"That One Time I Repeatedly Gave Birth to Fully Grown Wolves, and Other Gay Sex Games That We Deserve" at GX3, 12 December 2015 in San Jose, CA

Hello! My "Boss of Honor" keynote talk at upcoming gay game convention GX3 is called "That One Time I Repeatedly Gave Birth to Fully Grown Wolves, and Other Gay Sex Games That We Deserve" -- in it, I will be talking about my gay sex games (hopefully I'll be done with 2 more by December) and connecting it with a rich history of other gay sex games.

The implication is that we shouldn't beg for crumbs from the AAA industry in hopes that they'll allow "us" the occasional cutscene or NPC or crumb of representation... the games we want to see already exist, and they are made by queer artists that the community needs to support.

If you're interested in hearing about this stuff, come see me in San Jose on the Saturday of GX3.

(And if you're interested in repeatedly giving birth to fully grown wolves, play Eva Problems' excellent "Sabbat.")

The molten rituals of Hylics

Hylics, by Mason Linderoth, is one of the best RPGs made in the last decade. Imagine a game finely distilled so as to consist solely of the weird funk of Earthbound plus some David Cronenberg technoflesh plus the young dread of Gumby... and when you've completely imagined that, now look in your weathered dusty hands to find the freshest nugget you've ever seen.

You should make it your duty to play it, and it's (refreshingly) short for an RPG at 2-3 hours, so go to it. (WARNING 1: SPOILERS FOLLOW. WARNING 2: LOTS OF HYLICS GIFS...)

A game is a brain is a forest

I just read this article about how plants are intelligent. It's a classic philosophical problem. Is a brain in a jar any different from a plant, and what exactly is intelligence or consciousness? Recent articles about how "plants talk to each other using an internet of fungus" are in vogue with recent thinking that corporations are dystopian artificial intelligences that have enslaved human society, or that we have to generally decentralize human-ness in human thought. The argument here is that self-sustaining complexity, usually in a network structure that resembles a brain (not that mere human brains are so great or whatever) must produce similar effects, so a brain is at least as complex as the internet or a forest or global capitalism.

Once something becomes boring, it is no longer complex because you have reduced it to boredom. So maybe another word for self-sustainingly complex is "interesting"... and, well, I think good games are interesting. Maybe a game is like an internet, or a brain, or a forest, or some shit?

PSA: free (and COMPLETE) photorealistic 3D character workflow from Mixamo

Mixamo got bought out by Adobe... as part of the merge, they've turned off all their billing systems... which means almost everything they have is now free.

"Fuse" is their (free) character modeling / texturing / creation tool that is miles ahead of the old Autodesk Character Generator -- from there, you send the character mesh out to their Auto-Rigger cloud service (also free) with 60+ bone skeletons and facial blend shape support -- and with every (free) account you register, you get 20 (free) animations, and you can potentially make unlimited free accounts. This is a complete character art solution from mesh to skin weights to rigging to animation, for free. It's pretty impressive, and you can easily make a game that looks like a prestige AAA FPS from late 2013. (These assets don't have the accuracy of photoscanned models or DX11 procedural hair, but they're very well crafted.)

Tentatively, they're going to shutdown this infrastructure on December 31, 2015 (I think, according to a cryptic e-mail I got a few months ago) when they've finalized more of the merge with Adobe, so make sure you grab as much stuff as possible while you can.

To celebrate, look at the brunch hunk I made in Fuse (above) and exported out to Unity. Again, it's pretty high resolution stuff with no restrictions. Make use of it for your games while you can.

I'm documenting this resource as a "PSA" because making the tools of photorealism accessible and widespread helps (a) sabotage game industry machinery that privileges fidelity as something valuable, (b) re-contextualizes realism as a stylistic choice rather than a "default" marketing tactic.

Have fun!

When failure sneaks into stealth games

The last moment of my last Invisible Inc run on "Expert Plus"; don't read the game text if you don't want spoilers

I'm facing my last obstacle on the last mission on the hardest difficulty of Invisible Inc. The past 5-7 hours of this campaign, and last 30-or-so hours of play over the last few weeks, have all led to this moment. There's a dozen alerted guards between me and victory... can I make it, or will I fuck it all up?

The last time I was this engaged by a stealth game, it was the first time I played Thief 1 (1998) in 2002... a pirated version I downloaded off Kazaa, with all the cutscenes, music, and voice-over removed to save on file size. What was left was the most avant-garde game I had ever played, a world of footsteps and silence. Between then and now -- Splinter Cells were okay but not my bag, Thief 3 was a sea of mediocrity with a single shining jewel, Dishonored was okay I guess, those bits in The Last of Us quickly wear out their welcome, and Thief 4 was rather unfortunate -- "stealth" has felt a little dead for the last 13 years.

If we look back at the systems design theory behind Thief 1, we can figure out who murdered stealth.

Some recent exhibitions

Some recent sightings of some sex games out in the wild... approach with caution.

