John Lanchester on Games as Art

http://www.lrb.co.uk/v31/n01/lanc01_.html

My brother sent me the above article. Its author John Lanchesters view on Video Games as an artform. I should simply be happy that artists outside that of my field are beginning to look at video games seriously.

It was interesting to read from a gamers viewpoint, as the man is obviously not studied in games. Its nice that he believes games will be art, or at least have some rare instances of art, even if he doesn’t think the entire medium is an artform. The reason for this is his definitions of art still mostly revolve around the common conventions of experienced art – not interactive art (though lots of experienced art has interaction, such as theater, or the audience experience, etc). And also, like many crafstman, he looks at it through the lense of his own particular craft. So he concentrates on how video games CAN grow more sophisticated in relation to the narratives he is used to.


He mentions Miyamoto as a genius, then that the Wii and its games are more toys. As he says, he is not being insulting. But I fail to see how those are not art, and its easy to understand how he does not. In fact, most statues or painting – many great works of art are no more than representations or abstractions of our world. Games are the same. They do not need to be Bioshock and outright discuss Ayn Rand to be art. They have to evoke base human emotions, pleasures, and create a memorable experience. If its pure whimsy fun like in Mario Galaxy, that is not a toy. It as much art as the beautiful paintings of Sun Flowers by Van Goh (however you spell it).

The key difference between a toy and any game is toys are something you play with. Games are something you play. There is a very key difference. A toy is a tool of play. It in of itself does not elicit play. It does not create play. It is an object of which play can happen. The art of crafting digital toys with in narratives in order to create a specific or designed play experience is the art of video game design.

 
Its one of my big gripes about the “art” of games right now; that putting a great story in a game makes it art. I disagree. It CAN, but what games have that other mediums do not is interaction, and the possibly to explore alternate events. A game that simulates epic space battles between empires – Sins of a Solar Empire – has essentially no story beyond a simple mythology you find in the manual (much to the dislike of some critics). Yet it is a more significant work of Art in my mind than GTA4. It is a beautiful designed game that evokes an awe inspiring sense of scale, forces the player to comtemplate economics, diplomacy, and strategy. It is ART of war combined with stunning visuals, UI and music. It all is artistically designed around a theme to evoke certain emotions. When I have sweat on my forehead from my 4th straight hour, and my finger is twitching as I try to decide if striking the planet of an enemy now is going to destroy my empire or make me a ruler of a galaxy – the game has made me understand what it is to be a ruler on a more personal level than that of many great literary works dealing with such things. It is not a merry accident. These emotions occur because the designers understand how to evoke senses and manipulate my emotions.
Long ago the game academia revoked the idea that its merely rule sets and interface that make games fun. The same game with lesser visuals, music, or lack of a coherent theme is less pleasurable. The combination of these that SERVE the rule set is the art of games.
Again. Its interesting to me, especially hearing about how non-gamers find interfaces and controls arbitrary. That is definitely a concern now, and part of the reason of the success of the Wii. But I am not sure how much longer it will feel arbitrary as any kid over the age of 5 is now being raised learning the language of games. But I do agree with making games easier in many ways, and have liked the approach both Alone in the Dark and Prince of Persia took. But that is a different topic.  But the real key is to create dynamic difficulty that matches the player, to keep the player in the FLOW CHANNEL. But that is a completely different topic for another day.

World of Goo gets punished for being Great

I have a few posts I need to make, but I have been busy this week with my job situation. I am happy to report I have been hired full time as an Assistant Producer at my publisher, but sad to report that like many, lay offs have been made. My thoughts are with all in the industry, and I hope them and their families return to financial stability as soon as possible.

And speaking of financial stability, I had to make this quick post in regards to what is happening over at the World of Goo.

http://kotaku.com/5143458/rumor-world-of-goo-publisher-files-for-bankruptcy-protection

According to Kotaku World of Goo publisher Bright Mind Media is filing for Bankruptcy protection as it pays of creditors. And that World of Goo has a 90% piracy rate. Even if the actual rate is half of that, it is an astonishingly sad number.

