"Keys" by Ryan Trawick, and the emerging shape of post-mod culture and walking simulators

Keys is a newly released single player Source mod, made mostly by Ryan Trawick, that is freely available to anyone with a Steam account.

... Which is made possible by Valve's generous licensing of their Source SDK 2013 Base. This is kind of a big shift in policy for Valve. Historically, mods have been locked to their parent platforms so that they could drive-up sales of triple-A retail (e.g. people buying Arma to play the original Day Z, or Warcraft 3 to play the original DOTA), but something here has changed. Perhaps Valve has decided they have enough money, or perhaps they realized Steam is already a powerful platform to lock-in people anyway. So now, Source 1 is kind of transitioning into more of a middleware platform like Unity or Unreal, though most people outside of the TF2 / CS:GO communities have generally moved on already.

What are Source mods in a "post-mod" age, where they're not even modding a retail game anymore, and they're freely distributed and shared? Can we even still call these things "mods", or have they transcended that type of framing?

On focalization, and against convenient understandings of immersion / flow.

This post is significantly changed from a talk I gave at Different Games. It was prompted by Jon Stokes approaching me and helpfully telling me that my talk made no sense, so hopefully this post will be more clear. SPOILER WARNING: I spoil Brendon Chung's excellent Thirty Flights of Loving.

As a self-proclaimed developer of "personal games", one thing that puzzles me about these games and empathy is that no one really knows how emotional transfer between players and games works -- like, what's really happening when you control a character in a game? Do you sympathize directly with the narrative situation, or are you role-playing, or do you think more in strategic terms, or what's going on? These words -- flow, immersion, empathy, role-playing -- how much do they really explain or predict how we, as humans, experience video games?

There's very little actual research on this because, I think, the game industry isn't interested in funding it and finding out. About the only researcher I've heard of is Jonas Linderoth and he argues for severe skepticism, or that games don't actually teach you anything outside of games -- and that isn't something the game industry would want people to hear.

Thirty Flights of Loving, by Brendon Chung.

The first time it happened was in late 2004.

It was 4 AM and I had just completed the "Cradle" level of Thief 3 -- and its complete conceptual brilliance, a ghost story where you must become a ghost, through narrative, through puzzles, through death, through hiding seamlessly from NPCs or "ghosting" in Thief community parlance -- it overwhelmed me and I started laughing uncontrollably, rocking back and forth in my bed. The only sensible response to staring directly into the face of genius was utter insanity.

The second time it happened was a few months ago.

It was noon and I had just completed Brendon Chung's new release, Thirty Flights of Loving.

Zobeide at Lunarcade Sydney, August 3-9

Zobeide will have its public debut in Lunarcade at Serial Space, running from August 3rd - 9th. The Facebook thing is here if you're into that. Here's the scoop:

Exploration is a universal subtext in games. The ‘fog of war’ and line of sight are emblematic tropes of exploration as well as a persistent motif of video games – almost every game involves the implicit mapping of uncharted virtual or representational territory. However, interpreting exploration has a second approach: we can explore uncharted, artificial territory within a game as well as explore the meaning of a work as situated within the real world – we can explore the video game itself as an artifact for the communication of meaning.

Bientôt l’été – Tale of Tales
Dear Esther – Dan Pinchbeck
J.S. Joust – Die Gute Fabrik
Lifeless Planet – Stage 2 Studios
Memory of a Broken Dimension – XRA
Thirty Flights of Loving – Brendon Chung
TRIP – Axel Shokk
Zobeide – Robert Yang

Opening: August 3rd, 6 – 9 pm
Exhibition Hours: August 4th & 5th, 12 – 6 pm, August 6th-9th, 12 – 8 pm
J.S. Joust events – daily at 7 PM

I'm also really honored to be mentioned in the same breath as some of these fantastic games and designers! Unfortunately, I won't be able to make it to the opening -- I'll likely be locked inside my Brooklyn apartment, frantically putting together my GDC Europe talk together at the last minute -- but have a blast and enjoy some JS Joust, Australians!

Also: Thirty Flights of Loving is one of the most important games made in the last decade, so make sure you play it at some point.

Also: LONG LIVE NARRATIVE, DEATH TO "MECHANICS" AND "GAMEPLAY"! BURN IT ALL!

