The powerful presence of non-presence in "Out For Delivery" by Yuxin Gao, Lillyan Ling, Gus Boehling

"Out For Delivery is a 42 minute playable documentary shot with a 360-degree camera. The slice-of-life experience follows a food delivery courier in Beijing on January 23, 2020, the day before Lunar New Year, and the day Wuhan shut down due to COVID-19."

This is one of the few 360-movie experiences that really works.

In the past, I've criticized the VR empathy machine complex and its cynical use of Syrian refugees to sell VR kits, but Out For Delivery wisely sidesteps the VR ecosystem. Without the restrictions imposed by the head-mounted format, such as a stationary camera (a bumpy moving camera makes VR viewers sick) or impatience (VR demos demand constant engagement), the designer and filmmaker Yuxin Gao is free to focus on the actual subject at hand. The camera moves freely, cuts freely, lingers freely. The result is the most difficult aesthetic to achieve in art: honesty.

Tactics games in 2020: game design notes about Horizon's Gate and Gears Tactics

I finished playing two 2020 RPG tactics games recently: Horizon's Gate and Gears Tactics. I've also written at length about Invisible Inc before. I clearly want to make a tactics game someday? Anyway here's my design analysis and thoughts.

NOTE: This post has a lot of mechanics / game design spoilers, but no story spoilers.

NOTE 2: This isn't me trying to prescribe what "good tactics design" is for everyone. I'm just trying to articulate my own personal tastes and rationales.

Horizon's Gate

Horizon's Gate is a retro pixel art open world sailing game about exploring towns and dungeons, buying low and selling high, and getting into battles where you push and pull and surround. It's very good and you should play it. If you don't have much time, you can probably stop after like 5 hours.

fy_iceworld feature for RPS

Hey all. Hope everyone's been doing OK. Remember level design? That's still important, right?

Anyway, I wrote a 2 part feature on fy_iceworld for Rock Paper Shotgun. Part 1 interviewed working level designers about their takes on fy_iceworld, while part 2 will cover my nerdy forensic investigation into who actually made fy_iceworld.

It should be a fun and diverting read, perhaps a useful distraction in these weird times. Thanks to my editor Graham Smith for taking this weird pitch and graciously proofreading it.

Living in interesting times

Hello all. It's 2020. The world feels... different. Hopefully you're all doing OK!

A recap of what I've been up to --

In these days of social distancing, remote classes, and quarantines, I taught my class about streaming on Twitch... by streaming the class on Twitch. Some writeups:

• Nathan Grayson for Kotaku
• Megan Farokhmanesh for The Verge
• Patrick Klepek for Vice

ushering in the brave new era of mandatory remote education by streaming my actual college class about streaming https://t.co/A6D2i8UGXI pic.twitter.com/O8vRmXBOza

— Robert Yang (@radiatoryang) March 10, 2020

I'm also getting into Quake 1 mapping. The modern tools are great, the video tutorials are on point, and the community is lovely. Come join us. I recommend Andrew Yoder's comprehensive guide for getting started.

more quake mapping experiments pic.twitter.com/KGgCXnUAn8

— Robert Yang (@radiatoryang) February 24, 2020

Until next time...
-- R

Practical primer to using Unity Timeline / Playables

I recently used Unity Timeline to do cutscenes in a game. Once you figure out how to use it, it works great, but that learning curve of expectations and setup is pretty annoying.

To review: Timeline is a sequencing tool. It's good for higher-level logic where you need to coordinate a bunch of objects at once. For many games, that usually means choreographing cutscenes or sequences. Many different engines and toolsets have sequencer tools and they all generally have the same workflow -- you make tracks and you put actions on those tracks. (see also: UDK Matinee, UE4 Sequencer, Source 1 Faceposer, Witcher 3's cinematic tool)

Note that Timeline is not an animation tool, it's higher level than that. Think of it like a movie director, it coordinates animation, audio, characters, and FX together, but doesn't actually make or process those assets.

In this intro workflow post, I'll start with SETUP TIMELINE, then SETUP DIRECTOR and MAKE CUTSCENES and CONTROL THE DIRECTOR VIA C# SCRIPT, and lastly how to MAKE CUSTOM TIMELINE TRACKS.

A MAZE NOT DEAD

Before I attended A MAZE (2016 / 2018 / 2019), I had never met any game developers from Africa. I had attended so many GDCs, but it didn't matter. Imagine an entire continent, more or less shut out of an entire industry! The game industry often pretends it is "democratizing" the means of game development, but the obvious truth is that the "global" game industry still concentrates much of its money and prestige on North America / Western Europe / Japan. (China is a big market, but there is still no major prestigious international video game trade show held there yet.)

That's why community institutions like A MAZE are so vital. While A MAZE runs a flagship festival in Berlin, they also regularly host pop-up events outside of the typical video game industry hemispheres. In the past, they have run events in Croatia, Romania, Palestine, Russia, South Africa, Kosovo, Cuba, and Ukraine. For 2020, they are aiming to run an event in Nairobi. Do you think GDC gives a shit about Nairobi?

When GDC rolls around every year, so many people lament that there isn't an alternative event -- something to pull people and power away from GDC, away from the institutional inequality plaguing games -- well, today is your lucky day, maybe you'll get to do something about it. A MAZE is one of those alternatives that seeks to pull influence away from GDC -- to provide a noncommercial platform to support game developers and marginalized artists from around the world -- and it needs your help.

Back in September, the city of Berlin denied funding to A MAZE. While A MAZE still retains other public funding sources, this particular setback threatens a lot of their plans. They need to crowdfund the rest of the money to secure the future of the festival, and the future of an alternative away from the overwhelming commercial focus of GDC. This isn't to say that commercial games / AAA are necessarily bad, but it is clear that everyone else in games need their own support systems too. A healthy artform needs a healthy diverse ecosystem of many different motives and tendencies; a monoculture will doom us all.

So for 2020, A MAZE is running a Kickstarter. (Note: Kickstarter corporate is currently in the middle of an anti-union intimidation campaign. But so far, workers have not called for a boycott. As we continue to use KS, we should also use the opportunity to pressure their leadership to cease its anti-worker interference.)