Hurt Me Plenty at Two5Six in New York City. (May 2015)

Stick Shift at "Play Spectacular" at the Wellcome Collection in London. Curated by Holly Gramazio. (July 2015)

Succulent and Cobra Club in the back of a U-Haul box truck (and Stick Shift, in the driver's seat!) at Lost Horizon Night Market in Brooklyn (Bushwick). Curated by Stephen Clark + Babycastles. (July 2015)

Thanks to all the curators and events for having me! There's also a few more shows / appearances lined-up, so keep your eyes peeled...

Stick Shift has been Greenlit on Steam!

Thanks to all your support, Stick Shift has been greenlit for distribution on Steam! The gamers have spoken!!! Now to do this giant mess of paperwork and to figure out how to navigate the Steamworks infrastructure! (... Steamworks being a popular North American gay bathhouse chain, of course)

There is currently no ETA for this release. I've never implemented Steam infrastructure in a game before. I also want to bundle some extra games with this game, and it'll take some time to figure out any permissions / get the systems to play nicely with each other instead of deleting each others data.

Any ideas on what the game's name on Steam should be? I'm thinking: "Stick Shift GOTY Edition"

Lighting theory for 3D games, part 4: how to light a game world in a game engine

This is part of a series on how I approach game lighting, from a more general and conceptual perspective. I build most of my examples in Unity, but this is meant to be generally applicable to any 3D game engine, most of which have similar lighting tools.

We started by thinking about light from a cultural and conceptual lens in part one. In part two, we treated light more instrumentally in terms of level design and readability. Then in part three, we surveyed the three-point lighting method for use in games. But none of this theory matters if we can't actually achieve it within the semi-hard constraints of computer graphics.

Lighting is traditionally one of the slower or "expensive" things to calculate and render in a game engine. Consider the science of visible light: countless photons at different wavelengths bouncing around at unimaginable speeds that somehow enter your eye. To do any of this at a reasonable framerate, game engines must strategically simplify light calculations in specific ways, and then hope players don't notice the inconsistencies. It is "fridge logic" -- we want the player to nod along, as long as it "looks right."

Okay, so how do 3D game engines generally do lighting?

"Immersion Phallicy" at Reverse Shot

Brendan Keogh did a lovely write-up of my recent work for Reverse Shot, an online magazine at the Museum of the Moving Image.

Yang, on the other hand, crafts characters that are so perfectly imperfect as to fall square into the uncanny valley, that space where the more realistic an animated character or robot looks, the more those slight imperfections stand out. Yang’s men are disturbing in their uncanniness. Visually, his games explore the visual depths of uncanny male bodies that other video games deliberately avoid. There’s the slight gut and unshaved snail-trail on the naked character in front of his bathroom mirror in Cobra Club. There’s the way the character of Stick Shift bites his bottom lip and lets his eyes roll back as he moves up his car’s shaft and through his car’s gears. It makes the games unsettling, uncomfortable, and disturbing on a very visceral and intimate level. It makes the games sexual without necessarily being sexy.

Read the full essay here. Thanks for the thoughtful words, Bren-Bren!

Stick Shift on Greenlight

I've put Stick Shift on Greenlight. Because why not? I thought it would be a good fit for Steam because it's probably the most game-y of my recent sex games, with the exception of Cobra Club -- though Cobra Club has been unilaterally banned from Twitch.TV so I doubt Steam will allow for dicks, unfortunately.

Please YES it if you want to help me wreck Steam. Thanks.

Videogames for Humans, edited by Merritt Kopas

The first reaction most people had was, "it's bigger than I expected." 575 pages to be exact. But that obfuscates the actual format of Videogames for Humans: 27 different close readings / commentaries on short stories.

What those most people actually meant was that they had no idea that 575 pages of thought on Twine was possible, that they're surprised Twine is this big or that it is worth preserving on a tree carcass.

Preserving! In order to preserve something, it has to be more or less "over", and Merritt Kopas has a lot of feelings and anxiety about how Twine will be remembered. In the introduction, she confesses, "late 2012 and early 2013 was an extraordinarily exciting period for me [...] the 'queer games scene' covered by videogame outlets might not have been as cohesive as some accounts supposed, but for a little under a year, it definitely felt real,"

... then later she argues, "but I don't want Videogames for Humans to be seen as the capstone of the 'Twine revolution,' a kind of historical record of some interesting work done in the early 2010s."

So then, this book is partly an attempt to correct or amend a prior history... but not with more history. It wants to break a cycle.

Queerness and Games Conference 2015, call for proposals, due by July 1

The good folks at QGCon at UC Berkeley need YOUR session proposals for their third year running. I participated in the first year it ran, 2013, and I enjoyed the mix of scholarly rigor and casual atmosphere, there a pleasant mix of academics and not-academics that's very refreshing.

