Nostrum and clouds.

Hey! I made "Nostrum," a short flight sim game for the Oculus Rift VR Jam thing, and I placed 2nd. I won a bunch of money and a t-shirt, so I'm pretty happy with that.

For the first week of the three week jam, I was actually prototyping a lion simulator game. Then I watched Porco Rosso and thought, "wow, that'd be a fantastic game." So I stashed away all that previous work and started something new.

Teaching struggle.

The other day, I sat down with a student in my Unity class to review some course material and answer some questions. They were wondering why their code wasn't compiling. Their code looked something like this:

Hacking blend transition masks into the Unity terrain shader.

It is a truth, universally acknowledged, that grass rarely fades linearly into dirt. Grass is often quite clumpy. I wasn't satisfied with the non-clumpiness of my grass in a certain project, so I hacked Unity's terrain shader to add some blend mask support. You could probably use this technique for cobblestones, bricks, debris, gold coins... whatever you want to remain clumpy when overlaid on top of another texture.

First, let's think a bit about how Unity's terrain system renders the textures you paint on it:

Level With Me, series 2

Level With Me is a whole new batch of "candid interviews with game developers about their design process" going up on Rock Paper Shotgun, one a week.

The first half of each interview focuses on their past work / approaches, and the second half is a conversation where we design part of a first person game together, based on what previous interviewees did. This way, you get a 90s net-art pioneer indirectly collaborating with a veteran AAA level designer indirectly collaborating with an indie horror game designer, as they all deal with the weight of each others' design decisions.

The goal here, as before, is to demystify game development. Games are magic, but not because they are unknowable -- they are magic because they are so hard to execute and they require so much work and blood and sweat of human wills. I believe we can talk about game development / struggle, straightforwardly, in plain words.

This is also how we design games: we ask ourselves questions, and then try to answer honestly. Different people will ask themselves different questions and give different answers.

Promise.

It's not much, but it's what I can do:

I promise not to attend PAX, ever again, in any capacity.

I promise to advise my peers and colleagues not to attend PAX, ever again, in any capacity.

I promise to help organize / build / support new institutions and communities, to try to replace PAX and counter its owners' poisonous influence on its fans.

I can't promise that my actions will matter. They probably won't matter. But that's partly the point of a promise.

Further notes on developing games for virtual reality.

I'm pretty sure no one remembers that I promised to release Radiator: Polaris at the end of August 2013 (shhh), but here's what happened -- I was asked to join the Oculus VR Jam, so instead I've spent the last 3 weeks working mainly on Nostrum, a Porco Rosso inspired arcade flight sim / narrative-y roguelike. I think I'm going to work on it for another week or so before going back to Polaris.

A lot of my interest stems from VR requiring developers to re-consider a lot of basic ways of doing things in video games.

On "Shelter" and the power of ambiguity.

WARNING: This post spoils Shelter and Amnesia: The Dark Descent.

It makes sense that Thomas Grip likes Shelter -- functionally, Shelter is basically like Amnesia, except you're a badger mother in a colorfully illustrated forest instead of an amnesiac scientist in a haunted castle. Same thing.

In Shelter, there's a constant fear of starvation and eagles. The only thing you can do is keep going to forage and replenish your food. In Amnesia, you're told to keep moving and solving puzzles to replenish your sanity. So, both games rely on transforming the idea of "single player video game progression" into a symbolic struggle.

"Press Select" is officially announced / update on the Half-Life book.

So the cute-gay-dad couple that is Daniel Golding and Brendan Keogh (oh gosh this is how rumors start) have officially launched a swanky website and stuff for "Press Select," their publishing venture for long-form video game criticism. Each author will follow Keogh's example in dedicating one whole book to one game. (It's not announced or anything, but I already called shotgun on Half-Life 1.)

My peers (announced so far) in this thing are:

• Patricia Hernandez, of Kotaku and Nightmare Mode fame
• Michael Abbott, the man behind The Brainy Gamer
• Maddy Myers, freelance critic for various outlets including Paste and formerly The Boston Phoenix.
• Chris Dahlen, critic, co-founder and former editor of Kill Screen, and writer on Klei’s Mark of the Ninja.
• Tim Rogers, game critic for ActionButton.net and founder and director of Action Button Entertainment.
• Jason Killingsworth, features editor of Edge Magazine.
• Jenn Frank, game critic, formerly of EGM and 1UP, Editorial Director at Unwinnable, and voice of Super Hexagon

I'm a little intimidated because books are really long and complicated things, but I'm also excited and confident that my lovely editors will keep me on track.

Right now I'm just working on a rough outline and scribbling a bunch of notes. If you want a sneak preview of the material, you can attend one of three upcoming conferences. Each one will be pretty different and talk about different things and aspects of Half-Life 1 and other games, but they'll all be emblematic of a similar argument: that Half-Life 1's legacy of pioneering "in-game scripted narrative" has resulted in the crappiness of military FPS shooters today, and it overshadows what's actually a very finely tuned arcade-ish shooter -- and as with anything, there are politics and tensions embedded within an arcade shooter.

The conferences I'm speaking at are:

• 14-15 September: No Show Conference @ Microsoft NERD Center. Boston, MA. ($100 / scholarships available)
• 26-27 October: Queerness and Games Conference @ UC Berkeley. Berkeley, CA. (free)
• 15-17 November: Practice @ NYU Game Center. New York, NY. ($100-$350)