Friday, November 17, 2017

Level With Me: Dear Esther (2012), complete!


Last week I finished a Level With Me run through Dear Esther (2012, Source Engine) with level design commentary -- I spent roughly 30-50 minutes on each of the four chapters / levels. Some of the moments were ruined by my deletion of all the voice over (I didn't want to talk over the narrator) but most of the game survived intact, I think. (Sorry.)

You can watch the whole playlist (all 4 videos) archived on YouTube. But here's some general patterns / trends / takeaways from this series:

Friday, November 10, 2017

Behold the bildungsspiel: the coming-of-age game


NOTE: There are somewhat vague spoilers about the general plot for several games in this post.

US high school students are generally required to read novels like The Catcher In The Rye -- stories about growing up and finding a place in society. Many of these students also learn about the technical literary criticism term for these narratives, the German term bildungsroman. (Bildungs means "educational" and roman means "novel", and so we usually translate this as "coming-of-age novel")

While there are many well-recognized coming-of-age films, I'd like to figure out the equivalent bildungsspiel -- the coming-of-age game. This also seems like an especially urgent genre for game criticism to consider, since there are so many children and young people who plays games, and form their identities partly around these games. (Meanwhile: something like opera has a much weaker association with youth culture.)

One small obstacle to this critical project is that "bildungsspiel" already means something. Based on my cursory Google searches, it seems to refer to rudimentary educational toys for very young children, to help them develop basic cognitive abilities and motor skills. Curse the German toy industry!...

Well, I'm taking the word back. Let's talk about the bildungsspiel, which isn't for babies, it's for teens!

Wednesday, November 8, 2017

ART GAMES DEMOS, call for submissions -- 16 December 2017, in Lyon, France


Ever wanted to exhibit your experimental glitch machinima in France? Well, now's your chance! The curator Isabelle Arvers sends over this call for machinima (!) as well as videos / games / installation submissions on the theme of borders and migration:
As part of the Nuage Numérique Festival in connection with the presentation of TALOS, a show by Arkadi Zaides, on December 16, 2017 at the Subsistances in Lyon, Art Games Demos launches a new call for projects dedicated to the theme of borders and migration.

We are looking for creations in the following categories: video creation; 2D, 3D, 4D, VR; machinima; glitch, hacks, alternative controllers; independant/experimental/under development videogames; installations; prototypes; performances; music.

Send your proposals to: iarvers@gmail.com; chloe.desmoineaux@live.fr; residence@labo-nrv.io
Sounds like a good time, and France is (probably) lovely this time of year.

Thursday, October 26, 2017

Games in public; games as public exhibitions

pictured above: "Now Play This" at Somerset House, London, UK. 2016.
Sometimes people want to exhibit my gay sex games for the public. It's an understandable feeling. If it's a large funded and ticketed event, I sometimes ask for a small honorarium... and in most cases, I usually give my blessing, send over some special builds and give advice, and ask for event photos afterwards.

When I look at these photos, they usually fall into one of two categories. One category is the huge industrial game expo. Because of their large scale and scope, each indie game inevitably takes the form of a standardized booth within a huge grid of booths. At minimum, that means a laptop sitting on a forgotten table as part of a large expo -- or if you invest a lot more, maybe there's a whole booth with black cloth partitions.

While I do appreciate any resources or labor that these events provide to me, I also wonder whether we can create alternatives and different ways of presenting games in public. Why does these public games events always look the same and function in the same way?

Wednesday, October 18, 2017

Call for submissions: Level Design In A Day at GDC 2018, due November 6th

Steve Gaynor (before he changed his hair!!!) presenting on Gone Home at Level Design In A Day 2015.
If you have something to say about level design, the folks who run GDC's "Level Design In A Day" (a level design track of sessions that runs throughout the entire day) would love for you to submit a session proposal.

Historically, many of the presenters have been game industry level designers -- but there have also been architects, indie designers, procedural level designers, programmers, artists, and more -- and the directors are committed towards a diverse and inclusive idea of level design. They even let ME give a talk once! Wow what were they thinking?!

The most common type of session here is a case study, where a speaker talks about specific levels in a game and analyzes some facet of the design or production, what went right and what went wrong, etc. There have also been broader talks about level design as a discipline, questioning how we generally think about level design or how we practice it. And sometimes there's talks that try to translate a "different" field, like architecture or writing, to level design. (This isn't to say your talk must fall into one of those buckets, but those are just the most common buckets.)

To submit your proposal for consideration, please use this web form. (Don't use the official GDC submission procedures.) You must submit by November 6th (in ~2.5 weeks) to be considered. Good luck!

(Addendum: traveling to GDC is expensive. Traditionally, GDC does not pay any travel grants or stipends to most speakers. If you work in the game industry, your employer is supposed to pay your way; if you're a student, your school or government hopefully has travel grants for you to participate. As a last resort, you may also want to try a GoFundMe to raise the funds.)

Tuesday, October 17, 2017

No Quarter 2017, RSVPs open! + mini-interviews with Droqen and Auriea

poster art by Sophia Foster-Dimino
As you may know, I curate the No Quarter exhibition run by NYU Game Center. Each year, we commission new games from 4 artists and debut their work at a big fun party in New York City.

This year, for the 8th exhibition, we've commissioned Kitty Horrorshow, Pietro Righi Riva, Auriea Harvey, and Droqen -- and we're doing it all on the night of November 3rd. 2017 in Bushwick, Brooklyn. That's in only a few weeks!!

To whet your appetite, we've also been running brief interviews with the artists. Check out my short chat with Droqen and chat with Auriea to hear about what they're making, with more previews soon!

If you live near New York City, or can afford to travel over for the weekend, then you may want to attend... and our RSVPs are now open! Keep in mind that space is kind of limited, so to ensure you're allowed in, you may want to sign-up now. It's free and open to the public.

Wednesday, October 11, 2017

The second death of the immersive sim (2007-2017) and a dark prophecy for a third-wave immersive sim


This post contains a few general gameplay spoilers for Dishonored: Death of the Outsider.

Many years ago, Rock Paper Shotgun published a Dark Futures series that wondered where all the immersive sim games went. Why didn't Deus Ex 1 prompt a huge burst of similar games back then? Self-appointed immersive sim experts like me roughly date this "first wave" from Ultima Underworld (1992) through System Shock (1994), Thief (1998), System Shock 2 (1999), and ending perhaps with Deus Ex 1 (2000). From there, we don't really see a larger return to this tradition until the "second wave" begins with Bioshock (2007), Stalker: Shadow of Chernobyl (2007), Fallout 3 (2008), etc. and this is also when we starting using the term "immersive sim" more often. (How narrowly or widely you define this genre is up to you, I take a sort of "moderate" line on this.)

