Tag: games

A doctorate in comparative gaming

2015 Hugo nominee Jeffro Johnson is better suited to make the following introduction than I am, so I will simply quote him in introducing the latest Castalia House blog star, Douglas Cole, the author of GURPS Martial Arts: Technical Grappling and a number of other combat-related RPG publications.

Game designer Douglas Cole will be joining Ken Burnside and myself at Castalia House with his new blog series called “Violent Resolution.” As you can see from his first post, this is going to be a doozy. From what I’ve seen, this will do for rpgs what Nick Schuessler did for wargames in his Space Gamer column. If you’re the type of person that’s always wanted a doctorate in comparative gaming, you will faint!

As for Violent Resolution itself, Cole himself explains what the weekly column is going to entail:

The column will focus on combat in games, mostly to the exclusion of other things. It will of course include fighting, but also how fights start and end. It will spend a great deal of time looking at game mechanics along the way, and will probably spend a lot of word count looking at what kind of storytelling environment is created by those mechanics.

Through the Lens

As the blog progresses, I’ll frequently be looking at combat with examples from different games. There will be others from time-to-time – notably when I have an anecdote from games I’ve played (or stopped playing) in the past. But by and large, I’ll explore this topic by looking at how certain games handle things.

Dungeons and Dragons, Fifth Edition

I’m going to refer to D&D5 here
frequently, because you can’t talk about RPGs – especially combat in
RPGs – without talking about the moose in the room. D&D-based games
dominate the market of tabletop RPGs that all other games combined are
pretty much an afterthought.

I’ll use D&D5 as a proxy for the kind
of resolution system that is found as variations on a theme in
Pathfinder, the D&D-derived Old School Renaissance (or Old School
Revival? Maybe both!), and other games that are recognizably the same
basic mechanic. All are recognizable as essentially the same game that I
learned to play when I was 10 years old, roleplaying for the first time
in 1981 – the Basic/Expert D&D boxed sets, followed by AD&D.
Stepping into Swords and Wizardry, Pathfinder, or D&D is usually a
matter of fine-tuning. You may need to understand the proper use of a
Feat hierarchy, or what will kill your character as opposed to knocking
him out, or get the feel for various special mechanics, such as the
Advantaged/Disadvantaged mechanic newly introduced in D&D5 . . . but by and large if you’ve ever played D&D you’ll understand what’s going on pretty fast.

As the future leading publisher of military science fiction, the martial arts from the grand strategic to the tactical is of interest to us, and while I think it is highly unlikely that we will be able to convince Dr. van Creveld, Gen. Krulak, Gen. Gray, or Mr. Lind to take up blogging  at Castalia House anytime soon, we are very pleased to have Mr. Cole intelligently addressing matters from the other end of the spectrum.

Video games reduce crime

From Reaxxion: We always hear the old line that “video games have to be toned down,
they always make boys so violent.” Although numerous scientific studies
have shown that this is hardly the case, the clan of insatiable, denialist harpies still trot out that tired canard every
time they need a seemingly rational reason to attack our hobby and push
their agenda. However, if we look at a certain U.S. Court ruling, Interactive Digital Software Ass’n v. St. Louis County, we actually find a case of the law completely rejecting the claim that video games cause people to act violently.

There goes that old lie. Forget causation, there isn’t even a statistical correlation. It never made any sense anyhow. I mean, you usually have to get off the machine and go outside to commit much in the way of violent crime anyhow.

Interview with Vox Day

Sam Roberts at Reaxxion interviewed me about the game industry, the SJW attack on it, and our upcoming plans for First Sword:

SR: Many commentators, at our site and elsewhere, have noticed the sudden outbreak of prudishness in the gaming industry. We saw this with PAX and its ban on booth babes, even to the point of specifying a minimum length for girl’s skirts. Even Mortal Kombat, the franchise that established itself in the 1990’s through its willingness to break all the rules, is moving to “more realistic” characters with smaller breasts and thicker waists. What do you think has changed in the gaming industry in the past 20 years that’s made it so much less able to resist moral scolds?