If you have money to spare this year, please consider supporting A MAZE. If you don't have the money, OK, but at least consider writing about them or posting about what A MAZE means to you and others.

A MAZE... NOT DEAD.

The streaming life

This year I'm investing a lot more of my time and energy into streaming. For better or worse.

First, I'm continuing my Level With Me project, where I play through games and offer level design commentary by flying around, staring at walls, and nitpicking lighting. To ease myself in from my summer hiatus, I am playing something "easy" that I know pretty well -- I'm streaming fan-unfavorite Half-Life 2: Episode One, broadcasting every Wednesday 2-3pm EST at twitch.tv/radiatoryang.

Second, I'm leading a new streaming initiative at NYU Game Center: our new weekly streaming show Game Center Live premiered on September 19th! As an academic department studying game design, it feels foolish to ignore streaming as the dominant discourse in games culture, so that's why we're running this experiment as a weird cross between a high school yearbook class and college radio for the 21st century. We'll cover school announcements and showcase student work, but we'll also discuss the week's game industry news and host special guests. We plan to broadcast every Thursday 1-3pm EST at twitch.tv/nyugamecenter.

So although I'm blogging much less than before, you can still catch the same ol' Robert with the same great taste. I'll just be talking at you through a screen.

Borderlands The Pre-Sequel as Australian industry elegy

We played Borderlands: The Pre-Sequel (essentially, Borderlands 2.5) on co-op mode, and yep it's a Borderlands game.

You run around and shoot monsters, they sometimes drop procedurally generated guns, and you sell most of those trash guns to get useless money, and you gradually get slightly better guns with slightly different effects. It works OK, but it still hasn't aged very well. The Borderlands series' long-time reliance on many small modifiers and +1.2% bonuses feels even more desperate in 2019, especially when we live in a golden age of indie deckbuilder games where the numbers actually matter.

Hedera and brief notes on ivy aesthetics

This actually happened weeks ago, but I just realized I never posted anything here about it: I built a 3D ivy painting tool called Hedera. Each time you paint ivy, the Hedera "AI" will grow and simulate an approximation of real-life ivy behavior, clinging to surfaces and climbing towards the sun. It's pretty magical to watch in action.

Much of the core technique is based on Thomas Luft's C++ code from 2006 and a much more recent C# port from 2016 by Weng Xiao Yi, but I found both of their implementations to be very bare-bones proof of concepts intended more for engineers and less for artists, with little concern for workflow or usability. Most of my work focused on front-end user experience stuff -- making the simulation more predictable, conceptualizing a layer-like planting system, optimizing the procedural mesh generation, and getting it to play nice with the Unity Editor's arcane IMGUI and file serialization rules. I definitely learned a lot about tool-making.

ivy mesh wireframes / process from "Crysis 3 - Ivy" by Tom Deerberg

3D ivy meshes, like most video game foliage, were traditionally a very expensive photorealistic detail intended to evoke high production value and thus skilled craftsmanship. It is my hope that my tool lowers the barrier for covering 3D worlds in detailed ivy, thus decimating this value system in game art. Let ivy be worthless!

Perhaps when we stop oohing-and-aahing at the fidelity of game ivy and demystify its creation, then we can finally appreciate a more subtle and artistic use of ivy. As I've argued before, many indie game devs often have a (misguided) knee-jerk reaction against realism, but I think realist aesthetics have an important role to play in any visual culture.

On climate crisis games, for Rock Paper Shotgun

As part of previously announced shifts for this blog, I'm going to start pitching my longer design articles to various outlets instead of posting it here.

The first of these articles is now up -- it's a piece about various climate crisis games and how they play with the idea of environmental apocalypse. I also define a rough taxonomy of different climate crisis game subgenres, like flood games, ice age survival sims, and world sims.

As we all grapple with the ramifications of climate change, it's important for us to imagine stories and worlds about it, because this is how we process life as a society. If you look back at art and media in the 60s and 70s, you'll see a lot of "space age" art and aesthetic, obsessed with rocket ships and moon colonies, essentially giving birth to alien invasion stories and space opera. I think we're in the first half of a similar "green age" wave of environmentalism across art and culture, and there's already a lot of emerging genres and traditions here.

You can read it all over on Rock Paper Shotgun. Thanks to Brendan Caldwell for thoughtful edits.

Interview(s) with Mashable for Pride Month

Last month I ranted to Jess Joho (for Mashable) about sex games and the industry, and I also did a nice and awkward video interview (also for Mashable) filmed in the lovely Wonderville indie arcade bar in Brooklyn.

If you want to see me squirm, then maybe check out the video -- but whatever you do, definitely check out Wonderville if you're ever in New York City. It has one of those rare and coveted Killer Queen cabinets set to freeplay, it has an amazing Soviet flight sim cabinet where you destroy America (with real vector display), and it's also currently the home of the first queer community arcade cabinet The DreamboxXx for which I contributed my queer brawler defense game Dream Hard.

Happy pride, and have a good summer everyone!

State of the design blog

You may have noticed this blog has been a bit quiet lately. There's a few incidental immediate reasons for that: (a) it's summer so it's nice outside, (b) I'm doing a lot of holiday traveling, (c) my laptop recently broke and I have to coordinate loaner laptops and repairs, etc.

But those are just convenient reasons, instead of the more difficult reason that I'm reluctant to face:

I've decided I'm going to blog here less, and I'm not going to feel bad about it.

Capsule reviews, vol. 1

Capsule reviews are short critiques of games that I've been playing. In this post, I discuss Heaven's Vault, Virginia, Islanders, and Two Point Hospital. There's no specific story spoilers, but I do talk about how I think the games work.

Heaven's Vault. The dynamic branching and language system is great and impressive, and the Muslim-inflected sci-fi art direction feels fresh. It's basically a must-play for anyone interested in narrative design. (Maybe the main weakness is the less-than-relatable characters, who basically feel like vehicles to bring about plot beats. Which is probably how the narrative system works! Hmm.)

The game pacing feels awkward for much of the game. You get to do one fun archaeological linguistics detective scene every hour, but to get there, you have to sit through an uncomfortable water slide mini-game. It's meant to give a sense of journey and a bit of rest (as well as pad out the game length) but it's a bad sign when even the fast travel options here feel inconsistent and confusing; sometimes the game lets you go back to your ship cabin to ask for fast travel, and sometimes not.

