve times his usual damage. He is also practically guaranteed to hit. Even at relatively low levels of Stabbing the damage bonus is high enough that monsters much stronger, in other ways, than the character can be dispatched in one strike if they only they be put to sleep. I recommend the experience of taking out an eight-headed hydra with one hit at low level to everyone. Of course many higher-level opponents tend to resist such sleep effects, or are cold-resistant (sleeping spells in Crawl are cold-based), but considerable damage bonuses can still be achieved against monsters who are merely confused.

Stealth: A passive skill that determines how likely a monster is to notice you approach. Every race has a stealth modifier that Stealth skill is multiplied by to produce a character’s base stealth score, to which various other bonuses and penalties are added. Notably, being burdened by carrying too heavy a load or confused greatly increase the chances of being noticed. Armor adds in a substantial penalty to stealth relative to its weight. Stealth bonuses can be provided by items, artifacts, silence and invisibility.

Stealth is most useful partnered with the Stabbing skill. A very stealthy character like a Spriggan often ends up as a natural assassin regardless of what class he began with. Stealth is trained randomly just while moving around while not wearing “heavy” armor, which makes it, for better or worse, very easy to train. For more on this, see the next skill.

The wiki downplays the worth of Stealth, saying that it’s practically useless for non-assassins, but it can be of value in escaping from powerful monsters that have not yet noticed you, or getting in an extra missile attack before the foe closes in for melee.

Dodging: Training this skill decreases the chances enemies have to strike your character. Its effectiveness is lessened if your character is wearing heavy armor with low Armour skill. Even with good Armour skill, it is not trained while wearing heavy armor unless the player has enough Armour skill, but if the player’s character isn’t wearing any it gets practiced frequently whenever an enemy makes an attack against him.

The usefulness of Dodging goes up relative to the player’s Dexterity, up to a point which is determined partially by the size of the character. A side effect of this is that, even with high Dexterity, only Spriggan-size characters (the smallest player race) don’t receive any benefit from Dodging until they get their second level in it.

Every practice event that occurs in Crawl takes points from the experience pool, and thus makes other practice events that much harder to devote points to. And high skills cause practice events to devote many, many more points to them, exacerbating this situation. Thus it is that, without some planning, high scores in Dodging and Stealth can absorb many skill points the player might prefer go into other areas, especially for spellcasters, who will want to avoid heavy armor, and Spriggans, who can’t wear most of it. Some players “turn off” training in Dodging and Stealth early on, from the ‘m’ screen. This doesn’t actually deactivate skills, it just makes them much less likely to train. In fact, this can be a useful strategy for many kinds of characters in the early game where every skill point counts.

Armour: If you’re wearing heavy armor then Dodging and Stealth do not train; what does instead is Armour skill, which lessens the negative effects of wearing such armor. It can also provided added protection from armor as the player learns to wear it better. For technical reasons, this is potentially very useful for Orcs worshipping the orcish god Beogh.

Heavy armor can produce substantial combat penalties (not to mention those for spellcasting), so melee characters will benefit greatly from training the Armour skill.

Shields: In many ways, as Armour skill is for heavy armor, Shields skill is for shields. A high skill means the negative effects of bearing a shield (hit less often, reduced attack speed, spell fail chance) are reduced and the positive effects (blocking of enemy attacks) are increased. Shields in Crawl are useful even if they provide no visible Armor Class benefit, but they also make it more difficult to hit in battle or cast spells.

Traps & Doors: Relative to other games, Crawl has remarkably lethal traps. The only roguelike with traps more deadly is ADOM, whose door-mounted stone block traps have squished many early characters. But Crawl provides a defense against these traps in the form of the Traps & Doors skill.

The effects of this skill are: it increases the chances of finding a trap by searching; it increases the chances of finding the trap passively, just from passing time near it; it appears to increase the distance from which hidden traps can be spotted; it decreases the damage done by the trap if it hits; it decreases the chance of being struck by it when it goes off; and as a bonus it even helps find secret doors, both passively and from searching or resting. (An interesting feature of Crawl is that, although both search and rest keys are supported by the game, they actually do the same thing. Resting a few turns automatically searches nearby spaces in the bargain!)

It isn’t very far into the game where traps start doing substantial damage, so all characters should increase their Traps & Doors skill when they can. The skill is practiced sometimes when a trap is set off or spotted randomly, but the best way to train it is to attempt to disarm traps, by holding the CTRL key down and attempting to move onto it. (This is also the fight-without-moving command, by the way.) Failing to disarm a trap often results in taking damage from it, so it is best to do this with traps on the earlier levels, since they do much less damage. It certainly is worth making a trip back up the dungeon in order to practice with less risk. Some kinds of traps, notably alarm traps and any magical types, cannot be disarmed.

An interesting thing about this skill is that while, like all skills, it takes a bit of doing to get it to first level, once you get it to maybe level five it sort of takes over for itself, and becomes almost a self-training skill. The reason is that automatically finding a trap from a distance is itself a practice event for the Traps & Doors skill, so the better you are at it, the better you tend to get. If this process steals away too much pool experience you might end up having to turn it off to slow its advancement.

Deep in the dungeon the player will start to encounter Zot traps, which are one of the most diabolical hazards in Crawl, capable of doing a wide range of terrible things to the player’s character including banishment to the Abyss. Having a good Traps & Doors skill is one of the few good ways of avoiding these.

Finally, one of the more wonderful things about Crawl are the occasional goodies found in secret vaults. These can be found even on some higher levels, hidden by secret doors. It can sometimes be worthwhile to return to earlier levels once you get Traps & Doors up to a respectable rank and seeing what previously-unseen passages call out to you.

Invocations: Many gods, once you gain enough favor, or piety, with them, will grant you special abilities that you can use. The use of these abilities trains the Invocations skill.

The use of many invocations also carries costs, in the form of food, magic points or piety, making them more or less useful for training. The Invocations skill applies to all gods, so theoretically you could train the skill under a god with a cheap power, then switch over to the god with the expensive power to use it more effectively, but most gods will punish those who convert away from their religions very harshly.

Overall Invocations is one of the less generally-useful skills in the game (it is completely useless for atheists and Demigods), but it does have an extra benefit; characters with low or zero Spellcasting skill can train this skill to receive extra maximum magic points.

Evocations: Crawl even has a skill for the use of magic items; this is it. The higher Evocations skill rises the more useful useable magic items will be. Most items that use the v or V command to activate train Evocations (but not weapons of reaching). For most characters the most useful function of Evocations is the use of wands, which become more useful generally as Evocations skill rises. Rods, which are like wands but more easily rechargable, can make this skill quite useful, as well as provide greater opportunity to train it. Rods are rare generally, though.

Artificers in particular, which have magic item use as their focus and begin with wands or a rod, tend to get more lot of use out of this, as do Deep Dwarves who can recharge wands as a special ability.

One particular use of this skill is in drawing from decks of cards. The cards are not changed by Evocations skill, but the ones drawn can become more powerful (which can be good or bad) as skill increases.


dc3-4.pngPrimary magic skills: Conjurations, Summonings, Enchantments, Translocation, Transmutation, Divination, Necromancy, Poison Magic

The individual magic skills affect memorization chances, casting chances and spell power for the spells covered by their corresponding school.

Conjurations: The most direct of magic skills, all the Conjurations spells in Crawl have to do with creating effects out of nothing. It includes direct damage spells of both its school alone (like the common Magic Dart spell) and spells that are mixed with elemental schools (like the awesome Lehudib’s Crystal Spear). Spells of mixed schools average the levels of those skills when checks are made.

Conjurers are a class that focuses in Conjurations spells, but Wizards, who are typically generalists, usually end up relying on them as well.

Summonings; These spells call creatures (of many different types) to aid the caster. Or at least that is the intent; not all of these spells guarantee that the called being(s) will be friendly. Higher levels in Summonings increases the odds of the summoned creature, for those spells, of being favorably inclined towards you. The lowest-leveled Summoning spells are Summon Small Animals, a.k.a. “Summon Spammals,” and Summon Butterflies, both useful even late at the game as ways to put things between you and slavering horrible monsters.

Enchantments: Enchantment spells are more subtle than Conjurations but still powerful if used correctly. Spells that confuse or put to sleep are excellent early in the game, especially to stabbing characters. Confused monsters cannot cast spells, smite you or fire missiles. One of the most powerful early spells in the game is Mephitic Cloud, which is Conjurations/Poison/Enchantments.

Later on Enchantments becomes less useful as many of its status effects get resisted by high hit die monsters. There are even some monsters who are entirely immune to Enchantment. Back on the plus side, Selective Amnesia, one of the most useful spells in the game, is an Enchantment spell that allows you to forget other spells, freeing up those spell levels for other magic. The only other ways to forget spells are a Sif Muna ability that costs piety and certain miscast effects, which have the added drawback of not letting you choose the spell forgotten. There is also Invisibility and Haste, spells that are so powerful that they cause “magic contamination” if used too frequently.

One of the most useful Enchantment spells is Enslavement, which makes a monster (if it doesn’t resist) temporarily into an ally. To digress for a moment to compare Crawl to another game... one of Nethack’s little strangenesses is that its “pets” are never struck by enemies as a direct attack, they only hit as a counter-attack after a pet hits them first. Crawl’s pets/summons/allies/slaves are full-fledged monsters that must be targeted by enemies, so just having a friend fighting with you makes you marginally safer as some enemy attacks will be spent attacking the pet. This seems to me to be a much more realistic way to handle allies.

Translocation: This spell school is about moving things around, either you, monsters, or items. A low-level spell of the school is Apportation, which moves an item in sight to your space. At higher levels you can blink or teleport, or control teleports, or banish monsters to the Abyss (although you might find them there when you go there yourself).

Most of the magic schools have low-level spells that help the player in little ways that can be used to gain basic skill in that school. Translocation has Portal Projectile, which can be used, according to the game, to teleport launched projectiles directly to their targets. The result, functionally, is a to-hit bonus. Enchantments also provides such a spell in the form of Corona.

Transmutation: This is the magic school of turning-things-into-other-things. Before you get Nethack-inspired visions of limitless resources, polymorphing objects is not possible in this game. You can polymorph monsters, but player polymorph is limited to a few special forms and a handful of special cases. Many of the Transmutation spells involve morphing into those forms, which each provides for various benefits (and often some drawbacks). Other useful Transmutation spells are Dig, Passwall, Disintegrate and Shatter, which can be very useful in getting around Crawl’s complex multi-level dungeon.

One of the Transmutation spells is Alter Self, which inflicts upon the player a number of random mutations. Crawl divides mutations into “good” ones and “bad” ones, and Alter Self (and most sources) picks randomly from the lists. Curing mutations, for most characters, is harder than gaining them; the most common sources of mutation removal are potions of cure mutation, which are fairly rare. (The message they give is “This potion has a clean taste.”)

Many of these magic skills have a character class that specializes in them (that is to say, begins with several levels in it). An early-game engine that works for Transmuters is using the spell Fulsome Distillation to extract harmful potions from corpses then Evaporation to use those potions against monsters.

Divination: Roguelikes are almost unique among CRPGs these days for providing spells whose sole purpose is to provide information, and Divination is the spell school in which Crawl’s information magic lives. The star of the Divination school is Identify; Crawl’s system of randarts means there is rarely a lack of magical things to query even late in the game. Also spells include Magic Mapping and an assortment of detection magic. Other than those things, Divinations seems to be the magic school with the fewest spells.

Necromancy: The magic of dead in Crawl is, in gameplay terms, a kind of hodge-podge of spells with effects like those in other schools. There are direct damage spells like in Conjurations, enslaving spells like Enchantments, and monster zombie-raising spells are a bit like Summoning.

