Category Archives: Digital Games

Games As Simulation

Games are simulations.

Games take a set of rules describing how things work, and they apply those rules to a world state to determine how that world changes over time. Sometimes the rules are very simple; “Snakes and Ladders” has about four rules. Sometimes, they are extraordinarily complex; World of Warcraft has rules that govern the actions and interactions of thousands of actors at once, with each actor having maybe a hundred different ways to affect the progress of the simulation. All games, however, share these fundamental attributes: they simulate the changes in a system over time using a set of rules.

Inherent in their status as a simulation is the fact that games are abstractions. No simulation can be an exact model of real life. Therefore, games use only a subset of the rules present in the systems they simulate. Sometimes, games simulate the real world: Roller Coaster Tycoon simulates the everyday workings of a theme park. Sometimes, they simulate a fantastic world: Morrowind is a simulation of the fictional fantasy island of Vvardenfell. Sometimes, they simulate an abstract world: Conway’s “Game of Life” simulates a world composed of either a grid of unicellular organisms, or a world of multicellular organisms with a very strange way of living. In all these cases, however, the designers of the game have chosen which rules to include in the simulation and which to abstract away. Roller Coaster Tycoon does not require the player character to get sleep. Morrowind allows the PC to eat, but does not require it. The “Game of Life” uses a very limited set of rules.

What distinguishes a game from, say, the sort of airflow simulation used by aerospace engineers? Player interaction. In games, players can modify the progress of the simulation. They can change the starting parameters, or choose what an actor will do, or even modify the rules of the simulation as it progresses. It is this interactivity that is essential to the nature of games. Games simulate worlds, but their most important property is that they allow the player to affect the simulation. It is from this ability that goals emerge, that agency arises, that fun appears. Games are simulations with life.

Waves: A Ludum Dare 17 Postmortem


This past weekend I took part in Ludum Dare 17. Ludum Dare is a periodic informal competition where participants make a game in 48 hours based on a certain theme. This time, the theme was “Islands.” By the end of the weekend, I created a game called “Waves,” which can be played on my site. Kayla Kinnunen posted a postmortem of her own experience, and I thought it would be fun to do one of my own.

Note that the work-in-progress builds linked below will probably require you to click on the game to give it focus before it will react to your keystrokes.
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Saira

Saira is an explorer. Three years ago, she was a photographer, working to take pictures of exotic and dangerous wildlife. She is brave and athletic, able to leap from rock to rock without hesitation. Her eyes are trained to notice things hidden in the world around her, and her hand is steady as she takes each picture. She can scramble up air shafts, dodge hungry wildlife, and hazard cruel environments to achieve her goals.

Saira is a character piece. Continue reading Saira

Difficulty and Walkthroughs

I had an interesting discussion at GDC with a guy I know named Tasselfoot. Chances are that you know Tass, even if you don’t think you do; if you’ve ever used a YouTube walkthrough of a Flash game, that walkthrough was probably made by Tass. As far as I know, he’s the only person in the world who makes his living off of walkthrough videos.

While we were on the bus to the ill-fated Zynga-hosted afterparty, Tass and I had a conversation where he tried to convince me to put links to video walkthroughs inside my games. Obviously, he has a vested interest in this, but he also believes in it from a player’s perspective. Walkthroughs, he feels, should be as accessible as possible to the player. My initial reaction, as a video game auteur, was to disagree. The presence of a walkthrough ruins the carefully-crafted difficulty curve I’ve prepared for the game. But as Tass continued, he began to sway my mind.
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The Brutality of Saints Row 2

I’d like to take a moment to discuss a game that does some really interesting things with character and storytelling: Volition’s GTA3-em-up, Saints Row 2. Wait, where are you going? I’m serious. Here’s the thing: SR2, more than any other game I’ve played, makes me despise my player character. By the end of the game, my PC is the most reprehensible person in Stilwater.

SR2 is a game that borrows liberally from Grand Theft Auto 3 and its successors. The player character is a sociopathic criminal, doing a series of missions to gain power in a city while murdering thousands of people in the process. Playing a game like this, the player should expect to do horrible things; it’s a game (in this case) about a street gang leader taking over an entire city. These games set up an environment in which the player can suspend their ethical disbelief. The world is farcical, with corrupt police, over-the-top raunchy radio ads, and stereotyped characters. All of the characters with dialog are criminals, and none of the bystanders get enough characterization to make the player empathize with them.

But there’s something weird in SR2‘s approach. The middle of the game consists of three parallel storylines, corresponding to the PC‘s strengthening of her gang, the Saints, through destruction of three rival gangs: the Sons of Samedi, the Ronin, and the Brotherhood. The Sons of Samedi plotline is a drug-running crime story in the Tarantino vein. The Ronin is a full-on action movie, complete with katana duels. But the Brotherhood is the brutal story of the cold-hearted destruction of a man and his family.
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Ludus Novus 019: False Narrativism: Awesome Zone

Ludus Novus
Ludus Novus
Ludus Novus 019: False Narrativism: Awesome Zone
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This podcast episode is about an unreleased game from 1990 that a guy showed me at GDC. It’s called Awesome Zone, and it was created by developer Theodore Alby for a company called KnowSoft over the course of a six-week nervous breakdown.

The music for this episode is from “Three Goes On Forever” by Time Slips By, and is available under a Creative Commons Attribution-NonCommercial-Sharealike License as part of the compilation Ctrl-N.

Perspective and What is Visible

I’ve been thinking lately, as I’ve been playing around with 3D tools like Unity, about the nature of perspective and visibility in games. Most games limit the amount of information that the player can see. It’s very rare to see a game where the entire game world is visible from the beginning (see “Flood the Chamber” for a counterexample that does). This design decision, of how much of the world to show and how much to keep hidden, doesn’t get enough credit for its importance to the nature of a game.
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Why Uru Matters

Cyan, now Cyan Worlds, released Myst in 1993. The work became one of the most influential video games of all time. It made the CD-ROM a must-have, led the rise of the atmospheric adventure puzzler, and is the leading suspect in the death of the adventure game. It was the bestselling game of all time until The Sims came along, and is probably, along with Mario and Pac-Man, the game even gaming-illiterate people have heard of.

The magnum opus of Cyan Worlds, however, is a sequel: Uru, now known as Myst Online: Uru Live. It’s a Myst MMO, first scheduled for release in 2003. Before the game was even released, the online portion was canceled. It was briefly resurrected in 2007-08 by GameTap, then canceled again. Recently, it has been revived again in donation-ware form, but it still has all the bugs and issues that helped contribute to its repeated downfall. Why should anyone care about or play Uru? Because it’s unique. It does things no other game does.
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Babies Dream of Dead Worlds Released

And it’s out! My December 2009 game is up at Newgrounds. Babies Dream of Dead Worlds is a game about family.

Before we have memory, before we know what this world is, we dream. Babies dream of what came before, of universes that are no longer there. Babies dream of dead worlds.

Play Babies Dream of Dead Worlds on Newgrounds.

This game is a sort of surreal platformer, I suppose? It’s a bit hard to describe. It’s developed using Flixel, and tells the story of three siblings at the end of a world very unlike this one.