But also just on a core minute-to-minute basis, the movement and camera never felt comfortable for me, and The Last Express styled character animation never stopped feeling like a crutch for scoping down production costs. It's interesting how this project made so much (very impressive) progress on "hard" game design problems like dynamic narrative or language simulation, but then tripped on what's considered relatively "easy" solved design problems like 3D character movement, game feel, or encounter pacing.

Again, though, I still think this is a must-play for anyone working in narrative. Just soldier through the less fluent parts.

We must cultivate our garden: games as personal history

This post is based on a talk I gave at A MAZE Berlin 2019, as part of the Dev.olution "Games as Gardening" summit, as part of my 2019 European Tour.

When I think about gardening, I think of Voltaire's 1759 novel Candide. (No, really. No joke. I did think this.)

It's about a teen named Candide who goes on an extremely painful journey of tragedy, loss, and struggle. The entire time, his mentor Dr. Pangloss keeps insisting that nonetheless they still live in "the best of all possible worlds." The video game equivalent would be indies lamenting how hard it is to make a living, and tone-deaf Steam reps and Epic Store reps claiming that "games are a meritocracy"

Voltaire asks, how can you witness all that pain and still insist that everything is fine? By the end of the book, Candide and his few surviving friends are barely scraping a meager existence on a desolate farm. And after suffering absurd hardship and misery, Pangloss still insists everything turned out for the best, to which Candide responds: "all that is very well, but let us cultivate our garden."

Lessons from Europe: fields reports from EGX Rezzed, Now Play This, and A MAZE Berlin

I just came back from a games event tour through London and Berlin, where I had a lovely time meeting new people and catching up with old friends.

I had never been to EGX Rezzed or Now Play This before, and this was my third time at A MAZE.

I went because I feel like much of the game industry is still focused on the US, but to me, the majority of the interesting games culture and arts events seemed to be happening in (Western) Europe. What are they doing over there, what's their magic sauce, and how can I bring some of that sensibility back to the US?

Here's some general thoughts and Wot I Think:

EGX Rezzed

EGX Rezzed is mainly a customer-facing fan expo branded by Eurogamer and Rock Paper Shotgun in the Tobacco Docks, a complex of open-air brick vaults ringed with balconies and breakout rooms that feel like giant people-sized aquariums. It's a fraction of the size of the main EGX London or bigger US fan expos like PAX, but still features the same tabletop gaming rooms, indie publisher megabooths, and merch stands. It was fine, but personally I'm just not very interested in fan expos.

I enjoyed the more eclectic Leftfield Collection room, curated by David Hayward each year. And I particularly enjoyed Doggerland Radio by Amy Godliman, a modded vintage radio that you can tune to pseudo-real BBC radio dramas and poetic shipping forecasts, while playing with bespoke "feelies" like an impossibly old novel made of other novels or old vintage-style maps. It's like a very British version of Calvino's Invisible Cities, a mobile art game installation that would make the most sense in the UK.

The local neighborhood feels awkward even for London -- you either have to walk 20 minutes east from the Tower of London tube station, or take a semi-incorporated public transit line called the DLR. Other than the event venue, there's approximately one McDonalds with a 100 person line queue streaming out the door, and exactly one decent pub that everyone slowly drifts towards at the end of each day. (For designers and devs, this informal pub afterparty is probably the highlight of the whole thing.)

Radiator European Tour 2019 (London, Berlin, Milan) + Level With Me hiatus until April 17

In April, I'm going to cram ~6 different events into a whirlwind week of travel through London and Berlin. What's wrong with me? Why did I sign up for all this? There's only one way to find out how much of a wreck I'm going to be...

I'm planning on covering a wide variety of events, both free / non-free, and for gays / gamers / insiders / general public alike, so take your pick:

LONDON, UK

• April 6: EGX Rezzed at Tobacco Docks, London
  I've heard nice things about Rezzed and I've always meant to go, so now is the time of reckoning. My talk "Designing For Sex Games" will be a short teen-friendly PG-13 introduction to sex and intimacy in game design, aimed at the general gaming public, at around 4:30pm on the last day of the festival.
• April 7: Now Play This at Somerset House, London
  Now Play This is one of the jewels of the European game festival circuit, and I've always been meaning to go. I'll be presenting at their very very cleverly named mini-conference "A Series Of Interesting Decisions" on the design choices going into my next sex game Macho Cam.

new Unity tool: Bobbin

I wanted to be able to write game dialogue in Google Docs (from my phone or tablet, or to share with external collaborators) and then automatically send those changes into the Unity project on my laptop.

To help me do that, I made a free open source tool called Bobbin, which is a relatively simple Unity Editor plugin that can automatically download the data at URLs, and import that data as a file in your Unity project. Again, it's very simple: every X seconds, it opens a list of URLs (as if it were a web browser) and then it saves all the bytes as a .txt, .csv, .png -- or in-theory, whatever file type you want. Note that this is just an automated download manager, you will still need to write your own game code to actually import, process, and use these files in your game.

The main audience for this tool is narrative designers, writers, localizers / translators, and designers / developers who need something fast and lightweight for syncing files with external collaborators. I imagine it also pairs well with text-based narrative plugins like Yarn Spinner, where in-theory, you could collaboratively write Yarn scripts in a Google Doc and then use this tool to automatically bring the script into your game.

(But if you're making a game that's going to make heavy use of spreadsheets, you should probably use something more robust like Meta Sheets or CastleDB-Unity-Importer, which can import your spreadsheet data as C# types with Intellisense auto-completion in your IDE.)

Anyway, I'm planning on a few more feature updates, like runtime support and/or better Google Sheets support, but personally I'm probably not going to expand the feature set much beyond that.

I hope you find it useful! And as always, feel free to submit any bug reports (or small feature requests) by opening an issue on the github.

Consider supporting Wonderville on Kickstarter

I rarely stump for Kickstarters on this blog. Maybe once or twice a year? So it's a big deal when I spend this year's quota on Wonderville, a new indie game arcade / event space / bar in Brooklyn run by longtime non-profit art games organization Death By Audio Arcade.

