Programming Languages

I realized today that since 1998 I’ve learned at least one new programming language every year. I consider myself as “knowing” a language if either of the following is true:

  1. I used it to complete a non-trivial project
  2. I spent the majority of my day in it for over a year

#1 Means I have to have actually gotten into the guts of it and made it work for me. For example, while I had toyed with Python several times while in grad school, it wasn’t until I integrated it into Angel that that I could really say I knew it, thus it gets a date of 2008.

#2 allows me to include languages I learned for games that haven’t shipped. :-)

So now the question is… what should I learn this year? Everything else has been inspired by a project (either personal or professional), and I don’t have anything on the horizon that would necessitate learning something new.

So I ask you, internet, what is worth learning? What new paradigm should I consider? What will expand my mind and my programming chops?

Disruptive Construction

Last week I was invited to speak at the UVa Scholars’ Lab on, more or less, the topic of my choice. I was thrilled to get asked to speak at my alma mater, but picking a topic was tricky.

It had to be something:

  • broad enough to appeal to digital humanities scholars who may not necessarily follow games
  • engaging enough to interest people who do follow games and would likely end up coming to the talk because they saw “game designer” on the poster
  • unrelated enough to my work at Bethesda that I could talk about it without tipping our hand as to our current project

In the end I decided to talk about procedural content, its current place in game development, and where it might be going in the future. I could try to sum it up, but here’s a video of my slides set over the audio from the talk.

My own feedback:

  • I still talk way too fast.
  • When speaking off-the-cuff, I have a tendency to preface too many statements with “I mean.” I should to work on that.
  • The “character choices” segment is still pretty hazy and doesn’t make its case very well.
  • My final conclusion could benefit some from more concrete examples, even if they have to be hypothetical.
  • I need to do better keeping up with the blogosphere, even when spending all my free time prepping a presentation, since I only found out after the presentation that Clint Hocking has been making most of my final points, in a characteristically far more thoughtful and articulate way as part of his Click Nothing Tour ’09. Ah well.

BIG THANKS to:

  • Joe Gilbert and Bethany Nowviskie from the Scholars’ Lab for inviting me.
  • Liz Bernard for making an example animation for me.
  • Jesse Schell, who first introduced me to the Innovator’s Dilemma.
  • Joel Burgess and Ben Cummings, who served as invaluable sounding boards and test audiences. If you didn’t like it in its current state, you would have hated it before these guys were able to tell me all the problems it had. :-)

Boston GameLoop 2009

(A long post; mostly a brain dump of my experience at a conference last weekend.)

This past weekend my friend Benji and I made the long trek from the Capital Wasteland up to Boston for a new-ish un-conference called GameLoop. Apart from seriously misunderestimating the amount of traffic that would slow us down, the trip itself was uneventful. I did score a gold medal in the “going through a toll booth without having to come to stop” game, though, which was a great moment of victory.

As for the event itself — it was terribly cool. Darius Kazemi and Scott Macmillan made the thing happen by sheer force of will, and I heartily applaud them for it. They more than doubled the attendance from last year, and based on what I saw, I imagine it will continue to grow for some time to come.

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Games of My Life

I’ve been trying to break down exactly what I value in games. What I find fun, what kinds of games I’m drawn to. It’s a hard thing to quantify exactly what makes a game good, especially trying to determine a trend across all the games I’ve liked. So I’m making this page as a kind of analysis and breakdown of the games that have been strong, memorable parts of my life.

As I find more interesting metrics, I plan to post them, as well as update this post. But hopefully the 10 games themselves will remain static, unless there’s some moment of “HOW ON EARTH COULD I FORGET TO INCLUDE CATWOMAN?!”

Unordered 10 Impactful Games

  • Rez
  • Sly 2: Band of Thieves
  • Portal
  • Braid
  • Marathon
  • Super Mario World
  • Castlevania: Symphony of the Night
  • Civilization
  • Final Fantasy VI
  • Planetfall

These are the games that, over my life, I played the hell out of. Ones that I was obsessed with. Ones that impressed me to my core. That haunted my dreams when I wasn’t playing them. Ones that I will evangelize to people who haven’t played them.

There are many other games I loved, enjoyed immensely, and replay from time to time. But in the interests of keeping the list to 10, I just went with the ones that had a profound impact or rose to the level of obsession for me.

Note that I’ve limited this list to video and computer games, or else I would have to include Dungeons & Dragons, Diplomacy, and several others.

(Not meant to be a “top 10” of any sort or a declaration of industry impact or anything.)

Metacritic

  • 93: Castlevania: Symphony of the Night
  • 93: Braid
  • 92: Super Mario World
  • 92: Final Fantasy VI
  • 91: Rez
  • 90: Portal
  • 88: Sly 2: Band of Thieves

In places where a game had more than one rating due to remakes or multiple platform releases, I went with the highest rating. Marathon, Civilization, and Planetfall have no Metacritic rankings. The Super Mario World and Final Fantasy VI rankings come from the GameBoy Advance re-releases.

This yields an average Metacritic ranking of 91.2, which would seem to indicate that the games which mattered most to me are also games that the industry as a whole (or at least the press) also consider to be paragons.