Unfortunately, word on the street is that sales weren't very great for Arkane's recent immersive sims Prey (2017) or Dishonored: Death of the Outsider (2017). And outside of Arkane, the faith has not been kept: the Bioshock series (basically) ended with Irrational's closure, and Square-Enix / Eidos has basically discontinued its rebooted Deus Ex series. The systems-y 2016 Hitman reboot was critically acclaimed but also sold-off by Square-Enix. Basically, big expensive complex systemic single player games are not exactly thriving in an industry now dominated by giant multiplayer titans that can sell a new hat and rake in millions. (Also file under: "why was there never a Half-Life 3"?)

Well, we got what we wanted, immersive sims returned to the world from 2007 through the 2010s -- but it turns out that no one else ever asked for this and the games apparently did not resonate with a larger audience. So let us all look up and bear witness to the passing of this great age, and mark the second death of the immersive sim genre.

Saturday, October 7, 2017

new re-release: Radiator 2 Anniversary Edition


I just finished a re-remaster of my game Radiator 2. This "anniversary edition" is now live on Steam and itch.io, so feel free to check it out, and/or look at the new screenshots for five seconds before closing the tab immediately. The new changes mostly consist of improved stability, more supported languages, fancier graphics + skin shaders, and a very high polygon cupcake in the menu screen.

This is the 3rd time I've remade these games, and I think I like remastering games, it's kind of fun. You get to dive back into your awful code base full of terrible mistakes, but that addictive feeling of progress is still pretty fast and tangible because you already have a working game!

I think I'm going to keep remastering and re-releasing my games every few years, which oddly enough, is a common AAA practice but is very rare in the indie world.

Let's take it back, and remaster the shit out of our work! Remaster your games 2 times, 5 times, 10 times, 100 times... let every game become an infinite game, an eternal game that never ends...

Wednesday, October 4, 2017

Open world level design: spatial composition and flow in Breath of the Wild


So, like much of game dev Twitter, I too saw Matt Walker's Twitter thread that summarized a CEDEC 2017 talk on how Nintendo built the game world in The Legend of Zelda: Breath of the Wild.

If you're not familiar, Breath of the Wild is highly-regarded as a return to good game design within the Zelda series -- if you want to know more about how the various game systems or simulations work, you should check out their GDC 2017 talk, where they emphasize an emergent physics / problem-solving perspective with the general game design.

But Walker's thread caught my eye (and everyone's eye!) because it was about something more basic and fundamental, which is composition of 3D worlds. The development team came up with a great memorable typology / design grammar for their vision of open world level design, and I want to recap it before Walker's tweets get lost in an unsearchable Twitter soup.

Again, I didn't really write this stuff or come up with these insights, but seeing as this is sort of a level design blog, I feel it's important to archive this stuff for all history, etc...

Friday, September 29, 2017

Adventures in VR sculpting

I've been sculpting a lot in VR lately (via Oculus Medium) trying to figure out whether it's "the future" or not.

While I've worked in 3D for a long time, I'm used to building levels in a low polygon style with a 2D interface -- so for me, working "natively" in 3D VR has been strange and confusing, as I try to figure out how sculpting workflows work with 3D motion control interfaces.

When you are 3D modeling in a 2D interface, you can only move in two dimensions at once for every operation. Every stroke is constrained to 2 directions, so you learn to limit how much "each stroke" is supposed to accomplish. You begin seeing 3D in a specific "2D" kind of way. A lot of existing modeling software has evolved to fit this workflow, using operational systems that are non-linear and asynchronous -- what I mean is that each time you move a vertex or apply a bevel in Maya, you can always tweak or adjust that action later. Need to twist a tentacle in a weird way? You setup a spline, and 10 clicks later, you have a twist. It's very accurate because you're working very methodically in super super slow motion, decompressing time.

Current VR sculpting software doesn't really capture this "bullet time" dimension of working in 3D. Instead, it's very immediate and continuous. It's unclear whether VR will ever be able to support the high text density / menu complexity that most 3D modeling software needs.

If you have shaky inexperienced hands, too bad! You can't fine-tune or adjust your tool movements after you perform them, you just have to get better at doing more fluid, cleaner hand gestures.

Before, with a mouse, I could sort of do 100 different strokes and take the best bits of each one, and assemble the perfect stroke. But in VR, I feel like I can't do 100 takes, I get only 1 take, and I better not fuck it up! (Ugh. Why is this "natural" interface supposed to be so much better? Fuck nature!)

So now I basically have to become a much better fine artist, and learn how to move my body around the sculpture, instead of simply trying to developing the eye of a fine artist. Some of this frustration is due to the difference between a sculpting workflow vs a polygon workflow, but the inability to rest a mouse on a table certainly exacerbates it.

It also probably doesn't help that I'm taking on one of the most difficult topics of visual study possible, a human head. It's very easy to sculpt a "wrong-looking" blobby sculpture, as you can see in my screenshots! Fine artists usually spend many years in figure drawing workshops to train themselves how to "see" people and understand the many different shapes of our bones and muscles.

But I think this challenge has been helpful, and it keeps me focused on figuring out which skills I need to develop. How do I get clean sharp edges and defined planes in VR? Should I sculpt with blobby spheres and flatten it out afterwards, or should I sculpt with flat cubes and build-up my planes from the beginning? I'm still trying to figure it all out.

And if VR sculpting truly is the future, I do wonder how this will factor into a game development workflow. Maybe we'll sculpt basic forms in VR, and then bring them into Maya for fine-tuning -- or maybe it makes more sense the other way, to make basic forms in Maya, and then use VR only for detail?

I don't know of any game artists who seriously use VR as part of their workflow, but if you know of any, let me know so I can figure out what they're doing and copy it!!

(And hopefully in another month, my sculpts won't be so scary...)

Saturday, September 23, 2017

Writing stories / dialogue for Unity games with Yarn

I've been using Yarn for a little while, and I've grown to prefer it as my "talking to NPCs" solution for game development. If you're not familiar, Yarn and Yarn Spinner are a pretty powerful Twine-like plugin for Unity (though it could technically work in any C# game engine) that's geared towards writing video game dialogue, and it was most famously used for Night In The Woods.