One unusual speciality for Necromancy in Crawl is healing. Interestingly, Necromancy is the only spell school in Crawl with healing magic, and even then it always have some strange mechanism behind it, such as increasing regeneration, stealing hit points from monsters or sacrificing maximum hit points. This makes healing items (potions of healing, potions of heal wounds, wand of healing) and gods very valuable in Crawl.

Poison Magic: Similar to the elemental magic schools, Poison Magic involves a particular theme of effect. Also like the fire and ice spells of those schools, it is a lot less useful generally against monsters resistant to it. Unlike fire and ice resistance, poison resistance is all-or-nothing; there are no multiple levels in it. I do not know if Poison Magic counts as an elemental skill for purposes of learning (see next entry for more information).


Elemental magic skills: Fire Magic, Ice Magic, Earth Magic, Air Magic

Elemental magic skills are an exception to the rule that knowledge in one skill doesn’t hinder knowledge in another. All elemental magic skills other than the one the player has the highest level in are harder to learn, and the one opposed to that skill is even harder to learn. Fire opposes ice, and air opposes earth.

Fire Magic: This is generally the elemental magic school for attack magic. Utility spells include Conjure Flame (which blocks off a space to -some- enemy movement for a while; it tends to be fairly weak), Ignite Poison (useful both to damage monsters you’ve poisoned and as a painful way to cure it in yourself), Dragon Form (grarr!!!), and Evaporation (a very interesting spell where you throw a bad potion and it explodes in a cloud of vapor; quite useful combined with Fulsome Distillation).

Ice Magic: Contains the oddly-named spells Ensorcelled Hibernation and Metabolic Englaciation, which you might as well think of as Sleep and Mass Sleep. Sleep spells are super powerful in Crawl because the game uses coup-de-grace rules, in conjunction with Stabbing skill, against helpless opponents, for huge damage bonuses. This allows for a potent engine for Enchanters. Note, dear players, that if monster slept with one of these spells wakes up, a further casting won’t work on them for around 20-30 turns. Ice Magic has fewer attack spells than Fire Magic, but it’s still no slouch.

Air Magic: This is the elemental school that contains Lightning spells, which are powerful and with less common resistances than fire or ice magic. On the defensivce side, one of the most dangerous monsters in the Realm of Zot are lightning golems, against which the Air Magic spell Insulation is very useful. Airstrike is one of the few magic attacks in Crawl that uses “smite targeting,” meaning the attack strikes from above without having to pass through intervening creatures, which is highly useful for taking out summoners. Air Magicians also get the SIlence spell, also of tremendous aid against spellcasters. This school, with Poison and Conjuration schools, combine to provide the potent early-game confuser Mephitic Cloud.

Earth Magic: Unique among the elemental attack spells, there is no special resistance against Earth attacks. They tend to be like physical strikes. Possibly the most useful spell in the game, Lehudib’s Crystal Spear, is of this school. Utility spells are more frequent in this school that others, with Dig, Magic Mapping, Passwall, Shatter and Statue Form, among others, to choose from.


Next time it’s yet more Dungeon Crawl! We’ve talked a bit about engines here, a gimmick a character uses to kill monsters and prosper. Next time we’ll devote a bit more focus to those as we take detailed looks at several race/class combinations and what is awesome about them. Until next time....

Extra: If you are a Nethack player and are a little dismayed at all the Crawl stuff lately, it might be entertaining to speculate as to the origin of this user score page at alt.org.

Tale of Tales Releases First iPhone Game

With the Art History of Games symposium opening tonight in Atlanta, indie game developer Tale of Tales (The Path, The Graveyard) launched its first iPhone/iPod Touch title, Vanitas, one of three "art games" commissioned for the event. It's now available through the handset's App Store for $0.99.

Short for "Vanitas vanitatum omnia vanitas", or "Vanity of vanities, all is vanity", Vanitas is a meditative piece designed without rules or rewards (aside from the gold star that appears when three identical objects appear). The game offers 35 different 3D objects that you can interact with in 12 different stages.

You can tilt, push, and drag the objects with your finger, as well as observe them without interfering (e.g. some objects decay, a flower blooms, a bubble pops.). Vanitas features cello music from Rasputina's Zoe Keating and quotes from The Bible and famous others (e.g. Nietzsche, Sappho) on topics like life and vanity.

The other two games commissioned for the three-day symposium are Jason Rohrer's PC game Sleep is Death (Geisterfahrer), and Nathalie Pozzi and Eric Zimmerman's life-size board game Sixteen Tons. Atlanta gallery Kai Lin Art will exhibit all three titles starting tonight and until March 2nd.

Machinarium Soundtrack's Vinyl Release Shifts You Into 'Higher Levels Of Cognition'

Machinarium developer Amanita Design has teamed up with Minority Recorts to put out a limited edition vinyl release for the soundtrack of its IGF-winning adventure game. The 12" LP will include 15 songs from ambient to electro-acoustic and classical music, all written, composed, mixed and produced by Czech musician Tomas "Floex" Dvorak.

According to Minority Records, "The beauty of greatly orchestrated subtle pieces makes you ... sit back and listen in for hours and shifts you into a higher levels of cognition." You can preview a track at the company's site to experience that higher cognition level yourself!

The label will create 555 hand-numbered copies -- 405 on black, 150 on clear yellow. Dvorak will sign each of the copies himself, and the LPs will also include three art reproductions by Amanita's Adolf Lachman. You can preorder the Machinarium vinyl soundtrack, which releases later this month, for €12.50 ($17.31) before shipping and handling charges.

Reminder: Last Day For GDC 2010 Early Registration

Organizers of GDC 2010 are reminding that today is the last day to register for up to 35% off pass prices for the March 9th-13th event, with the free Android phone offer also expiring today.

The Moscone Center, San Francisco-based event has just announced a raft of new lectures, including highlighted talks from Pixar notables, Lionhead's Peter Molyneux, Double Fine's Tim Schafer, and Final Fantasy XIII's director Motomu Toriyama, and a surprise lecture from Metroid co-creator Yoshio Sakamoto.

However, Thursday, February 4th is the final day that GDC is accepting registrations at the early rate, which includes up to 35% discount from final pass prices. The early reg rate will be open until 11.50pm ET this evening.

In addition, today is the final day to register for free Nexus One and Verizon Droid by Motorola phones with GDC 2010 attendance, as part of a promotion between Google and Game Developers Conference. Select All-Access Pass and Summits & Tutorials Pass attendees will receive the phone, and more information is available on a GDC website page.

As well as the nine major Summits, from iPhone to indie and social games -- and notable tutorials on the first two days of the show, there are six main Tracks - programming, art, production, business, audio, and design - for GDC 2010. These include lectures from the creators of Assassin's Creed II, Splinter Cell: Conviction, Uncharted 2, Braid, God Of War III, Dante's Inferno, APB, and a host of other acclaimed games.

Game Developers Conference 2010 -- part of Think Services, as is this website -- will also play host to the GDC Expo Floor, including a host of notable tool companies, the recruitment-specific GDC Career Pavilion, the 12th Annual Independent Games Festival plus Awards and the 10th Annual Game Developers Choice Awards, open to all pass holders.

More information on many of the highlighted areas of GDC 2010 is available on the official Game Developers Conference weblog, and the GDC 2010 website has a full list of lectures, passes, and opportunities at this year's event, as well as specific on registration pricing and options.

Attendees are also reminded that they can email GDC 2010's registration staff -- or call them at 866-535-8997 or +1 (415) 947-6926 from 9am to 4pm PT each weekday -- if they have any issues registering. (All GDC 2010 registrations commenced before the 11.50pm ET deadline will be honored, even if any technical issues occur.)

Project Natal Prototype Spotted

In a report about Microsoft contracting Taiwanese manufacturer Pegatron Technology to produce its Project Natal controllers, the Seattle Times shared this curious image of a prototype for the sensor device. If you can't read it, the left sticker says, "Caution: Potentially hazardous laser energy. Do not open the enclosure."

This version of the hardware looks noticeably different from the marketing shots Microsoft's passed around for Natal; for one thing, it's propped on a Gorillapod camera tripod instead of a first-party plastic stand, and it's covered with stickers.

The wire also plugs into the top of the hardware instead of the back, and the exposed sensor parts are moved to the right side instead of positioned in the center. Siliconera adds that the bar looks a little smaller than the concept picture released at E3 last year.

The Seattle Times article has a funny bit mentioning that Pegatron is also manufacturing the next-generation iPhone. The newspaper fantasizes, "Imagine if they jumbled things up and shipped motion-sensing iPhones or Natal controllers that synced to iTunes." Imagine!

GameSetLinks: You've (Really) Gotta Believe

[GameSetLinks is GameSetWatch's semi-regular 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.]

Digging into our cache of GameSetLinks, we come up with some beautifully earthy article goodness, starting out with the 1UP folks discussing just where the character-based rhythm action game went - something I certainly mourn, since musical stories are actually major moneyspinners in other creative industries (uh, Broadway!) Shame.

Also in these links - a neat UK Guardian piece on Britsoft and indie gaming, plus Cartoon Brew gets on the Rockstar quality of life discussion train, Bear McCreary's rather gorgeous Dark Void soundtrack is dissected by the artist himself, and other things occur besides.

Remember me:

Chiptuned: 1UP's Game Music Blog : Mourning the Character-Based Rhythm Game
'We just need a concept as original and interesting as the first Parappa -- and there's never been a better time, now that most rhythm games seek to be indistinguishable from their competitors.'

Retronauts Flashback: January 1990 from 1UP.com
Super-nice Cifaldi snapshot of 20 years ago in gaming...

Bear's Battlestar Blog » Blog Archive » The Dark Void Score
Was really taken by the Dark Void soundtrack, discovered it's by Battlestar Galactica composer Bear McCreary - here's a gigantic making-of blog post with sample music.

Back to the bedroom: how indie gaming is reviving the Britsoft spirit | Technology | guardian.co.uk
Excellent article from Keith Stuart on indie games as creative renaissance: 'Britain used to produce some of the most entertaining and idiosyncratic videogames in the world. Then the eighties ended. But are the glory days returning?'

gamedrinkcode » Archive » How to afford an indie game
Heartily agreed.

Is Rockstar a sweatshop? | Cartoon Brew: Leading the Animation Conversation
Interesting to see this story get as far as one of the major animation sites, and the comments there-in.

BigDownload: IGF 2010 Finalists: Design Excellence
Really nice overview from James Murff and the BigDownload folks.

Life Starts Here: High Society
Writer and former GSW columnist Duncan Fyfe with a great fictional tale taking place at GDC, oddly enough - this is a blog to watch.

February 3, 2010

StarCraft AI Competition At AIIDE 2010

This year's Artificial Intelligence and Interactive Digital Entertainment conference (AIIDE 2010) will host a StarCraft AI competition that looks to help academic researchers "evaluate their AI systems in a robust commercial RTS environment." Projects can use a variety of programming languages in concert with the Broodwar API: Java, Python, LUA, and C#.

Though the conference will likely take place around mid-to-late October 2010, the competition actually begins on October 1st (registrations accepted all the way up until mid-September) and final matches with commentary will be held at AIIDE 2010. The competition will also feature exhibition matches between skilled human players and top performing bots.