You can be a super academic-y academic and present a paper, or you can talk about a game you made, or discuss a specific games community you're part of, or even relate your personal experience with games and/or run a workshop. They're pretty accommodating and welcoming and supportive, even if you've never given a talk before. It's also pretty unique, there's really no other conference on the circuit that even tries to approach these topics.

I highly recommend submitting a proposal by July 1st, especially if you live around the Bay Area or along the west coast, it's just a short trip over.

Here's an excerpt of the call:

Pain Festival

As a palette cleanser from the last four sex games, I've been remaking my favorite of Alan Hazelden's Puzzlescript suite, "Mirror Isles", with my own art and narrative. It's been refreshing to have the design of something already figured out, and for the past two weeks I've just been pumping out art and code.

The game has come together surprisingly quick. I'm not sure if it's commercial or anything yet, I guess me and Alan will have to talk about that at some point, but for now I'm enjoying this as a craft exercise void of any marketing concerns.

Local level design, and a history / future of level design

Right-side modified from “Unscaping the Goat” (Ed Byrne, Level Design in a Day @ GDC 2011)

This is adapted from my GDC 2015 talk "Level Design Histories and Futures" and resembles a similar but much shorter talk I gave at Different Games 2015. By "level" it means "level in a 3D character-based game", which is what the industry means by the word.

The "level designer" is a AAA game industry invention, an artificial separation between "form" (game design) and "content" (level design). The idea is that your game is so big, and has so much stuff, that you need a dedicated person to think about the "content" like that, and pump it all out. This made level designers upset, since they were a chokepoint in the game production process and everyone blamed them if the game was shit. To try to bypass this scapegoating, level design has changed over the past decade or two, from something vague / loosely defined, to something fairly specific / hyperspecialized.

What is the shape of this level design, what did it used to be, and what else could it be in the future?

But first, let's talk about chairs.

Cobra Club as ouroboros

This is a post detailing my process and intent in making Cobra Club. It has SPOILERS; if you care about that kind of thing, then you should probably play the game first.



(Again, SPOILER WARNING is in effect. Last chance!...)

Cobra Club is a photo studio game about taking dick pics. Ideally, lots of them. As you take dick pics, you also chat with NPCs and potentially share / swap dick pics. It breaks with my previous three gay sex games (Hurt Me Plenty, Succulent, Stick Shift) in that there's little control of the character himself, there's a complex interface, and there is no visual innuendo. In this game, a dick is a dick.

But it's not just a dick, it's your dick!... Well, kind of. To me, that ambiguity is what elevates it slightly above a mere dick pic generator.

Pardon the interruption

Haven't had time to write lately -- it's finals week here in New York City, so it's been pretty busy with grading and making sure students turn things in. If you happen to be in the area this month though, I encourage you to check out the student shows at two of the departments where I teach:

• Parsons School for Design MFADT Show Reception. Monday, May 18 at 6 pm. 6 East 16th St, 12th Floor, around Union Square. Wide variety of technological / conceptual / commercial projects, from experimental VR installations to new apps to future fashion to performance.
• NYU Game Center Student Show. Thursday, May 21 at 6 PM. 2 Metrotech Center, 8th Floor, around Downtown Brooklyn. All kinds of board games / physical games / digital games, mostly by the MFA students, but with a few undergraduate projects on display too.

See you around maybe.

Lighting theory for 3D games, part 3: the heresy of three-point lighting

This is part of a series on how I approach game lighting. Part 1 was about light fixtures, and part 2 is about light as a formal material.

In part one, we began by thinking about light culturally -- light has meant different things to different people across history, and you must consider that meaning when lighting your spaces. But in part two, we observed that much of our everyday relationship to light is more immediate and less intellectualized, that we often use light to help us do things. Theoretical frameworks about light help us articulate what we think the light is doing.

One of the most common theoretical frameworks for lighting is the three-point lighting system, used mainly in photography and film. As I argued in part 2, one of light's most important jobs is to allow you to read the surface or topology of an object. The three point system helps us formalize light source in terms of how to "read" an object. (I also argue that it has some serious weaknesses for 3D video games, but we'll get to that in a minute.)

It's called "three point" because there's at least three light sources involved:

"Succulent" technical overview / behind the scenes

This is a high level discussion of how I achieved certain effects in Succulent using Unity. It spoils the game, so I recommend you play it and/or read my artist's statement.

To the game engine, the popsicle (or "ice lolly" or corn dog) in Succulent is the main director for the entire scene. It is essentially a psychic telekinetic popsicle that dictates music playback, effects, and character animations... The popsicle is god. Love the popsicle.

To many developers, the most obvious straightforward way to achieve this popsicle-sucking interaction would've been to create a hand / arm controller, and then parent the popsicle to the dude's hand. But this "direct" way would've been the wrong way; this game is about popsicles, not about hands. Tuning the hand and arm movements necessary to pilot it into his mouth -- it would've been painful and unnecessary. (This is why it's important to have a fairly solid concept before you start coding something. The concept and design will affect how you code it!)