Yarn is fairly lightweight, extensible, and it basically gets out of your way. Want to make a really big long monologue, or 100 little pieces of dialogue snippets? Yarn works well for both of those use-cases. (If you want something that's more focused on manipulating very long dense passages of text, you might want something more like inkle/ink, the system that powers the huge 750,000 word narrative game 80 Days.)

To try to provide more resources for other Yarn users, or potential Yarn users, here's a write-up with some advice and a short guide to working with Yarn...

Monday, September 18, 2017

"Gay Science" at NYU Game Center, September 28, 2017 @ 7 PM

if you look very closely, you'll notice Nietzsche's moustache / hair / ears are actually made of tiny gay people writhing around, having a bunch of hot writhing techno-sex? poster by James Harvey
In about 10 days, I'm giving a talk about games at NYU Game Center called "Gay Science." Here's the blurb:
Robert Yang is a game designer and teacher who is the most recent addition to the Game Center’s full-time faculty. For the past few years Robert has been doing groundbreaking work as an indie developer who appropriates the tools and techniques of mainstream big budget videogames to make work that is personal, idiosyncratic, and highly experimental. His recent games exploring queer sexuality are powerful and sometimes scandalous interventions in gaming culture and he has developed a creative practice that crosses wires between the world of avant-garde media art and mainstream youtube streamers.

In addition to his creative work Robert has developed a large audience for his work as a game critic and thinker across a wide range of topics including an especially deep exploration into the formal and expressive dimensions of 3D level design.

Join us to hear Robert talk about his work and share his unique approach to games, art, and life.

Free and open to the public.
I'm also sharing this Fall 2017 Lecture Series schedule with designer of "Everything" / artist David O'Reilly (on October 26) as well as industry veteran / Campo Santo artist for "Firewatch" Jane Ng (on November 30).

If you'll be around New York City, come on down! Please RSVP here so we know how many chairs to setup.

Sunday, September 17, 2017

Level With Me, Half-Life 2, complete!


I've just finished playing through all of Half-Life 2 on my level design streaming show, Level With Me. Much like with my playthrough of Half-Life 1, I've played through this sequel several times already, and I thought I knew it pretty well -- but there were still sequences where I was surprised, impressed, or disappointed.

There were several main themes throughout this playthrough:

1. The current version of Half-Life 2, the only one now available on Steam, has been poorly updated and maintained. When Valve added HDR lighting to Source Engine 1, someone dutifully went through Half-Life 2 and updated all the maps -- but that process only involved recompiling the maps with HDR lighting. That broke several things: there are no LDR lightmaps (it's impossible to play Half-Life 2 without HDR now), and the unchanged settings are poorly calibrated for HDR, often being too bright / too dark / with lots of halo-y hotspots everywhere. If you want to play a better version of Half-Life 2, I recommend the Half-Life 2 Update mod, which fixes a lot of these issues.

2. Another frequent theme has been how Half-Life 2 keeps mixing itself up; one chapter is a horror survival segment, and then 2 minutes later the next chapter is a road trip driving section. This is pretty unusual in 2017, where AAA action games usually feel more consistent, systemic, and homogeneous. (Of the big franchises, maybe only Call of Duty maintains this roller coaster setpiece structure.) You could argue that Half-Life 2 sort of tries to do 10 different things, and doesn't really excel at any of them. Or on the flip-side, maybe the Valve of 2000-2004 was really impatient and bursting with ideas, and in the end, executes all of these ideas decently enough.

3. Rugs!!!

Check out the full Level With me archived playlist for Half-Life 2 on YouTube, or watch future broadcasts live on Twitch.

Thursday, September 14, 2017

How to Graybox / Blockout a 3D Video Game Level

from de_crown, by FMPONE and Volcano
While planning a level design class, I googled for a good article about blocking-out or grayboxing a 3D level design prototype. I didn't really find one that actually went into "how" you might actually go about grayboxing a level, so I guess I have to write it.

Grayboxing is a level design practice where you build a rough block-out version of your level using blocks (usually gray boxes) so that you can iterate and test the layout as soon as possible. Almost every 3D game engine has some sort of box primitive tool -- if you know how to use that, then you can graybox.

Before you graybox, you must make sure you've established a general game design direction. You should generally know how this level might fit into your game or workflow. There's no point in grayboxing if you don't even know what the player should be doing, or what this level is supposed to convey. Is the level supposed to be easy or hard? Does it focus on combat or non-combat? Should it feel scary or safe? Level design must always exist in the context of a larger game design, or else you're just wasting your time.

Then, open up your 3D game engine, and let's start laying down some boxes...

Thursday, September 7, 2017

On "Tacoma" by The Fullbright Company


This post spoils some of Tacoma and Sleep No More.

Tacoma is a sensible design progression from Gone Home. How do you expand upon the audio diary design and walking mechanics? The Fullbright Company decided to pair a dynamic holographic drama with some zero gravity movement. Unfortunately, the zero-G movement ended up making environmental storytelling more difficult so they had to scale it back (no tables or chairs; no objects at rest) and I also suspect it risked alienating a fan base that cares less about gamer-y traversal puzzles. So, that leaves all the focus on the holographic drama sequences.

Many commentators describe Tacoma as a virtual adaptation of the NYC immersive theater installation "Sleep No More" because both experiences involve wandering around a large dense environment and encountering short dramatic scenes of characters performing with each other... and then the characters split-off and you have to choose who to follow and listen to.

I think this is a telling comparison, because it also suggests the ways in which Tacoma's formal narrative structure doesn't work very well, despite its compelling themes and characters.

Monday, September 4, 2017

How To Tell A Story With A Video Game (even if you don't make or play games)


This post is a summary of a talk I gave at Storycode NYC on August 22nd, 2017. All the slides are available here. It is a primer for storytelling in games, intended for people who aren't gamers or game developers, but who want to get into interactive storytelling / immersive storytelling (like VR / AR / etc).

Video game design has much to offer interactive designers, even if you don't make or play any video games. When I taught at Parsons, we taught game design as part of our general design / technology curriculum, because this field has been thinking about the aesthetics of digital interaction for literally decades.

So if we want to tell a story with a video game, we should first ask, what is a video game made of? Some men have opinions on this:

Famous game designer Sid Meier has a famous quote: "a game is a series of interesting choices." When we play games, we're constantly making choices and feeding input into the game -- which way should Pac-Man go, how far should Mario jump? Some designers even treat the lack of input as an input. Inaction as an action.