Chronologically Sorted

  • 1983: Planetfall
  • 1990: Super Mario World
  • 1991: Civilization
  • 1994: Final Fantasy VI
  • 1994: Marathon
  • 1997: Castlevania: Symphony of the Night
  • 2001: Rez
  • 2004: Sly 2: Band of Thieves
  • 2007: Portal
  • 2008: Braid

At first I was troubled that there was too much clustering in recent years, but this has an average of 2.8 years between games. If you throw out the first 7-year gap, that drops to 2.25. I would be comfortable with either number.

Genres and Demographics

  • Rez: music-based rail shooter
  • Sly 2: Band of Thieves: adventure platformer
  • Portal: first-person puzzler
  • Braid: puzzle platformer
  • Marathon: first-person shooter
  • Super Mario World: action platformer
  • Castlevania: Symphony of the Night: action exploration RPG
  • Civilization: strategy simulation
  • Final Fantasy VI: RPG
  • Planetfall: text adventure

So breaking that down:

  • 3 games that could be classified as platformers
  • 2 first-person games
  • 7 games with strong story elements
  • 4 games where the story is absolutely endemic to the game’s quality
  • 2 shooters (and one had very strong story)
  • 5 games with gameplay focused around puzzles
  • 3 games with majority gameplay focused around puzzles
  • 4 games made by Japanese developers
  • 6 games made by American developers
  • 0 games made by anyone else
  • 2 games that lose a substantial amount of (if not all) impact after first play-through
  • 1 game that is meant to be played through multiple times for most enjoyment
  • 3 games that expose fairly complex numerical models to the player
  • 4 games that are continuing titles in a series
  • 3 games that kicked off a series
  • 1 game that is rumored to be the start of a series
  • 2 games that stand alone
  • 4 PC/Mac games
  • 6 console games
    • 1 Dreamcast game (I played on PS2 originally)
    • 1 PlayStation 2 game
    • 1 Xbox 360 game
    • 2 Super Nintendo games
    • 1 PlayStation game

Whistlin’ Dixie

There’s been some delays on posting blog stuff since I wanted to clear writing activities with the new employer. Now that I have, here’s some backlog. :-)

I first visited New Orleans when I was a kid. I don’t much remember the details of that trip, but I came away with a mild-to-moderate distaste for the place. But I figured it had been well over a decade since then, so I decided to give it another chance on my recent trip across the country.

Nawlins

Man am I glad I did. Stayed in a little spot in the French Quarter, wandered the lonely streets, and had the best food and drink of my entire trip.

My lord, the food. So good it deserves its own paragraph. And those folks know how to make a Bloody Mary.

But I digress.

As I wandered the streets, I started thinking about how it might fare as a gamespace. At several levels, New Orleans would make a fantastic setting for an open world RPG. Very few tall buildings (fewer interiors to develop), a party district, narrow alleyways with character, wide boulevards, music floating in from far away, docks, travelers from all over, foreign languages, multiple religions, etc. It would be even better if you jumped back 150 years or so to, say, the period just before the Civil War. Then you’d have a wide countryside to explore, could play up voodoo magic, have guns that were fun to play with but not semi-automatic, various backwater settlements.

As I walked back to my hotel from dinner, I thought about it more. There’s such potential to make a compelling game! Why have there been so few games set in New Orleans? As a matter of fact, why hasn’t the Old South been used in an open world setting?

And then I remembered — oh right. Slavery. Something no reasonable game developer wants to touch with a 39-and-a-half foot pole. Rightly so. It’s an incredibly dicey topic that would be near-impossible to present in a sensitive manner while giving the player freedom.

You could, of course, let the player free slaves, join the Underground Railroad, maybe even start as a slave themselves. But if you care about player choice, you’d also want to give them the ability to suppress the slaves, capture escapees, etc.

Oh, man. The headlines would be horrible. How would the forum moderators even begin to know what was appropriate? You think games get negative attention for violence

And one of the arguments that would inevitably brought up from the enthusiast press is that slavery has been dealt with in games before, and this should be no different. You have a choice to enslave people or free the slaves in Fallout 3; Civilization makes it into a mechanic with tradeoffs as you build your cities.

But of course, this is different. There is a substantial, fundamental difference interacting with completely fictionalized slavery and interacting with a recreation of very real historical oppression.

It’s kind of unfortunate that this is sort of an untouchable area for games, because I think there’s tremendous power to educate people about the time period and those attitudes, beyond what you can learn from reading or watching movies with similar settings and themes.

I chose to free the slaves in Fallout 3 (I seem to always play goodie-two-shoes as much as games will support it), but I’d be interested to hear from people who took a more evil track. Do you think you would feel any differently about your actions if you had been tracking down runaway African-American slaves in 1850’s Louisiana than you did in the 2277 Capital Wasteland? Would it make you question your actions more? Would you be able to turn off the bad behavior detector in your conscience the same way I do every time I kill hundreds of people over a lunchtime session of Team Fortress 2?

I don’t have any answers to these questions. I don’t think there are. Maybe someone reading this will have some answers, or at least more articulate questions.