Games: April 2006 Archive Page

I have written about how traditional chess engines are constructed and about how they go about figuring out what moves to make. I have speculated on how Rybka, a new and powerful chess engine is constructed. I have written a software specification for a new way to estimate the value of a chess position, or a new "evaluation function".

My task now is to convince everyone that my speculation is sound. Although I lack time, I am slowly starting to create software to test these ideas. I suspect that someone else will have some code togther to experiment before I will, but nevertheless it is worth a try to see if these ideas have any merit.

It would sound like a good project for a grad student or someone who has time to give it a try. --John Jerz --RandomVisitor (chessgames.com)

My big brother has been blogging on chessgames.com under the name "RandomVisitor." He just recently revealed his identity there.

My son, who's eight, can already whip my butt in chess if I don't pay close, close attention. Until recently he has been too willing to sacrifice his queen for little gain, and after he does that I can often win. But not always. At any rate, he's far better than I am at openings and the endgame, because those are easy to practice on a computer.

Every so often, after he beats me, he asks, "Am I ready to beat Uncle John yet?"

I tell him, "Keep practicing."

In my review of Once and Future, I made the erroneous statement -"Just like video killed the radio star, graphics killed the parser," and embarrassingly called interactive fiction a "dead genre." I was wrong. Five years after I typed those lines, interactive fiction games continue to be produced, even commercially. --Terrence Bosky --Something about Interactive Fiction (Moby Games)

Video game studies? Yes, please. And I don't just mean in gaming schools. Critical perspectives have been developing as well. Metafilter is already wise to ludology,but what about its mother discipline, ergotics? Don't forget narrative and storytelling. Of course, if cultural studies, or education is your thing, that's covered too.

Other programs focus on application and aesthetics.

Perhaps MeFites are catching on? --The seedy academic underbelly of video games (Metafilter)

The key word for me here is not 'Fun'. The concept of fun is well understood, I should think, after many years of games and many hundreds of thousands (if not millions) of releases. There are theories of fun, analyses of fun, examinations of the fun of one aspect of a game or another, and whole schema devoted to separating out different kinds of fun.

No, the key word for me here is 'meant'. Meaning is an interesting concept, in both positive and negative, because it suggests purpose or exclusion. Saying that a product is meant to be a certain way can implicitly imply that it is not meant to be another way. Big Macs are meant to be tasty pleasures, they are not meant to be nutrition supplements, for example. They are designed with that intent.

What I'm driving at here is a kind of pre-judgment, and video games are unique as a medium (that I'm aware of) in that the greater majority of its creators, designers and producers otherwise actively pre-judge themselves and their work according to a 'fun' standard not as a key trait of enablement, but as the end goal in and of itself. --Tadhg Kelly --''Video games are meant to be just one thing: Fun.'' (Particle Blog)

Via Grand Text Auto.

I liked this author's argument that in video games, "fun" is a means, not an end. Still, this passive-verb-heavy passage prompted me to post a bit about the intentional fallacy:

Novels need to be readable. Their basic craft requires that readers are invited to keep turning the pages until they get to the end. But what are novels 'meant' to be? Nothing. They're meant to be whatever the author intends for them to be. Ditto music, ditto poetry, ditto television, sculpture, comics and so on. In all these forms, the basis of aesthetics or pace or whatever are regarded as the core necessity.

The saccharine sweet family shows of the 50s and 60s gave way to harder biting social commentaries like All in the Family. In 1967, the same year that CBS television ended a 17-year blacklisting of folksinger Pete Seeger, President Johnson signed legislation to establish the Corporation for Public Broadcasting (CPB), asserting that "we have only begun to grasp the great promise of the medium and noting that noncommercial television was reaching only "a fraction of its potential audience -- and a fraction of its potential worth. As part of the legislation, the Department of Health, Education, and Welfare was to launch major research on instructional television in the classroom. The $9 million investment in CPB in 1967 (about $47 million in today's dollars) has grown to over $300 million in annual funding today. Unlike television, the meteoric rise of computer and video games over the past decade has gone largely unnoticed except by the digiteratti and cultural anthropologists cruising web zines and blogs. This may be because games are not a technology per se, but applications that slip into our lives on the backs of existing technologies, from computers, to televisions and cell phones. They are less hardware and more software. Like many mass culture phenomena, games are understood more on the basis of prevailing myths than reality. Few people realize that the average gamer is 30 years old, that over 40 percent are female, and that most adult gamers have been playing games for 12 years.