You can find more information on the StarCraft AI competition at Expressive Intelligence Studio's site. I've also included a video below of organizer Ben Weber discussing the event's motivation and the technology enabling it:

[Via Game/AI]

Spanish Artists Pay Tribute To Konami

Spanish design company Ikari Studio has hosted a series of "Homage" efforts in the past several months with local artists creating works inspired by famous properties like Shin-Chan and Masters of the Universe. Last month's Homage was devoted to Capcom, but the latest collection pays tribute to Konami and its huge and varied list of franchises.

The artists, including some of Ikari's own talent, covered everything from Metal Gear Solid and Contra to Castlevania and King's Valley. Of course, I've included my favorites below, but you can see all eleven pieces at the firm's blog. Ikari is also looking for ideas on what property it should tackle next, so suggest away!

Metal Gear by Sergio Sandoval and Dani Vendrell:

Contra by Jonatan Cantero:

Castlevania by Iban:

Rumble Roses by Santi Casas:

Otomedius by Ninamo:

Analysis: Is Hard The New Good?

[Why are the truly difficult games seeing the most critical acclaim today? Gamasutra news director Leigh Alexander thinks she might see a new video gaming trend: Is "hard" the new "good"?]

The Wii's success helped drive something of a sea change in the way developers conceptualize game design. As young children, mothers and grandparents in nursing homes alike all joined Nintendo in spirit, it was suddenly more possible than ever to create games for a mass market.

At the same time, the surge in social networking and the growth of other new platforms with low entry barriers, like the iPhone, also helped bring broader-focused, more accessible gaming experiences to newer and bigger audiences. These new avenues more than revolutionized the term “gamer” -- they made it redundant, as a “gamer” could be anyone.

The timing couldn't have been better, either. The last two years' softening economy made it necessary for anyone with an interest in staying in business to cast a wide net. Alongside this evolving landscape came a subtle shift in design priorities: Developers seemed better off making games that were simple and inviting, rather than challenging or immersive.

This landscape shift also affected the core market. Among the online communities of hardcore fans, a Wii backlash had been simmering for some time, and even many professional reviewers, once optimistic, had begun to be frank about feeling as if the system was not "for them."

But while the Wii has become something of an avatar for the "gaming for everyone" concept, it's far from the only factor. Even core design has been trying to lower its barriers, prizing systems whereby players can set their own challenge level.

The evidence is everywhere, even very recently: Compare Bayonetta, with its simple two-button combo system, to the more complex button patterns of the earlier Devil May Cry games. Witness the streamlining of Mass Effect 2 .

It seems counterintuitive that such evolution would evoke much protest. While it's true that the easiest way to lower a game's barrier to entry is to dumb it down, most of these evolutions and innovations are just smarter design. Why frustrate players unnecessarily?

That's why it's so surprising that all of a sudden, it seems there's a movement -- an insurrection, if you will -- of players who want to be frustrated.

The evidence is subtle but compelling. For one example, look to major consumer website GameSpot’s Game of the Year for 2009: Atlus’ PS3 RPG Demon’s Souls, which received widespread critical acclaim – none of which failed to include a mention of the game’s steep challenge. GameSpot called it "ruthlessly, unforgivingly difficult."

Demon’s Souls was a sleeper hit, an anomaly in the era of accessibility. One would think the deck was stacked against a game that demanded such vicious persistence, such precise attention – and yet a surge of praise from critics and developers alike praised the game for reintroducing the experience of meaningful challenge, of a game that demanded something from its players rather than looked for ways to hand them things.

It wasn’t just Demon’s Souls that recently flipped the proverbial bird to the “gaming for everyone” trend. In many ways, the independent development scene can be viewed on the macro level as a harbinger of trends to come, and over the past year and into 2010, many indies have decided to be brutal to their players.

For example, it’s probably no coincidence that one of the most widely-acclaimed indie games in recent months is Terry Cavanagh’s VVVVVV, a game both named and designed around the concept of grueling platformer death by spikes (despite, of course, its genre-refreshing gravity-oriented innovations).

A few examples does not a cultural backlash make, but the surprising success of such challenging video games raises an important question: Do players like being frustrated after all?

Many old design concepts, like massive gaps between save points, limited “lives” or arcade-relic intentional brutality, were abandoned for good reason – they were needlessly frustrating. But in adopting piecemeal the design ideal that all frustration is bad, developers may have thrown the baby out with the bathwater.

So is hard the new "good"? That seems to be the case. More and more, both critical and audience response favors meaningful challenge over too much hand-holding, and learning experiences over games that demand little.

Certainly design wisdom can’t regress toward principles that were abandoned for good reason, but the current environment is beginning to show signs that it mustn’t race heedlessly toward an entirely new paradigm, either.

Silent Hill Composer Yamaoka Joins Grasshopper

After announcing his departure from long-time employer Konami last month, Akira Yamaoka, best known for his role as sound director and producer for the Silent Hill series, has joined No More Heroes developer Grasshopper Manufacture.

"I really love Yamaoka," says Grasshopper CEO Goichi Suda said in an interview with Famitsu translated by 1UP. "Ever since I saw a video of Silent Hill 2 at the Tokyo Game Show nine years ago, I've always dreamed of working alongside him. That's why I thought I'd invite him over when I started hearing rumors that he left [Konami]."

Yamaoka worked at Konami since 1993, where he composed the music for every entry in the Silent Hill franchise, including those developed by external studios. When discussing the series in 2008, he commented, "I don’t think the music could ever be passed on to another composer." It's possible Grasshopper will loan Yamaoka out to Konami for future Silent Hill soundtracks, though he may be too busy working on titles at his new company.

He's already working on composing the music for a Grasshopper project: Suda's multiplatform collaboration with Capcom veteran and Resident Evil creator Shinji Mikami for the EA Partners program. Yamaoka also contributed several themes for Grasshopper's recently released No More Heroes 2: Desperate Struggle.

"It was a case of really good timing," says Yamaoka. "I knew about Suda long before I met him; I saw Grasshopper as one of those few Japanese outfits whose games can appeal to an overseas audience. I had a chance to meet him in Los Angeles and we talked about this and that, and once we started discussing how we wanted to do something creative for a world audience, I was hooked on the company."

Famitsu also reports that Artdink alum Kazutoshi Iida -- who worked on quirky titles Aquanaut's Holiday, Doshin the Giant, and most recently Japan-only WiiWare game Discipline -- is now at Grasshopper and has begun production on a new title that should be ready to show off at this year's E3.

Road To The IGF: Daniel Benmergui's Today I Die

[In the latest Road to the IGF interview with 2010 IGF finalists, we speak with Daniel Benmergui, creator of the "game poem" Today I Die, nominated for the Independent Game Festival 2010's alternative-focused Nuovo Award.]

Today I Die is different from any other finalist in this year's Independent Games Festival. Described by its creator, Daniel Benmergui, as a "game poem," the player manipulates the words of a literary poem in order to advance through the short, web-based game.

Metaphors are expressed through the game's interactivity, audio, and visuals. All of these, combined with what Benmergui categorizes as a "very bad poem," attempt to convey what he felt from the "personal situation" that inspired the work.

Here Benmergui explains how impacting a player emotionally is more important than having his work "classified as game or even a good game," and other aspects of Today I Die.

What kind of background do you have making games?

My true work as a game maker started two years ago, when I jumped into being a full-time indie.

What development tools did you use?

Right now, Flex. But my most valuable tool is all the experience I accumulated all these years as a programmer and manager.

How long has your team been working on Today I Die?

Five months of lots of back and forth, trying this and that and discarding a lot of work, which was pretty painful.

How did you come up with the concept for the game?

The idea of a poem with interactive words was born out of brainstormings with Tembac (www.tembac.com), who came up with the idea of playing with poem words. Some day I was feeling affected by a personal situation and was hit by the impression of a drowning girl swimming up, trying to reach the surface. The poem mechanic just fit into the game concept of struggling against a world view.

Even then, the game shapeshifted a lot during development.

Do you think this challenges the definition of a "game"? Is that something that crossed your mind? Does that even matter?

Today I Die feels like a game, although I know it lacks many of the features of a good "game" like a deeper exploration of the poem mechanic.

The most interesting conclusion of publishing Today I Die is that a lot of people felt the experience of playing it was important to them... which felt to me a lot more important than being classified as game or even a good game.

I believe wonderful experiences can be built without a "story" and conventional puzzles and challenges.

You describe it as a "game poem." There are words there that do reflect literary poetry, but how else do you think the game is poetry?

The game HAS a poem, but if you strip if from the game, it's a very bad poem. It's just a tool for the game, made of simple words to avoid confusion and use expressions that provide the right amount of room for interpretation.

Today I Die is short, it has challenges but it's not about them, it has words but it's not about words, it has audiovisuals but they are not its main strength. It's also a game, but not quite. With more or less success, the game tries to stand on that impression I wanted to capture.

Everything's open to interpretation, but what did you intend the player to get out of Today I Die?

I was hoping the player felt at least a fraction of what I felt while I came up with the game. Pretty blindly too, since I had no idea how to do that.

Were there any elements that you experimented with that just flat out didn't work with your vision?

Lots of them! If I added up everything I tried in the game without discarding anything, I would have four small games.

Have you played any of the other IGF finalists? Any games you particularly enjoyed?

I love Tuning... it feels to me like a distillation of the work of Cactus.

Terry Cavanagh (VVVVVV) didn't make it to the finalists this year, but his work is getting astonishingly better each year. He is going to do very important stuff.

I still have to play many other finalists, though. I'm curious about Trauma, and hoping to try Edmund's Super Meat Boy.

What do you think of the current state of the indie scene?

The indie scene is starting to grow and institutionalize itself... which means more money will be around for indies, but it will also crystallize what "indie" is supposed to mean, and there will be people with a lot of power over who succeeds and fails. Perhaps this will give birth to "superindies" someday.

But right now there's a lot of very good will going around, and I am very happy to be involved with such an encouraging example of constructive human relationships.

[Previous 'Road To The IGF' interview subjects have included Enviro-Bear 2000 developer Justin Smith, Rocketbirds: Revolution's co-creators Sian Yue Tan and Teck Lee Tan, Vessel co-creator John Krajewski, Trauma creator Krystian Majewski, Super Meat Boy co-creators Edmund McMillen and Tommy Refenes, and Sidhe's Mario Wynands, who worked on Shatter]

New WolfQuest Episode, Survival of the Pack Released

The Minnesota Zoo and developer Eduweb have put out WolfQuest: Survival of the Pack, a free bundle for the educational wolf simulation game featuring two episodes: Amethyst Mountain and the newly released Slough Creek.

While Amethyst Mountain introduced players to the life of a grey wolf in Yellowstone National Park as he/she hunts for food, avoid grizzly bears and other dangers, and find a mate, Slough Creek focuses on raising and protecting your family.

The second episode has players selecting a safe den side, establishing/maintaining their territory with "raised-leg urination and howling", training their pups, feeding their pups, and defending them from predators. Slough Creek also adds four more square kilometers of river, mead, and mountains based on Yellowstone National Park.

For those that prefer to play with others, you can form a pack online with up to four more players and hunt together. There's even a healthy online community where you can "discuss the game with other players, chat with wolf biologists, and share artwork and stories about wolves."

Thankfully, this won't be the last update for the WolfQuest project. Eduweb and the Minnesota Zoo have received additional funding from the National Science Foundation that will allow them to begin work on an expanded version of Survival of the Pack with new game elements designed by WolfQuest players. Neat!

You can show your support and love of WolfQuest by buying new WolfQuest embroidererd logo patches and logo magnets (get a free magnet by ordering 2+ items!) from the Minnesota Zoo's online shop. The store sells branded plushes and a different kind of "three wolf" shirt, too. You can also send donations to the project to fund development/maintenance for the game and forums.