My boss / NYU Game Center director Frank Lantz has a slightly less famous, but much more handsome quote: "a game is an opera made out of bridges." What he means is that a video games often try to present a sort of audio / visual "total work of art" spectacle that demands your complete attention and immersion, but to achieve that bombastic effect we also have to engineer physics simulations and future-proof code bases to work for many years. And if we're going to go with a bridge metaphor, we should also ask, what are these "bricks" and building blocks that make up video games?

Tuesday, August 29, 2017

On the hopeful undead future of VR and "A Short History of the Gaze", by Paolo Pedercini / Molleindustria


I played Paolo Pedercini's first (and maybe last?) virtual reality piece "A Short History of the Gaze" last year at Weird Reality. I think ASHOTG is good for a lot of reasons, but the foremost reason is that few people are making VR art that's critical about VR culture and its politics. The closest we get to is when we twist VR's (faltering?) utopian branding toward our own ends, whether for "empathy machines" or whether for a vision of a "gay VR". But even among artists, it's rare to see VR work that directly critiques what VR is about, in this current moment.

Like a lot of Paolo's other work, it's political and educational, trying to distill critical theory and media studies into a short accessible interactive experience. The player goes on a ~15 minute sequence of different scenes about looking at stuff -- undressing people in an elevator (male gaze), punishing prisoners in a panopticon (incarceral gaze), being trapped by advertising (capitalist gaze), etc. in various situations. I actually found the whole piece to be slightly encouraging, because it positions VR as part of a long tradition of gazes -- and it's also clearly the weakest gaze. If VR is an oppressive force, then that force is currently minuscule or even laughable compared to any other oppressive force in the world.

Which leads us into how VR is doing right now: it doesn't look good for VR.

Thursday, August 24, 2017

Road trip sketches; notes on extracting and visualizing Half-Life 2 levels in Maya


So I'm working on (another) article about level design in Half-Life 2. I chose the d2_coast03 map of the Highway 17 chapter, which is the first real "coastline" road trip section of the game, and is probably the most successful. Look at how big and open it is. Would you believe this is a map in a game celebrated as a meticulous roller-coaster? In my mind, it's contemporary with a lot of vehicle-based first-person open world game design trends that started around the same time in 2004, and they even pulled it off in an engine architecture that's still kinda based on Quake 1.

Thursday, August 17, 2017

Teaching, Fall 2017

As mentioned before, I'm going full-time with NYU Game Center starting this September. For this upcoming fall semester, I'm going to be teaching three classes and advising an independent study:
  • Intermediate Game Development (2 sections). This is a required class for the BFA Game Design major where we focus on using Unity in a 3D context, refine C# code fluency, learn about using Maya and Substance Painter, and become less scared of using Git.

    This is my fourth year of teaching it. This year, I've changed the final project to focus on studying and cloning a game. In the past, the final project asked students to collaboratively formulate an original game design concept, but I noticed students would get into endless debates about the game design instead of focusing on project architecture or collaboration workflows. Since we already have dedicated game design classes that offer more support for those debates, I now feel comfortable removing some creative freedom from this class -- so we can focus more on building-up "technical freedom."
  • Intro to VR. This is a new VR-focused class we're running for undergraduates and/or people who aren't so familiar with code and 3D. At Game Center we remain cautious about investing too much in something still fundamentally unproven like VR / AR, but we still want to support students who want to explore it. Unlike our graduate-level VR Studio class which assumes technical proficiency in code and Unity, this class will offer more of a scaffold into working in 3D and VR. We'll also dip our toes into talking about VR culture and critical theory as usual, but probably stop short of discussing Baudrillard and phenomenology.
  • Level Design (independent study). Years ago I used to teach a modding class with a level design focus, but one day I noticed students hated using the Source Engine, and we never identified another decent engine / toolset for level design. We also needed a good base game to design more levels for, which is why we can't switch to Source Engine 2 -- DOTA2 isn't exactly relevant for learning generalized level design practices. At least half of our students also use Macbooks, which basically wither and die under Unreal 4, so that's out of our reach too.

    But then a few months ago, some students approached me to advise an independent study on level design. This format is more like a seminar / reading group instead of a full production-oriented studio class, and we will focus more on theory than construction. Hopefully this will work out better than the Source modding class!

Tuesday, August 15, 2017

StoryCode August 2017 Forum at Film Society, Lincoln Center, NYC


Next week on August 22nd, I'll be giving a presentation for StoryCode, a local community group focused on immersive media and storytelling technology. As one of the few game designers invited to present in their lecture series, I thought I'd try to explain how video games conceptualize narrative, interaction, and expression, to an audience that maybe doesn't play that many video games -- or at least, they don't play what we consider to be the state-of-the-art narrative games.

I'm also being required to talk about my games and present them as case studies, even though my games don't fit neatly into the "narrative game" genre. I think I'll probably just open my actual project scenes in the Unity editor and mess with my scene setup and code, which usually entertains people well-enough? It'll also be a short primer in foundational ideas like immersive fallacy / procedural rhetoric / platform studies, and the idea that production value and paratext amount to their own kind of "story."

The presentation is free and open to the public, but I believe you're encouraged to sign-up and RSVP via this Meetup page or something.

Tuesday, August 22, 2017 @ 7:00 PM
Elinor Bunin Munroe Film Center @ Film Society of Lincoln Center
144 West 65th Street, New York, NY (map)

Friday, August 11, 2017

Go West young Slime Rancher, and grow up with the country

This post spoils some mechanics and game systems in Slime Rancher.

One in-game day in Slime Rancher, I found a rare "quantum slime", a creature that pooped out "quantum plorts" that I could sell for a lot of in-game money. To make a huge profit, I intended to raise a few on my ranch in captivity, and then collect their precious poop to sell in the market.

To maximize your slime poop plort yields, you're supposed to feed your slimes as often as possible. Every slime has a certain diet (vegetables, fruits, or meat) and a specific favorite item. Quantum slimes eat only fruit, but prefer a special fruit called a "phase lemon". To get phase lemons, you have to bring back a phase lemon from the wild, plant a phase lemon tree, wait for the fruit to mature, and then shoot a different fruit at it (like a cuberry, or a mint mango) to pop the phase lemon into existence. Compared to other crops, it's unusually labor intensive to cultivate and harvest phase lemons.

This is where Slime Rancher's other big system comes in, a cross-breeding mechanic that allows you to merge two slime types together. If you feed a slime with the poop from another slime, it will become a hybrid "largo" slime that inherits both types' diets and other properties, and it will poop out both types of plorts at once when it eats something. Two poops for the price of one! When you do this on purpose in Slime Rancher, you feel like a genius.