I wont lie and sit on a high horse saying I have never pirated a game. I was young, and around when the napster craze first hit and it didnt seem like stealing. But I grew up. And since refuse to do it because I no its wrong. And since than get increasibly angry about it because I personally know how it hurts people  in the indsutry. And more importantly, makes it not worth while for up and coming independent developers to create great games.

Imagine if you were told before hand 90% of your games would be stolen. I am often a cynical person, and accept the state of piracy. But this upset me. Here is a beautiful work of interative art made with love and talent by 2 great game makers, and they get rewarded with this. Petty excuses like DRM and the evils of big corporation dont hold up here do they? Petty thieves.

I also use this to endorse this game – truly one of the best of the year, and easily worth $20.

They are even so kind they gave away the soundtrack – fantastic and in my car CD player as I type this – for free.

Paradise Party Time

Burnout Paradise was a true joy for any racing fan this year. But more so than the initially bewildering experience of wide open adventure, tricks and racing at 160mph, was the pleasure of the consistent, and FREE, DLC that criteria has provided.

Their support has been something of a miracle usually performed by 2 might deities. The console God of Bungie, witch budget and profits so enormous they have could have a small studio whose only work is to eat money and be fine for years, and the might PC lord Valve. Somehow the modest UK developer found a way to not only give gamers more, but evolve their game through out the year. I wouldn’t go so far as to say its a different game, but she sure looks a lot different now than she did in highschool.

Its also an issue that developers are going to have to tackle, unfortunately in an economy thats proving as bad for them as anyone. $60 is a lot – the abundance of used games sales is proof of this.  And if the last 2 years has shown us anything, its more AAA titles are being released now than ever before. So to convince someone to spend $60 on YOUR $30 million is tougher than ever.

I am guilty of waiting for games to go used. Rainbow Six Vegas 2 should have been mine over a year ago ($10 on steam this weekend FTW) but I wasn’t going to dish $60. By the time it dropped to $40, it was this holiday season. Wasn’t going to happen.

Perhaps not only DLC, but a constant hello to the gamer is the key. Less a one night stand, and more of a stable relationship. If you want to know why Valve and Bungie have such fans (come civil war, my uniform will have a hand holding a crowbar on it) is because they are invested in the company. The company communicates with them and answers them. Not via media, or one DLC 3 months later of content that should have been in the game. But by continuing the reiteration process of development with the gamer himself.

Congrats to criterion on an amazing year. Now the question is if your first DLC that costs money is worth it. I look forward to the Party Pack even if I skeptic that pass and play goes against the core design belief you have so carefully adhered to.

Also, Chesley Sullenberger, you are a hero. If I could, I would buy a 36 of pabst and take you to see your Favorite Movie, Gran Torino.

While I hope

A return and a beginning

This blog was created with a certain intent, and that internt quickly disappeared, and I never returned.  So desperate to validify by goals to become a game designer I jumped in to do everything I hadn’t done yet. Read books, create a blog, engage in useless debates about games as art. I quickly lost site of this blog, as with out any real understanding or certain desire it served no purpose.

But months later, here I am. And hopefully this blog will now serve its purpose. A lot has happened since. I have stopped talking and started doing. I became employeed at Disney Interactive Studios as a Production Intern. I work under an amazing VP with great credits in her career, and an equally great producer. They both took me on, and have become true mentors. With in a month or two, I was truly being treated as an Associate Producer. My EP saw my passion for design, and I even began to design gameplay elements for titles, some of which are implemented in soon to ship releases. Exciting for sure.

While Disney Interactive may not seem the best place to develop designer skills, especially those who aim for a more artful product, its proven quite the opposite. An editing teacher once told me that making a film is nothing but problem solving. People can preach art and emotion, but in the end you are setting up problems to be solve. Its not about “I want to make a gamer cry”. Its “how do I make a gamer cry?”. Make him connect with the characters. “What mechanics make the player feel connected to their avatar?”. And so on. But also like film, all goals of art and quality collide with obstacles of commerce and practicality. This is where DIS has been an amazing experience.

The people I work with want to make the best games possible. But we must do so with in some incredibly difficult restrictions. Restrictions of time, of money, of developers we can work with, and most importantly, of dealing with the brands and IPs that Cooporate Disney is so rightfully protective of. To not only produce, but design games in this atmosphere, underneath the guidance of experience professionals, has been far more useful than any blue sky design I did as a student.