[Via GamePolitics]

GDC 2010 Unveils Metroid Creator Talk, 48 Hours To Early Register

[One last blast for GDC 2010, since confirmation of this rather exciting lecture sneaked through just before the early deadline. Expect lots more Japanese and Western speaker confirmations afterwards, of course, but GDC organizers are particularly stoked about this one.]

As less than 48 hours remain for Game Developers Conference 2010's early registration, organizers have revealed a surprise lecture from Metroid creator Yoshio Sakamoto, discussing design over his almost 30-year career at Nintendo.

In his first-ever Western lecture, Nintendo's Sakamoto will present a talk called 'From Metroid to Tomodachi Collection to WarioWare: Different Approaches for Different Audiences', spanning his seminal multi-decade contribution to video games.

As the lecture description explains, Yoshio Sakamoto has been here from the start. In 1982 he joined Nintendo a year before the arrival of the Nintendo Entertainment System (NES) in Japan. He's worked as a developer for the entire history of the modern video game era, and is perhaps most noted for the Metroid franchise, where he has directed or supervised nearly every game in the series.

However, his development credits span a wide range of projects, with titles as diverse as WarioWare, Inc.: Mega Microgame$ and Rhythm Heaven. At times he and his teams juggled multiple notable projects such as these simultaneously.

Last year, while hard at work helping to supervise the upcoming Metroid title for the Wii system, titled Metroid: Other M, he also produced the Nintendo DS hit Tomodachi Collection. In this game Mii characters converse, sing and dance, and even dream. To date, it has sold more than 2.5 million copies in Japan.

In an industry that frequently draws a bold line between core and casual games, Sakamoto develops for both worlds. He challenges himself and his teams to find ways to satisfy every type of user, no matter what type of taste, or level of experience. At Game Developers Conference 2010, Mr. Sakamoto will talk about his thought processes and techniques on game designs that have allowed him to find market acceptance for his expansive portfolio of titles.

Sakamoto joins a blockbuster line-up that includes just-announced lectures by Pixar notables, Lionhead's Peter Molyneux, Double Fine's Tim Schafer, Final Fantasy XIII's director Motomu Toriyama, and fantasy writer R.A. Salvatore, plus a keynote from Civilization creator Sid Meier.

The Moscone Center, San Francisco-based conference -- run by Think Services, as is this website -- spans nine notable Summits (from Social/Online through Indie to iPhone and beyond) and tutorials set up for March 9th-10th. In addition to a large Expo floor with the world's leading game tool companies exhibiting, six major Tracks, from design through production to programming and art, in the Main Conference from March 11th-13th.

In order to lock in prices up to 35% off the regular rates, prospective attendees must register by Thursday, February 4th at midnight PST. In addition, select attendees who register for All-Access or Summits/Tutorial Passes will receive free Nexus One and Verizon Droid by Motorola phones, thanks to GDC and Google.

Golden Tee Boasts Facebook Connectivity

Though serious arcade rats (what's left of them) typically scoff at casual-targeted machines like Golden Tee, it's surprising to see just how far ahead of the game the golf series is, at least in terms of technology.

Golden Tee LIVE 2010, for example, doesn't just offer "grip it and spank it" gameplay; it allows virtual golfers to link their player card to an online account, where they can view personal stats and dress their avatar. They can even upload videos of hole-in-ones directly from a Golden Tee machine to Youtube for free.

The latest new feature Incredible Technologies has added to the trackball game, Golden Tee Connect, enables players to attach their account to Facebook. Once a player has set it up, the next time he or she plays Golden Tee LIVE 2010, the machine will automatically send a Facebook status update that you're playing the game at a specific location.

So, if you're on the lam, make sure not to turn on this functionality, as the police are likely following your Facebook updates and will interrupt your game once they see you're hanging out at a local bar.

[Via Arcade Heroes]

This Week In Video Game Criticism: The Apocalyptic Inferno

[We're partnering with game criticism site Critical Distance to present some of the week's most inspiring writing about the art and design of video games from commentators worldwide. This week, Ben Abraham examines discussion of EA's upcoming Dante's Inferno and an analysis of apocalyptic settings for games, among other things.]

SnakeLinkSonic wrote last week about the connection between Star Wars and Metal Gear. You didn’t see that one coming, did you?

You probably also didn’t see Duncan Fyfe returning to video game writing, and with a vengeance, with the writer starting a new series of short stories about games and game culture. High Society is part one, and it’s a must read for anyone interested in the development of serious alternative video game criticism.

The Twitter account ‘veracious_shit’ tweets about Sydney based studio “Team Bondi” and the Duke Nukem Forever sound-a-like story of developing the as-yet unreleased LA Noire. Not particularly verifiable information, but fascinating nonetheless. True Story: I once applied for a job at Team Bondi. I guess they missed out, and by the sound of it I dodged a bullet.

From Matthew Gallant, who sent this last week, ‘Love does not exist’, a long treatise on… all sorts of things over ten years of gaming.

Evan Stubbs writes about ‘Mining your habits for fun and profit’, another piece on digital distribution: 'More than anything else, digital distribution means change. Changes to the way we shop, changes to the way we perceive the goods that we buy, and changes to the way we interact with publishers and distributors.'

Steve Gaynor writes an apologia for the entertainment industries (including gaming), and in the comments has a long and rather entertaining discussion with Braid creator Jonathan Blow.

Elsewhere, Daniel Bullard-Bates considers “Dante’s Inferno: A Failure on Two Fronts” and fellow blogger C.T. Hutt takes a rundown of our favorite videogame enemies, saying: “As gamers we want to square off against the most dangerous prey, humanity, but also want to believe that our characters are the good guys. As such, violence in action games is usually directed at enemies which walk and talk and fight like people, but for whom we feel little pity when blowing away en masse…”

At The Border House, Brinstar asks ‘Do Game Designers Have A Social Obligation?’, starting with a rather strong statement:“We have designed our games to be so inherently fit, muscular, white American, that it’s now an exception and a social point to include people outside our comfort zone.”

In other news, GameSetWatch had an interview with Krystian Majewski this week about his amazing independent photo-based adventure game Trauma.

Chris Lepine at The Artful Gamer releases an audio interview he did with Thatgamecompany co-founder Jenova Chen at GDC 2009. I haven’t listened yet, but with people as smart as Lepine and Chen I feel safe recommending it.

In ‘Zompocalypse Now’, Mike Hanus examines the connection between the western film genre and modern apocalypse films (and by extension, games) suggesting that those like Fallout 3 are a continuation of the western genre. He particularly muses:

“I think that the current surge in apocalyptic movies and games is the second coming of the Western genre, and this accounts for this recent popularity. These games and movies share similar characteristics, they establish a frontier, they create a lawless world and they present the player/viewer with main characters who must create their own law and rules in a world gone half crazy.”

Additionally, Corvus Elrod discusses a particular fascination with the ease of pouncing on and killing guards in Assassin's Creed 2. While on the subject, Richard Clark has some thoughts about the end of that game (with HUGE spoilers), and some of the things its provocative ending says about the audacity of the developers.

Lastly, Create Digital Motion talks about the upcoming GAMMA IV competition in 'Indie Game as Visualist Event: As the Deadline Nears, One Button Inspires'. Since I'm going to be in San Francisco for GDC 2010, I'm definitely going to go to see all these excellent games.

February 2, 2010

Evoke ARG Looks To Change The World

The World Bank Institute and alternate reality game designer Jane McGonigal have unveiled Evoke, a new ARG seeking to empower young people around the world, especially those in Africa, to come up with creative solutions for real world problems like food security, energy, disaster relief, poverty, education, global conflict, water access, disease, hunger, and more.

McGonigal says the goal for the game is to "build up our global capacity to change the world in as short a time as possible, for as many people as possible". She explains Evoke in an interview with Worldchanging:

"Every week for 10 weeks (starting March 3), there’s going to be a new [graphic novel] episode about social innovators working out of Africa. They travel around the world solving epic crises, like food shortages or power outages in major cities.

Players take on three missions each week. They learn—basically, filling their brain with information about the topic. They act—doing something in real life to implement what they’ve learned. And they imagine. What could they do about this problem today if they had a team, money, and resources? That’s what social innovation is all about—scaling up local solutions to make big, sustainable solutions that can spread."

In the first week, for example, Evoke will present Episode 1: Social Innovation, a scenario in which Tokyo suffers a major famine ten years from now. As part of the game, players will learn about food security issues and must do something in real life to increase the food security of at least one person in their life.

During Evoke's 10 episodes, experts from World Bank Institute and other organizations will watch, mentor, and give feedback. Players that complete the ten challenges will be recognized as a "Certified World Bank Institute Social Innovator – Class of 2010", while top players will receive online mentorships with social innovators and business leaders, as well as scholarships to share their vision at an Evoke Summit in Washington D.C.

Though the ARG designer says that the game's ideal audience is young people in Africa, Evoke is open and free to play for anyone. The World Bank Institute is working with universities in the country to bring the game to classrooms. McGonical believes that if they could get help 50 students in Africa through the game with a social enterprise ready to pitch, Evoke would be a "huge win."

You can learn more about Evoke and how to play at its official web site.

[Via Superpunch]

Best of FingerGaming: From GodFinger to iPad

[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 editor in chief Danny Cowan and authors Mathew Kumar and Jonathan Glover.]

This week, FingerGaming covers the announcement ngmoco's upcoming life sim GodFinger and the debut of the Apple much-anticipated iPad.

Also in the round-up is an impressive new figure for Flight Control sales, the top free and paid App store games for the week by sales volume, and follow-on discussion about a game's unexpected iPhone App Store removal.

Here are the top stories from the last seven days:

- Apple Reveals New iPad Tablet Device Compatible with Most App Store Games
"In terms of gaming, the iPad will be able to play almost every title currently available in the iTunes App Store, either at its original resolution in a small 1:1 window, or at full screen with pixel doubling."

- Flight Control Sells Over Two Million Units
"According to data released by developer Firemint, Flight Control sold its first million in its first three months of release, with an additional sales spike occurring in June after a content-expanding update."

- Top-Grossing Game Apps: Rock Band Takes On Chinatown Wars
"Rockstar’s Grand Theft Auto: Chinatown Wars tops App Store sales across all categories for the second week in a row. EA’s iPhone version of Rock Band moves up to second place following the recent release of a free demo version."

- Firemint, Stand Alone Inc. Announce Upcoming iPad Support
"iPhone application developer Firemint announced that its upcoming App Store lineup will take advantage of Apple’s just-announced iPad hardware, with an updated version of its multi-million-selling Flight Control currently in development."

- Top Free Game App Downloads: Rock Band Takes Top Honors
"A free trial version of EA’s music simulation title Rock Band earns the top spot in today’s free app chart, with a recently released demo of Call of Duty: World at War Zombies taking second place."

- Lionhead Veterans Form Wonderland Software, Announce GodFinger For Ngmoco
"GodFinger’s gameplay involves strategic flooding and terraforming in order to create fertile land. A similar core mechanic was featured in the classic PC sim title Populous, developed by current Lionhead designer Peter Molyneux."

- Free Promotional Game Waterslide Extreme Reaches 10 Million Downloads
"Designed to promote UK credit company Barclaycard, Waterslide Extreme earned more than two million downloads in its first week of release, and topped Apple’s free app charts in 19 countries."

- Top-Selling Paid Game Apps: Chinatown Wars Overtakes Bejeweled 2
"Doodle Jump and Skee-Ball stay at the top of the paid app charts for the second week in a row, but both titles face new competition from Grand Theft Auto: Chinatown Wars, which enters today’s rankings at third place."