They need $70,000+ to support their first year of operations, as they take over the space from Secret Project Robot, a well-known and beloved queer-friendly performance space / venue in Bushwick.

Honestly, that last bit caught me by surprise. I didn't know Secret Project Robot was looking for someone to take over? If we're deciding between allowing the death of yet another creative venue in NYC vs. finding a worthy successor to carry on similar work, the choice is obvious.

Everyone knows and recognizes the importance of independent venues to sustain a local music scene. Well, it's also the same ideal for video games too: we need these physical places to build and sustain creative communities. And once we have these local anchors and templates, we can follow up in other cities throughout the world too.

For more context and discussion, see my older post on "Theorizing local games cultures in a post-TIGSource era".

GDC 2019 plans

I'm already exhausted, just from looking at this picture

Here's some of my GDC 2019 plans.

The usual GDC disclaimers apply: GDC is mostly a business event, and it's boring unless you have any business to do, or if you have some weird public profile to maintain. Anyway, don't feel bad about not going. You saved yourself a lot of money!

On Tuesday, I'll probably be spending a lot of the day at the Level Design Workshop mini-track. My days of breathlessly live-tweeting talks are over, but I'll probably do at least a brief summary for most of the sessions.

For Wednesday afternoon, I'm holding some "open office hours" at the NYU Game Center booth on the expo floor. If you'd like to meet me or ask for advice or discuss something, I'll be there. Later that night, however, I actually won't be participating in the Delete GDC party anymore -- you can read our statement here. Instead, I might spend a quiet night somewhere else, or maybe I'll check out the Gay Game Professionals (GGP) party; last year there was even free gourmet pizza if you arrived early. The gays know how to eat.

On Thursday afternoon, I'll probably hangout at Lost Levels in Yerba Buena Gardens for a little while; if you don't have a GDC pass and I don't already know you, then that's probably your best chance of randomly talking with me. Afterward, I'm giving a sexy game design micro-talk at 5:30pm on the Advocacy track, which means anyone at any GDC pass tier can attend. Then to celebrate the end of my obligations, I'll probably attend the GDC speaker party / open bar, where I'll try to drink as much fancy Japanese whiskey as I can.

Why you should almost always localize your games

screenshot from my game Rinse And Repeat, with a sexy shower hunk speaking in Russian subtitles

This post is adapted from a talk I gave at WordHack on February 21, 2019 in New York City.

It's hard to feel validated and respected as an artist or creator on the internet. One common (and unhealthy) barometer of "success" is to measure how many people play your game or look at your work -- did you find an audience and are you reaching that audience? I argue that localizing your project into other languages will help you find your audience. It might not be an audience you necessarily understand or communicate directly to, but for example, a large Russian or Chinese fan base might help offset the hurt of being ignored in English-speaking media, and so on.

If you believe these random stats I found, about ~80% of Steam users live in countries where English is not the main language. This roughly corresponds to the worldwide average, where it is estimated that only about ~20% of the world (native and non-native speakers combined) uses English, and about ~25% of all internet users use English. Note that these are all very generalized numbers with lots of assumptions, but let's assume they're in the right ballpark -- that means English-only games basically ignore 75-80% of the world.

Panel for "Cruising Pavilion" at the Goethe-Institut in New York City, February 27 at 7 PM

Some of my gay sex games are currently featured as part of the "Cruising Pavilion" at the Goethe-Institut's Ludlow 38 gallery space in New York City (gallery hours: Thursday-Sunday, 1:00-6:00pm) until April. I imagine some of particularly gay and artsy blog readers might recall a popular Cruising Pavilion in the Venice Biennale; well, this is the exhibition's second incarnation.

I will be speaking at the institute's main location with artists John Lindell and Ann Krsul on February 27 at 7 PM. I suspect it will mostly be gay people and artist-types in the audience, so I'll probably be serving as an ambassador for video game world, apologizing for our industry's many sins, and so on. If you want to hear me apologize, feel free to attend tonight.

February 27, 2019 at 7 PM
(FREE)
Goethe-Institut New York
30 Irving Place (near Union Square)
New York, NY 10003

The full blurb for the Cruising Pavilion is quoted below:

WordHack, 7pm on Thursday, February 21 @ Babycastles, New York City

WordHack is a monthly meetup / art thing hosted at Babycastles about the intersection of language and technology. "Code poetry, digital literature, e-lit, language games, coders interested in the creative side, writers interested in new forms writing can take, all are welcome here."

This month, I'll be presenting at this week's event alongside Tega Brain and Cynthia X. Hua on our practice / research.

My short talk will focus on localization in video games. I'll talk a little about the problem of localization / internationalization in games, and stress the importance of all media artists to try to maximize their audience and accessibility. Near the end, I'll demo the terrible bespoke localization system I've been using in my gay sex games for the last few years, and emphasize how internationalizing gay sex is a crucial political project.

The event always begins with an "open projector" period from 7-8pm where anyone can show anything they're working on, and then talks begin shortly after. If you're free then please consider coming out, it should be a fun night.

Suggested donation: $5-10

Babycastles
145 W 14th St (downstairs)
New York, New York 10011
(cross-streets: 14th St between 6 Av and 7 Av)

Thick skin: complexion, realism, and labor in games

In Dublin, I visited the Lucian Freud Project at IMMA.

If you're not familiar with painters (who is these days?) Lucian Freud is often held up as one of the greatest realist painters in the 20th century. And like many other artist men of the 20th century, his work also has a lot of racist and sexist baggage to deal with.

The IMMA curators figured out a pretty clever solution here -- they basically surrounded his stuff with women artists and intersectional feminist political theory. Instead of pretending to be a "neutral" celebration of a Great Male Painter, the curators did their job, and made an argument for real interpretation and criticism in the 21st century. It felt responsible and complicated.

The main basement gallery has two monitors in the middle of the room, running constant loops of John Berger's iconic feminist media studies primer Ways of Seeing. Specifically, it's Ways of Seeing episode 2, the one about the difference between nudity and nakedness, especially within the long history of European oil paintings depicting nude/naked women.

