The Great Branching

I’ve been meaning to do it for a long time, and finally got around to it: Third Helix is now hosted on its own server at http://www.third-helix.com. Update your bookmarks and RSS subscriptions accordingly.

Up until now, Third Helix has been hosted at WordPress.com. Technically, that means you were at http://thirdhelix.wordpress.com, even if you got here using the “real” domain name (which was previously a simple redirect). In other words, http://www.third-helix.com used to map to http://thirdhelix.wordpress.com, but not any more.

Now that I’m self-hosted, I’ll have more flexibility for what types of content can be published. WordPress.com blogs automatically filter out many types of web scripting; for example, it was previously impossible for me to embed a Unity Web Player in a blog post or page. I’ll also have control over the layout, theme, and visual style, so given some time, Third Helix will finally start to look a little less generic. ;)

I’ve ported all content over to the new site, and all future updates will occur there. This site will remain up for a while at least, to catch outdated links and redirect people who had bookmarked or subscribed to http://thirdhelix.wordpress.com.

Let me know if you see anything funky.

Modern Warfare 2 & Double Standards

So I guess some spoilers for Call of Duty: Modern Warfare 2 got out. Big spoilers. The kind that make us gamers very, very upset. This post will discuss one of them: the one that’s been making the rounds today. To avoid Call of Duty: Modern Warfare 2 spoilers, stop reading now!

GamePolitics has the story about leaked game footage which appears to show a sequence in which the player guns down innocent civilians. Kotaku has confirmation from Activision that the leaked footage is indeed real, and that:

“The game includes a plot involving a mission carried out by a Russian villain who wants to trigger a global war. In order to defeat him, the player infiltrates his inner circle. The scene is designed to evoke the atrocities of terrorism.”

It seems that as the story makes the rounds, it’s not the mainstream media that’s upset by the violence this team (though they most certainly will be once they catch wind of it). No, in this case it seems to be the gaming community crying foul, and I find that rather curious.

GamePolitics pretty much sums up the argument:

What makes the footage so striking is the level of visuals in Modern Warfare 2, as even in blurry online footage the action looks almost real, taking this a level beyond the cartoonish violence of games such as Grand Theft Auto.

Wait… really? ‘Cause these still both look like video games to me:

gta4

Grand Theft Auto IV

mw2

Call of Duty: Modern Warfare 2

And graphics whoring aside, isn’t this the same argument anti-game activists have been using for a decade now? We’ve always called out the media on their double standard, on the inherent absurdity of this idea that games can be “too realistic” but somehow films (live action!) cannot. And now, suddenly, we’re backpedaling?

Look: we all defended Grand Theft Auto IV, a game in which you mow down countless civilians. It’s a game so realistic, IGN’s Michael Tomsen commented:

It was a bad day personally, but I was unprepared for just how evocative and beautiful Rockstar’s fictional homage to New York City would be… I was inhabiting a world precariously close to a real place where a very specific person, whom I cared about a great deal, could actually be.

Kotaku’s Michael McWhertor agrees:

Rockstar has upped the ante, creating a startlingly realistic reinterpretation of New York City as backdrop to a violent crime epic.

Grand Theft Auto IV is a brutally violent game set in one of the most realistic depictions of the modern world to grace consoles this generation, and the gamer community welcomed it with open arms. Team Xbox even enthused:

But perhaps the biggest innovation is the notion that you can create a game that’s as valid a piece of art as any book or movie. Is this our “Citizen Kane” moment?

What is Modern Warfare 2 missing that Grand Theft Auto IV had? Why is Modern Warfare 2‘s civilian-shooting being called out for going too far, while Grand Theft Auto IV‘s civilian-shooting is our industry’s “Citizen Kane” moment? If this were your local TV news doing the freaking out, I could understand it. There, there’s precedent. But for gamers to espouse this obvious double standard is just retarded.

As noted in the Activision statement, “The scene is designed to evoke the atrocities of terrorism.” Hey, all you folks complaining that games need to grow up? This is part of that: games expressing ideas and making you feel things that you might find uncomfortable, forcing you to confront concepts and experiences you’d maybe rather not think about. If you think the scene is in poor taste, you can skip it: Activision has confirmed that. But if you want games to grow up, you need to grow up with them.

