For all our US-based readers

Net neutrality is an issue that would heavily affect this blog and its proprietor. As someone whose "controversial" work regularly gets banned from platforms like Twitch, I'm really worried about the future of open and equal access on the internet when universally-reviled ISPs are allowed to further control who sees what / and at what additional costs.

If you're a US citizen and you like all the shit I post, then please ensure your continued access to my shit, and send some e-mails or make some calls to your local congressperson.

Below, I've copy and pasted from this post on why net neutrality matters, and what is happening now, and what action you can take:

The joy of learning how to freeze to death

This post spoils some gameplay systems in The Long Dark.

I still remember the first time I played Minecraft, back before the quests and tutorials and candy dispenser walls: I woke up on an unknown shore and followed the setting sun. At night, a dozen monsters chased me across a valley. I desperately dug a burrow with my hands, and barricaded myself inside -- but I didn't know how to make torches or even how to get wood or food, so I just sat quietly in that dark dirt hole and waited for death.

In contrast, I was recently playing some of the new Assassin's Creed game set in Ptolemaic Egypt, a land chock full of happily glowing icons that will give you cookies. As you visit various cities and villages along the Nile, every single NPC will offer you a handshake and a warm hug. And, ok, this example is actually real: if you swim longer for 15 seconds in the water, the game impatiently spawns a helpful man with a boat in front of you, so that you don't have to keep swimming.

A week or two ago, I left sunny Egypt for the cold Canadian wilderness of The Long Dark, a popular first person indie survival sim. There are approximately zero cookies in this game -- or if there are, they're probably moldy cookies scavenged from a 15 year old military ration... uh, don't eat them.

Radiator -- Spring 2018 US & European Tour

I'm trying to get all my traveling arrangements for next spring -- and it turns out I'm going to be visiting Europe quite a bit! Here's my tentative traveling schedule for next year. Feel free to attend / hang out / say hello if you see me at these events...

• January 21, 2018 @ Institute of Contemporary Art (ICA) in London, England
  London Short Film Festival, panel discussion of Tearoom (2007)
  I'm going to be on a fancy panel with much smarter people, talking about William E Jones' work Tearoom (2007), which my game The Tearoom (2017) takes heavy inspiration from. It won't be a game-literate audience, but I think part of the work of reforming game culture involves growing these partnerships and connections with other fields.
• March 19-23, 2018 @ Moscone Center in San Francisco, California
  Game Developer Conference (GDC)
  I'll be giving a short talk -- well, probably? I don't think the session has been published or announced on the official schedule yet, so I'm not supposed to say much more than that... But hopefully, eventually, I imagine I'll be presenting alongside many other great folks too, so look out for more info on that.
• April 13-16, 2018 in Copenhagen, Denmark
  Nordic Game Jam
  I will be speaking during the "conference" portion of the Nordic Game Jam -- which is apparently the biggest game jam in the world / the original inspiration for what is now the Global Game Jam. I don't really know what I'll be talking about yet, but I think it's supposed to be inspiring for teenagers and stuff! Maybe I'll even make a little game for the jam.
• April 25-29, 2018 @ Urban Spree in Berlin, Germany
  A MAZE Berlin
  Uhhh I don't really know what I'll be doing at A MAZE, yet, if anything, but I'm still planning on attending! Maybe I'll just hang out? I'm sure Thorsten will give me something to do. But when I attended back in 2016, I basically had the worst burrito I've ever had in my life -- as well as the best doner I've ever had in my life -- so I guess Berlin just has that certain, you know, das gewisse etwas.

The destruction / extinction of digital brutalism

screenshot from "Brutalism: Prelude on Stone" by Moshe Linke

The other day in level design class, a student brought up Moshe Linke's "Brutalism: Prelude on Stone" for discussion. What does it mean to re-create / re-construct / build a brutalist building in a video game?

To review, brutalism was a design ideology deployed mostly in public architecture from 1950-1970s throughout the world, exemplified by large blocky concrete structures in Soviet Russia and/or brick housing developments across Europe.

For the last 2-3 decades, people have criticized brutalism mostly as a cold, ugly, overly institutional style that ignores local communities and human warmth -- and recently that's been amplified by various material and technical critiques of brutalism (poor weathering and staining; environmental impact of concrete; seismic issues; etc) -- but now that we've started demolishing iconic brutalist buildings around the world, there's been a resurgence in defending brutalism before it becomes extinct.

Given that brutalism faces a real existential threat, and it is so heavily focused on the real-world material aspects of architecture, does a digital brutalism make sense?

Postcards from Unreal

I'm building a Unreal Tournament 4 level in preparation for a level design studio class I'm teaching next year. I've been using Unity for a few years and now I feel very comfortable with using Unity for my projects, but I don't really have much experience with Unreal Engine 4. To try to learn how to use it, I thought I'd make a small UT deathmatch map.

Honestly, I think Unreal Tournament is a colossal over-designed mess of a game -- players can slide, wall run, dodge -- use 10 different weapons each with primary and secondary fire modes... I prefer the simplicity (and elegance?) of Quake 3 and its successors. Basically, Quake feels like soccer, while Unreal Tournament feels more like American football with 100 extra rules tacked on.

Nevertheless, it's important to be able to internalize how a game plays, even if you don't like it very much. I've tried to provide opportunities for sliding and wall running, and I've focused on what seems like the core three weapons in UT (Flak, Rocket, Shock) while attempting to channel the UT series' sci-fi urban industrial aesthetic.