The second half of the episode is famous: the male narrator and host (Berger) shuts up and just listens to a panel of women critique patriarchy and art through their own experience. At first it seems like they're talking about the art shown in the film 30 years ago, but in the style of the Frankfurt School, they might as well be critiquing Freud's many paintings hanging on the walls today.

If you want to read more about the various artists and works, this Quietus post by Cathy Wade is a through walkthrough of it all. In this post, I'm just going to talk about one of the paintings and how I relate its form and politics to games:

For some reason, I gravitated towards a small painting hanging in the corner, a portrait simply called "Kai".

Black and white and re(a)d all over: on SOD (1999), Half-Quake (2001), Jeux d'ombres (2007), and NaissanceE (2014)

Last week I finished playing through the entirety of NaissanceE (2014), an avant-garde walking sim / platformer game inspired by brutalist megastructure manga and filled with subtle callbacks to new media art. NaissanceE has a bit of a cult classic reputation among level designers and modders, due to its heavily reliance on abstraction, lack of concrete narrative, and punishing platformer sections.

To this day, the game still defies easy categorization and demographics. Who is this for?

The walking sim aficionado of that time (the Dear Esther remaster was in 2012, Proteus and The Stanley Parable remaster were in 2013) would've hated the platformer sections with instant-death traps, while the action jock might've been tempted to rage-quit with every coy architectural riddle and impossible-to-navigate dark room. Back in 2014, only a few critics dared to defend this design clash.

I think the work still holds up pretty well in 2019, and to understand why, we should take a brief trip back to 1999.

Spring 2019 teaching memo

For the Spring 2019 semester at NYU Game Center, I'll be teaching three courses:

GAME STUDIO 2.

This is a required core class for all first year graduate students in our MFA program. It's basically just about spending more time making games in groups. Hopefully these practice projects prepare them better for the thesis process in their second year!

I usually teach more undergraduate students than graduate students, so it'll be fun to adapt my teaching style to this older demographic. It's also a huge class, with more than 30 students; we usually cap most Game Center classes to 16 students because we have such a hands-on, one-on-one teaching approach, but here it's important for the whole cohort to get to know each other.

It's going to be a big challenge to scale my attention to a class that's basically double the average size, and I think I'm going to have to tweak a lot of my methods. We'll see what happens.


LEVEL DESIGN STUDIO.

This will be the second time I teach the level design class, and the main lessons will be conducted in Unreal Engine 4 again. (Most of our other classes are usually taught in Unity, but it's important to mix learning contexts and avoid monocultures.)

This year I'm planning three big changes:

DELETE GDC 2019: March 20th, 8PM - 1AM at Venue 550 in San Francisco

This year during GDC, I'm happy to be participating in DELETE GDC, a big party where you can play a bunch of new never-before-seen games... that will be deleted by the end of the night.

At past DELETE events, that ephemeral quality has meant a lot of unique performance-type experimental games, like a drinking game where the designer/performer gets blackout drunk for the first time in his life, thus "deleting" his memory / life... or a game about offering your secrets to an altar before ritually burning them.

This is the first DELETE being held outside of Australia, and I'm excited to be working with Louie Roots and the rest of the artist lineup: Natalie Lawhead, Ramsey Nasser, Leura Smith, Zachariah Chandler, and Kaho Abe.

As for my contribution, my first thought was a game about literally deleting GDC from existence -- erasing every trace of UBM and Moscone Center from the universe -- but then it felt too depressing to see that deletion get deleted and undone at the end of the night. Also I felt it was important to go with the golden rule of game jams: never go with your first idea. So now I'm aiming for something different and more communal: a fairly involved installation piece about game development and labor, a sort of "human game engine" thing. Hopefully I'll figure it out over the next two months.

GDC veterans will note that this event falls on the same night as, traditionally, That.Party... but don't worry, you're allowed to attend more than one party in one night. In fact, it's probably best practice.

Delete GDC runs 8 PM - 1 AM on Wednesday, March 20th, 2019 at Venue 550 in San Francisco. Tickets are $30 USD.

Resolutions, 2019

Some resolutions for the year 2019:

• Finish and release my cam stripper sim game MachoCam. In contrast to 2018, I want to try focusing on a bigger release in 2019, instead of playing with many smaller projects. This bigger release might also be my first serious IGF submission for 2020. I'm sure I'll go back to smaller works after I get this out of my system.
• Get the dialogue editor tool Merino into a more usable state. I will hopefully have more news on Merino / Yarn Spinner to share soon, but rest assured that Some Stuff is in the works. Lately I've been more and more interested in narrative design stuff...
• Make 1 visual novel. The visual novel has become the video game equivalent of the romantic comedy, and I've decided I want a piece of the action. Writing a dialogue-heavy work will also help me "dogfood" my own narrative tools. I might pair it with my old gay Go AI prototype, which makes sense in my head for some reason.
• Drink a bit less beer. Over the past few years, I've developed what has been affectionately called a "beer belly"... dad bod was a 2018 thing, and now dad bod is totally over. Here's to taking slightly better care of ourselves in 2019! (chugs beer)

Radiator Blog: Ninth (9th) Anniversary Roundup

Wow, it's been nine years. I didn't write as much as last year, partly because I took on so many small projects and did so much traveling this year. (There was one month where I was basically in a different country every week!) But overall I think this blogging pace has been sustainable, and for the future I'm going to aim for this kind of rhythm of posting: roughly once a week.

In the tradition of past anniversaries, I use this annual post to try to collect and curate all the blogging I did over the past year, and maybe even do a little bit of reflecting.

First: as usual, I cover some individual games...