Hello Again, I Bring Gifts

Oh hey. I found a blog.

As some of you are aware, I recently completed a move from Salt Lake City, UT to Austin, TX along with my team at LightBox Interactive. That move, along with certain (NDA-protected) requirements of our current project, have taken up a great deal of my attention and energy. But I’m finally getting settled here in this most impressive city of Austin, and working my way back toward a regular schedule that includes, once again, some time for Third Helix.

A lot of people do the “I’m not dead” post as if it will single-handedly revive their ailing blog… and the internet collectively rolls its eyes and unsubscribes. Not so, today, for I bring gifts! :D

About three months ago, just before the Austin move, I undertook a 48-hour rapid prototyping project in Unity, producing a game called Tear Down This Wall. Via Twitter, I spammed the internets with ongoing project updates, kind of like a live development journal, and incorporated the feedback from the #teardownthiswall conversation back into the prototype. It was a fun experiment in game design that ultimately yielded a game I’m pretty proud of.

Well today, finally, I’ve properly published Tear Down This Wall, and you can go play it right now. Not only that, but I’ve also written up a development retrospective and posted each successive build from the beginning of the project to the end, so you can see, and experience, exactly how the game progressed from build to build. That’s all featured on the new Tear Down This Wall page.

Now go! Your cannon awaits! ;)

Anti-intellectuals

If you’ve been reading this blog for any length of time, or following me on Twitter, you’ll have noticed that I’m sometimes a bit harsh on conservatives. Well, here’s why:

The latest viral wingnut e-mail, sent early on Tuesday, reveals that teabaggers (with the help of the G0P) are organizing a nationwide “Keep Your Kid Home From School Day” to protest President Obama’s upcoming address to schoolchildren on the importance of studying hard and getting a good education. [...]

Unless these people don’t want their kids to be encouraged on studying hard, there’s only one reason for them to have their children play hooky: an irrational fear of President Obama.

What this boils down to is this: these people’s hatred of Obama takes higher priority in their lives than their childrens’ education. Throughout history, when hatred has taken precedence over knowledge, it has led to things like hate crimes, cults, assassinations, civil wars… even genocide.

These hard-right conservatives aren’t coming out against health care reform, or tax-and-spend policies, or cap-and-trade. They’re coming out against one man. They’ve made what should be a productive national debate into a childish personal vendetta.

What a great example to set for their children.

Langdell, Bates Resign From IGDA Board

Little bit of a slow blogging spell, there. I’ve been wrapped up in moving (with LightBox) down to Texas. That’ll be why there haven’t been any Monday Musings for a few weeks, and so on. But now that I’ve landed and got internet access again, things should quickly start getting back to normal.

Anyway… did you hear Tim Langdell resigned from the IGDA board? It’s always nice waking up to good news. He says he did it to prevent his detractors from dragging IGDA through the mud. Whether that’s valid or not, the end result is that, finally, IGDA may stop getting dragged through the mud. (Of course, we also lost Bob Bates, and that’s a bit less good for us. Good luck in your future endeavours, Bob!)

And can someone explain to me why the hell IGDA is making announcements through its RSS feed via PDF? It’s just… weird.

I Can Has UV Unwrap?

Hello. My name is Josh, and I can’t lay out UVs.

I’ve never been much of an artist, but as I got into game design I found a need for certain art skills. Now I’m pretty well-versed in Photoshop, and can model okay, but one thing that’s still eluded me is UV layout. Today, I decided to change that. After a bit of Google-fu, reading a few tutorials, and about three hours of mortal combat with Maya’s UV editor, I had successfully mapped… a crate.

Now granted, we’re not talking a literal cube. I inset each face, and wanted to map part of my source texture to the inset faces, another part to the internal edging, and a third part to the external edging. Here’s the division I was going for:

UV_MaterialBreakup

Still, this seems like it should be pretty trivial. I made selection sets for the inset faces, inset edges, and external edges, and got after it.