Embarrassed silence

I'm stealing the first three paragraphs of Pippin Barr's lovely post: (see also -- Emily Short's take)

A post called Minimum Sustainable Success by Dan Cook has been doing the rounds on Twitter recently and so I read it because people were saying it was good. And it is pretty good, especially if you’re a bit games+money minded – as I am not. It’s a hard look at how you might address and perhaps even mitigate some of the enormous risks and problems involved in getting into the making-a-living end of our beloved videogames.

In there, Dan brings up the “supportive spouse or family” category of game developers and points out that people don’t often “admit” to being in this one, with the idea being that it’s a bit embarrassing, and that it should be talked about more to add perspective to this crazy thing called “how the hell am I supposed to make the games I love and also live at the same time?”

Fortunately I have no shame, and so I’m writing this to represent one data point of the “supportive spouse” crew. Are we legion? I don’t know. I’m definitely one of us, anyway. Hi, here’s my life story (of privilege).

Like Pippin, I have a very supportive and awesome spouse. His name is Eddie.

In addition to currently making more money than I could ever hope to make as a part-time adjunct academic, he is a better Unity programmer than me and taught me a lot of what I know today. He also has really good design instincts; he had the idea to make the cooldown in Hurt Me Plenty go into several weeks, and he also picked-out the music used in Stick Shift. And right now, I'm making him write the server code for my upcoming dick pic game because I don't feel like doing it. (LOL.)

"Stick Shift" technical tricks / backstage Unity peek

This is a high level discussion of how I achieved certain effects in Stick Shift. It spoils the game, so I recommend you play it and/or read my artist's statement.

The "car" in Stick Shift is actually (a) two different cars, one for each camera, and (b) neither car actually moves, ever.

When you want to create an illusion of motion, or at least have something read as motion, then you generally have two options in games: move the object around the world, or move the world around the object. Because I wanted to focus on the gestures in the drivers seat, it didn't make sense to actually simulate a road. A scrolling panoramic image of a city street, blurred and stretched horizontally, would give enough of an impression of motion.

"Stick Shift" as activist autoerotica

This is a post detailing my process and intent in making Stick Shift. It has SPOILERS; if you care about that kind of thing, then you should probably play the game first.



(Again, SPOILER WARNING is in effect. Last chance!)

Stick Shift is an autoerotic night-driving game about pleasuring your gay car. It is the last of my recent erotic gay sex game trilogy, alongside its sisters Hurt Me Plenty and Succulent. I also feel like it is a fitting book-end to the past two games, incorporating themes and ideas from both.

Over the past two months, the game has changed quite a bit. Originally, I started from Paolo Pedercini's suggestion to riff off Andy Warhol's film Blow Job (1964).

Implementing real-world real-time stamina / energy cooldown timers in Unity C#

In Hurt Me Plenty, I implemented "real-world" cooldown timers, which persist even if the player restarts the program. The cooldown period elapses in "real world" time, not in game time.

This resembles stamina delays in many popular free-to-play games, but it also connects with the design tradition of using real world system clocks to dictate game logic -- maybe certain Pokemon emerge at real world night, or you witness events that correspond with real world holidays, or perhaps you can even kill a boss NPC by setting your console's system clock forward by a week.

Much like the implementations referenced above, mine is quite weak and vulnerable to circumvention and cheating: I simply save a system timestamp in the game's PlayerPrefs, and then check that saved timestamp upon loading the game. If the difference between the current system time and the saved timestamp is less than zero, then the time has fully elapsed and the game continues.

Level With Me, vol. 1 re-release (v1.1)

I have updated my old experimental Portal 2 mod "Level With Me" to work with current versions of Portal 2. This mostly involved repackaging a menu file and rebuilding the sound cache. Assuming you have Portal 2 installed, you can download and play this collaborative interview / playable journalism project at the itch.io page.

• Remember to feel free to stop playing the first chapter at any time.
• Previous posts / notes are here.
• Interview subjects were: Dan Pinchbeck (The Chinese Room), Jack Monahan (Stellar Jockeys), Brendon Chung (Blendo Games), Magnar Jenssen (Avalanche Studios / Valve), Davey Wreden (Galactic Cafe), Ed Key (Twisted Tree Games), Richard Perrin (Locked Door Puzzle)

TECHNICAL SOURCE ENGINE NERD NOTES: It was fun trying to figure out how to update everything; Valve updated every Source game to use .VPK v2, except Portal 2, so it was pretty much impossible to find the old VPK.exe compile utility. Luckily, I had a hunch that Alien Swarm hadn't been updated since forever, and I turned out to be correct. (For anyone who googles for this post, you can grab the one from the Alien Swarm SDK, or download the old v1 VPK.exe here. Make sure you place it in a \bin\ folder with a tier0.dll, and then you can just drag-and-drop folders onto it or a shortcut, etc.)