• NSFware is one of the best sex games I've played, and I think my favorite thing about it is that it's so much about timing and feel -- yet it was made in Adventure Game Studio, an engine not known for its timing and feel (to be charitable). The process of rotoscoping from PornHub videos also lends it an uncanny quality, despite the abstract neon color palette. Basically a masterpiece.
• The Forgotten City was a popular Skyrim mod that felt very "dense" to me, with lots of possible options and connections between its various NPCs and quests. Like other "dense quests" in Bethesda-style open world RPGs, it also doubles as a commentary on the game systems and simulation, exposing assumptions and limitations and engaging with that friction.
• Subnautica brilliantly solves 3D 6DOF open world design in a novel way. Most open world games are about traveling laterally to the edges, but here Unknown Worlds provides a fresher approach to progression with its focus on (literal) depth to the bottom of the ocean. It's especially ambitious to do this in a first person format, a genre where players rarely look up or down.
• Fortune 499 is a innovative deckbuilding puzzle RPG with a fresh story that meaningfully engages with the accounting inherent in CCG-style mechanics. It also has some very compelling encounter design, resulting in an RPG with no grind and no "filler puzzles." It's a huge shame that more people didn't play this game, it basically does what everyone claims to want, and it's smart about it too.
• Un Pueblo De Nada is a short game mirroring an experimental short film within the Kentucky Route Zero universe. There's an attention to detail and craft here that is basically unmatched anywhere else in games; I've also become so paranoid that I think this game has secret messages intended just for me, hidden deep inside it??? Anyway GOTY 2018

I also did more level design projects this year...

"Unforeseen Consequences: A Half-Life Documentary" by Danny O'Dwyer

A month ago I got to be one of the many people interviewed for Unforeseen Consequences, A Half-Life Documentary by Danny O'Dwyer (NoClip). Here are some notes, thoughts, and reactions:

I think me, Laura Michet, and the Project Borealis folks, are all there to present some continuity and young(er) blood to the story, versus the middle-aged white guys who dominate the first hour.

But it's also a very telling way to present Half-Life's legacy: the game is 20 years old, which is like a million video game years. At NYU Game Center, the vast majority of our incoming game design students have never played Half-Life because it is older than them, it is a quaint curiosity that we force them to play. It's video game broccoli.

I was fascinated by the segment where Randy Pitchford (co-founder and CEO of Gearbox Software) talks about their company's history with Valve. They basically rescued Gearbox with a speedy deal to make Half-Life Opposing Force -- but according to Pitchford, Valve was also a difficult collaborator, providing very little input on Opposing Force and sabotaging the mediocre Counter-Strike: Condition Zero by demanding an ill-advised scripted single player campaign. It's roughly in-line with the company culture that most Steam indies know: they're eager to setup a deal, but rarely remember to follow-up or maintain communication.

I was most struck by how the various AAA dudes recall witnessing Half-Life: huddled around a coworker's computer, deeply anxious about how their own product would technologically stack-up. Half-Life is defined partly by its world and narrative approach, but also by the smart ways it leveraged targeted uses of game technology. Half-Life 1 was an early pioneer in skeletal animation and AI systems; Half-Life 2 popularized physics-based gameplay and detailed facial animation; neither engine was "top of the line", but cleverly hyped and promoted the tech advances they had. In contrast, Source 2 has basically zero hype at this point, and even diehard Valve fanboy modders Project Borealis decided to use Unreal Engine 4 instead of holding out for a new engine. The game industry has fundamentally changed since 1998 or 2004.

The documentary concludes with one big argument: Half-Life 3 probably isn't coming for a variety of reasons, and we need to find comfort elsewhere. There's a lot of rumors of a Half-Life VR project, but would a story-driven single player FPS still be relevant in an age of multiplayer open-world third person games? Could any possible Half-Life 3 feel like a proper Half-Life 3?

Or instead we could look to the countless modders and designers who still fondly remember it and interpret it in the Epistle 3 jam organized by Laura Michet, or feel its deep influence on perfectly competent games like Respawn's Titanfall 2 or Campo Santo / Valve's upcoming In The Valley Of Gods.

That's ultimately the argument I made when O'Dwyer interviewed me: if you actually love the Half-Life series, you should value the time you had together, but ultimately you have to let it go. Such is life...

The end of Tumblr (and Cobra Club?)

(UPDATE AS OF DECEMBER 21, 2018: the game server has been patched to post to a Twitter account instead of a Tumblr. Feel free to follow @CobraClubPics for all your fake player-generated dick pic needs.)

If you haven't heard the news, Tumblr plans to ban all adult content on their platform starting on December 17th. As many point out, this will have disproportionally adverse effects on marginalized people, especially trans and queer creators, who have relied on Tumblr to build and maintain communities to explore their sexuality and identity. Now it's not really a surprise that this is all happening, but it's certainly cruel and harmful to the communities that can't easily pick up and move elsewhere.

I have some strange skin in this situation: my dick pic photo studio game Cobra Club involves a networked component that links with Tumblr. This had resulted in amassing what is technically the biggest gay porn blog across all of Tumblr, with over 100,000 user-generated CG dick pics uploaded from the game. (The nearest competing gay porn blog I could find had only 30,000 posts.)

However, this whole ordeal has made me much more reluctant to build any social network integrations into my games for the foreseeable future. What's the point, if these platforms are just going to devour everything in a few years?

I now see this is a difficult technical problem with making art on the internet: our current internet is heavily privatized and incorporated, and so to comment on the internet, we have to invoke these other platforms and brands in order to say anything at all -- and as many libertarian web programmers will love to remind you, these private platforms can do whatever they want without any accountability or compassion to anyone. Building art with their APIs is like building a house on quicksand.

Back in 2015, I had chosen Tumblr because it seemed like it was queer-positive and sex-positive, with a large enough infrastructure and community. But then in early 2018, Tumblr instituted a mandatory "safe mode" block on all adult content blogs, which basically broke my game already. And yes, Tumblr does have very real problems with abusive porn bots and revenge porn, but it seems they've given up on actually targeting these problems, and instead they've decided to raze their user base instead. So much for tech solutionism's bid to save the world, huh?

As for what will happen to Cobra Club, I'm evaluating whether I should try to patch the game to integrate with another social network, to preserve the game's functionality and meaning. Some have suggested that I hook it into Twitter, but honestly, how much longer do you think Twitter will tolerate adult content and queer community?

(To continue mourning what once was, check out Lydia Morrish's "How Tumblr became a sanctuary for outsiders"... I also spoke to Vice, twice.)

Notes on "Sparkling Dialogue", a great narrative design / game writing talk by Jon Ingold at AdventureX 2018

My colleague Clara Fernandez-Vara pointed me towards this great game writing talk by Jon Ingold this year at AdventureX, an excellent narrative design conference in London. Unfortunately the Twitch video of the talk is hard to follow and the YouTube version of this talk is still forthcoming, so I thought I'd summarize the talk here because I found it very useful. As of December 1st, the YouTube version is now online!