There are a few things that really mess with my head in Maya’s UV editor. One is that, while it’s intuitive enough to select faces (for example) in the Perspective view and see those faces highlighted in the UV editor, I can’t actually manipulate the UVs from this state: I have to convert the selection to UVs first. I lost a lot of selections this way… very annoying.

UV_EditFace

The second thing that trips me up is that I’ll grab a face and set up its UVs appropriately, only to discover that I’ve now totally fucked up the UVs for adjoining faces. The answer to this seems to be the “Cut UVs” command, which half the time didn’t seem to have any effect at all. Not to mention: I can’t do it on a face, I have to convert the selection to edges first, so there’s another manual selection-convert step in the process.

Once I worked that out, I figured it’d be easiest to lay out one representative face and then copy and paste those UVs to its like faces. I don’t know if I misunderstood those commands, or just ran into a bug, but after I did that once — and it worked swimmingly — subsequent copy operations would have no effect, so I could only ever paste the very first set of UVs I’d copied. I had to restart Maya to do a second copy-paste operation, which seems less than optimal.

Even after that, I was only able to paste UVs for the inset faces; trying the same approach on the inset and external edges did not yield happy results. I got some pretty scrambled UVs out of that; there didn’t seem to be any rhyme or reason to the results. So for these cases I ended up doing the following for every face:

  • Select face
  • Convert selection to edges
  • Cut UVs
  • Re-select face
  • Convert selection to UVs
  • Move UVs into position

All the inset edge faces shared the same part of the texture; similarly, all the external edge faces shared another part of the texture. Since I couldn’t copy-paste UVs accurately, I had to move every face into position in the UV editor by hand.

The final model looked like this:

UV_FinalRender

This is obviously no great work of art, but the point was to take a crash-course in UV layout, not make something beautiful. That it took me three hours to lay out what you see above, however, seems quite wrong to me. I know UV layout is a non-trivial process, but seriously? It’s a fucking crate, a glorified cube. Seems like this should’ve taken fifteen minutes tops.

My major stumbling blocks right now are these:

  • Having to convert selections to UVs seems wrong. Why can’t I just select a face, or a group of faces, and manipulate them in the UV editor directly?
  • Having to cut and sew UVs also seems wrong, at least for this kind of application. I want to say, “This geometry uses this part of the texture,” and not have that impact the UV mapping for other parts of the model.
  • Cutting UVs seems inconsistent. Sometimes it just doesn’t do anything, and my UVs are still connected to stuff I don’t want.
  • Repeating the exact same steps for each individual face, where the whole set of faces was to share the exact same part of the texture, seems unnecessary. I feel like I should be able to select the whole group of faces and map them all at once.
  • The UV editor display seems very awkward. It doesn’t isolate selections properly, and if I use the “View contained faces” or “View connected faces” options, I can’t make selections without Maya automatically reverting the view settings at the same time. Leaving everything displayed is confusing as hell, though.

All that being said, this is not a rant against Maya. Hundreds of thousands of artists the world over use these UV mapping tools every day, and make amazing stuff. I have to believe I’m simply approaching this process all wrong. None of the tutorials I found did a good job explaining technique; they only dealt with how to operate the tools, not so much how to effectively use them.

So, if there are any artists reading this… any tips? ‘Cause I’m pretty discouraged right now, but I know there’s a right way to do this. How long would that crate have taken you to unwrap?

[Monday Musings] Gameplay Isn’t Everything?

[Denis Dyack said recently that "gameplay isn't everything". This week's post explores that topic in detail, and attempts to clarify some ambiguities in game design terminology that I believe have contributed to some confusion over what Dyack is actually advocating.]

“Gameplay Isn’t Everything”

A few days ago, Gamasutra reported on comments by Denis Dyack (of Eternal Darkness and Too Human fame… or infamy, depending on your perspective) with respect to the relationship between gameplay and narrative:

“Gameplay is not everything,” said Silicon Knights (Eternal Darkness) founder and president Denis Dyack. “If you look at the most popular games today, they are far more narrative-focused. If games are to follow the trajectory of films, then the dominance of gameplay will diminish in place of an increased focus and importance on gaming’s stories and the ways in which they are told.”