- StoneLoops Dev 'Still Looking' for App Store Solution Amid Further Removals
"Codeminion developer Maciej Biedrzycki says he is 'still looking' for a way to bring the popular color-matching puzzler StoneLoops! of Jurassica back to the App Store following its removal at the request of Luxor publisher MumboJumbo."

Maniac Mansion 3D Remake Demo Released

A couple months after we first mentioned the "nearly complete" project here, Ernie 76 and the Vampyre Games Team have released a PC demo for their unauthorized 3D remake of LucasArts's classic adventure game Maniac Mansion.

To avoid licensing issues, the German group named their project Meteor Mess 3D (or MM3D) -- it kind of makes sense, what with a meteor playing a key role in the original game's story, but that title makes the game sound like some sort of Asteroids-type shooter. Also, I doubt that simple title change is enough to get the team out of any legal troubles.

Anyway, as the name suggests, the demo transforms the original 2D game's characters and mansion rooms into 3D. The graphics are a little rough and certainly not up to the standards of more professional productions, but one should keep in mind that the group started work on this project as a way to learn Gamestudio, the 3D authoring system tool used to create the game.

You can download Vampyre Games's Meteor Mess 3D demo, which includes both English (default) and German language support, from the team's Gamestudio forum thread. The game's final release is scheduled for this summer. I've included a recently uploaded video showing some gameplay portions (in German) after the break:

[Via Ernie]

Sound Current: 'Fan-Fueled Retro Game Revival - Tokyo Big Sight's Comic Market 77'

[Taking a look at the Japanese fan-based Comiket (Comic Market) convention and its gigantic cache of video game music-inspired cover albums and even books, Jeriaska continues his 'Sound Current' series for Gamasutra by interviewing many of the intriguing Japanese musicians selling their unofficial tributes to classic and modern game soundtracks.]

Comic Market, which takes place twice a year at the enormous Tokyo Big Sight convention center in Japan, defies comparison with any other hobbyist gathering in the world.

Over the course of its three-day run "Comiket" attracts hundreds of thousands of amateur artists from all over Japan. As with the comparatively intimate Music MediaMix Market, booths are set up for individuals and groups called "circles" to sell their homemade doujin collectibles.

This winter's 77th installment was host to all manner of retro game revivals, particularly in the sphere of videogame music: Freelance writer Ryota Musha helped publish a book on the contemporary use of retro game consoles in the creation of original chip music.

Meanwhile the delightfully named Magical Trick Society looked to a Western game series for their latest remix album, paying tribute to Kentaro Haneda's influential game soundtracks to the Famicom ports of the Wizardry series.

This in-depth look at the remixed videogame music of Comic Market 77 includes interviews with the participants and embedded video Q&As with band takrockers!! and two industry game composers frequently in attendance.


Freelancer Ryota Musha and the expression of his 8bitlove

Drawing staggering numbers to the Tokyo Big Sight building not far from Kokusai Tenjijo train station, Comiket is widely popular among gaming enthusiasts for featuring a varied mix of the familiar and the unexpected. Crowds grow so large prior to the 10 o’clock opening each morning that the event staff equipped with loudspeakers are constantly directing the giant, snaking lines around blocks and up stairways. Admission is free, while event organizers recoup costs by selling program catalogs whose girth calls to mind the Yellow Pages.

One of the biggest surprises for chiptune enthusiasts this Comiket was the coffee table book 8bitlove, independently financed and on sale for 1000 yen. While several of the writers contributed anonymously to avoid potential conflicts with employers, Ryota Musha was on hand to field questions about the publication. A freelancer and frequent contributor both to Kotaku Japan and Gizmodo, the writer says that embarking upon publishing the book reinvigorated his love for writing, a process emphasizing fun over business.

8bitlove offers Japanese readers a window into the overseas chip music scene, compiling photos and URLs in a visually dazzling layout of low-fi phenomena like the band Anamanaguchi, video jockey Paris Graphics and filmmakers 2 Player Productions. Also featured are Japan's chiptune luminaries, among them Hally's VORC Records label, Saitone and Kplecraft. The custom pixel art depicted on the cover comes courtesy of illustrator ta2nb.


Comic Market: takrockers!! interview!!

Having explored the history of Japanese games through musical arrangements, Magical Trick Society chose Comiket 77 as an opportunity to pay tribute to an influential Western series. Wizardry was first released by Sir-Tech for the Apple II computer in the early 1980's, and was treated to background music by Kentaro Haneda upon being ported to the Nintendo Famicom. Orchestral performances of the 8-bit music were recorded and published as part of the Suite Wizardry series as early as 1989.

"I notice the number of traditional videogame cover albums decreases each year," says music director Gunzy of the experienced doujin circle. "It's a motivation to keep delivering the kind of music that people like me have come to love."

Sound in Labyrinth -The World of Wizardry- can be sampled in a nine-minute YouTube video. The music CD, combining electronic and orchestral aspects of Haneda's Wizardry releases, comes in a DVD box with original artwork depicting the series' iconic green dragon.

Similarly prolific, Excelsia of the EtlanZ circle previously released the elaborately titled "EtlanZ Best Collection Series Vol.16 Ever Green: Tapestry of Mana and Time." A compilation remixing celebrated Super Nintendo titles by Squaresoft, the album adapted compositions from the World of Mana series by Hiroki Kikuta, Yoko Shimomura and Kenji Ito. Sample mp3s for the album on the theme of nature and time are available on the artist's site.

This time out, EtlanZ had with him a retro shooter installment entitled STG: Shooting Best Collection: 1st Stage. A nod to the three-letter genre demarcations like ACT and RPG that were popular in the days of the Famicom, Excelsia says the album was in part a response to the waning popularity of console game arrangements that Gunzy observes. STG's track list runs the gamut from '80s shooters like Gradius II and Star Soldier to Hitoshi Sakimoto's Radiant Silvergun score.

One reason these days fewer artists are covering the kinds of console games the West is familiar with is that Touhou shooters have taken over. Their creator, a polymath programmer and musician named ZUN, embraced a Creative Commons-esque license broadly permitting derivative works, giving Touhou an edge among doujinshi over the more strictly enforced intellectual property of console titles. Excelsia mentions that as Touhou mania has expanded to encompass several rows at Comiket, his favorite remix circles have fallen victim to often incompatible pursuits, like married life. Holding his own as a champion of the retro shmup, he already has plans for Shooting Best Collection Volume 2.


Nijeil with a copy of his F-Zero hard rock album

Nijeil of the circle earth Japan says of F-ZERO The Graded Driver 2201 that the project was inspired by the inflated game soundtrack budgets of the '90s bubble economy, when the CD-ROM format first arrived on the scene. The material was chosen by earth Japan's otaku culture connoisseur Hao-san and primarily arranged and performed by Nijeil, though Toshinori Hiramatsu can also be heard on the guitar solo passage of the BIGBLUE demo.

Earthbound fans might be interested in United Daft Attack's YouTube samples of Mother 1-3 remixes. The circle's two EPs, featuring Mr. Saturn cover art by Mr.Gin, follow an Etrian Odyssey arrange album, and subtly reflect the quirky sentiment of the original Nintendo game series, particularly on instrumental samples like the off-kilter, warbling saxophones.

On another end of the emotional spectrum, Dangerous Mezashi Cat's metalcore remixes of Shin Megami Tensei tracks reinterpret early Atlus game themes. Promotional posters sporting Beelzebub on the drums were part of the group's successful bid to draw attention to the fan tribute. While the pre-Persona games energetically covered are decidedly niche, ten contributing artists turned out to lend a hand on the cross-fade sample.

The story behind Innocent leaves & Aggrieved cry is a familiar one among enthusiast arrange albums. The collection of Final Fantasy XI music by the circle m_box was an expression of admiration for the massively multiplayer online world, borne out of two conflicting impulses. Musician obstinate_A says, "One side of me didn't want to break from the original, while another wanted to introduce my own personal tastes." The collaboration with artist Sarumotto strikes a balance between aggressivity and repose, and can be sampled on YouTube.

Further treatment of Square Enix soundtracks can be found on the Final Fantasy and Romancing SaGa vocal collection by little white snow, titled REFLECT. Arranger Ebisupa says, "The album seeks to approximate the sound of film scores by layering sound recordings on top of one another. At the same time, I dispensed with the ideal of a clean mix by inserting snippets of dialog in the middle of tracks and stylistically incorporating passages intentionally sung out of tune." For certain Square Enix devotees, taking a listen may well kick-start some deeply engraved game-related memories.


Shin'ya Mitsuda and his 7th Dragon classical arrange album

A group of musicians participated in the compilation PORTRAIT, arranging music from Wild Arms 2, known in Japan as Wild Arms: 2nd Ignition. The album comes in cardboard packaging, complementing the earthy tones of Michiko Naruke's game soundtrack. Kotukimiya of Allegory Works contributed the theme song "Miracle," which expands upon the tune found in-game by adding a second verse. The vocalist says attending Comic Market and meeting people who have enjoyed her singing has given her the motivation to produce more music. A sample of the track "1st Ignition" has been uploaded to YouTube by organizer Hiro Shiomi of Sound Team LAYER-0.

When Yuzo Koshiro wrote the music for the as-of-yet unlocalized Nintendo DS RPG 7th Dragon, he gave listeners contemporary and retro mixes of the game's themes on the soundtrack release, while also commissioning classical arrangements for a piano and strings arrange album. Having received three interpretations of the same melodies ranging from low-fi to orchestral, the doujin scene was quick to elaborate on Koshiro's compositional foundation. It should come as no surprise that two ambitious 7th Dragon arrange albums made their debut at Comic Market.

The concept behind Studio IIG's release was to gather seven musicians for a numerically appropriate tribute to the Nintendo DS title. However, failing to find friends who had cleared the cart, the album ended up as a duo collaboration with musician ziki_7. The arrangers contacted an artist called Tanu through pixiv, Japan's deviantART equivalent, to help with the cover. Only later did they find out that the illustrator had won an art contest held on the 7th Dragon official website. More can be viewed on Tanu's site, while samples of each track from the album can be heard on the official webpage.

Meanwhile, Smalt Erz explained that his collaboration with Shin'ya Mitsuda of Music Pandora was originally slated for release at a 7th Dragon fan festival called Akai Hana no Oka II. "We were both so emotionally involved in the original that we became self-conscious during the arrangement process." Though the project took longer than planned to complete, both musicians are satisfied with the results. Samples of tracks 1, 8 and 12 on the live orchestral album can be heard on the Smalt Erz blog.

Tracking down copies of albums sold at Comic Market oftentimes requires taking a trip to Akihabara. Among the stores to check for doujin releases are Toranoana, MelonBooks and Messe Sanoh.


Comic Market: Shinji Hosoe & Hiroki Kikuta interviews

[Photos by Jeriaska. Translation by Yoshi Miyamoto. Interviews from this article are available in Japanese on Game Music Mania. Video interviews by Miyu. For more photos from Comic Market, see the photo sets: C76 & C77]

Gamma 4 Puts Out Call For One-Button Objects

Montreal’s Kokoromi Collective, organizer for Gamma 4's "One-Button Games" competition at GDC (record number of submissions this year!), have now teamed up with Create Digital Media to put out a call for One-Button Objects, involving developers who like to work more on the hardware/electronics side of things.

The group explains, "What can you do with one button? In an age of ever-more-complex touch interfaces, we’d like to imagine what a single, tangible, hardware button can mean for a design... This call seeks to inspire unique hardware/software hacks that integrate playful, one-button interaction within a standalone machine or device."