Still Hyping: Atom Zombie Smasher

Brendon's unveiled the teaser for his newest game:



I'd say more, but I'm under a strict media embargo.* 

("Radiator Blog! Your #1 fan site for all things Brendon Chung.")

* ... Not really.

Now Hyping: "Atom Zombie Smasher"

+1 hype to "Atom Zombie Smasher," an upcoming release from the always-groovy Blendo Games... It's not released yet, but you're going to like it. Keep it on your radar. (And read the always-amazing flavor text.)

Mod Auteurs: Brendon "Blender81" Chung (part 3, The Puppy Years)

"The Puppy Years" was Brendon Chung's last single player mod for Half-Life 1, released in August 2004. (Previously: Part 1 and Part 2 and the lost but found Droptank Oscar)

(Critical bug in current release: the "slow motion" effect is broken; I imagine he used a version of the host_timescale hack by using mp_timelimit as a toggleable variable. However, the mp_timelimit value does not properly transfer into host_timescale. Every time you will want to use slow motion, you will have to go into the console and type something like host_timescale 0.0001 -- or, alternatively, bind it to a key via bind y "host_timescale 0.0001" or something like that.)

In some ways, it's the most disappointing. It has a great premise (a super-charged stealth spy baby that can climb walls / slow time) and has a great feel to it and Brendon is resourceful as ever with the hacks he uses... but unlike "Bugstompers," the narrative is really lacking here.

(spoiler alert is in effect!)

In fact, there's not much plot at all: you spawn. You do a fun tutorial. You get sent on a mission. Then you come back and everything goes to shit. (In some ways, this is a precursor to Gravity Bone in terms of playing with FPS single player structure; you expect a second mission, you expect the game to go one way -- but then it doesn't.)

Compare this against Bugstompers, which has a really great narrative / character moment in the middle. In the Puppy Years, there aren't any well-defined characters other than the player character. Which gets a little boring. Who's my enemy? What, exactly, is happening? You never really know.

But still, there's a genuine innovation here...

Mod Auteurs: Brendon "Blender81" Chung (part 2, "Bugstompers")

(Part 1 is here.) (Spoiler alert is in effect!)

As part of the latter half of Brendon Chung's work in Half-Life 1, Bugstompers is an experiment mainly in (1) a camera gun and (2) narrative and conversation in the FPS. I think this is where he really hits his stride and you start to see shades of thinking that led to the stunning Gravity Bone.

Though there's lots of other cool stuff; a long-term AI companion who never leaves your side, a cool animated caustics effect, a clever dynamic light effect at the end, etc. But the gun and the narrative are what I get out of it:

Droptank Oscar, re-release (beta 2)

In the process of writing about Brendon Chung's work, I've been playing through a bunch of his old Half-Life 1 mods that inspired me so greatly, six years ago... And one in particular stuck out in my mind, and it proved extremely difficult to find. But I found it.

Droptank Oscar, a mechwarrior-styled Half-Life 1 mod with multiplayer co-op support, originally released by Brendon Chung in December 2003.

Through clever map scaling tricks, you're now a 9-story tall walking behemoth armed with gauss cannons, missile launchers and jump jets. (i.e. you walk extra slow, you have the Gauss Gun and a weird hacked RPG launcher permanently selected, and you can jump extra high -- nothing especially new, but strapped together with duct tape through sheer force of will? A transcendent example of how to hack things together as a modder and avoid trapping yourself.)

Mod Auteurs: Brendon "Blender81" Chung (part 1)

"The secret to creativity is knowing how to hide your sources," said... someone... supposedly. That's how I feel about Brendon Chung -- I've stolen so much from him and I've worked hard to conceal it's from him.

Or didn't Picasso say something about how "good artists copy, great artists steal" or something to that effect? It's like Johnny Cash stealing "Hurt" from Nine Inch Nails or Jimi Hendrix stealing "All Along the Watchtower" from Bob Dylan. I'm going to make these methods mine.

My midnight pillages have focused on his sense of humor and techniques in creating setting and back story, all while not being terribly serious about it. Yes, Adam Foster creates a sense of place through his level layouts, but Brendon creates a sense of place with his wit.

First, like Adam, he had a pre-Half-Life 1 career making some Quake 2 levels or something. Whatever.

... Anyway, his first effort with HL1 was the obscure "1986," which Brendon doesn't even link to on his website. I almost forgot it ever existed, but I realize now it's pretty important to me for one crucial setpiece: (spoiler alert)