VD: The most important change is that game development no longer belongs to the mavericks. When we started Fenris Wolf in 1993, literally everyone thought we were crazy. We were throwing away good jobs and wasting our educations to do what people considered to be the equivalent of playing with digital Lincoln Logs. Now that games are widely understood to be big business, many of the jobs pay decent salaries, and you can get degrees in “game development” and “game design,” you have considerably more risk-intolerant, conflict-avoidant people entering the industry.

Twenty years ago, the average developer would have laughed his ass off at the idea that he should design or develop anything other than whatever the hell he wanted to do. These days, there are a fair number of bed-wetters in game development who are terrified at the idea that someone, somewhere, might take offense at something in one of their games. And then, of course, you’ve also got SJWs trying to stick their noses into the industry in order to change it, just as they did in comics and science fiction & fantasy fiction.

You’ll definitely want to check out the screenshots of the 3DV engine in action. Be sure to click on the image of the High Elven archers. 3DV is visually spectacular and is intended to do for miniature gaming what VASSAL did for board-and-counter games. In addition to various other topics addressed, you can also see our response to the SJW demands for more women in games, beginning with the introduction to Morwyn Shadowsong, a female elf gladiator who is the face of First Sword, the fantasy gladiator miniatures game.

It probably won’t take a genius to put two and two together and realize that the Tactical Uncertainty model I’m developing, which has been discussed in some detail over at Castalia, is intended for the third edition of Striker that Marc Miller has asked me to develop. The rules will be developed for use in 3DV and on the tabletop alike; the challenge is how to make something that works almost automatically in the former can be translated to the latter. With regards to some of the other games mentioned, we will have some exciting new announcements soon.

The slaughter of the development houses

EA kills another legendary name in game development:

In an a move to consolidate its studios Electronic Arts has announced that it will be closing down Maxis. One of the sad truths of the video game industry is that game studios close down and disappear all the time. That being the case, there are still moments when you see certain names coupled with the words “shut down” and can’t help but feel a bit saddened.

Case in point, Electronic Arts has announced at GDC today that it will be closing down Maxis Emeryville in an effort to fold its staff and projects into other development houses under the Maxis brand. Recognizing that this consolidation will lead to many of the studio’s staffers losing their jobs, EA stated that former Emeryville employees “will be given opportunities to explore other positions within the Maxis studios and throughout EA.” The publisher also intends to work with employees leaving wholesale “to ensure the best possible transition with separation packages and career assistance.”

What is that now, six or seven classic development houses that have been devoured by the EA monster? I was seriously concerned when they acquired Origin, and downright bummed out when it became obvious that they were going to kill both the Ultima and Wing Commander franchises. Chris Roberts even worked out a deal to try to revive the latter a few years ago, but wasn’t able to find the funding, hence Star Citizen. One hopes that one day, he’ll be able to buy back the IP that EA is never going to utilize.

I have fond memories of Maxis. Roger, one of their tech support guys, was my initial contact there in my Transdimensional Evangelist days, and we used to go into the city from time to time when I was in town. We had some unforgettable evenings, most notably the time another Maxis employee who had a jeep with the license plate “JAHARMY”  was driving and took us to DV8.

Well, at least they’re keeping the brand name for now. I seriously wonder sometimes how EA even stays in business. They shut down a friend’s studio last year that was highly profitable, just because the overall revenue was under the level dictated by their new corporate policy. They didn’t sell it or anything, just shut it down and threw away literally millions of dollars in profit. So PopCap is next, after which it will presumably be Bioware’s turn.

Game design at Castalia

Over the years, I’ve noticed that most of the readers here are not terribly interested in the nuts and bolts of game design. Which is fine, it’s a fairly esoteric topic that tends to require both extensive reading and extensive game-playing, which considerably limits the potential appeal of such discussions. However, those few who are interested in it tend to be very interested indeed.

So, I’m going to be doing the occasional post over at the Castalia House blog on some of my thoughts on a very particular game design for a tactical wargame on which I am working as part of the First Sword Kickstarter, about which you can read more in the Game Dev letter. And you can also read about my initial thoughts on doing something new with the design, which I think could potentially be as significant for tactical wargaming in the long term as the ASL morale model has proven to be.