The curators are looking for tinkerers to bring out their "circuit-bent gadgets, retro-fitted consoles, mechanical constructions, custom electronics, and other one-off creations". The objects can be electronic, mechanical, biological, digital, or a mix of media, but must prominently feature a single button for game-inspired user interaction.

The Kokoromi Collective will feature the One-Button Objects in an exhibit at San Francisco's Gray Area Foundation, a new exhibition venue near the Moscone center, during the week of the Game Developers Conference. It will also display the objects at the opening night Gamma party, alongside selected One-Button Games on March 10th at the Mezzanine in SoMa.

[Image via Jen Chan]

Little-Scale, J. Arthur Keenes Band Take Home TCTD Awards

Micromusic site True Chip Till Death held its second annual awards gala celebrating chip artists (and related disciplines) last weekend, recognizing the people that helped make 2009 such a big year for the genre. I've embedded the song selected as last year's Best Track, The J. Arthur Keenes Band's fabulous "Catfish Lagoon". You can grab his latest EP Pamplemousse for free right here.

Prolific Australian musician Little-Scale came away with the 2009 Artist Of The Year award, beating out Minusbaby, Bud Melvin, 4mat, and Goto80. He's posted over 20 albums that you can download from his personal site. Barely a month into 2010, he's already put out two releases!

As for the Best Release of 2009, that award went to Blip Festival 2008: 32 Live Recordings, the two-disc compilation of songs from the chiptune festival produced by 8bitpeoples and 2PlayerProductions. You can see the rest of the winners -- including Defender of the Chip, Best Live Performer, Best Visual Artist, Best Hardware, and more -- on TCTD's site.

GDC 2010 Reveals Pixar, Molyneux, Schafer Talks

[It's almost the end of early reg for Game Developers Conference 2010, so my conference colleagues are pulling out the big guns, with some new lecture announcements of note. I'm particularly stoked for Pixar -- and R.A. Salvatore, since I've read a lot of his books over the past few months.]

As the early registration deadline approaches, GDC 2010 organizers have revealed new lectures by Pixar notables, Lionhead's Peter Molyneux, Double Fine's Tim Schafer, Final Fantasy XIII's director Motomu Toriyama, and fantasy writer R.A. Salvatore.

The announcements for Game Developers Conference 2010, which takes place March 9th-13th at the Moscone Center in San Francisco, add to a recently confirmed keynote from Civilization creator Sid Meier, alongside almost 350 other lectures, keynotes, and panels.

This set of Main Conference sessions, all taking place from March 11th-13th, bolster an already formidable line-up, with nine notable Summits (from Social/Online through Indie to iPhone and beyond) set up for March 9th-10th.

Organizers have now released details on the following major new lectures for the GDC 2010 Main Conference (run by Think Services, as is this website):

- Seminal CG movie makers Pixar are giving a pair of two-hour lectures at the event -- the Toy Story and Up creators' Matthew Luhn will lecture on 'Storyboarding/Story Development at Pixar: Work Methods and Insights', while the Bay Area company's Andrew Gordon will speak on 'Character Animation at Pixar: Work Methods and Insights'.

- In a rare Western lecture, Final Fantasy XIII's director and scenario writer Motomu Toriyama will discuss the creator of FFXIII's story and mythos, "explaining the various processes involved in crafting The Crystal Mythos, creating the world of the game, character design, and the development of drama between the characters." He will also speak on the direction he hopes to take in future projects.

- Game development legend Peter Molyneux will present a lecture called 'The Complex Challenges of Intuitive Design' with fellow designer Josh Atkins, discussing ways to "ensure that gamers of all abilities can quickly and easily immerse themselves in the game world." With examples from the upcoming Fable III, Molyneux will show examples of long-established game mechanics which Lionhead intends to replace with more user-friendly and modern iterations.

- In his first lecture aimed at the game industry, multi-million selling fantasy novelist R.A. Salvatore will present 'From Fantasy to Franchise: How to Build a Universe Worthy of Devotion', drawing lessons from his work in D&D's Forgotten Realms universe, and "presenting an examination of world building as a work in progress, through a sneak peek of his work with [Curt Schilling-backed Boston game developer] 38 Studios."

- Finally, Double Fine's Tim Schafer (Brutal Legend) will be appearing on a panel named 'Make 'Em Laugh: Comedy in Games', alongside Overlord writer Rhianna Pratchett and Telltale (Tales Of Monkey Island) writer/designer Sean Vanaman, analyzing "the challenges that face developers as they try to distill a sense of humor into their games."

Alongside the full set of announced GDC 2010 lectures thus far comes news on reduced conference pass prices for the event, with the introduction of optional lunch packages. Game Developers Conference 2010 will also play host to the GDC Expo Floor, the GDC Career Pavilion, the 12th Annual Independent Games Festival and the 10th Annual Game Developers Choice Awards.

Early Bird rates for GDC 2010 end in just two days -- on February 4, 2010, and more information on passes is available the official GDC webpage on the subject. For more information on the 2010 Game Developers Conference, visit the official GDC 2010 website.

The Behemoth Draws The Curtain On BattleBlock Theatre

Castle Crashers developer The Behemoth is showing off its latest Xbox Live Arcade project, BattleBlock Theatre, a game about "friendship, betrayal, and a whole truck load of cats." You can see all of that in this clip: cat overlords, some characters working together through platforming obstacles, and others just straight-up murdering each other.

The studio explains BattleBlock Theatre's premise: "Having shipwrecked on a mysterious island you find yourself both betrayed by your best friend Hatty and captured by the locals. All of this is happening while being forced into deadly performances. This however, is just the start of your problems."

The Behemoth plans to put up a new website "in the next few days" and reveal more about the story as BattleBlock Theatre's release approaches. You can watch another previously released clip of the game with commentary from the team explaining the customizable heads, special weapons, different modes, and more after the break.

GameSetLinks: The Flowers In The Garden Of Ribbons

[GameSetLinks is GameSetWatch's semi-regular 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.]

Still a little bit behind on the 'ol GameSetLinks, but catching up marginally - starting out with another excellent Brandon Boyer piece at BoingBoing, this time looking at where Xbox Live Indie Games is currently at and possible prospects. (The recent announcements of top XBLIG sales for 2009 reveal slightly better financials than Boyer knew when writing the editorial, but nonetheless...)

Also in these particular links - Ico Partners on its 2010 predictions in the online game space, 1UP on game preservation, Necessary Games on JRPGs, Lost Garden's Daniel Cook on his work helping to create Ribbon Hero for Microsoft Office, and rather more neatness besides.

Working so hard:

What's Microsoft doing for Indie Games? Boing Boing
Great editorial from Boyer about XBLIG and the future.

Games from Within | Making A Living (Barely) On The iPhone App Store (aka The Numbers Post)
Absolutely fascinating stats from Noel with his app Flower Garden - looks like in-app purchases are making a big difference for him.

ICO Partners » Blog Archive » 2010 online games trends
Another excellent trends piece in the online/social space...

Game Raider: The Science of Game Preservation from 1UP.com
Frank C. on his guerrilla approach, which, yes, works: 'Every archaeologist knows that sometimes, the only way to save a precious artifact is to steal it.'

Lost Garden: Ribbon Hero turns learning Office into a game
'I’m happy to announce the availability of Ribbon Hero, a new download from Microsoft that turns using Office into a game. I’ve been helping the fine folks over in Office Labs with the design and we are all immensely proud that this is getting released to the public.'

Coining the Faceless Wind (Magical Wasteland)
'We have all heard the koan about the tree falling in the forest and its sound, or lack thereof, in the absence of observers. In terms of a video game, the answer is obvious that if there is no observer present there is no reason to calculate the observable property.'

Exit Fate game review | Necessary Games
Kinda a review, but actually an extended musing on why JRPGs matter: 'For me, the few times I didn’t regret playing jRPGs (Final Fantasy VI, Chrono Trigger, etc.) made up for the many times I did.'

February 1, 2010

Free Goblin Slayer Board Game Receives Color Update

Digital Eel (Brainpipe) has announced a revamp of Goblin Slayer, its free two-player boardgame of heroic adventure and underground combat, with a full-color update that the developer says transforms it into "a complete finished production that stands up to any fantasy game in print".

In Goblin Slayer, one player manages a tribe of goblins (and a cave troll) guarding a priceless artifact in the Cave of Woe. His or her opponent controls Stormbeard, a dwarf armed with a battleaxe, and must explore the cavern, steal the artifact, and escape alive. The game uses a special "geomorphic board" designed to create a different cave system each time it's played.

All you need to play the game are dice and coins -- the manual, board tiles, stand up characters, and boxart are all available to download and print for free. The new update introduces new full-color art from Orlando Ramirez, James "One Monk" Hartman and Andrew Tullsen. You can grab the Goblin Slayer files from Digital Eel's site.

And if you'd rather pay someone for all this work, you can purchase a pre-made version of the game that includes the boards, figures, dice, and other necessary items to play from Andrew Tullsen for around $30. He'll also custom create a "deluxe version" for $50, though I'm not sure what the entails. Maybe you can replace Stormbeard with a muscled-out stand up of yourself?

Digital Eel has at least two other board games that you might want to check out, too: Eat Electric Death, a tactical starship combat board game set in the Weird Worlds universe; and Space Ludo, which is essentially Ludo set in space with new rules (e.g. deathmatch, wormholes).

Photos From Australia's 'Best Of IGF 2009' Showcase

In partnership with the Independent Games Festival's organizers, the Australian Centre for the Moving Image (ACMI) in Melbourne is running a free exhibit featuring a selection of IGF 2009 competition finalists and winners. The Best of IGF 2009 showcase invites visitors to not just view but also play ten indie games, some even projected on walls (Blueberry Garden, Night Sky, PixelJunk Eden, and Osmos).

ACMI sent over these photos from the show since it opened last December, showing kids and adults exploring the games and their concepts -- the gallery's curators say it's a popular exhibit for both experienced gamers and neophytes. The space also provides a pleasing sonic atmosphere with Osmos and NightSky playing over the speakers in different rooms (other game setups use headphones).

The Best of IGF 2009 showcase runs until February 15th, so you still have time to check it out if you're in the area! You can find more information on the exhibit and see the full list of games on display at ACMI's site. I've included more images of people playing the games after the break:

COLUMN: Alt Space: Forever Fun

GSW%20CF%201.jpg['Alt Space' is a GameSetWatch-first column by critic and writer Phill Cameron, discussing the relationship between the personal computer and gaming. Lying awake at night searching for the perfect design, he's been playing PC browser-based indie game Captain Forever, which he's terrible at. Doesn't stop him loving it.]

In the times between getting in bed and going to sleep, all I've been thinking about are colored blocks, and their potential for both defense and attack. I've got to figure out the perfect blueprint for space based death.

This is Australian indie developer Farbs' Captain Forever, a free, browser based game that has you drive a small spaceship, shoot others and harvest their corpses for parts to then make yourself larger and more deadly.

In space no one can hear you build, etc.

So do I make a ship that's long and thing, maximizing broadsides so that I don't have to worry too much about a turning circle? Or perhaps it should just be wide to create a huge forward force. One of the most successful ships I've used had a set of long blocks defending each gun, effectively creating barrels for them that stopped them getting picked off by enemy fire.

The problem is, really, that no matter how you're wanting to craft your creation, no plan survives contact with the enemy; you can't hit a pause button while you weld each piece in place, and instead have to just hope that there aren't enough enemies in the area that you can glue together something serviceable without drawing fire. The longer you spend, the higher the risk goes up.