Sunday, August 6, 2017

Recent developments in queer game studies, Summer 2017

Here's a few recent updates in the """discourse""" within the exciting world of QUEER GAME STUDIES!!!

First, there's a new call for papers in the long-running Game Studies journal -- this time the focus is on "queerness and video games."  The full CFP is here. If you're a student or academic (or anyone with a perverse tolerance for academic citation styles) then you should consider sending-in some original scholarship and/or maybe trim your thesis into a submission; full articles of 6500-8000 words are due by December 31st, 2017. Good luck!

Next, Miguel Sicart wrote a piece about "Queering the [Game] Controller." Sicart, as far as I know, doesn't identify as queer, so some may argue he thus cannot really "queer" anything -- so please allow me, a certified gay person, to try to unpack some of his ideas here:

Wednesday, August 2, 2017

Cleaning out some old Black Mesa archives for PC Gamer


Here are two old level design illustrations I did for a PC Gamer feature on level design in Half-Life 1, quite a few years ago. In the overview map, I focused on the construction of the Black Mesa Inbound chapter as a whole; and in the more focused cross-section, I concentrated my analysis on a single setpiece, the "shark cage" sequence in the Apprehension chapter.

(In the PC Gamer print version, the diagrams are annotated and labelled, but the image files I submitted were blank like these. I forget which issue it appears in. If you're interested in this topic, you can watch my Practice 2013 talk on this stuff to get roughly the same material.)

Anyway, here's a bit about my process and intent with these illustrations:

Sunday, July 30, 2017

new tool: Yarn Weaver


I'm working on a game that uses the excellent Yarn and YarnSpinner narrative toolkit for Unity. For this project, I'm also collaborating with a narrative designer -- unfortunately, the Yarn editor doesn't actually have a play mode or a testing mode built into it -- which makes it difficult to collaborate, because the designer can't even run through the Yarn scripts without downloading the entire Unity editor and project source! What if she just wants to test a short conversation script or two?

So, I basically duct-taped the YarnSpinner example setup to this excellent UnityStandaloneFileBrowser (for native file open dialogs at runtime) to make a very small simple tool to open and run through Yarn scripts. It can display your text, parse all your variables, and render up to 4 choices.

I call this tool "Yarn Weaver". The project source files are on GitHub under MIT License, or you can download Windows and Mac OSX release builds here. I hope it's useful for people!

Friday, July 28, 2017

Toward an honesty of pixels: on Final Fantasy 12 HD and Quake 3 Arena

combined screenshots from Final Fantasy 12 (PS2, 2006) and Final Fantasy 12 HD (PS4 Pro, 2017)
You either love or you hate Final Fantasy 12, and you either love or you hate the somewhat recent trend of remastering old games to squeeze a few more drops of profit out of them.

I'm currently playing the remastered PS4 version of Final Fantasy 12 ("The Zodiac Age") and it's still the same old nonsense story about fantasy imperialists and magic crystal macguffins. One thing that surprises me, though, is how this remastered version actually looks worse -- it went from the apex of PS2-era 3D art to looking like a mediocre PS3 game running on a PS4.

When it first came out 17 years ago (!), the Playstation 2 famously had very little texture memory (4 MB!) and no texture compression (!) which meant developers had to get creative. Loyal readers of this blog know of my love of lightmap atlases and UV layouts, and so I'd like to talk about how the textures for the original Final Fantasy 12 on PS2 were utter masterpieces produced under severe constraints -- cramming so much detail into these small texture sheets, down to the pixels...

Friday, July 21, 2017

announcing: No Quarter 2017 on November 3rd in Brooklyn

poster by Sophia Foster-Dimino
A short while ago we announced the date and lineup for No Quarter 2017: it's on November 3rd at the Starr Space Gallery in Bushwick, Brooklyn, featuring new commissioned work by Auriea Harvey (of Tale of Tales), Droqen, Pietro Righi Riva (of Santa Ragione), and Kitty Horrorshow. We'll be flying out all four artists for the show, so if you attend, you'll be able to meet them and talk with them at the event.

For more info, check out this NYU Game Center page for the event. I'd like to copy and paste my short curator's statement here though --
For 8 years now, the No Quarter Exhibition has been paying game designers to make the games they want to make, and then throwing them a big fun party to celebrate and amplify their unique voices. We claim no ownership over the resulting work — we just want these artists to speak their mind, and so we give them space and support to do that. We think it’s a pretty great deal for them, but we also get a lot out of it: their act of creation, and our shared acts of play, help strengthen our communities.

Now, we do all this at a time when many people think we should isolate ourselves from the rest of the world — but we know that’s a very destructive attitude. It’s so destructive that, for the first time in the history of No Quarter, we are temporarily suppressing our vocal and insufferable belief in our city’s exceptionalism: this year, we are commissioning only artists based outside of New York City. We believe a wider diversity of backgrounds and identities can only enrich our understanding of art and community… oh, and it helps us make better games too.
Also happening right after No Quarter -- game convention GaymerX East in NYC runs Saturday / Sunday. Sounds like a cool fun weekend to me! Not to mention that flights and hotels are cheaper in November too, it's off-peak... just sayin'...

Wednesday, July 19, 2017

Paseo, devlog

the original prototype from early 2017, with a weirder style to match the artist's vibe
A few months ago, a big record label asked me if I wanted to make a short gay sex thing set to one of their artist's tracks -- for a few weeks, I thought the collaboration was going well, but then one day they just stopped answering my e-mails. Oh well, that's just how it goes sometimes...

I still kind of like the basic idea, so I'm going to replace the music and expand it to be part of the Radiator cycle. It's tentatively called "Paseo" (but the name will likely change before then) and it's about stripping, which is a popular intersection of sex and money. As a male performer, you will do strip routines and incorporate beautiful dance movements, but you also have to work the crowd and collect your tips.

Monday, July 10, 2017

Bevels in video games


Like a lot of digital artists today, I learned Photoshop in the late 90s in order to make awesome-looking fan sites and "professional" forum signature images. One of the Photoshop tricks I learned was the "Bevel" layer style, which embosses a faked thickness and depth onto a layer, as if it's popping outward toward / inward from the viewer.

When I first learned it, I felt powerful, like I could use Photoshop to "paint in 3D" and make my Starcraft fan forum avatar look even more professional. But then I realized that the bevel had a very specific look to it, and I started seeing that look everywhere. My astounding bevels quickly lost their sheen. To this day, the conventional wisdom in 2D game art is that you should just handpaint your own bevels, and it only takes a few minutes when you get good at it anyway.