If you subscribe to the Game Dev newsletter, you’re aware that Alpenwolf has a new partner and I’m going to be writing the new rules for a certain SF infantry combat game. Without getting into any details concerning that, I want to discuss two of the primary principles I plan on utilizing as the basis for the core gameplay. I was recently editing a book by Martin van Creveld that we’ll be publishing in another week or so, A History of Strategy, and one thing that occurred to me while I was working on it and reading his Technology and War, was how the great stress that Clausewitz placed on friction, and in particular, on information in war, was seldom modeled at the tactical level in wargaming. Clausewitz wrote:

 A great part of the information in war is contradictory, a still greater part is false, and by far the greatest part is somewhat doubtful. This requires that an officer possess a certain power of discrimination, which only knowledge of men and things and good judgment can give. The law of probability must be his guide. This is difficult even in the pre-war plans, which are made in the study and outside the actual sphere of war. It is enormously more difficult when, in the turmoil of war, one report follows hard upon another. It is fortunate if these reports, in contradicting each other, produce a sort of balance and thus demand further examination. It is much worse for the inexperienced when chance does not render him this service, but one report supports another, confirms it, magnifies it, continually paints with new colors, until urgent necessity forces from him a decision which will soon be disclosed as folly, all these reports having been lies, exaggerations, and errors.

Read more about my concept of a Tactical Uncertainty Principle over there, if it happens to strike you as interesting.

A taste of things to come

John Wright is pleased with Jeremiah’s artwork for the first volume in his Unwithering Realm series, Somewhither, which will be coming out in April. And if you’re interested in supporting an esoteric, but worthwhile project, Castalia House blogger Ken Burnside and Ad Astra game developer needs just $2k more in order to fund his AVID Assistant via Kickstarter.

Speaking of Castalia, we’ll have a new offer going out to the New Release Subscribers next week, but for various reasons I’m not going to bother going into, we will be releasing not just one, but TWO new books the week after that. I’d like to find 10 volunteers to review both of them, so if you’ve got the interest and the intellectual chops to handle either Equality: The Impossible Quest or The Art of War: The History of Military Strategy, both by Israeli military historian Martin van Creveld, email me with EQUALITY or WAR in the subject. UPDATE: have all 10 for both books, thank you.

The former is conceived as the third in a conceptual trilogy with Plato’s work on Justice and J.S. Mill’s work on Liberty, whereas the latter features a foreword by none other than Dr. Jerry Pournelle himself, who describes van Creveld’s work as “a necessary supplement to Clausewitz.” It’s a short, but as you can probably imagine from that description, brilliant history, and anyone who has appreciated Mr. Lind’s work is going to find it fascinating and educational. Thanks to Chris Kallini, who did both of the van Creveld covers.

We are fighting back

Reggie at Reaxxion explains how SJWs are putting women out of work.

 PAX banned booth babes from their events and they are just one of many events including E3 to start banning booth babes. This is an excerpt of what PAX had to say on their booth babe policy:

PAX has a strict ‘no booth babe’ policy with the purpose of creating an environment where everyone can feel comfortable and welcome, and the focus is on games, not hired booth staff.

Booth babes are defined as staff of ANY gender used by exhibitors to promote their products at PAX by using overtly sexual or suggestive methods. Partial nudity, the aggressive display of cleavage and the navel, and shorts/skirts higher than 4” above the knee are not allowed. If for any reason an exhibit and/or its contents are deemed objectionable to PAX management, the exhibitor will be asked to alter the attire of its staff.

Cosplayed characters that are playable in-game are an exception to this rule (within reason), and exhibitors must obtain permission from show management prior to the show.

As Reggie points out, cosplayers shouldn’t be breathing a sigh of relief, because it’s obvious they are next. Hot women make not-hot women uncomfortable, therefore they must be banned.  As Game Dev newsletter subscribers already know, Alpenwolf has bravely responded to this attack on women by adding a female character to First Sword and making her the face of the game.

About more in the near future. “Morwyn Shadowsong” is already scheduled to be featured in a photoshoot for a popular men’s site and will also be appearing in miniature, cartoon, and 3D formats. She will also be the protagonist of a novella, The Gladiator’s Song, which will be published later this year by Castalia House.

Interview with a legend

Johnny Wilson, the former editor-in-chief of Computer Gaming World, is one of my all-time favorite people in the game industry and one of the individuals I most respect on the planet. He’s written one very good book with Rusel DeMaria on the history of the industry, and I’m hoping to get another one out of him for Castalia House.