I was going to draw an analogy of building a Lego house in the middle of a warzone, but then I realised that that isn't an analogy at all; it's exactly what you're doing. What makes it worse is that if your ship isn't symmetrical, it's going to veer one way or another; beyond even that, if your thrusters aren't the same on both sides, in model and arrangement, you just aren't going to fly straight, and in a fight that's exactly what you need to do.

GSW%20CF%202.jpgEvoking the aesthetics of Geometry Wars or any number of recent 'retro' arcade games, evoking a visual style that is pleasant without becoming stripped down an uninteresting, Captain Forever takes away everything unimportant.

If it didn't look quite so simple, I doubt the concept behind it would shine through nearly so well. There's just something about those blocks, and the way one end of them juts out that little bit extra, that makes you want to lock them onto your ship.

It's difficult to pin down what makes it so compelling to play. There is no actual end to the game; it's merely trying to survive and become as big and terrible as you possibly can, before your eventual demise. The name perhaps gives a hint of this. Captain Forever it may be, but your ships inevitable death is unavoidable. Each ship you kill forces another, more powerful one into existence. It's impossible to become complacent, because you're never the biggest fish in the sea.

If I was going to draw a comparison to it, it would be those simple 'bigger fish eats smaller fish' games, where you're always on the look out for the smaller to gobble, while avoiding anything remotely larger than you. Spore did it with its Cell Stage, and Osmos put a cunning twist on it by forcing you to expel mass to travel. Neither, however, take it to quite the stage that Captain Forever does.

You aren't simply taking on anything smaller than yourself so that you can reap a fine harvest of blocks and weapons; you're trying desperately to cause as little damage to your enemies equipment as possible, because anything you destroy you can't build with. So quite often I've found myself in an absurd position where I've found a vastly superior enemy, stripped away every single module attached to my core, and then used my sudden drop in size to slip inside the enemy ship and attack at its core, and then take every single part of it. It's the ultimate risk/reward; take away everything you have to get everything back and more.

I think that's what keeps bringing me back to Captain Forever. There's a whole range of different touches that make it an interesting space to inhabit, from the garbled messages bouncing off your hull informing you of your incoming death, only for you to turn around and track the source, wiping the guy off the map and stealing all his stuff. Perhaps it's the adrenaline rush that is constantly a moment away as you desperately fumble your way through attaching various parts onto your ship. As you grow larger and more complicated, it takes longer and longer to fix yourself up, and it's never how you want it to be.

All of this is effectively a demo, though. Captain Successor is the true product, charging $20 for a much wider range of items and experiences, ready to step in the second you get bored of Captain Forever, or in the unlikely circumstance of your quasi-victory. Should you get far enough in Forever, you suddenly face these huge incandescent ships made of rainbow material, the highest in the games hierarchy, and should you take one down, a huge explosion of colour washes over the scene. They're essentially the end-boss, and a good marker that you're ready to move on.

GSW%20CF%203.jpgThe colour system is another that's brilliantly clever. Moving through green to yellow to orange to red and all the way through the blues and purples until ending up with white and then technicolour, each part in Captain Forever follows a hierarchy that tells you instantly how powerful and how good a ship is.

If it's mostly dark blues and purples, you need to be at the very least red to be taking him on. It makes instant sense, and it allows you to assess your chances against an opponent near immediately. Of course gun placement and the like makes a difference, but that's secondary; colour is what counts.

It's free. That's what really matters here. You can play it right now. Just by going here. You can see what I'm going on about, and enjoy it to the full extent, because it's right there. Which is brilliant.

Best Of GamerBytes: Inside The Kids' Room

xblindie.jpg[Every week we round up the top news and interviews of the last week from console digital download site GamerBytes, featuring new information about Xbox Live Arcade, PlayStation Network, WiiWare, DSiWare and PSN Minis.]

This week was a bit quiet in regards to actual console downloadable game news, but fear not - we've kept ourselves busy by revealing new information regarding the Xbox Live Indie Games and the Game Room.

In some of our featured posts for the week, we take a look at the Xbox Live Indies games of 2009 and the sales they've garnered over the year, discovering that things aren't as dire as some sites may make you believe. We also discover some secrets of the Game Room project -- it's quite a fascinating way of dealing with classic games.

We are also near the end of our Developer Reflections series. This time, we speak to Ronimo Games, Barker's Crest Studio and Creat Studios and look at their year in making downloadable console video games, and what their plans are for 2010.

Top Stories

Microsoft's Genius - Rate The Room, Rate Every Game - But Those Rated Teen And Up Left Out?
In-Depth: Xbox Live Indie Games Sales For 2009, Plus Some Perspective

Originals

Developer Reflections 2009 - Ronimo Games
Developer Reflections 2009: Barkers Crest Studio
Developer Reflections 2009: Creat Studios (Part 1)

Store Updates

XBLA Update - KrissX, New Pinball FX Table, Cheap Portal
NA PSN Store Update - Thexder Neo PS3, Hustle Kings And More
EU PSN Store Update - Thexder Neo PS3, Polar Panic
NA Nintendo Update - Bittos, Uno, Ghoul Patrol And More
EU Nintendo Update - Legends Of Exidia, Eco Shooter, Street Fighter Alpha 2 And More

Xbox Live Arcade

Xbox Indies - Soul (Kydos Studio)
Scare yourself.

Xbox Indies: Charlie Murder Announced (Ska Studios)
Dishwasher developer brings us a beat-em-up.

Xbox Indies - Lethal Judgment HD (B-Software)
Long standing indie shmup comes to Xbox Indies.

First Footage Of NeoGeo Battle Coliseum
SNK fighter gets a graphical upgrade.

PlayStation Network

Trailer: After Burner Climax (Sega)
The arcade conversion for PSN and XBLA has officially been announced.

WiiWare

Ben 10 Coming To WiiWare
Konami Digital Entertainment is bringing the popular Ben 10: Alien Force license to Xbox Live Arcade and WiiWare.

IGF Student Showcase Winner Boryokudan Rue Kicks Out Trailer

Joshua Nuernberger has worked on Boryokudan Rue, an adventure game mixing sci-fi and film noir, mostly by himself (with Nathan Allen Pinard composing music) for more than two years, releasing a few screenshots and details on the story every now and then. With the game recently selected as one of 10 IGF Student Showcase winners and Nuernberger's announcement that he'll release it commercially, he's finally released video for the point and click PC title.

Here, you can see the game's gloomy settings, detailed character animations, shoot-outs, and lots of kicking! Boryokudan Rue presents two separate but interweaving stories, one following "a regretful cop en route to planet Barracus to meet and extract a mysterious defector trying to escape from the notorious [Boryokudan] crime group", and the other focusing on "an amnesiac patient in a sterilized facility, who must survive and escape in order to find out why he is there."

The game spans more than 80 rooms with hand-painted backgrounds and features 4-8 hours of gameplay. Nuernberger hasn't yet announced pricing or a release date for Boryokudan Rue, but you can read more about its production over at the Adventure Game Studio forum.

[Via IndieGames.com]

LA Game Space Introduces Kids To Game Development

A diverse collection of developers, artist, researchers, and more have teamed up to create LA Game Space, a non-profit lab seeking to connect game-makers with kids in Los Angeles that want to learn more about game development. The group hopes to accomplish this through workshops, after-school mentor programs, guest lectures, and by showing and promoting participants' game designs to others across the country and world.

The lab's primary goals include "participatory learning through collaborative game making, connecting youth with expert practitioners and researchers, preparing youth for careers in creative and technical disciplines, transforming consumers into creators and learning into making, and documenting and providing open access to all programming via a community website."

LA Game Space's volunteer force includes Derek Yu (Spelunky, The Independent Game Source), Giant Robot, Attract Mode, Boing Boing, and games/learning researchers from UCLA and UC-San Diego. The lab will also have the support of former Digital Media and Learning winners from game-based learning programs Black Cloud, MILLEE, and Playpower.

The team has submitted an application for the MacArthur Foundation/HASTAC-supported Digital Media And Learning Competition, offering more information about the LA Game Space and its collaborators.

NightSky Lookalike Pulled To Change 'Coincidence'

Trundle's release last week by Mobile Bros. was well received by iPhone users looking for a fun and free puzzle-platformer (with downloadable level packs), but it also was the source of online quarrels over whether it "ripped off" Nicalis's NightSky for WiiWare, also a puzzle-platformer with silhouetted graphics, gradient backgrounds, a serene soundtrack, a ball as the main character, and other similar elements.

Some argued that NightSky's ideas are common in many games, but others like Canabalt developer Adam Saltsman called it an obvious clone: "While there is admittedly a fine line between inspiration/homage and clones/ripoffs, this is CLEARLY the latter. ... Selling level packs based on how much people like someone else's designs is immoral and regrettable." He then called on Mobile Bros. to take down Trundle immediately.

The studio has since done just that, pulling the game from the App Store to change those similarities. "By some form of coincidence, both games decided to use a ball protagonist against shadowy levels; because of this we feel that it would be better to differentiate our character a bit more and try to eliminate any similar level elements from Trundle," Mobile Bros. commented.

The developer says it expects to have Trundle back on the App Store "quite soon." In the meantime, you can play some of Mobile Bros.'s other iPhone releases like Pachingo and Energy Harvest, which look an awful lot like Peggle and Auditorium.

GameSetNetwork: The Best Of The Week

As we continue to round up some of the notable long-form pieces of writing elsewhere on the network, here's the top full-length features of the past week on big sister 'art and business of gaming' site Gamasutra, plus our GameCareerGuide features for the week.

This time, we start things out with iPhone and indie developers reacting to the iPad (something that took the site down briefly after it got featured on the front page of Google News, ohdear!), and an interview tying in with Mass Effect 2's release, plus a WiiWare postmortem, an in-depth design piece on gameplay and narrative, and a GCG postmortem, among other things.

Go stop go:

Developers React: The iPad's Future
"Developers and technology providers ranging from Tiger Style's Randy Smith to ngmoco's Neil Young and Unreal's Mark Rein weigh in on the prospects and realities of developing games for Apple's newly-announced iPad."

The Next Big Steps In Game Sound Design
"Technical sound designer Damian Kastbauer breaks down the current generation's innovations in sound design from a technical perspective, outlining what current games can do aurally, and speaks to other developers to find out more."

Postmortem: Over the Top Games' NyxQuest: Kindred Spirits
"The tale behind the Spanish-developed, Ancient Greek-themed WiiWare platformer, full of common but important lessons for indie developers taking a chance on something new."

The Uneasy Merging of Narrative and Gameplay
"Developer Ara Shirinian picks apart the gameplay/narrative question by examining how games handle cinematic interactivity, how movies handle fight sequences, and how XEODesign's Nicole Lazzaro's list of gameplay emotions apply to one medium and not the other."

Back In Space: BioWare On Mass Effect 2
"Lead producer Adrien Cho discusses the evolution that the studio, series, and genre is going through in this comprehensive interview about the creative process behind BioWare's anticipated shooter/RPG sequel, Mass Effect 2."

GCG: Moving From ActionScript 2 to ActionScript 3
"Having trouble transitioning to the latest version of ActionScript? Arkadium developer Michael Greenhut walks you through some of the most common problems that arise when making the switch."

GCG: Student Postmortem: Drifters
"What does it take to create a multiplayer online game as a student project? Florida Interactive Entertainment Academy student Steve Durst here recounts the process behind the demon-possessed Drifters."

January 31, 2010

Analysis: Mass Effect 2's Surprising Genre Experiment

[Our own Chris Remo analyzes the surprisingly comprehensive changes made to BioWare's much-awaited sequel Mass Effect 2, wondering if it'll serve as "template... or genre experiment" to games that follow.]