I take issue with the suggestion that games ought to follow the trajectory of films, but I’ll reserve the industry’s film envy for a later post. Today I want to talk about this “gameplay isn’t everything” business. The first problem to address, however, is a semantic one: what exactly is meant by “gameplay”?

What Is Gameplay?

On some level, we all kind of “just know” what gameplay is. We know it when we experience it. But it’s a bit harder to really nail down, concretely, what defines it, what differentiates “gameplay” from “not gameplay”.

For purposes of this argument, I’ve chosen to define “competition” as the prime differentiator. If you have competition, you have gameplay; if not, you don’t. More specifically, the presence of competition distinguishes “games” from “experiences”.

Unfortunately, this creates another tricky clash of terms. We tend to use “game” colloquially to describe an entire spectrum of interactive experiences, from the abstract to the concrete, from the authored to the emergent. From here on out, I’ll use the term “video game” explicitly, to refer to any product of our medium. Within that spectrum, “game” describes a product which is built around competition, while “experience” describes a product which is not.

So then, why competition? For starters, note that I’m not exclusively referring to multiplayer. There exists a wealth of single-player games that are built around competition, usually (but not always) in the form of AI opponents. In any case, I started developing this line of reasoning after reading Jason Rohrer’s excellent article in The Escapist last August, Testing the Limits of Single-Player:

“The discussion of AI highlights that the human factor is not what allows simple game mechanics to blossom. It’s not what humans bring to the game, but what two competing players – human or not – bring that allows the beautiful complexity and subtlety to emerge… Go’s depth exists separate from the personalities that play it, like a property of the universe just waiting to be discovered whenever two entities sit down, in opposition, to explore it.”

In most cases, the opponent is concrete: the opposing players in Unreal Tournament, or the other civs in Civilization. Sometimes, the opponent is abstract: the obstacle-laden level designs of Portal, or the abandoned puzzle fixtures of Myst. In all cases, the opponent’s role is to prevent the player from winning the game. Player and opponent struggle against one another, forming a ludic narrative that lasts until victory or defeat is finally realized. This is the essence of gameplay.

What Isn’t Gameplay?

The defining characteristic of video games is interactivity. The defining characteristic of a “game” — in its specific definition as just described — is competition. But competition is not a prerequisite of interactivity, so it stands to reason that another kind of video game must exist, one in which competition is absent. I call this type of video game an “experience”.

Experiences, under this specific definition, do not have gameplay. But that doesn’t mean they’re not video games. Again, the defining characteristic of video games is interactivity, and experiences are fully interactive.

Experiences replace “competition” with “facilitation”. The game doesn’t work against the player, but rather works with the player to facilitate a particular experience. This might be the exploration of a fully-realized, authored storyline, or it might be an abstract realization of an emotional state or progression of states, or it might be anywhere in between.

Examples of experiences are somewhat rare. The Half Life 2 mod Dear Esther presents a linear progression through an environment coupled with a fractured progression through a narrated story, but with no challenge gates whatsoever. There is no opponent, either concrete or abstract. Independent developer Tale of Tales has focused on this kind of work: The Path is all about exploring an area in search of interesting tokens, but can in fact be “completed” by simply walking a straight line, unchallenged; The Graveyard is similar, involving the exploration of place and memory absent any opposition.

Is This All Just A Big Misunderstanding?

To return to Dyack’s assertion that “gameplay isn’t everything”: I’ve seen responses from the game design community run the gamut from enthusiastic agreement to vehement denial. My impression so far is that the response tends more toward the latter, and I’ll admit that was my knee-jerk reaction when I first read the article.

Further reflection, however, led me to differentiate “games” and “experiences” and to realize that both are fundamentally “video games”, as both share interactivity. And that, I think, cuts to the heart of Dyack’s point.

In my interpretation, Dyack is not advocating for experiences to replace games; he’s advocating for experiences to be recognized as being as valid as games. Pure experiences are rare right now, but they’re by no means unfulfilling. (Personally, Dear Esther is one of the most memorable video games I’ve played recently.)

So in the end, I agree with Denis Dyack, but with one little caveat. Gameplay isn’t everything… unless you’re making games.

(Also, our terms suck. We need more of this, please!)

Follow

Get every new post delivered to your Inbox.