One reason myths shape public perceptions is because few universities have seen computer games as worthy of serious academic study, robbing the discourse around games of robust data on their use characteristics, effects, and potential value. There is, of course, the annual Congressional attack on the game world and its denizens, calling for more control of violent games and, like our TV-addicted forebearers, warning of dire consequences to mind and family. Politicians have conveniently made computer games a target of derision rather than a pedagogical ally or tool for public engagement.

The best kept secret in the world of computer and video games is the rise of a movement -- now in the thousands -- of gamers dedicated to applying games to serious challenges such as education, training, medical treatment, or better government. The Serious Games movement is in many ways today's equivalent of yesterday's advocates for non-commercial, educational TV, who knew that the potential of the medium was unrealized and went far beyond pure entertainment. --David Rejeski --Why We Need a Corporation for Public Gaming (Serious Games Source)

Publisher sales reps inform Wal-Mart buyers of games in development; the games' subjects, titles, artwork and packaging are vetted and sometimes vetoed by Wal-Mart. If Wal-Mart tells a top-end publisher it won't carry a certain game, the publisher kills that game. In short, every triple-A game sold at retail in North America is managed start to finish, top to bottom, with the publisher's gaze fixed squarely on Wal-Mart, and no other. --Allen Varney --Wal-Mart Rules: One Giant Company Controls Your Games -- But How Much Longer? (The Escapist)

This is what happens when games go mainstream -- and when they mean big bucks. There will always be indie games, of course.

Half-Life 2 Mod: Week 7 -- Gleaming Translucent Chandeliers, Detail of Railing, Heavy Object Designing (Jerz's Literacy Weblog)

This week I finally managed to make my chandeliers look decent. Previously I had placed an invisible light-emitting entity inside a solid translucent block, but that unfortunately left the outside edges of the block looking very dark. So this time I created four thin transparent walls, and put the light inside all four walls. In addition, I placed extra light sources outside the chandelier, to create the glowing effect that I wanted.

The picture shows that I also added some chandeliers to the top level of the balcony. You can also see the woodgrain railings, though at this resolution the 45 degree angle join is only barely noticeable.

I actually spent much more time on the room I haven't shown yet. To give meaning to my new media meanderings, I'm trying to create a Half-Life 2 mod that implements Cloak of Darkness, a very simple scenario that's been implemented in dozens of different programming environments. That scenario is set in the lobby of an opera house, and features a bar (which I'm working on) and a cloakroom (that I haven't started yet).

While designing the bar, for the first time I've worked extensively with angled wall shapes -- complicated modular units that I duplicate and rotate in order to form a circle. The circle is divided up into 10 sections, so I created a large 36 degree wedge, then used it to cut out a kind of trough, and then placed my wall unit in the trough, and used the trough to cut the wall unit into a piece that has 36 degree edges. Since the world-building feature isn't designed to work with resolutions of smaller than one inch, the modules I'm creating are going to be a little off, but I'm not too worried.

These wall units are so complex that I should really be creating them in a 3D modeling tool, and importing them as models into the HL2 world. I'm actually being very wasteful of computing resources by constructing these modules out of blocky square brushes, and manipulating the corners of the blocks in order to approximate the shapes I want. But I'm not yet ready to tackle learning a 3D modeling program.

No pictures of that room yet. I need to spend some time creating the images that will make my wall units look better. Half-Life 2 comes with plenty of materials that represent cracking plaster, rubble, bricks, etc. It's also easy to find assorted high-tech panels and display readouts online, but nothing that depicts the precise decor I'm shooting for. So the models look pretty slapdash at the moment.

I'll show photos of the bar area when I've got something worth sharing.