Lighting theory for 3D games, part 2: a formal approach to light design, and light as depth

Here's how I generally, theoretically, approach lighting in my games and game worlds. Part 2 is about light and function, mostly for level design.

In part 1, I talked about how different light sources have different connotations to the viewer, and these meanings are culturally constructed. In New York City today, an antique Edison bulb connotes trendy bourgeois expense, but 50 years ago it might've been merely eccentric, and 150 years ago it would've been a thrilling phenomenological novelty.

But people rarely intellectualize lighting this way, in, like, your own bedroom. In your daily middle class Western life you don't usually agonize over the existential quandaries of electricity, you just flip the light switch without looking. When in familiar places, we experience light as a resource or tool and take it for granted. So much of our everyday relationship with light concerns its functionality and what it enables us to do.

#altgames is the no-fault divorce that indie games needs

I'm cautious. I've been watching #altgames from a distance. Quite a few years ago, Jim Rossignol said I was supposed to be part of an "alt mod" scene, but by then I was tapering off most of my work as a modder so I'm not sure if such a community ever really materialized anyway. I generally don't like labels with "alt" in them since the alt-ernative can be said to be anything, but I do like what TJ Thomas said at Indiecade East, and I like a lot of games that are "altgames", and I think much of my work shares whatever those altgames sensibilities are... so there's probably some kind of consensus, we just have to keep articulating it?

In my GDC 2015 diary, I confessed I felt disconnected from fellow indies who were concerned with running small businesses and contract negotiations. No one wants a civil war over what "indie" really means, or a witch hunt over who is authentically "indie" or whatever. We all have different relationships with games and that's okay as long as you're not promoting hate speech or something. At the same time, it's ridiculous to pretend that I'm not bored out of my mind during countless GDC conversation(s) lingering on advertising revenues and Indie Fund deals and sales figures, and then people get visibly annoyed with me when I don't say anything and check my phone instead. Where is the way out?

This morning, Zoe Quinn's altgames manifesto at Offworld really crystallized this for me:

#altgames can be the no-fault divorce that we need where we don't blame each other, where we even stay friends with contemporary indie games. We can still have dinner parties and share custody of the kids! However, we also have very different goals and concerns, so let's try not being married anymore, and maybe we'll all be happier for it.

FAQ:

"Local Level Design" at Different Games 2015, April 3-4 in Brooklyn, New York

"American Corinthian" via
Paolo Pedercini

In about 3 weeks at Different Games 2015 in Brooklyn, I'll be speaking about "local level design", a practice of level design that I setup in opposition to industrial AAA level design methods and procedural level design. Local level design is level design concerned with player community, sustainability, and context; it rejects a top-down formalism that demands game levels exist as territories with strategic affordances orchestrated by an architect, and it sidesteps a technological imperative to engineer and articulate a fixed grammar that a game engine must understand. Instead, local level design is highly conceptual, to the extent that few people actually play these levels at all.

If you'll be around the New York City area in the beginning of April, come hangout at Different Games, and perhaps see me talk! Or if you can't, but still want to support the conference, then know that they do accept donations.

Details and stuff (but no schedule yet) are at their website. See you there maybe!

GDC 2015 dispatches / minutiae

Here are some thoughts I thought during GDC 2015.

• Virtual reality: I didn't get to try Valve's fancy new thing that requires everyone to clear out a mini-holodeck in their apartment, but I was pleasantly surprised by Google Cardboard. I tried it once before, and disliked it, but I tried it again and now I think it's not bad as a VR solution. I appreciate the transparency and "honesty of materials" -- it is basically a cardboard box that holds a phone to your face, it doesn't try to pretend to be something else, while still delivering on the all-important affordance of VR headset as elaborate blindfold.
• Phony war: The big technical news of free engine access for Unity 5, Unreal 4, and Source 2 were inflated non-announcements. They've been practically giving away Unity and Unreal for a while now; 90% of Unity feature-set is free, and Unreal only required you to subscribe for a month and then you could cancel it and keep it... and the details and workflow for Source 2 aren't public yet, other than a requirement to offer first look rights to Valve or something? So again I think there's no real story here, other than positioning these engines as the new "big three" versus Unreal, CryEngine, and idTech trinities of yore. 
• Generations: This year, quite a few NYU students attended GDC for the first time, and I felt some modicum of responsibility. For better or worse, a lot of young people invest GDC week with a lot of emotions, and it's really important that community elders (ugh, am I one of those? let's hope not) are there to help nurture their spirits. Things like the annual Wild Rumpus party or Lost Levels or Richard Lemarchand's GDC Feet tour are about articulating and performing considerate attitudes toward games and play, to imagine this culture as something shared and owned by everyone. A lot of teaching game development is about emotional education -- to deal with people saying difficult things about your work, the ability to absorb success or absorb your disappointment and not let it crush you... so please, I beg you, think of the children!
• Biz-culture: In contrast to what I just said in the previous bullet, I also sensed an increasingly fractured community. There's a steadily widening gulf between a games space deeply concerned with sales figures and how to negotiate with platform holders, and a games space striving to reject the existing market system and formulate alternatives. We are increasingly talking past each other, so I think a lot of "indie love" politics is about plastering over these divides and avoiding difficult arguments that we probably can't avoid forever. Films like GameLoading are about doing the work of uniting disparate artistic approaches and communities as a movement, but sometimes it smells more like a possibly empty "Radio for Change" gesture, and I wonder when the coalitions will start dissolving and we all realize we actually don't have much in common. But maybe being a family means pretending everything is going to be ok? Let's do it for the kids.