As I played the first few hours of Mass Effect 2, I found myself constantly surprised -- not by the early twist which allows for a clean break between the plot of Mass Effect and its sequel, but by how much of the game had been heavily redesigned.

Having now completed the game, I find myself wondering whether BioWare has managed to codify a genre whose relative rarity I have often found odd: the action-game-with-classes-and-dialogue, to coin a clumsy phrase.

Nearly every major player-exposed gameplay system from the first game was considerably tweaked or completely redesigned by the BioWare development team, and nearly all of these changes work to streamline or simplify the game's overall flow and system management.

The original Mass Effect was described as an action-RPG hybrid, thanks in large part to the inspiration it drew from the currently very fashionable third-person cover shooter genre. Mass Effect 2 moves much farther in the action direction.

The Big Changes

It's worth listing Mass Effect 2's noticeably altered mechanics, because direct sequels released two years later are rarely overhauled this comprehensively. They include the following: experience point gain and leveling, skill trees, mission resolution, combat and cover, squad combat control, equipment management, weapon upgrades, squadmate weapon choices, interplanetary travel, clothing and armor customization, hacking and decryption mini-games, resource management, minor planet exploration, and probably more.

In some cases, systems were effectively removed, such as the standalone inventory system and grenades. And in the PC version of the game, even many of the default key mappings were changed (I don't have an Xbox 360 version handy to compare).

But it's not just the up-front systems that have been altered. The game's mission structure is now much more discretely demarcated. Quests (both main quests and most side quests) are more clearly initiated, and they even end with a "Mission Complete" review screen.

Largely gone are the tapestries of overlapping and often interconnected minor quests set throughout the first game's enormous Citadel (there's no comparably rich and populated location in this game), and at least during my playthrough I came across nothing like the snaking bureaucracy- and law enforcement-tinged quest line of Mass Effect's Noveria.

In the first game, experience points were littered all around the world, conferred for examining items and locations and completing small standalone quest lines. It was possible to level Shepard up a fair amount by simply exploring. Now, that's almost all been relegated to missions, which tend to be open-and-shut affairs consisting mainly of extended linear action sequences punctuated by conversation. As a result, while the action parts play much better, I was less invested from a personal perspective.

As a player I thus felt slightly less important to the events of Mass Effect 2 (particularly since the broad plot of "Shepard is part of a covert organization and must save the galaxy from an enigmatic evil" was basically carbon copied, with a different covert organization and a sort-of-different enigmatic evil), but the game did absolutely pay off in spades the effort made to enable character transfers from the first game, with many decision-dependent callbacks.

Playability And 'Critic-Proofing'

That fundamental approach, overlaid with the game's many streamlined mechanics, makes Mass Effect 2 move much more briskly. It's a macro pacing adjustment that's furthered by action game allusions like the new quick time event-inspired mid-conversation interjection of altruistic or aggressive actions. Ostensibly, that offers more opportunities for players to distinguish their experiences, but it's hard for me to imagine many people being able to resist punching it in when the prompt is flashing on screen.

There's also no need to comb through an overcrowded inventory, meticulously swapping weapons, armor, and upgrades around. Once a mission has begun, it tends to be a straight shot to the end, particularly since BioWare managed to eliminate most mid-mission loading times. Experience points aren't conferred until the mission is complete, so there's no sudden pause to browse through the squad screen.

Nearly every upgradable piece of equipment applies to the squad as a whole; only the player character has configurable armor; and weapon swapping is almost irrelevant anyway, since nearly every gun is just a directly-upgraded version of another gun of its category. It solves Mass Effect's problem of deluging the player with hundreds of nearly-identical items by putting all the characters on much more class-defined and automated paths, with many fewer skills to upgrade.

In a recent Gamasutra interview, BioWare's Adrien Cho said the team "wanted to make sure that absolutely every issue [critics and players] brought up was addressed." In that light, the changes make sense; almost all of them result in less hassle. They also decrease the player's input in how the game is played, at least after the initial class selection.

So are these systemic changes good or bad, on balance? It depends on what you liked (or didn't) about the first game. If Mass Effect was a sci-fi shooter saddled with excess RPG micromanagement, Mass Effect 2 is the ideal evolution. If Mass Effect was an RPG that tips its hat to third-person action games, Mass Effect 2 may be less satisfying than expected.

Genre Distinctions

There is still, however, a focus on character conversation that, in keeping with BioWare's design ethic, is far more pervasive than any straight-ahead action game would ever maintain. That's why, even though I fall on the side of those who would have preferred Mass Effect 2 to patch up its micromanagement rather than largely discard it, and to retain the often mundane but charming urban side quests, the game remains a fascinating -- and I think ultimately successful -- experiment in genre.

It's all the more fascinating that this game was spearheaded by a sister team to the group that made Dragon Age: Origins, one of the most consciously intricate and mechanically complex mainstream RPGs to surface in quite some time.

(It isn't as though every change to Mass Effect 2 points in the same direction; the player character's armor is enjoyably customizable to a much greater degree than in the first game, even as that capability is removed entirely from party members. And while I initially liked the planet-scanning resource-collecting minigame as one of the game's few mechanical nods to eggheaded Space Race-era sci-fi, it soon became realistically mind-numbing.)

These genre distinctions are surely irrelevant to many players; if a game is fun, it doesn't necessarily matter how to describe its genre. But although genre cross-pollination is common, most game designs are still driven by heavily codified boundaries.

I've long wondered why there seems to be a requirement in game design that including copious amounts of player-driven dialogue must necessarily be accompanied by traditional RPG systems or the fading puzzle mechanics of graphic adventure games. In some parallel universe, a slightly different Mass Effect 2 wasn't the result of a gradual reduction of RPG systems from an action-RPG, it was the result of continual layering of accomplished dialogue systems and a class system onto a shooter.

Taking The 'RPG' Out Of RPGs?

I haven't played Final Fantasy XIII, but as far as I can tell from my colleague Christian Nutt's analysis, BioWare and Square Enix both seem interested in stripping a bit of the RPG out of their RPGs -- but they're doing it in almost entirely different ways that speak to the traditional distillations of their regional genre conventions.

Now, I find myself curious not only about where BioWare will go with Mass Effect 3 -- now that BioWare has both justified the cross-game continuity of player choice and planted clear signposts about its design evolution for this series -- but whether any other developers will follow in these footsteps. There are plenty of action games with character level systems and upgradable weapons with systems nearly as detailed as Mass Effect 2's, but there are effectively none with such a well-integrated, player-affected, and content-heavy dialogue layer.

It's easy to imagine why. In an age of increasingly costly content creation, there's no real need for developers of shooters, which get along just fine without lots of dialogue and classes, to bolt on so many extra costs. That's why we're in this universe, where Mass Effect 2 is the result of RPG heritage, and not the other way around.

New trends are always driven by initial success, and critical reception suggests Mass Effect 2 is resonating strongly. Still, The Sims is one of the most successful game designs of all time, and there have barely even been attempts to duplicate it. So will Mass Effect 2 serve as the template for the class-based single-player action game with dynamic narrative? Or will it stand as a genre experiment unto itself?

COLUMN: 'Game Mag Weaseling': PC Game Mag Obscurity

pcgames-8901.jpg   pcgames-8912.jpg

Frank Cifaldi, who writes for 1UP and has his own site at Lost Levels, has recently been doing some work collating as many photos as he can find of the Winter 1990 Consumer Electronics Show, back when CES was the biggest trade show for the video-game industry. The results have led to some pretty fascinating discoveries (NEC had a surprisingly enormous booth for what would eventually become the TurboGrafx-16, for one), but that's not what this column is about.

One page Frank found (from a 1990 issue of Famicom Tsushin) has a photo of some American game magazines, one of which has "PC" on the cover but is otherwise obscured. He showed me the page and asked me what other PC mags existed in 1990 apart from Computer Gaming World. The fact he didn't know about the existence of PC Games magazine isn't that surprising to me -- it sort of indicates the problems that title had throughout its surprisingly long history.

PC Games's first issue was published in August 1988 by IDG Publishing, which still had all of its editorial operations way up in Peterborough, NH (pop. 5000) at the time. It was a quarterly that, for the most part, devoted its pages to reviews and buyer's-guide roundup features. I am guessing that IDG launched the magazine because MS-DOS compatibles were beginning to form a decent-sized marketplace for games and PC World, IDG's flagship consumer publication, was too "highbrow" and business-oriented to be appropriate for pitching to game publishers as an ad partner.

After a couple of issues, production of PC Games was taken over by IDG's brand-new office in San Mateo, CA -- i.e., the outfit behind GamePro. The mag took on a flashy visual look that aped the GamePro of the day (right down to the crazily-detailed airbrush art on the cover), and GamePro staffers like LeeAnne McDermott, Wes Nihei and Rusel DeMaria contributed content -- under their real names, too, instead of persona nicknames.

The result was very eye-catching and definitely unique in the marketplace (Computer Gaming World, the main competition, was extremely text-heavy and academic by comparison), but for whatever reason, the GamePro arrangement didn't last. PC Games was back to production in Peterborough by the end of 1990, and while it was a bit more colorful than the first few issues, things looked much plainer and more suitable for the mature PC audience.

ee-9401.jpg   ee-9506.jpg

Slowly PC Games grew with the MS-DOS game audience, finally upping its frequency to eight issues a year in 1993. PC Games published its final issue in late 1993, and in its place, IDG founded Electronic Entertainment, one of many titles around this time (CD-ROM Today and Multimedia World among them) that capitalized on the "multimedia" buzzword craze gripping the PC scene. Inspired more than a bit by Wired, the new mag featured extensive coverage of new tech like virtual reality, cutting-edge PC accessories, and the Internet, although very slowly at first.

Like a lot other "multimedia" mags of the time, EE had trouble finding an audience, thanks to trying to cover every new piece of technology all at once -- PC game fans weren't much interested in 3DO reference-book software coverage, for example. As a result, by 1995, EE had become a de-facto PC game magazine, not much separated in style from CGW and the brand-new PC Gamer.

pce-9601.jpg   pcgames-9903.jpg

Reflecting this fact, editor-in-chief Frederic Paul changed the name of EE to PC Entertainment with the January 1996 issue. "We've been focusing on computer-based entertainment for more than a year now, and we simply decided it's time to update the name to match the content," he wrote. In June 1996, the title changed names again -- back to PC Games, allegedly to focus even more on what had become its bread-and-butter coverage.

Even by this point, however, the writing was on the wall. Most of the '96 issues are about 112 pages long, while PC Gamer and CGW were both larger by a factor of several dozen edit pages. Despite being as quick as PC Gamer to institute a cover-mounted CD-ROM, PC Games never really made itself unique in the marketplace, and in gamers' minds, it was in a third-place position from the start.

The magazine soldiered on until March 8, 1999, when it was purchased by Imagine Media (now Future). Imagine immediately closed the magazine and began sending PC Gamer to its subscriber base instead; if readers were already receiving PC Gamer, they got the (then brand-new) PC Accelerator instead.

So ended the first major consolidation of the PC game mag market in the US. Funny to think that the second one didn't happen for another six or so years, huh?

[Kevin Gifford breeds ferrets and runs Magweasel, a really cool weblog about games and Japan and "the industry" and things. In his spare time he does writing and translation for lots and lots of publishers and game companies.]



If you enjoy reading GameSetWatch.com, you might also want to check out these UBM TechWeb Game Network sites:

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Finger Gaming (news, reviews, and analysis on iPhone and iPod Touch games.)

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