I have also been fortunate enough to get in contact with a USC professor and begun to do free lance design work for his starting company. Many of the projects are for students to work on in classes, but I have also designed a serious naval simulator which I wish I could say more on. That was an incredbily challenge as well, and my first design assignment. And like a Disney Game it was not exctly what I had imagined. It wasn’t a narrative action game like Prince of Persia, or a sick Half Life 2 type shooter. It wasn’t even a game meant to be “fun”. It was a challenge, a problem to be solved. And soon I realized how interchangable so many game mechanics are. Whether it be childresn games, serious simulators, or a gore fest shooter, all games are about creating experiences for an audience, and creating toolsets and rules that emerge and give the player choice in that experience.

Unfortuntely as I write this, my job position is shadow of its former certain self. I did quite well at Disney, and was getting ready (multiple times) for a promotion. But this economy and lack of sales across the board has made hiring a difficult thing right now at my current company – as it has for many others. My fate is not yet sealed, and some opportunites are presenting itself. But right now, my most played game is shotgunning resumes to every game company I can.

I hope to use this blog to write down my growing views on game design. I hope others get something from it, but I think it will be of most use to me as a way to solidify my learning into something more tangible than brief thoughts at free moments. I also hope to spread the word about many indie games out there, and examine and discuss games in a more stimulating manner than your average review.

Quick note.

The two best games of 2008 were: Left 4 Dead and Burnout Paradise

A Quad Core, two monitors, an interview – plus a Crysis

Hectic and tiring would be the best ways to describe the last few days. Well, rewarding would work too. My set up is finally complete. The computer works great after some hiccups and I have most of the software I need.

If you are reading this on 1 of 1 monitors let me say – thank you for being one of the 4 people reading this blog. And guy buy a second monitor. Once you double your virtual destop, there is no going back. My dislike of AIM has much to do with the constant window closing and opening, a confusion that ensues. Having all conversations on a second monitor is a godsend. Of course the real reason I made the investment wasnt to chat to friends while playing CoD4 on separate monitors, but to be able to use word and scripting programs on one monitor while doing all visuals aspects of game design on the second. Hopefully I will be getting to that soon.

I got my first major interview today. I had one last week for the Q&A division at Activision. That would be a nice back up and hopefully I hear from them soon. I think that went pretty well, and honestly you dont need much of a background for game testing. But today was an interview for a production internship at Disney Interactive. The man I would work under seems like a very cool knowledgable guy, and interesting in making new, creative IPS using the DS and Wii. The job involves video editing, a bit of design, research into new developers, sitting in on production meetings, and just pretty much anything else they need. Can’t thinkof a better entery level job. I think I nailed the interview, hope I head back soon – that would make life a whole lot less stresful.

Been playing some Crysis on my new glowing blue friend. I will report on it more later as I play more. But for now I am surprised – beyond the glory of the graphics, its a smart, very fun game.

Long Weekend – Building the Computer

I went through the grueling process of researching parts for my new computer. I almost gave up and just went to buy a decent dell that was on sale. But I stuck with it, and I think I constructed a fantastic computer for just a hair above $1000

Thermaltake Tsunami VA3000BWA Black Aluminum ATX Mid Tower Computer Case
ASUS P5K LGA 775 Intel P35 ATX Intel Motherboard
XFX PVT88PYDF4 GeForce 8800GT 512MB 256-bit GDDR3 PCI Express 2.0 x16 Video Card
CORSAIR V2.2 550W Power Supply
Intel Core 2 Quad Q6600 Kentsfield 2.4GHz LGA 775 Quad-Core Processor Model BX80562Q6600

mushkin 4GB(2 x 2GB) 240-Pin DDR2 SDRAM DDR2 800 (PC2 6400)
Western Digital Caviar SE16 WD5000AAKS 500GB 7200 RPM SATA 3.0Gb/s Hard Drive
SAMSUNG 20X DVD±R DVD Burner with LightScribe Black SATA Model SH-S203N

Pretty excited… of course for whatever reason USC credit union is not processing my charge. So it seems like I will be spending more time tomorrow just getting the payment through.Either way, this weekend should be a whole lot of fun.