Like a lot of the old school game industry people, Johnny is more than a one-trick pony; in addition to being a professor at DePaul University, he’s also a theologian and a pastor. The whole Gamasutra interview from 2012 is fascinating, but in light of #GamerGate, I found these two answers to be particularly prescient.

Was there any moment that made you realize game journalism had finally reached the main stream?

Considering the shoddy state of mainstream journalism today (even some once-great newspapers are pure sell-outs), I guess we reached that bottom rung level a long time ago. I know that when I was editor, I had definite ideals of serving the reader, avoiding conflict-of-interest, and getting behind the corporate facades and into the real stories. The truth is that I don’t know of any modern publications—analog or digital—that have those ideals.

Do you think game reviews with percentages and stars somehow cheapened game journalism?

No, I think the desire to get the “first” coverage cheapened game journalism. In the pen and paper world, we used to talk about “shrink-wrap” reviews. I know that some of the early pioneers in the hobby game magazines would talk about popping the shrink-wrap, looking at the components, reading the rules, and writing the review without even pushing pieces around. My feeling was that European publications, because they had a more competitive environment (and efficient distribution system), rushed reviews to press. That doesn’t really serve the reader at all.

My argument with, for example, PC Gamer’s percentage system wasn’t that they used percentages, it was that an astute reader would notice that the magazine (at least, during the Gary Witta era) always had some sacrificial lamb of a product that they rated in low percentage ratings. But, if you looked at those games, a lot of them were never released in the U.S. and certainly weren’t advertisers in that publication. At CGW, we didn’t have enough editorial space to deal with games that weren’t going to be released in the U.S. So, we wouldn’t even have touched those games. On the other hand, there were times that lousy games we might have been tempted to ignore were actually advertised in our publication. If they were advertised, I felt an obligation to review them. And I had more than one advertiser yell at me that I shouldn’t treat them that way after what they had spent. I shrugged my shoulders on one occasion and said, “Ironically, I probably wouldn’t even have assigned the review if you weren’t trying to get my readers’ attention.”

But, did our star ratings cheapen our review work? No. If anything, the stars sharpened our efforts. The reviewers suggested a number of stars and the editor covering that genre was expected to defend that star rating in the general editorial [OK, “Star Chamber”] meeting where we debated the ratings. The meeting often required a half-day or more of heated discussions before we approved those reviews to go to press. We didn’t discuss the reviews among ourselves as much before the star ratings were implemented. To be honest, I resisted the star ratings for as long as possible. I wanted the readers to READ the reviews. But, the bottom line is that I just kept getting hammered by readers that we NEVER gave bad reviews when I thought it was clear that we gave bad reviews. I eventually realized that our readership was becoming younger and more casual and, as a result, we had to spell out what we really thought.

The world wide web was the death of game journalism. There simply isn’t any reliable metric to determine which site is really reliable and which journalists are legitimately trying to do their work and which are merely “fan boys” getting their dopamine fix by slamming people and using “tabloid” style headlines. It always makes me nervous when I read reviews on the web because I don’t feel like I can trust anyone to have played the game all the way through.

Go read the reviews from the older CGW issues sometime. The difference between the level of expertise and the depth of knowledge possessed by the writers then versus the writers of today is astonishing. The dirty little secret of the SJWs in game journalism today is that they don’t actually know very much about games, which is why they always lean towards using their nominal game reviews and articles as a platform for non-gaming issues.

I wrote for both Electronic Entertainment and Computer Gaming World, and writing for the latter was always rigorous. Chris Lombardi not only sent my first review back to me for re-writing, but rejected an article on games as the realization of the Wagnerian concept of Total Art that later appeared in a BenBella SmartPop book. The most notable thing CGW had that most modern game sites lack was integrity.

Reaxxion interview

Reaxxion posted the translation of a recent interview with me by Werta Best of old-games.ru. Among other things it features the original CD sleeve cover of Rebel Moon that hasn’t been seen by anyone in decades.

Who was the first member in your team who proposed the
revolutionary idea to use the beautiful color lighting in the developed
RM game engine? Attention please, it was before Unreal release! Did your
team perform an overview of the graphics capabilities for other first
person shooters published before RM?