GDC 2015 dance card

Hello. Here's some of my GDC plans. See you blog readers at some of them! Don't be afraid to say hey.

• MONDAY: I fly-in and arrive in San Francisco.
• TUESDAY: Level Design In a Day track. I'll be on-duty in the panel all day, then I'm presenting my talk at the very end of the track at 5 PM. 
• WEDNESDAY: I'll be spending much of my time at #LostLevels, and then hanging out at the annual Wild Rumpus party. This is pretty much the only time at GDC where I dance; everywhere else, the music is undanceable or the nerds refuse to dance.
• THURSDAY: I'll probably visit Alcatraz; there's an Ai Weiwei exhibition currently going on. I'm also looking forward to the Adventure Design minitalks later that night.
• FRIDAY: I'll go to a talk or two maybe? Also might flee Moscone and just take a nice walk around Land's End / Sutro Baths. I guess I'll see what I feel like.

Hurt Me Plenty, patched to RC5 + now with Linux build

I've updated my spanking game Hurt Me Plenty to version RC5... by removing the Leap Motion support which seemed to be crashing for certain users. Thanks to all the people who e-mailed me to report the crash / sorry for any inconvenience.

If you want to play the game with a Leap Motion, download version RC4; if you don't have a Leap Motion or you were having problems playing before, then download version RC5.

I also updated the in-game graphics with an actual mouse graphic, so it should also be easier to play / figure out what you're supposed to do. Oh and I finally did a Linux build, it's x86 / x86_64 universal.

Game is available for "pay what you want" here: http://radiatoryang.itch.io/hurt-me-plenty

Radiator University, Fall 2015 catalog (excerpts)

CENG 395: ESCAPING A ROOM OF ONE'S OWN (STUDIO INTENSIVE)
In this class, we will analyze a variety of escape narratives, from stage magicians to US slave narratives to feminist memoirs to prison break films to the modern war refugee story, to articulate a robust "aesthetic of escape." When is escape possible and honorable, and when is escape futile or cowardly? From this cultural survey, we will conceptualize and construct a real-life "escape room" puzzle installation that attempts to invoke and honor this long and complex tradition of escapism in its materials, environmental storytelling, construction process, and puzzle design. (2 credits, Sao Paulo campus.)
Prerequisites: ARCH 211 History of Prisons, CENG 200 Intro to Plumbing Electrical and HVAC.

HTECH 201: HAMLET ON THE HOLODECK
Using a combination of 3D scanning, motion capture, and virtual reality technologies, we will literally attempt to recreate a scene from Hamlet on a "holodeck." In doing so, we will also critique the rhetoric of immersion that permeates popular fantasies about virtual reality and narrative, and align it with contemporary interpretations of Hamlet. For instance, in Shakespeare's time, the ghost-revenge plot was already a well-established trope -- thus, one could argue that Hamlet is essentially a self-aware character who knows he is in a cliched video game, and wonders whether he can transcend the military-entertainment complex's demand for graphic violence. (3 credits, Spring semester only.)
Prerequisites: ENGL 314 Elizabethan Literature, HTECH 100 Intro to Holographic Interfaces, at least 1 semester in any Melee Combatives lab.

EDUC 999: STANFORD UNIVERSITY EXPERIMENT (cross-listed: PSYCH 999)
The Stanford Prison Experiment was a notorious battery of mandated sadism that masqueraded as a scientific exploration of human nature. Using similar terms, we will attempt to build and perform a model "Stanford University" within our existing university, replete with its own facilities, students, faculty, and administrators. In the best case scenario, basic legal and ethical concerns for humane treatment of human test subjects will prevent us from running the experiment at all, thus implying that Stanford University itself is an oppressive institution barely distinguishable from a supposedly artificial and isolated prison. (no-credit pass-nopass only, Fall semester only.)
Prerequisites: CENG 395 Escaping a Room of One's Own

Previous semesters are available here: Fall 2014, Spring 2013

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We are drugs; speculative dev tools and psychedelic hologram futures.