Today in 2017, the bevel has arguably taken over 3D environment art, and like all the other game art gods, it demands labor from us. But unlike 2D bevels, there's no strong consensus on what the best 3D bevel techniques are, which means we're free to experiment...

Wednesday, July 5, 2017

On first person one-roomers and grass games

old WIP production still from an early version of The Tearoom
I want to talk a bit about the formal design constraints in my gay sex games -- I don't usually emphasize this aspect of my work because it's a very game developer-y thing to care about, but sometimes I guess a little bit of shop-talk is called for:

A lot of my games have been what I'd call short form "one room" games, where I constrain the scope of the game to one room or one small area. When I first started doing Radiator 1 ("Polaris") in 2009, that constraint emerged from my frustration with working on a large international group project like Black Mesa Source, where I wasn't sure if we were ever going to finish and release anything. I wondered, could I work alone, and quickly make a short experience in a small room?

Cut to today in 2017. I've just finished and released The Tearoom, a game that takes place in one single public bathroom. Because it was so small and controlled, I could focus on the interactions and production value very tightly, and produce something with relatively high fidelity and density even though I was working mostly alone. (But it still took me like 8-9 months of part-time work to do all that! Maybe the room should've been even smaller?)

But I also don't exist in a vacuum, cut-off from the rest of video game culture. Maybe my attitude is also a reaction against the rise / dominance / golden age of open world games and walking simulator-type hiking games today? I know other designers counter AAA hegemony in different ways, like how Firewatch adopted a non-photorealistic illustrative art style, or how The Signal From Tolva focused on a somewhat sparse rocky-chunky-sculpted look. Both games feature large open world environments that differentiate themselves with talented art direction that also helped them scope better too.

However, I'm not really a good art director, and I still feel really tied to realism for political reasons, so I guess I have to differentiate my creative strategy in a different way... I specifically set my games in small man-made domestic spaces instead of trying to build huge sweeping landscapes. And even if I did attempt to build a huge landscape, my shabby default Unity 2 tri indie grass will never be able to compare with photoreal translucent Unreal grass, or Breath of the Wild's lush Miyazaki grass, so maybe that's why I don't bother. As much as I enjoy and admire all these grass games, I recognize that it's out of my wheelhouse and capability. Instead of trying to build a giant grassy forest landscape, I can rest with a decently crafted urinal and lean on that.

It might seem like I'm boxing myself in, and maybe I am, but honestly it doesn't feel that onerous to me. Grass is nice, but perhaps there's enough people making grass games already. I'm not sure if I have anything new or interesting to say about grass or trees anyway. (But who knows? Coming in 2018: gay trees)

By constraining the physical-geographical space, I think that helps me explore a wider conceptual-cultural space. One room doesn't just mean one idea? Or if it does, then for now, I think I'd rather make 5 one room games than 1 five room game, or 0.271 forest games.

Thursday, June 29, 2017

The Tearoom as a record of risky business



WARNING: This post spoils what happens in The Tearoom. If you care about that, you should probably play the game before reading any further.

The Tearoom is a historical public bathroom simulator about anxiety, police surveillance, and sucking off other dudes' guns. In it, you basically cruise other willing strangers for sex, and try to have some fun without getting caught by undercover police. It's heavily inspired by Laud Humphreys' epic Tearoom Trade (1970), a meticulous 180 page sociological study of men who have quick anonymous sex with men in public bathrooms ("tearooms" in US, "cottages" in UK), along with interviews, diagrams, and derived "rules" for participating in the tearoom trade.

My game is set in a small roadside public bathroom in Ohio in 1962. Much of the game sequences and gameplay are based on Humphreys' notes (in his book, Humphreys even calls it a "game" himself) and the layout of the bathroom is based partly on diagrams from his observation reports. And while I wanted the game to be about gay history, I also wanted it to speak to how video games think of sex and violence.

This is also the most complicated sex game I've ever made. It took me ~8-9 months of on-and-off work to finish it, it has several different systems going on, so it's going to take a while to unpack the history and my intent. Buckle up!...

Monday, June 26, 2017

Lol we're all poor


Some recent posts on indie dev failure have been going around lately -- Introversion Software talks about how their experimental exploration game "bombed in a big way", and also Cliff Harris argues "Your Indie Game Will Flop And You Will Lose Money", while Greg Wohlwend writes in his Tumbleseed postmortem about how they will likely never recoup their development costs, and each collaborator earned maybe $10 / hour. You can also connect these threads back to Hugh Monahan's Full Indie 2016 talk "What Scuttled Brigador's Launch", as well as Daniel Cook's theory of "minimum sustainable success" right around when the Indiepocalypse talk was in full gear. I think it's fair to say that the general mood in commercial indie game dev land has been kind of dark for the past few years, and it's getting darker.

I've written in the past about how I don't expect to make a living off of my games. I give away my gay sex games for free because (a) they're short-form games in a market that demands "replay value" even though people don't even touch most of their Steam libraries, (b) I don't want to invest all my time and hope into commercializing it, just to earn like $5k a year if I'm lucky, which does not go far in NYC, (c) when an indie game has poor sales, then that often becomes the game's entire legacy forever. I don't want the conversation around my games to orbit around the awkward pity of my SteamSpy numbers! To me, there's a certain peace of mind in not trying to make the next gay sex minecraft blockbuster happen.

And yes this is totally a weird defense mechanism on my part. I understand that everyone has a different living situation, and I'm not holding myself up as a role-model to emulate. We all have different ways of working in games, but personally I feel like I can't access the same tools or methods as successful commercial devs, so why should I bother trying? If Cliff Harris and Greg Wohlwend can barely make it work, what chance do I have?... I want you to understand why I ask this question:

Why is it so important for us to make our living from selling our games? Why can't we make our living from doing something else?

Friday, June 23, 2017

Some recent conversation on cultural appropriation


A few months ago, I wrote about how I think VR "empathy machines" are basically just a form of appropriation, where VR brands associate themselves with vaguely progressive political causes in a bid to make VR seem more relevant.

Maybe a lot of people still aren't really sure what "cultural appropriation" means? It's also a bit more of a US-thing, because of how race in the US works, so if you don't live in the US then you might not be as familiar with it.