That was my partner Andrew’s idea. We knew Marc Rein and the guys at
Unreal very well, in fact, our audio guy and housemate is now their
audio director. Because we came from a high-resolution graphics
background, we always looked to push the envelope in one way or another.
Expanding the color depth was something we wanted to do as soon as the
hardware could handle it. The problem was that you were still limited to
256-color palettes in the textures due to memory limitations.

What’s in your opinion was the reason for poor commercial success of Rebel Moon Rising – is it because of previous game has low popularity (Rebel Moon, 1995) or due to low resolution of sprites used in both games?

One word. QUAKE. Rebel Moon Rising got pretty good reviews and was well-regarded by other designers, but once people had a taste of 3D, they didn’t want to go back to 2.5D. It’s not like that surprised us. After all, I was the one who originally trademarked “3D Blaster” years before and I’d spent a lot of time out in the Bay Area as a Transdimensional Evangelist trying to convince Creative, Hercules, and Diamond, among others, to adopt 3D acceleration long before Jensen Huang got Nvidea going. We knew 3D was going to be big for the shooter market, but we didn’t have time to write a 3D engine on Intel’s schedule. And more importantly, we discovered that the graphics bus was too slow to let the MMX properly support 3D at the higher resolutions we originally intended to support.

The original MMX was actually four times faster than it was able to deliver, but the limitation was the bus, not the chip’s performance. We were the ones who discovered the problem; Intel was absolutely horrified when we proved it to them by blitting a 2-bit black rectangle. Commercial success was always an afterthought, as our Intel relationship guided most of our decisions and generated most of our revenue.

We were very pleased with effects for varying of gravity on some level’s maps – it was one of the most original gameplay ideas in both Rebel Moon games. Has anyone used same method for walkthrough of levels in other games published in 90-s? Who was the author of idea in your team?

I don’t know. I asked Andrew and he doesn’t recall either. Our culture at Fenris Wolf was always one of pushing things further. We created the first escort mission in a shooter, we were the first to support MMX, the first to implement speech recognition in a multiplayer game (you could switch weapons and send predetermined messages using your voice), and we also introduced a number of smaller innovations like in-level variable gravity. Given that the game was set in space, the idea of blowing up a gravity generator and then having it affect the gameplay would have seemed pretty obvious to all of us at the time.

The net game levels walkthrough in RMR is more interesting than single player maps. It seems that RMR game originally was planned as a coop game only and single player levels are just the secondary product from net levels. Is it right?

No, it’s precisely backward. The problem with single player was that Intel’s testers simply weren’t gamers. We created the first two levels, which are borderline retarded and come complete with arrows on the floor pointing GO THIS WAY, rather late in the process because the testers couldn’t manage to complete levels that any competent gamer could play through in minutes. So we had to dumb everything down. We didn’t even do the multiplayer stuff until the retail release with GT, but because Intel wasn’t involved with those, we could design them for proper gamers. That’s probably why they are more interesting.

In our opinion, for Rebel Moon Rising game very effective way was used to a sharp change of the game environment – teleportation to another planet (in alien world). And it was made one year before popular Half-Life! (teleport to Xen…). This significant jump was originally planned in the RMR game scenario as well as concept art?

In light of the fact that we were using an expanded color depth for the first time, my decision to set the storyline in space, on the Moon, was a very, very bad one. I thought it would be visually impressive to have these rich jeweled tones of the lasers and lights contrasted against the grays of the environment, but the effect was just too subtle. And our artists, while smart and talented, were all very young and hired straight out of art school with no computer or 3D experience. We should have done something more wild and garish like Unreal.

The decision to shift the focus to the alien environments allowed us to bring in more color and interesting visuals than was permitted by an environment mostly filled with black space and Moon rocks. The jump was definitely planned in the design document and it was always part of the story, but we did end up putting more of the levels in the alien environments than originally planned due to the desire to incorporate more interesting graphical elements.

I’m always pleased to see that the old games aren’t forgotten, including my own. Werta and his team of programmers are amazing; they not only ported Rebel Moon Rising to the modern versions of Windows, but even ported the original Rebel Moon to it. And they managed to get the nine demo levels of the unfinished Rebel Moon Revolution working so you can see some of the still-advanced twin AI systems at work.

It’s good to see Reaxxion continuing to grow and providing more SJW-free game-related content.