Starting the Grunt Work

So it appears I will finally make that big step – the investment into a new computer. I have had the same one for years, and if I am going to try to seriously get into the game industry I need to start practicing what I speak. Knowing game design is fine, but it means nothing unless I can get a working level out there.

This realization came to me last night while applying for jobs. I saw Infinity Ward was looking for level designers. This would be a dream job to me as Call of Duty is right up there with Zelda and Half Life in my heart. However what they need is modded levels. And of course I start thinking, well I have great ideas (don’t be worried, I do indeed have some) that should be enoug… And that was that, I realized I need to stop just thinking of ideas and start putting my money where my mouth is. New computer, new copy of CoD4 for the PC, and mod software here I come.The turn over from “oh shit I need a real computer to make a living” to buying one should be quick. I will probably purchase the parts tomorrow.
It might also be the fact that such a simple program as Torque couldn’t run on my PC once I tried to refine the textures.

But yes, our final project for my game production class is due in the next few weeks, and instead of just getting it done I am trying to make a pretty legitimate prototype. I love my game concept and will definitely post the design doc once its finished. A friend of mine who is a maestro with programming finds worth in my idea and wants to program it this summer, but is too busy with his own school work to do much now. So its time to learn Gamemaker or Torque efficiently to make a good game.

We’ll see how it goes.

Condemned 2 Electric BOOgaloo

Let me start by apologizing for the title.

Just finished a nice play session of Condemned. I say nice because its daylight. Later the play session will be less nice, with a dab of tears, perhaps a pants wetting or two.

I am rather impressed with all the additions to the mechanics of Condemned. The new “detective 101” multiple choice tests are a rather rewarding new way investigating a scene. I shouldn’t get so much satisfaction from click “exit wound”, but damnit, I feel like a Lester Freamon (watch the wire). Only this Lester Freamon is like McNulty on his worst binges… with nice mix of insanity (again, watch The Wire).

Getting rid of the lead-you-by-the-hand investigation mini games really does a lot to sell the serial murder aspect. Now my investigation is given “perfect” scores, and the “good” scores makes me throw a few beer bottles around the place; unwise as it may be as they help my accuracy in an odd Unforgiven meets Bender inspired mechanic.

But I dont want to go on about the enhancements in gameplay from the fighting to the more interesting level design, or the more clear, but less satisfying story in this middle chapter of the supposed trilogy. The fact is, Condemned 1 and 2 are prime examples of unique innovative titles in the horror genre. They do much right, concentrating on atmosphere, a more realistic setting, in game mind ****s instead of cutscenes. But they still get wrong what I consider the biggest issue in horror games – I keep getting rewarded for playing well.

Yes, I think the main issue with horror games is one of the most basic dogma’s of game design. Reward the player. But thats not scary. From the RE series to Condemned, by the end of the game you are blasting away enemies you have seen hundreds of times before with more powerful weapons. Its the status quo, but now you are more powerful. The games are most scary in their vulnerable beginnings, where what could attack you, and how you could defend yourself are uncertain. But has enemies become more repetitive and your firepower more destructive, its tough to really be frightened by anything more than cheap BOO scares.

I want to note one lost opportunity in Condemned 1. You use axes to open wooden doors. It takes 2 hits, the first of which opens a small head sized door. You see this animation over and over again. Why in gods name they didnt pop a zombie* head in there is beyond me. Even wanting it happen the whole game I would have probably pooped myself. Its just an example of setting a status quo, a comfort zone, and then exploiting it. After that happens, the player will always expect it, a new status quo. So, later in the game, have the zombie kick down the door the second the player begins the animation. Yup, I think I just got a few ounces lighter.

Maybe its my recent readings of Lovecraft, but I think a horror game needs to repeatedly set up comfort zones, unique ones through out the game, only to betray them. Fatal Frame was effective in this sort of vulnerability. Its not as if you are going to get a laser site for that camera. Condemned does resort to the normal scripted events that take away your shotgun, but I know deep down, despite how scary the hallway, that there will be a rather easy to kill man with a shotgun around a corner. After which I have 3-6 enemies which will be taken down with a single shot.