If you're in a hurry, Amandla Stenberg made a popular 5 minute video in 2015 called "Don't Cash Crop On My Cornrows". Back in 2015, white performers like Katy Perry, Taylor Swift, and Miley Cyrus were incorporating black music, black hair, and black memes into their acts, but it seemed like that care suddenly evaporated when black people got killed by police. Are white people actually the anti-racist allies they thought they were? If this is "cultural exchange", then black people were getting a pretty bad deal -- in return, they weren't even getting their own lives!

However, the conversation on cultural appropriation has shifted since 2015. So as a sort of public service, I'd like to highlight some more recent writing on cultural appropriation, all published within the last month or so, to give a small sense of what some people are saying right now.

Sunday, June 18, 2017

On "Let's Meat Adam" by Soulsoft


Let's Meat Adam is a short gay erotic-horror visual novel puzzle game about being a hunky West Hollywood white dude trapped in a gory escape room. It was released back in March 2017, but I didn't see anyone talk about it, so now I'm bringing it up, and I want to unpack both its commendable bravery and its mistakes.

I think my main beef is the inconsistency. First, it's as if 3 different artists worked on this game, and none of their visual styles cohere. But "inconsistent" also describes the game's politics: it admirably wants to reconcile intersectionality with the gay eroticization of white muscle dudes. This is a difficult design problem that I also struggle with in my own games! So much of the culture of gay sex, touchstones like Athletic Model Guild or Tom of Finland or Kenneth Anger or Joe Gage or the vast majority of gay porn, focus on a small subset of body types. It's surprisingly difficult to refer back to that history without perpetuating that same narrow focus.

Let's Meat Adam, bravely, tries to address this problem head-on. However, I think it doesn't quite succeed...

(⚠ SPOILER ALERT: I'm going to discuss the plot, structure, and ending of the game!... ⚠)


Tuesday, June 13, 2017

Against simpler times


Years ago, I wrote about a hypothetical 2013 Queer Feminist Agenda for games. What an innocent time that was! Back then, I argued that we needed to pursue industry-wide reform, build-up theories of queer games, and combat gay apathy about queer politics.

Obviously a lot of that didn't really pan out, and now the world feels totally different: since 2013, Gamergate, Ferguson, Pulse, and Trump all happened, to say the least. Many people have now left video games for greener pastures, or have taken on more urgent politics beyond games... and anyway, Twitter just feels so much more stressful now. It's honestly kind of hard for me to still care about video games like I did back then. (Did we really use Twitter to argue about formalism in games? That's what we used Twitter for? Wow.)

Four years ago, we were talking about #1ReasonWhy, and GDC started the Advocacy track. Did any systemic reform actually happen? Did the industry end up hiring and retaining more women and black people? Did it get better for minorities? Some good-intentioned straight white male allies probably believe that "we won" because several games at E3 have black women in them. But beyond video game characters, I still feel like we're still having the same old conversations about the same old basic shit. The "discourse" feels extremely stagnated. It's hard to feel like there's any progress when every new Milkshake Duck of the Month pulls us back to basic questions like "wait why is it bad to harass women again?" and then suddenly the gamers are torn between supporting women / minorities vs. liking games about Blade Runner. As I've argued before, games probably aren't going to get "better" through this kind of desperate moral math.

Four years ago, we were also talking about a "queer games scene" and thinking about how to direct that momentum. For a variety of reasons, that energy ended up dissipating. On the plus side, there are definitely more people doing this work now, which is good, but there's also much less appetite for concentrating it into a "scene", which hurts our visibility and solidarity. Well, at least there's now a loose body of thinking and theory about queerness in games? I contributed to a new book literally called Queer Game Studies, which came out of the first Queerness and Games conference in 2013. When people ask what "queer games" are, I can now point to that book and event, even though it doesn't really feel so urgent to me anymore.

These days, I imagine a lot of us are very tired and disappointed, and I get it, and yeah I feel it too.

But however we feel, we definitely shouldn't nostalgize that supposedly simpler time, that now-mythical era before monthly milkshake ducks and anime frog nazis. That promise of 2013 (or 2012, or 2011, or 2010, etc.) is long gone and we can never go back. Instead, we must forge new kinds of promises and new kinds of trust.

We're still alive. We can still make new energy, new movements, and new alignments. And yeah, it won't feel the same. It won't feel like what we had before, or even what we think we had before. But I promise you, at the very least, whatever it is -- it will be ours.

Friday, June 9, 2017

On that one brilliant episode of Murder She Wrote that thinks VR is kind of bullshit


Murder She Wrote was a long running TV show about an elderly mystery novelist (played by Dame Angela Lansbury) who happens to solve all these murders wherever she goes. Like other long-running TV shows on CBS about older women having adventures, it was popular mostly with grandmothers and gay men -- which is why it's so surprising (or maybe unsurprising?) that it also had one of the most accurate on-point less-rosy depictions of 1990s VR on television.

If you want to know more about the episode "A Virtual Murder" (S10 E05), read Laura Hudson's full write-up for Wired.

If you're in a hurry, here's a brief synopsis, along with my short analysis... but first, please enjoy this GIF of someone (spoiler) shooting a guy in a VR headset:

Friday, May 26, 2017

From modders to mimics: a people's history of the "prop hunt" genre

This post contains minor gameplay spoilers for the first hour of Prey (2017).

Contemporary game design is built on the blood, sweat, and tears of countless modders. MOBAs, tower defense, realistic squad shooters, walking simulators, survival royales, all started as mods. (For those keeping score: Aeon of Strife for Starcraft 1 or DOTA for Warcraft 3, innumerable tower defense UMS maps for Starcraft 1, Counter-Strike for Half-Life 1, Dear Esther for Half-Life 2, Day-Z for ARMA.)

Add the "prop hunt" to the list. The prop hunt is interior design meets hide and seek, where hiders "hide" in plain sight, disguised as the decorative clutter common in video game worlds, and seekers must guess what is inanimate clutter and what is sentient clutter. Arkane Studios' recent sci-fi shooter Prey (2017) cleverly commercializes this mechanic in a way that modders never could, and while it's nice to know they're paying attention to current trends, I think it's also important to remember the modders that usually get erased from game design histories. In this case, I argue that modders predate AAA design practice by at least 19 years.

CrateDM was a Quake 2 mod released on April 14, 1998, made in an hour by Chris "Shatter" Holden. As far as mods go, it was really simple from a technical perspective: a small map full of crates, and a PPM (plugin player model) that let players appear as crates, and no custom code or anything... which, I think, is brilliant. We often argue video games are made of code, and here was a new game genre created without any code at all!