(NOTE: This post isn't a transcript of Ingold's talk. It's a summary with my interpretations, and I might be wrong or misunderstanding.)

Ingold begins with something that should be obvious and uncontroversial to everyone: generally, most video game dialogue is poorly written. This isn't to say video games are bad, or that they we shouldn't try to do any dialogue at all. There are also many reasons why game writers are forced to write poorly, whether it's because of lack of resources, or last minute changes in the design, or other production constraints, etc.

The point is not to blame writers. The point is to highlight a problem in the craft and to define a better ideal. So, how can we write more competent game dialogue that is slightly less embarrassing?

To demonstrate the problem of typical video game writing, Ingold shows us this conversation from the first hour of Assassins Creed Odyssey in the starting mission "So It Begins":

Rinse and Repeat HD remastered, and three years of reflections and thwarted plans

I've just uploaded an updated version of Rinse and Repeat: it is now known as Rinse and Repeat HD, which is basically the same version currently playable at the Victoria and Albert's Videogames exhibition.*

In addition to fancier graphics, I've also: added gamepad / rumble support, re-programmed the entire scheduling algorithm to be more stable, and tweaked much of the balance and feel.

If you're not familiar with the game, you should probably read my artist statement "Rinse and Repeat as cup runneth over" so that you know how the game works.

The rest of this post will assume you mostly know what it's about already!...

The medium is not the magazine; the medium is not the criticism

This post is about how we talk about video games, but it takes me a little while to get there...

This year, I was interviewed for two artsy print magazines: PIN-UP is "the only biannual magazine for architectural entertainment", while Phile is an "international journal of desire and curiosity" with lots of fingers in the art world.

Both writers Drew Zeiba ("INTERVIEW WITH ROBERT YANG, DESIGNER OF 3D FANTASY SEX SPACES") and Zach Kotzer ("ON GAY SEX AND GAMING") did lovely jobs with presenting my work to a non-gamer audience. And both publications kindly mailed me a print copy, and as I flipped through their glossy layouts and playfully experimental type treatments, I was shocked by how I'm such a fucking nerd and how these people are so much cooler than me.

When I'm flipping through PIN-UP #24, I'm mentioned in the same pages as Amanda Levete or Frida Escobedo, real architects making real art with their real professions and real expertise. In fact just a few months ago I was visiting London for the V&A Videogames opening, and I walked through Levete's V&A addition as well as Escobedo's 2018 Serpentine Pavilion. As their art and stature literally enveloped me, I had to wonder, why did I deserve to be featured alongside these much more important people?

Or in Phile #3, directly after my interview, there's an interview with Peaches (Peaches!!!) and she is just so much more amazing and brilliant than me, and it's absurd that my segment is right before her segment, or that a reader might accidentally reflexively compare the two of us together while flipping the page. Not to mention all the other pages in this issue, detailing this whole complex community of writers and artists working with sexuality and eroticism, where I'm not just some sort of weird curiosity -- in fact I'm probably the most boring artist in the entire issue.

Anyway this isn't about me airing-out my impostor syndrome or whatever.

On the contrary, I definitely fit OK into these discourses. In PIN-UP #24, Arakawa and Gins talk about "eternal gradients" and constant reassembling, which makes me think of constantly remastering and re-releasing my own games. Or in Phile #3, I learned how my problems with Twitch's hypocritical morality policing mirror Peaches' problems with YouTube's morality police, and I also feel a lot of parallels between my treatment of tile in 3D showers and featured artist Prem Sahib's sculpture of gay bathhouses.

Instead, what I'm emphasizing here is how these critical publications readily dissolve the barriers between mediums while maintaining high production values and curating a unique identity. And then these non-game publications still end-up performing game criticism anyway!

The first person shooter is a dad in mid-life crisis

OK I know Heavy Rain isn't an FPS but I like this screenshot so I don't care

Every semester for our introductory Games 101 historical survey class, a different NYU Game Center faculty member presents a survey of a game genre. Matt Parker lectures on sports, Clara Fernandez-Vara talks about adventure games, Mitu Khandaker talks about simulations, and so on.

My personal lecture happens to be on the first person shooter (FPS) genre. In my lecture, I trace five main currents through the FPS genre:

Level With Me, Thief 1 complete!

This week I finished streaming through all 15 official missions of Thief 1 (Gold edition) as part of my "Level With Me" project, where I play through games and talk about the level design and environment art in them. In my runs, I usually try to imagine how a first-time player approaches the level, while occasionally demonstrating more "advanced" tactics --and then frequently messing up and alerting a dozen guards.

You can catch the whole Thief 1 playlist archive on YouTube, but here's some commentary and design themes that kept coming up:

7DFPS x PROCJAM, 20-28 October 2018 (make a first person game in 7 days) + (make a proc gen thing in 7 days)

For the first time since 2014, the #7dfps challenge is starting tomorrow. If you're not familiar, it's a week-long jam to make a first person game that tries to do something new.

Past alumni of 7DFPS include high-concept gun games like the original Superhot prototype as well as Receiver, but of course you don't have to do any shooting or violence for your first person game. Make a first person whatever-you-want.

If you need help getting started with making a first person game, even if you've never made an FPS or even a video game before, then here's a great free step-by-step tutorial with video examples on KO-OP Mode's "Make Weird Stuff in Unity" workshop page.

For a bit of historical perspective on this, also check out the 7DFPS video keynote from 2012, where a baby-faced JW and other game industry folks beg you to do something new with the first person format:



This year, 7DFPS also falls on the same week as PROCJAM, a community jam to make something that makes something (procedural generation)... they have their own list of talks, tutorials, and resources to help you make a proc gen thing.

Maybe this is a good time to make that procedurally generated first person game you've been dreaming about it? It seems the gods will it so.

Level Design Workshop at GDC 2019: submissions due November 2

GDC season is coming up soon. If you have any interest in level design and you have something to say about it, then please submit a proposal to the Level Design Workshop mini-track at GDC 2019.