The Bob Ross game will utilize the unique inputs that the Nintendo DS and Nintendo Revolution have that can truly immerse the players while they learn to paint like Bob Ross and can play the addictive and fun games that we have planned for the title. I believe that Bob Ross Inc's and AGFRAG Entertainment Group's similar beliefs in independence, creativity, and teaching others will benefit how the game is developed and how the players of all ages will be able to enjoy this game.

I want the community to share with us their favorite Bob Ross shows, painting techniques, and what they?d like to see in the NDS and Revolution games. We want to keep the brush going."
--Bob Ross Video Game (bobross.com)

Bob Ross... the happy little clouds... the gravity-defying 'do... the "addictive and fun" game!

This quote from the Bob Ross rotten.com biography made me burst out laughing: "While some folks distract themselves toting iPods of sh*tty music around like colostomy bags, others prefer to remain focused on a cardboard canvas with a modest fan brush."

Games today are many times more complex than games were even a few years ago. Recreating every three-dimensional point of a complex cave environment is going to take an artist several orders of magnitude more time than dropping a few rough dots on an Atari 2600's 196x160 screen and calling it a cave environment. Similarly, producing a full 5.1 surround sound track for a modern game requires sound engineers and advanced programming libraries. Triggering a few blips and bleeps is much easier.

But there are also some less obvious reasons for longer development cycles. In the old days, a programmer with a text editor and a few programs could create an entire game. However, to create all the complex content and code required for a modern game, programmers and artists need powerful tools such as 3-d modelers and advanced debuggers. Unfortunately, programmers and artists often have to use general purpose tools that are not at all well suited to game development. And when domain-specific tools do exist, such as in console game development, the tools are often unstable and immature due to the short life span of any particular console system. A multi-platform console world further complicates development by multiplying all of the issues of developing for a single platform by the number of platforms on which you intend to deliver your game. --Adam Geitgey --Where are the Good Open Source Games? (OS News)

Great suggestion, Evan.

Half-Life 2 Mod: Week 6 - Switchable Chandeliers, Automatic Sliding Doors, Railings, Carpet (Jerz's Literacy Weblog)

This was a tremendously productive weekend. After helping two fellow interactive fiction fans finish a proposal for next year's MLA, I tackled a few things I had been meaning to get to for a while.

The first picture shows the much more realistic chandeliers that I managed to create. I'm still not entirely happy with it, but it's good enough for the demo I'm working on now.

While I didn't bother trying to capture it in the screen grab, I've also added a button that turns the chandeliers on and off. The red carpet really ought to be running up the stairs, but I'm not sure I want to tackle that yet. Already, when I do a full compile of this game world, it's taking my little laptop 10 or so minutes. I'm not sure yet what the acronyms on the compile window means, but I fiddled with the settings so that I don't have to do that full compile every time, which saves a lot of time.


I'm particularly proud of the railings in this picture. I didn't take a screen grab, but I figured out how to edit the vertices so that the perfectly rectangular railing pieces join together at 45 degree angles.

The red door also slides open to reveal a room inside. I've got some ideas for that room, but I'm going to save them for now, and show them when the room is in really good shape.

Now that I can interact with the world in simple ways (turning on and off lights, opening doors), it's time to start working with NPCs. I'm thinking first of just telling an NPC to walk to spot B when the PC enters spot A, and then walk to spot C when the PC enters spot B, and so on, with the NPC eventually returning to spot A. Since FacePoser crashes my laptop when I run it at home, I don't know how much luck I'll have working with NPCs, but Half Life 2 comes with a range of pre-set emotions and gestures, so we'll see what I can accomplish.

The complex choices facing leaders in the Middle East have long confounded observers. But two graduate students at Carnegie Mellon University are hoping their video game based on the conflict will help players find solutions _ and raise capital for their new company.

Asi Burak and Eric Brown, along with a team of fellowr students, have spent more than a year building PeaceMaker, a computer game that attempts to simulate the violence and political turbulence of the Israeli-Palestinian struggle. --Daniel Lovering --Students hope Mideast video game will produce insights, investors (OhmyNews)

6. Adventure

Microsoft (1972) --Top 10 adventure games of the 20th century (Adventure Classic Gaming)

What the hell? Microsoft didn't even exist in 1972.