Give me a game where the enemies get larger, and my guns smaller. Where death is not the only punishment but the preferred one. Make me a shell of a man, whimpering in fear, stewing in my own excrement, breaking down like I lost a loved one, where the credits don’t so much end the game, but break my temporary insanity, forcing my roommates to turn off the 360 for me, and carry my limp form into the comfort of my bed.

Its not easy, but the interactivity, and the complete attention given by the gamer presents opportunities for some true horror in games.

*I am aware that they aren’t zombies, but I want to use the Zed word anyway.

Brawl’s new balance being misconstrued as “casual”

For those who follow competitive game, Smash Brothers Melee broke out a few years ago. As wave dashing and canceling became major components of the game, Melee went from casual party game to hardcore competitive fighter. Smash Brother’s eloquent design has always been about fun first, competition second. Something designer Sukarai has stated repeatedly.

Now that Brawl has been out for a while in Japan and a month in America, there is a bit of backlash against Brawls newfound balance. People cite Sukarai’s comments as evidence that Brawl has devolved into a more casual party game and lacks the competitive edge. I couldn’t disagree more.

I followed the competitive Smash Brothers world since the very first one. My times in break the target and platform are all tied or just barely below world record times. I easily beat 3 level 9’s teamed up against me with barely losing a life. I don’t say this to brag (honestly, how can one brag about 1/2 of your time in middle school was spent to sucking Pikachu into Kirby’s infinite stomach instead of chasing girls) but only because most people who will take issue with my opinion will be those who have truly played Smash competitively. I have, so yes, I am one of you… for better or worse.

Melee was truly a step up from SSB64, and the gameplay was refined, ideas expanded, while keeping the same innovative design. However, once you got to the top tier it was not as “deep” as some will say. Yes, it was deeper than it appeared, but at truly top levels it came down to speed – and the 4 fastest characters. Sure, you have the few people out there who can rock out with Samus, or even Link, but in then end it became a battle of left and right tilts, and up and side ariels with a lot of dancing in between. Dancing of course being the beautiful art of dodges rolls, L canceling and wave dashing.

Technical Skill vs. Complexity

What Brawl did was take out this “dance”. And this is where the outcry is. People mistaken that dumbing down some of the technical skill as being less competitive. It is true that Brawl is a slower game in many ways. Players on average are slower, and the amount of damage it takes to make a kill has increased to probably around 150% compared to 100%. This slowing down of the game, and the removing of most of the “dancing” has removed much of the technical skill. But technical skill, quick reflexes is not necessarily deep.

The fastest characters in Melee, and the ones who won most of the tournaments, became mostly about dodging moves universal to almost all the characters (pretty much only the A attacks were used), and getting quick ariel combos. Falco, Marth, Shiek all play nearly the same in Melee. Yes, there are subtle differences, and again you have people like Peach and Link who can fight well. But it was fast sprints to tilt up to ariel combo, wash repeat. Even peach was only different in that you wanted to spam your down smash as much as you could.Brawl became rather simplistic in the top tier matches, and more about quick timing.

As a major Shiek user I will attest my strategy – which worked so well I was banned from using her in friendly matches… losers – was nearly identical no matter my opponent. And a series of 3 types of combos was all I needed. When I watch the top players, I see no difference in their play style, they are simply better at the actual execution. I could also jump into Falco or Marth with out any problem.

I learned how to play Shiek in that way in a matter of a week or so. It never changed over the course of 3 years. Only a slight hitch when I found out about wave dashing, which merely made dodging more effective.

Brawl’s Complexity Lies in Strategy

Brawl’s top tier characters consist of Olimar, Snake, Toon Link, Pit, Marth, Diddy Kong, Wolf and perhaps even Dedede. That is a top tier that reflects balance and complexity. Where as melee was all about the 4 fastest characters who all had similar moves, Brawl is less about pure speed and combos and more about effectively using special moves. Of which there is a massive amount of difference.

