valve

Breaking the Frame

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I just realized how much Builder was subconsciously influenced by Portal. I honestly didn’t even think about it at all. But Valve’s design pervades almost everything about the game’s structure, down to the build/destroy thing (as opposed to red/blue portal stuff), and the way that the design is broken down into… sort of puzzle rooms.

And the whole game is sort of about escaping from this cozy gamey situation. And all the way the game teases you about what may be beyond that facade. Then at some point you — well. At some point everything becomes clear, and that’s when things become really interesting.

It says something about Valve’s design sensibility that I find myself aping it without even knowing I’m doing so.

If you have yet to play Builder, go and do so. If you downloaded it early on, you might as well upgrade; there are always little improvements. Meanwhile I’m working on a way to make the game easier for everyone to experience.

Steam Play Indie Pack

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Spring must be the season for indie game packages. Following the Humble Indie Bundle and Sleep is Death pay-what-you-want specials, and indeed Valve’s own free offer of Portal, Steam has a new package of five indie games for $20.00. Not quite as cheap, but still tidy compared with the $50.00 cover price for all five.

The Steam Play Indie Pack includes Broken Rules’ And Yet It Moves, Hassey Enterprises’ Galcon Fusion, Amanita Design’s Machinarium, Hemisphere Games’ Osmos, and (in case you haven’t already claimed it elsewhere) 2D Boy’s World of Goo.

( Continue reading at DIYGamer )

The Crowbar and the Trigger Finger

  • Reading time:10 mins read

by [name redacted]

A somewhat edited version of this was published by Game Career Guide, under the title “Phantom Fingers“; here is the article in full.

We make communication so darned difficult. We create languages, manners, rules, syntax, subtext, irony… We learn to love the language and its artifice – and the more we cherish our tools, the more signal that gets lost in transmission. Soon we get so caught up in what we’re saying that we no longer have any anchor in our surroundings, the foundations give way, and all our facades collapse around us.

Dead Rising: A Trope Down Memory Lane

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by [name redacted]

In 1985, Shigeru Miyamoto came to down with a truckload of tropes, and they were so wonderful, they did such a great job at filling the creative vacuum of the time, that it took two decades for people to notice the limits to their application. Now, step by step, we’re kind of getting back our perspective. Under Satoru Iwata’s oversight, Nintendo – so long, so much to blame for the entrenchment – has painted a huge “EXIT?” sign in the air, with a wave and a sketch. Valve has suggested new ways to design and distribute software. Microsoft and Nintendo have tinkered with how videogames might fit into our busy, important lives. Blog culture is helping aging gamers to explore their need for games to enrich their lives, rather than just wile them away. And perhaps most importantly, the breach between the Japanese and Western schools of design is finally, rapidly closing.

( Continue reading at Game Career Guide )

Sound and Perspective in Experimental Games

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by [name redacted]

Whereas last year’s Experimental Gameplay Sessions were crammed into a standing-room-only meeting room, resulting in a nightmare for the fire marshal yet a powerful experience for the audience, this year’s sessions were moved to a huge, dark presentation hall.

Although the audience turnout was larger than ever, and host Jon Blow had more participants to introduce, the meeting somehow felt less intimate and more low-key than last year’s.

As before, the event sprawled over two and a half hours with a short break in the middle. Where last year’s sessions had a general theme of interpreting complex emotions and ideas through familiar game models – evidenced in games like flOw, Cloud, Braid, and Everyday Shooter – this year’s entries tended toward novel uses of sound and perspective. Perhaps half of the event was devoted to various game festivals, while several of the remaining presentations were of high-profile commercial games.

( Continue reading at GamaSutra )

This Fortnight’s Releases (May 1-12, 2006)

  • Reading time:8 mins read

by [name redacted]

Weeks thirty-eight-and-nine of my ongoing, irreverent news column; originally posted at Next Generation

Game of Early May:

SiN Episodes: Emergence – Episode 1
Ritual/Valve
PC
Tuesday

It’s kind of weird; back in mid-1998, everyone was waiting for SiN – then the very day it arrived, Half-Life sprang out of nowhere, and took all the attention. That didn’t stop SiN from becoming a cult hit; it’s just hard to escape such a poor case of timing. Over the past eight years, the game has built up a reputation as perhaps the pinnacle of the old “Duke Nukem“-style FPS, before Half-Life changed everything. Traditional genre fans, who just like to charge forward and shoot stuff, have been waiting a long time for a sequel – and here it comes, via the Half-Life 2 engine, via Steam, and via the episodic template that Valve has set out.

This first episode brings back all the major characters from the 1998 original, to do much the same business as before: run forward and shoot. The difference is in the method; aside from the obvious enhancements in physics and envionmental interaction allowed by the Source engine (and the consequences thereof), the game now automatically adjusts itself to the player’s skill level and playing tendencies. If you get good at head shots, apparently, enemies might start wearing helmets. According to Ritual, the game will take experts about as long as new players to play through.

Emergence, being only one of at least nine planned episodes, will only last about six to eight hours; on the other hand, it only costs about eighteen bucks. Something tells me this episodic download thing is going to take off. It’s almost like a revised take on the early-’90s Shareware scene. The difference with shareware was that people got a whole episode for free, then typically had to pay full price for another several episodes. Now you pay pocket cash up-front for each episode. Same thing; just reorganized for efficiency on both ends. Tie in Steam, and you’ve even got the return of online distribution. It’s obvious, in retrospect.

Now if only we’d come up with this ten years ago – if we’d just adapted and kept up with the Internet – just imagine where the PC development scene would be today.

The Localization of Counter-Strike in Japan

  • Reading time:2 mins read

by [name redacted]

Taninami, a thirteen-year veteran of Namco’s arcade division, was assigned five years ago to find a solution to the Japanese “network game problem”. Whereas the US has enjoyed about thirty-five years of network connectivity, online games have never really caught on in Japan; for some time, received wisdom placed the blame on a nonexistent or comparably obscure architecture. And yet, now that broadband is prevalent, the market still barely exists.

So why is that, Taninami asked. Flipping the question around, he then asked what makes network games fun. He concluded that pleasure comes in part from the game itself – provided it’s a good game – and in part from the company the player keeps. He called this situation a “relationship of multiplication”: if the opponent fails to play fairly, then the game fails to be enjoyable. As far as Taninami was concerned, that social angle was the biggest problem.

As Taninami had a limited budget, he figured there was no point in wasting resources on development, when there are already so many well-made games available; instead, he poured all of his attention into the network aspect, conducting reams on ridiculous reams of research on how to ensure a fun level of competition. For the game, he selected Counter-Strike, due to its popularity elsewhere in the world. He asked Valve for a license to promote the game in Japan; they said okay and everything was in order. Almost.

( Continue reading at GamaSutra )