Here is Holden's process and notes from the readme.txt:

Monday, May 22, 2017

So I'm joining NYU Game Center as full-time faculty in Fall 2017... (and a bit about adjuncting)


So some brief career news stuff -- I'll be joining NYU Game Center as full-time faculty ("assistant arts professor") starting in Fall 2017 (along with Matt Boch). This might be a bit confusing. Wasn't I already teaching at NYU? Well, I'm so glad you asked...

Until then, I was/am still a part-time "adjunct" teacher at 2-3 different university programs around New York City. Adjunct faculty are treated very differently from full-time faculty: we don't usually get any benefits or health insurance, we are paid much less and at a per-class rate, and we have no real guarantee of re-appointment / job security. The average US adjunct (more than half of all faculty across the US now) would be pretty lucky to make more than $30,000 USD a year by teaching 5-10 courses a year, assuming they can hustle that much work together. (You'd also be very stressed-out and unhappy with such a heavy work load. I've heard horror stories of some adjuncts trying to teach 6 different classes at once across New York and New Jersey!)

Meanwhile, my adjunct situation is a bit unusual. The pay in NYC is a bit higher, and NYU / New School adjuncts unionized to negotiate better contracts. If you adjunct anywhere else in the US, you might have much lower pay and no union. I was also lucky to be working in a "hot" field right now, where I have a rare skillset and my classes fill-up regularly. If I were teaching first year writing and composition, I'd be considered infinitely replaceable. If I was teaching a class about 19th century Estonian poetry and only 3 students registered, the university would likely cancel the class for low enrollment. Compared to those cases, teaching video games and VR is like a golden ticket.

It's hard to talk about all this because the individual people involved -- the academic bureaucracy of directors and administrators -- are often perfectly kind people. It's not one person's fault, or even one department or university's fault. The bigger problem is cultural and systemic throughout the entire world: is a university supposed to organize knowledge and help educate everyone, or is it more like a fun resort where you drink and party and hopefully make friends with rich people? Well, if you're a university and the US government defunds you for the past 50 years, and a recession wipes out your endowment, and your alumni donors think you're getting "too PC" to deserve their money, then maybe it makes more sense for you to become a resort... etc.

Anyway. Promotions like this are pretty rare, and almost never happen for adjuncts like me. I'm thankful for the support of all my mentors and colleagues over the years, and I'm sad that I won't be teaching at Parsons MFADT or at NYU IDM anymore -- but also, again, I'm thankful for this opportunity to invest more of my time into teaching / research / being a "public intellectual" or whatever.

Some of the stuff I've been doing with a public bent already:
  • curating and helping to organize No Quarter, an annual NYC show where we commission new public games from 4 developer auteurs
  • broadcasting Level With Me, my weekly stream about level design on Twitch / YouTube
  • writing about VR, talking about VR at various events
And here's some of my plans for Fall 2017:
  • hold "open office hours" on the internet (kinda like Zach Lieberman) where anyone most people can call-in for advice about whatever
  • help spin-up NYU Game Center's streaming operations (you're gonna love "Bennett Foddy's Amiga Minute")
  • wear one of those professor jackets with elbow patches
Plus, I'll be sharing an office with all-American game studies good boy Charles Pratt. (Oh dear.)... Who knows what wacky arguments we'll have on a daily basis?! Stay tuned for our inevitable reality show.

Sunday, May 14, 2017

Eyes on the prize...


I've been working hard on my historical bathroom simulator The Tearoom, and I'm desperately trying to finish it within the next couple weeks. Basically, I've been doing lots of art passing and tuning. I've added the two last characters, for a total of 4 possible dude archetypes to encounter in the bathroom. I also have 2/8 possible dicks implemented, I still need to add 6 more, but at least I have the workflow and functionality figured out. In the meantime, please appreciate all the care and detail going into modeling the bathroom stalls -- and enjoy them in their clean pristine state, before I dirty them with layers of graffiti...

Tuesday, May 9, 2017

"Consider the Chair" in Heterotopias 002


For the new issue #002 of the video game architecture zine Heterotopias, I've contributed a piece on chairs in video games (though I focus on Half-Life 2) and about how these games' chairs function -- from the paradox that we are rarely allowed to sit in these chairs, to the "environmental storytelling" of the chairs' placement and arrangement, to the chairs' materials and history as a designed object. At the end, I posit a speculative political future for chairs in video games.

If you're into level design, you'll basically love Heterotopias. I've been a fan since issue 001, where they have a great interview with a Kane and Lynch dev about trying to evoke the alleys of Shanghai. I urge you to support this fine publication, and consider buying an issue to support independent games criticism. I'm also honored to appear next to all these other great writers, and Gareth / Chris were phenomenal editors. 10/10 would write again.

Thursday, May 4, 2017

Games-related NYC end of year student shows, Spring 2017

If you're around NYC this month, a bunch of games-related university programs are running their end of year shows. It's always very rewarding to see the fruits of so many students' sweat and tears (a lot of tears), and it also doubles as a fun social event where you often run into old friends or Twitter acquaintances.

Here's a rough schedule (in chronological order) and some brief commentary about what to expect from each show. Hope to see you there:

Tuesday, May 2, 2017

The war in heaven: a three-dimensional VR culture clash


Virtual reality is a weird collaboration between several different fields / industries, and each practice brings its own assumptions and baggage. When I go to VR events and conferences away from the influence of games, I often feel bewildered and confused by the different language and norms.

One time I was at a businessy VR event near Wall Street and some tech-biz guy said he had a "VR-ready industrial robot" deployed in a warehouse, and would any angels [investors] be interested in taking a tour? I was so confused (what the hell is a VR-ready industrial robot?) so I joked aloud, "is it a sex robot?" -- but no one else reacted at all, they just continued with the conversation and asked him about market caps or something, as if I didn't even say anything! Not even a pity smirk or furrowed brow or roll of the eyes!

This is part of a larger skirmish about language, and about how to talk about VR. The PC manufacturers have adopted "VR-ready" as a euphemism for "expensive gamer computer"... In tech, you have to be able to refer to an investor as an "angel" without laughing and bursting into flames. These are kind of trivial examples that don't seriously impede communication, but I do think they hint at how we're trying to shape cultures and norms for VR. There's not even agreement about whether to call VR "VR" -- maybe VR is just a subset of "AR" (augmented reality), but really those are both just subsets of "MR" (mixed reality) -- or maybe let's unify under the recent umbrella term "XR" (x-reality?)... terminology and labels and language matters.

And since angels are involved, I guess this is a war in heaven.