Now you have placing mines, using a variety of pikmin, learning where the invincible frames for moves are, the subtle differences between the tilts and the smashes are more necessary now as projecticle characters are more useful than before. Take Zero Suit Samus. The difference between her tilts and her smashes are massive – practically making her either a weaker Ike or a shiek type character. These differences instantly call into practice the new ability to modify your c-stick. Already people are figuring out personal combinations of using your C-stick differently, or whether or not to keep up as a jump.

Mentioning the mines and Pikmin, Olimar and Snake are two incredibly difficult characters to play as, and require changes in strategy on scales never seen in Melee. Olimar plays differently with any stage with a slope that mimics the angle of his UP B causes a normally difficult move to be very effective. Which Pikmin one needs up front changes – if grabbing his going to be your key, keep the yellow pikmin up front. Snake’s indirect combat mixed with powerful and fast tilts make him a character that can be played many different ways. Depending on the level his mines may be nearly useless.

Brawl rewards more intelligent use of special moves. The reason higher percentages are required before death is to reinforce the usefulness of a slower, difficult move that can deal heavy damage. Melee was about getting up to 60% quickly and then hitting off the stage.  Edge guarding was king – another thing lightened in Brawl.

There is simply too much to talk in Brawl. I am merely tapping into the well of complexity in the deceptively simple mechanics. But the real key is that even though I say edge guarding is dumbed down, as is the speed, or the dancing aspects, or say the uselessness of throwing, Brawl has characters that are still dependent on edge guarding, are still Shiek fast, still work best with hit and run attacks, and still even have exploits like wave dashing. The “wave bounce” now found for Lucas has possibilities that have been barely tapped.

The difference is that each of these play styles are rewarded more equally. It means the normal strategy of winning Melee is not necessarily always going to work. But its not gone either – Marth still must have grown up in the toughest part of the ghetto.  Its just that Marth won’t always win against Snake. Snake’s indirect attacks, long range fighting, and slow combos work just as well.

That is truly what deep gameplay is about. Quick reflexes and technical skill does not equal complex. A straightforward FPS like Black requires those as well, but no one would mistaken Black for complex

Neutral Stages vs. Active Stages

One final aspect of the game is the stage design. Many seem to prefer the “neutral” stages like Final Destination and Battleground. There are people who claim Brawl lacks enough neutral stages but 40 stages, no pokefloats or Ice Climber AND a level editor for neutral stages are enough evidence to close the courthouse.

And neutral stages being the most competitive in a game like Smash Brothers seems against its game design. Yes, I find myself playing Final Destination a lot, but its not “better” for competition. That may be the case with a tradional fighter where the entire conflict is dependent between moves and combos, but so much of Smash’s technique and skill comes from owning the environment. The lack of moves in Smash Brothers as compared to a game like Tekken is balanced by the near infinite combinations between various moves on differing heights, slopes, obstacles, ground type, etc.

Controlling the best spots in a map, using height and obstacles against you is key to the design of Smash Brothers.  The maps where the level fights you more than the players are examples of the design going overboard. The level should never be FIGHTING the player, but should present obstacles that the more skilled player will be able to use to his advantage. Dreamworld in Melee is a perfect level example. The blocks, apples and bombs, as well as the wind can kill a unsuspecting character – but almost never a skilled one. The wind and bombs present various strategies to use to one’s advantage. Keep a person in his shield, he may be blown back just far enough that the bomb behind him can be blown up. Split second strategies like this create a massive decision tree, with no clear “best” strategy. The increased health for players only reinforces the need to understand the levels as various walls, angles and environmental obstacles can be used to get quicker kills, or keep someone held as to allow combos for massive damage.

Brawl is King

I cannot help but feel those complaining about Brawl are merely upset that their elite skills require a massive rethinking in Brawl. That their simple exploits no longer guarantee victory over lesser players. The more I play the more I understand that Brawl is a much more sophisticated, complex fighter.

Now tripping, that I could do with out. Unpreventable randomness should not punish a player for no reason like that, but its a small nitpick and always funny when it happens to someone else.

First Post

This isn’t going to rock anyone’s world. Well it could rock my world if somehow someone actually reads this first post. Just testing the site, figuring out the features, and preparing myself for a long life after college. Hopefully this page will be bouncing with clever ideas, and jam packed with essays and links to games – of my own making of course.