This post is adapted from a talk I gave at Indiecade East 2015, where the theater was way too small for the crowd, so not many people got to see the talk... sorry / oh well. Here's basically what I said:

Our story begins on October 8th, 2014, on a very special episode of the Late Show with David Letterman. He was ending that episode with a musical guest from Japan -- a holographic vocaloid named Hatsune Miku. Pay attention to Letterman's barely-veiled incredulity as he introduces her. He can't believe the words coming out of his mouth:



But what really makes this moment is the ending, after the performance. Letterman doesn't even know what to say, and he knows he doesn't know what to say. The experience was completely overwhelming, so Letterman has to somehow pivot back to interpret it for his audience (mostly moms and dads from Milwaukee) and all he can muster is a facile comparison to "being on Willie Nelson's bus." (Willie Nelson, if you're not familiar, is a celebrity notorious for his drug use, among other things.)

The meaning is both clear and agreeable: Hatsune Miku is drugs.

How to make stuff look at stuff / demystifying turns and rotations, and working with quaternions in Unity C#

Julia set fractal thing of a quaternion function... I actually don't really know what that means, but it's pretty.

This is kind of a blog post more for my Unity students, but I figure other people on the internet might find it useful -- let's demystify working with rotations in Unity, and explore some useful techniques for doing so.

There are 2.75 ways to store rotations in Unity: (1) quaternions and (2) euler angles (directional vectors are the 0.5, and some math functions secretly take radians instead of degrees, that's the 0.25)...

Euler angles are the typical 0-360 degree system taught in most junior high / high school geometry classes, while radians are in "units of pi" and represent the curvature of a circle. Then there's quaternions, which are scary 4 dimensional representations of a rotation that you may have never heard of / can barely spell! Fortunately, you don't need to know quaternion math in order to work with rotations, Unity will handle conversions for you.

Okay, so first let's explore a most common problem: how do you make stuff look at stuff in Unity?

Upcoming talk: "Level Design Histories and Futures" at Level Design In A Day, GDC 2015

I'll be presenting a talk on "Level Design Histories and Futures" at the Level Design In A Day track at GDC 2015, alongside other stuff by Clint Hocking, Joel Burgess, Steve Gaynor, David Pittman, Forrest Dowling, Nels Anderson, Jake Rodkin, Kate Craig, Brendon Chung, and Liz England. It's a huge honor to be associated with these people.

My talk is about level editor histories, the level designer as an industry role, level design as modernist formalism, and what a postmodern sustainable level design practice might look like. I'm kind of serving as the theory-heavy talk this year, right at the end of Tuesday at 5 PM, so I'm going to try to synthesize a lot of the previous talks together and propose some frameworks to digest them... and um I hope I'll see some blog readers there / I hope you'll still be awake at that hour!

If you can't make it to GDC, I'll try to put up the slides afterward, and I'm sure it'll be streamed or recorded or something.

Teaching game development... in public!

I remember one time in design school when a guest critic called out my classmate's project, a website to facilitate bartering. The critic balked at the idea of imposing specific procedures on how people should conduct a trade, and he talked about how the parents of Park Slope, Brooklyn shift several million tons of used toys using a very active Yahoo Groups (the class gasped in horror)... sometimes all a user wants is a message board.

So I'm one of those \Blackboard / "enterprise-class courseware learning platform" skeptics. If you've had the good fortune of never having to use one, they look like the image above, usually some really bloated outdated web portal thing with 50 different "learning modules" that 90% of university classes never use unless they're forced by the department.

As an instructor, I don't want to "setup an assignment" by digging through three different layers of menu screens! Sometimes all a user wants is a message board.

This semester, I'm running my game development courses on GitHub, Steam Community, and Tumblr. All three provide some semblance of message board functionality, so they're all suitable for teaching. Here's how I'm doing it:

Lighting design theory for 3D games, part 1: light sources and fixtures

Contemporary Jewish Museum (San Francisco, California)

Here's how I generally, theoretically, approach lighting in my games and game worlds. Part 1 is about the general concept of lighting design.

Mood is the most important end result of your lighting. The "functional school" of game lighting, which maintains that lighting exists primarily to make a space readable so that the player can navigate it and shoot people -- can be useful in my eyes but only so far as that gameplay is tactical violence, and when that violence can support evoking a mood. The rest of the time, some designers often seem content to light their spaces like a furniture catalog, or even leave it as a total after-thought. Lights can do more than show-off your normal maps and show where to walk to trigger the next cutscene, okay?

So let's begin: lighting design is a discipline that has existed since the beginning of sunlight.

"We Are Drugs: On New Indie Game Dev Tools for Psychedelic Hologram Futures" @ IndieCade East 2015

Salvador Dali, "Modern Rhapsody"

I'm giving a talk in, like, 3 weeks at IndieCade East 2015 in New York City. I'm going to be talking about art / art-making as a drug, and I'm going to show a clip of Hatsune Miku, and hopefully I'll be coherent and insightful and entertaining? And if you can't splurge for the full weekend pass, then I'd recommend at least attending on Saturday -- not because that's when my talk is! -- but rather because that's when the notorious Night Games takes place. Get your tickets sooner than later, I think there's some kind of "early bird" discount? Either way, see you around in a few weeks!