Although it is supervised by AAA developers with a level design background, like Clint Hocking or Joel Burgess or Lisa Brown, you don't have to be a AAA developer -- hell, they even let me give a couple talks in past years, and I'm just some kind of vaguely-leftist pseudo-academic weirdo? Again: indie, modder, altgames, etc. folks of all backgrounds are all welcome and encouraged to submit, as long as there's some relevance to environmental world design for any game genre. I don't look at the submissions, but I know the committee truly does want to highlight any new voices and new approaches to level design.

(Also: this is a really great alternate way to attend GDC without going through the main submission process. The applicant pool here is smaller, the mentoring process is more cozy, and we often do some kind of group level design dinner that week.)

Submit a proposal within the next two weeks, by November 2nd. Good luck!

Full blurb is below:

Kick the cover box

A soldier hiding behind a gray box in a futuristic lab, from Deus Ex Human Revolution (2011)

The room pictured above from Deus Ex: Human Revolution is, I argue, bad level design.

The playable area consists of an open flat floor with lab counters, yet all the counters are the same height (they have to be, so the player can recognize them as "those boxes I can hide behind") and each box offers basically the same affordance to the player. (Hide behind it! Look over it! Shoot the NPC that's programmed to pop his head out every 7 seconds!)

Any given object becomes bad design when it is numerous, redundant, and lacks context to the rest of the game. If you automatically repeat any type of shape throughout your game world, as a catch-all solution to fill a space, then that object is basically functioning like the dreaded video game crate. Whether it's a pallet of barrels, or a stack of bricks, or a concrete road barrier, it all boils down to a "cover box"...

Level designers often place these objects in the same faux-haphazard way, like tasteful glossy interior design magazines forgotten on a coffee table. But they're mostly responding to the game design they've been given, especially in a AAA system where combat systems feel like immutable facts. Water is wet, crunch must happen, and shooters need cover boxes. It's going to happen, live with it.

So whose fault is it, really? Well, I blame Steven Spielberg.

Queer Futures in Game Feel

This post is adapted from a talk I gave at Queerness and Games Conference 2018.

Game feel is most known through indie game developer Steve Swink, who wrote an influential article and a book about it. While I like Swink's book and methodology, I also think it limits itself to a very narrow subset of games and feels -- focusing heavily on platformer action games, but never really thinking about the game feel of strategy games, interactive fiction, or dating simulators, etc. There's a lot of pages on the input curve in Super Mario Bros, or the camera feel in Gears of War, or the animation in Symphony of the Night, but it omits something like The Graveyard or World of Warcraft. Do those games not have game feel?

Claiming these other genres and games under the banner of game feel might've weakened Swink's argument for closely coupled cybernetic loops and virtuosic traversal across game worlds back in 2008. But now ten years later, I think the time is right to expand game feel's concerns.

Post-partum: "Ruck Me", a gay Aussie football TV game about men marking men

How the installation looked from the street; temporary transformation of Bar SK into a sports bar.

Ruck Me was a game installation commissioned for Bar SK as part of the Artworld Videogames event series, in conjunction with the MEL x NYC festival in 2018. It debuted on August 9th and ran until August 15th. For a variety of reasons, it will never be made available for download, and it will probably never be exhibited outside of Bar SK in Melbourne, Australia.

... so if you missed your chance, then, um, too bad.

This post focuses on the game's design and public reception / reaction, and it basically spoils the game. For more information on the game's themes and influences, see my earlier post "Ruck Me and its inspirations." You can also read this CNET write-up by AFL super fan Jackson Ryan for someone else's take on that night.

The Ruck Me installation consists of two parts: (1) an interactive video-based Aussie rules football league (AFL) TV simulation made by me, (2) controlled via a custom-made vinyl blow-up sex doll controller constructed by Bar SK co-proprietor Louis Roots.

Fall 2018, teaching game development memo

Sorry I haven't posted lately, we've been pretty busy here at NYU Game Center with the start of the new semester. We're also currently in the middle of some curriculum renovation for our game design programs.

First, we're increasingly adopting JetBrains Rider as our code editor IDE of choice. It is free for students, common in commercial studios, and it's supposedly even used by the Unity CTO himself. While I find Rider to be somewhat annoying in its code style suggestions, its Unity-specific benefits seem to justify it as a teaching tool. We're also teaching source control with Rider's built-in Git support, instead of using a dedicated tool like SourceTree or GitKraken. (If this semester is a disaster though, I might go crawling back to VS Code and GitKraken.)

Second, we're starting to teach new game genres beyond mainstays like platformers. For instance, our MFA studio class now begins with a Fungus-powered visual novel project instead of a traditional platformer. This is partly a reflection of where contemporary game culture is at, where visual novels are perhaps more popular and relevant than platformers today -- but also a visual novel framing helps students focus on different development skills, like narrative design and pacing.

Third, we're gradually moving towards more of a "core studio" design school model, where every 3rd year student will be required to take core studio classes about making self-directed projects. Previously, undergraduate students would optionally enroll in these project studios, but we found that many of these students would opt out in favor of other electives -- and then they would feel unprepared to take on their capstone project in their 4th year. The goal is to normalize "bigger projects" for them. It's also a good opportunity for them to bond with the rest of the students in their class year.

As for my personal teaching load, I'm looking to debut a new class next semester about Let's Plays / game streaming culture. Game streamers are some of the most popular and visible figures in game culture, or even the larger internet as a whole, but I find that most of game academia doesn't really engage with it. It's partly a generation gap thing, where lots of middle-aged and elder millennial faculty (like me) didn't grow up with streaming and still view it as somewhat of an aberration / stain on discourse. However, there's no question that no one reads game critic blogs anymore (RIP, Radiator Blog!) and YouTube and Twitch are driving the big cultural conversations today.

As a discipline that seeks to engage with public game culture, we have an obligation to figure out how to analyze and teach this subject! So far, I'm still figuring out my course design, but I know I want to challenge students to become live game streamers themselves as part of their final project. I'll also be leaning heavily on T. L. Taylor's imminent book "Watch Me Play: Twitch and the Rise of Game Live Streaming" for most of the readings. Maybe next year I'll be able to report back on how the course goes.