Game engine review roundup

Unreal Engine 4. Very good high-end support, integrated vertex-painter, great for making 3D shooty games in huge landscapes. But it's very heavy and assumes you're making a 3D shooty game in a huge landscape, and it feels very bloated if you're not. 7/10.

Unity 4. Good medium-weight engine, with very few game genre assumptions. But that flexibility turns into tedium when you have to re-implement NPC AI / basic movement / damage systems / camera controls / etc. for the hundredth time. Very bad stock controller and GUI support. 7/10.

CryEngine 3. Very good high-end support that assumes you're making a 3D shooty drivey game in a huge landscape surrounded by water. Fantastic foliage and rock placement tools that are useless when that's not what your game's about. 7/10.

Source 1. The 2000-era engine that has aged the best, with its smart bets on image-based rendering and lightmapping. Physics feel tuned so well that Titanfall used the engine pretty much for that. However, has a horribly bad 3D asset pipeline that forces artists to learn an obscure "Quake C" syntax from the early 90s in order to import art -- which, in a 3D engine, is totally inexcusable. 7/10.

Twine. Best-in-class text support, exports seamlessly to all platforms, very little technical friction and learning curve. Very diverse and helpful user community. But text markup scheme feels patched-together and inconsistent, requires users to learn Javascript (?!) for more advanced features. No built-in 3D or multiplayer support. 7/10.

Nostrum and "strategic retreat" into conversation analysis

So I was reading some of the Versu design papers and suddenly it hit me: they're doing a lot of the procedural narrative stuff that I want to do, and yet, their magnitude of systems complexity and authoring was still way too much for what I needed (or could feasibly engineer) for Nostrum.

I am now issuing a "strategic retreat" to all departments and agencies here at Radiator: we're going to leave "strong" procedural narrative alone, and pursue a different model for NPC simulation.

For this new approach, I'm digging up another old idea I had: to think of conversation as the exchange of information. For this, I'm leaning heavily on "conversation analysis" theory from linguistics...

Someplace Else source files (for Black Mesa Source) + "Majestical" env texture set

A year and a half ago, I was working on a Source re-mastering of Adam Foster's classic "Someplace Else" to plug into Black Mesa Source. The appeal of modding a mod to remake a mod was intoxicating. Unfortunately I haven't really touched Hammer since then though, so I think I'm now forced to admit that I probably won't get around to finishing it.

I am open-sourcing the map file and textures I made for it in hopes that maybe someone more motivated can pick it up. If you're interested in finishing what I started, here are some design notes:

Noserudake 2 and the language of development

Noserudake 2 is a fantastic Unity browser game where you balance things on a platform. It is also the sequel to Noserudake 1, and the Japanese developer's changes between installments are telling.

They gave the player direct control over rotating the dais, they enabled real-time shadows and textured the dais to give more depth cues, and the physics objects have been well-tuned to be more forgiving and have more weight and heft. Also, the slapstick shift between level 4 and level 5 is pretty brilliant, a joke through level design that transcends language barriers. But one of the most glaring new changes in Noserudake 2 is that the developer has added English translations alongside all the in-game Japanese text. The developer is clearly conscious that they also have a Western anglophone audience following their work. But why are they accommodating us?

I'm nicer in person, honest

There's a profile of Harry Lee / Lost Levels in Polygon, and I'm quoted heavily, but kinda as more of the crass anti-corporate provocateur foil to Harry's deeper philosophical positions.

(Which is obviously just a writerly device because hey, I work for NYU, considered by some to be one of the most destructive forces against public education and local communities ever imagined. I'm a fucking sellout! Though I guess I was asking to be cast that way, especially when I gave that soundbite that the Ken Levine talk was boring. But it's okay if it was boring, because the purpose of booking Ken Levine was to sell tickets and introduce people to basic questions in procedural narrative. Does that make it a good talk? Roger Ebert would've said yes, because it did what it was trying to do; I would say no, because we should always make higher demands of discourse.)

(Anyway.) I think I'm okay with playing that role in the article, because it gets the point across that there's more than one agenda and Lost Levels isn't one particular thing. I just wish more agendas got more represented in the article: like Harry tweeted, Mattie Brice, Toni Pizza, and Ian Snyder, are Lost Levels co-facilitators who deserve credit for their valuable work, and it's as much their stories (and everyone who came to the event!) as ours.

Also, I think much of my criticism on GDC in the piece (e.g. it's expensive and the expensive talks are rarely good) orbited around one main point that got only paraphrased briefly in it:

Spring 2014 quarterly progress report

A progress report on "small" projects:

"Intimate, Infinite" is 80% done, and it's for the Series pageant at makega.me. It will be done soon. I've kinda surprised myself with how much I'm putting into it, so I think I'll sell it for pay-what-you-want.

"Vaquero" is about 50% done, and it's for the Space Cowboy Game Jam. It will probably be done soon.

"Peon" is about 50% done, and it'll be a larger project for most of June, alongside prepping Nostrum for exhibition at GaymerX2.

Notes on discontinuity and interiors in open world games

To enter a different level in Thief 4, you frequently have to mash [E] to pry open glowing windows (or lift fallen wood beams) as the game "seamlessly" loads the next level in the background. You will see this screen a lot.

An "open world" is a marketing tool / level design structure where the game world is gradually loaded or "streamed" as you explore it, so that it seems like one large long continuous level. In many respects, this continuity is an illusion; the game developers built the world in chunks and the game engine thinks of the world as chunks, but players experience the chunks as they're stitched together. It's an immersionist fantasy -- of no loading screens or progress bars, of seamless transitions between worlds.

But as I mindlessly mashed the [E] button on my keyboard for the 30th time to enter a different level in Thief 4, I realized that (a) this is a really bad attempt at hiding load screens, and (b) I tolerated the (brief but just as frequent) loading screens in Skyrim much better because those are honest about what they're doing. A loading screen unambiguously signals discontinuity to the player, a break between parts of the world. An open world overworld can only exist if there's an underworld beneath it, and I argue that it's okay (or better) if you clearly mark the borders because it's okay if we stop interacting with a game for a second.

When do open worlds choose to be discontinuous with a menu, loading screen, or lobby? When does one wait to "enter" an interior, to voluntarily break the flow of play?

DECK (Doom Engine Creator's Kit) needs artists and sound designers.

JP LeBreton has recently announced the "DECK" (Doom Engine Creator's Kit) project, an open-source public-domain all-in-one bundle of Doom technology: a game engine + editor + game assets + tutorials, all integrated together and easily accessible. It's intended to empower people to easily make cool lo-fi 3D first person games and it sounds really cool...

... but it needs help. It needs some Doom-style character sprites, some Doom-style environment textures / decoration sprites, and a lot of audio design. Pitch in and help build free indie game tools!

Here's my contribution so far, some painterly-ish pseudo-photo "medieval manor" textures:

It was kind of fun to work at low resolution without having to worry about shaders or 3D meshes or UVs or whatever. I recommend it.