How to record animated GIFs and videos of your games with free tools

I feel like a lot of developers and artists just take some screenshots or photos to document their work, and then move on... don't! Think of your project as an engine to generate even more art.

Plus, making animated GIFs of your games and work process is fun!... and uh making videos is still a little painful, though it's a bit of a necessity for any news media or publications to talk about your game. It used to be much worse, if that's any solace? (It's probably not.)

Different Games 2015, call for submissions / session proposals

Different Games is a fantastic games conference running again in New York City on April 3-4 2015, geared toward diversity and inclusion, and they are actively soliciting game submissions and session proposals due by February 1st. Academics and non-academics, indie and not-indie, cisgender or trans or nonbinary, all are invited and encouraged to participate.

The three suggested tracks are:

Arcade: Designers interested in showcasing their game in the Different Games arcade should submit a brief overview of their game (no more than 500 words) that includes their design vision and concept of the game. In addition, please submit cover art and one or two screenshots of game play. We welcome pieces that will be in (beta) or play-testing phase as well as those further along in the development process.

Paper Presentations and Talks: We invite academics and creative minds alike to share recent work (written or otherwise) as speakers on our conference panels. We encourage participants from every field to submit writing or talks exploring topics pertaining to diversity and inclusion. Possible topics may include, but are not limited to: post mortems, design methodology, reflections on playtesting, analysis/commentary on games content (theme, gender, sexuality, etc.), game reception, and game culture/communities.

Breakout or Workshop Sessions: Topic-related discussions or those exploring challenges and solutions to promoting diversity and inclusion in the broader game community/communities and other pertinent subjects AND hands-on workshop sessions geared towards learning design and development skills are both invited (Your proposal should include an explanation of any equipment participants need to experience your workshop.) If your session will be facilitated collaboratively please include bios and links for all participants.

What are you waiting for? Hurry and submit! I'll be there too, presenting a bunch of games featuring photorealistic gay dudes, as part of the Different Games NEA artist grant. See you there!

"Succulent" as hypnotizing homo hop homage

This post discusses my game Succulent and it completely spoils the ending, if you care about stuff like that. You should probably play it first.



There's a few scenes in the film Inherent Vice where you watch a man eat a frozen banana. They were unusually entertaining and not at all arousing, which got me thinking -- what if I made a game where you just watch a dude stick stuff in his mouth?

So for Succulent, I've put a fair amount of work into making this interaction feel "juicy", hooking it into particles, sounds, facial animations and "cheek physics"... here, the physicality of having his own arm do it, instead of a floating disembodied invisible player hand, was crucial to establish that he was doing it for himself and enjoying it. Inverse kinematics was finally good for something!

I borrow a lot of visual sensibilities from late period "homo hop" music videos, specifically those by Cazwell and Le1f. Both artists emphasize sweaty bodies glaring vacantly, bright backgrounds with intense lighting, and flat compositions focused on the center, evoking the go-go boy gay club / pin-up imagery that's thoroughly ingrained in US gay male culture.

Re-tumbl me on tumblr at radiatoryang.tumblr.com

At Chevy Ray's insistence, I have started a tumblr at radiatoryang.tumblr.com. At the moment it is devoted to surreal screenshots, WIP images, glitches, random game dev stuff. Please re-blog or re-tumbl me or whatever! Thanks bye.

Radiator, US tour Spring 2015 ("May the Reign of Terror Begin")

I'm attending two three games events this season. Hangout with me! Here's my schedule currently:

• Indiecade East 2015, Feb 13-15 in New York City. I'm giving a talk about dominant workflow patterns in game development, and how new (and often experimental) tools can shake-up our workflow and help us re-think our processes and possibly result in new kinds of games. I intend to live-demo most of these tools. Hopefully I won't fuck it up!
• Game Developer Conference 2015, Mar 2-6 in San Francisco. I'm giving a talk about contemporary level design in relation to modern and postmodern architecture theory. I feel like a lot of level designers know they should pay lip service to architecture but when was the last time they actually looked at a real-life building with a critical eye? How was that building made? This is a discipline that's been around since the beginning of recorded history, I think it might have a thing or two to teach us, call it a hunch.
• Different Games 2015, Apr 3-4 in New York City. A fantastic diversity-focused games conference. I'm part of the NEA artist grant disbursed last year, so I'll be presenting on my triad of sexy gay games: Hurt Me Plenty, Cheek to Cheek, and Succulent.

I'm also waiting to hear back from a few other things. Watch this space for updates! Or don't, that's cool too! PS: have people been playing The Talos Principle lately? I have a lot of mixed feelings about it. Might write a post about it.

Some Unity 5 beta impressions

I'm making a small Thief-like with integrated level editor (3rd time's the charm!) to test (and teach myself) four (4) main feature-sets of the Unity 5 beta -- physically-based shading, integrated image-based lighting, real-time global illumination, and the UI system introduced late in Unity 4.6 but might as well have shipped in Unity 5. Here's my opinion so far: