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Berlin Mini Game Jam, July 2014

Sunday, July 27, 2014

berlin-game-jam-logo Once a month three guys throw the Mini Game Jam; it’s basically an 8 hour workshop with the purpose of creating a game from scratch. It starts with a get-to-know-you exercise: every participant is given five pieces of paper with the same number printed on each; the goal is to talk to five different people and exchange numbers. Theme’s are proposed before hand through Meetup, and then voted on by all the participants through a dedicated website. You can vote three ways: like, dislike, indifferent. Here’s what came to the top yesterday:

– local multi player!
– crossing the desert
– Games with procedural created stages. In general, games that aren’t the same if you play them again.

Coming in at fourth was the theme I suggested, “Alone in the Dark”. So close, and yet so far…I really wanted to do some kind of Lovecrafty story.

silenced-voices-notes

Anyone who has ever played a text adventure knows what this is: the standard mapping system of players everywhere.

Per my last post, I wanted to try to do a text adventure with Inform. I selected “crossing the desert” and decided to place my story in a post-apocalyptic setting. I brain stormed for about an hour by myself and had come up with some rough ideas for a couple of puzzles and story line in an environment of some 14 locations. I was sitting by myself in a corner and had most of the design dialed in, when one of the participants walked up to me and explained that he was late in showing up and hadn’t found a team yet. I told him that I was working on a text adventure and that it probably wouldn’t be very interesting, but I’d be more than happy to show him what I had come up with so far and show him the tools I was using. As I explained the story and showed him Inform, he got into it and wanted to work with me. We started exchanging ideas and the game design got better and more focused.

Then we sat down and started coding. I set up a repo on github for the game, so that we could each work on parts and merge them. We broke down the task into smaller parts with the first objective to get all the rooms in place and make sure that they were connected properly. By the end of the game jam, we had a working environment that you could move through as designed and a few objects that you could interact with.

At 21:00, the Jam was declared over and the teams gave presentations of what they’ve done. It was pretty amazing what people were able to do with a typical work day. Some of the titles were just as good as anything that came out in the 80’s: titles that people paid money for. A lot of the participants used a platform called Unity to build their projects. I’ll have to learn more about that. It was really cool to see the creativity and skill.

ye-dungeon

“And you just have to imagine why on Earth you can’t get ye flask…”

Lessons learned: a lot of time was wasted fighting with Github and Inform7 due to simple beginner mistakes. We were struggling to bring the story to life because we didn’t know enough about our tools. I really need to sit down and learn Inform better so that the technical side becomes more of an aid than a hindrance. Next time, I’d like to be able to come up with a design, implement it, and then publish it as a browser playable game. Then I could pitch the game in the presentation and, if anyone is interested in playing it, they can do so. Presenting a text adventure is a little challenging: there are no pretty graphics to look at.

So, here’s what would be on the back of the box if my text adventure was finished and on store shelves in the 80’s.

 

“Silenced Voices”post-apocalypse

In the ashes of the aftermath, every man does what he must to survive. Slowly, settlements have come back from the brink and opened trade routes across the desolate waste land, bringing needed goods across the dangerous landscape. As a caravan guard, you knew the dangers. But danger means money, and the need for the one out weighed the fear of the other.

They came out of nowhere on the 13th day. Ambush! In the middle of the fight, your gun jammed and, when you took cover to try and fix it, an explosion went off, taking away consciousness. You don’t know how much time has passed, but, when you finally woke up, you find yourself alone in the ruins of a battle field. Nothing of value remains. You have no food and no water. Can you find your way to provisions and make it back home?

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Inform 7 and Text Adventures

Sunday, July 20, 2014

inform7-logoI’m actually a little to young to have experienced the full wonder that was the Text Adventure era; being born in 1976, I could kind of understand what was happening in any given text adventure, but I didn’t really have the patience required to really interact with them. As Don Woods says in Jason Scott’s brilliant documentary, “Get Lamp”:

“You didn’t go into “Zork” to play; you went into “Zork” to do battle.”

Those early games were very unforgiving: they tended to kill the player a lot, and size limitations meant that a typical Infocom title would equal about a 30 page novella. We were standing at the beginning of the question of narrative in video games: what kind of stories can you tell with this medium? What were the advantages and limitations? If you’re interested in history, check out “Get Lamp“; it’s worth your time.

Last month, I went to the Berlin Mini Game Jam where people interested in making any kind of game–video games, board games, card games, they are all represented–meet up and try to make a game prototype in 8 hours. I knew that there were developer platforms out there to make text adventure authorship easy. I didn’t know which one to use; so, I went to Andrew Plotkin’s website to try and find out what he was using. If it’s good enough for Plotkin, it’s good enough for me. Due to some technical issues, I wasn’t able to complete the single room I was trying to do; but I got enough exposure to know that I want to work with this more.

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There goes 2013…

Sunday, January 5, 2014

2013 wasn’t the hardest year in my history, but it was pretty rough: trying to adapt to a new country, to a new language, getting a working visa, finding a job. It proved even more challenging than I had expected. As of last September, things started to turn around and now my position looks much better…exciting even.

With my new job at Biolab, 2014 will provide all kinds of new opportunities to explore new technologies and work on new systems. The only thing is making sure that I can really take advantage of it all. I’ve started to put together a learning program for 2014, experimenting with different ways of structuring goals and time. Just as important, though, is to take a moment to breath and think. I have to avoid that tendency to pile on too much, too fast.

So, here’s to a successful new year in 2014.

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Star Trek: The Next Generation and more future of the past

Sunday, December 29, 2013

TNG_head Last year during the month of December, I was unemployed and had a lot of time on my hands. Businesses are usually down to a skeleton crew, and everyone is on vacation; so, the job hunt was on hold. I had a bunch of seasons of TNG on my laptop, and started watching them.

This year, I’ve accumulated a bunch of vacation that I had to take or lose; it snuck up on me actually, and I didn’t really have any plan of what to do with two weeks off. While sitting around the apartment,  I decided to rewatch TNG. Maybe it will turn into an annual thing?

TNG is now firmly obsolete; it has become a future of the past. In a time where we are talking about transhumanism and the singularity, none of these topics are even briefly mentioned. The characters are surprisingly like modern humans. What do I mean by that? Well, TNG is supposed to be taking place in the 24th century which is about 300 years away from now. 300 years ago would be the 18th century. Watching TNG is like going back to the 18th century and watching a play about people living in the 21st century but whose outlook and attitude are still grounded in the 18th century . The reality will be soooo much weirder! Just look how much things have changed since the show debuted in 1989! Considering the rate of change and the technologies that are around the corner, I wouldn’t be surprised if humans are barely recognizable as such.

This time around, my suspension of disbelief kept running up against road blocks. I found myself wondering a lot about where exactly the Enterprise was and where it was trying to go. “At warp 8, we will be there in 16 hours.” Okay…How far is it from your current position to this place you’re going? I know it’s 2 light years between us and our nearest star. I guess light speed is warp 1 which means it would take 2 years to get from Earth to Alpha Centari. Are warp speeds some kind of logarithmic scale so that warp 9 is exponentially better than warp 1? Still, where the hell could you be that it would only take 16 hours to get anywhere in space? I’m sure you could go on Archive Alpha, the Star Trek wiki, and read a detailed description of how it works; but, I’m not going to do that. I’d rather it be clear within context of the show.

The saying, “form follows function”, kept coming back to me as I was watching the bridge crew dealing with their stations. Like, what happens at the “ops” station, and how is that different between what’s happening at the helm or tactical? Those consoles seem to be plot ticket generators and nothing more. Whenever they need something for the plot, it’s available at one of the bridge interfaces; and, when it’s not convenient, the interface won’t work for some trumped up reason, “the moon’s gravity disguised our warp signature.” It got me thinking about what kind of controls you would need on a star ship. What are all the systems involved? What kind of adjustments would you need to make them? What information is available? I feel like the Enterprise runs more on science-magic than anything real. “Well, we could go to warp 9, but you’ve got to be livin’ right!”

In 300 years, I think we’ll be lucky if we have colonized the solar system. I know that to hold people’s interest you need to have anomalies in the space-time continuum, warrior races, and extinct alien empires. But, I would love a more hard-science fiction approach to a series. Space is really hard to live in; just building a self-contained environment that could self-sustain is really challenging. Trying to live in such a hostile environment would have plenty of drama on its own without Romulan Warbirds showing up. I would also like to see an alien species that is as diverse as humans are with a rainbow of cultures, religions, philosophies, and governments. I’m getting really tired of monolithic alien species that don’t really make any sense. How, for example, did the Klingons ever develop warp drive? How did they avoid wiping themselves out once a weapon of mass destruction was invented. In an infinite universe, anything must be possible; but human technological advancement depends on community. As methods of communication improve, we see technologies jump forward. The kind of community necessary to make the sustained advancements over generations to figure out faster than light travel would have to be in an atmosphere unbroken by struggle and violence. If history is any example, the societies that are really good at making weapons, usually aren’t good at anything else. Soviet Russia was awesome at weapon design, but they had a hard time with refrigerators. Anyway, I think you could do something like Firefly, but set in the Sol system, with a diverse human race that has colonies on most of the planets and planetoids. I’d watch it…

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Open-Source Film editing software

Tuesday, November 19, 2013
Interface to kdenlive, showing the video and audio tracks on the timeline

Interface to kdenlive, showing the video and audio tracks on the timeline

A few weeks ago I started thinking about what kind of media you could whip up with just a smart phone and whatever open-source editing software that might be out in the wild. I asked Dr. Google a few questions, and I found out about the kdenlive project. I was able to get it installed and worked through the available tutorial. In a few hours I put together a couple of short pieces, using minimal editing techniques. I created a Youtube channel and dumped my two films out there. Normally, I wouldn’t want to have anything to do with something like Youtube, but the temptation of having a globally accessible distribution platform that was freely accessible was just too much. Sharing things like a few photos is one thing, but when you want to share media files that are pretty large, it seems like a good way to go. After muddling through the Youtube interface and seeing what they have to offer, I think I may switch over to vimeo. But, that’s another discussion.

So, in the course of a week, I was able to create two short films and to make them accessible to anyone who wanted to see them…in the world. They weren’t master pieces, or anything. But the barrier to entry was just so low. I always love to use Kevin Smith’s, “Clerks” as an example to illustrate how much film making used to cost. “Clerks” ran up a tab of 25k dollars and Smith had to sell of a lot of assets and go into debt to make it. It was shot on film and all the equipment was rented.  Smith, an unknown kid with no film degree but a lot of moxy, showed great dedication to see his project through. And today, we could make a film of about the same quality with what we have in our pockets and tote bags: every person with a smart phone and a laptop is a potential walking film studio. And this begs the question, with these technologies present just about everywhere and with global platforms for distribution available, where is the new media revolution? Is it happening all around me, and I just don’t see it because I’m not applying the right filters, or looking in the right places?

Anyone interested in checking out the results of this experiment can find the Youtube channel at the following link:

Digitalhecatomb on Youtube

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Flashcards go digital

Monday, November 11, 2013

I’ve used flash cards for years, mainly while trying to tackle languages. Anki_MainThe process of making the cards helps understanding the material better and breaks ground on committing the facts to memory. But, as the collection of flashcards grows, they start to become unwieldy. You end up with stacks of the things everywhere.

A few months ago, I was in my local coffee shop and got to talking with my coffee neighbor who is a student in Berlin. He showed me a program that he’s been using to get up to speed in German: Anki. You can write up your flashcards and sort them by decks and with tags; then Anki uses a guided logic to to show the cards to you at spaced intervals. This means that material you covered months ago will come back up every now and again, and you can see if it stuck. This is really important when learning a language; obtaining a decent working vocabulary is one of the biggest challenges. You get hit with so many new ones every day that it’s hard to keep track. A tool like this can be very helpful.

At the moment, I’m trying to tackle several different subjects: mac OS X admin, the layout of the Biolab IT infrastucture, German, FreeBSD, Python, Ruby, Android development, and so on. With Anki, I create the cards on my laptop, and then transfer the decks to my cell phone running android. I then can use those wait spaces–like waiting for a train, or waiting in line–to review the things I’m trying to learn.

anki-decks

Just a few subjects…

I would highly recommend Anki to anyone who is trying to learn anything. It’s so helpful and completely open-source. To learn more, visit their website here: http://ankisrs.net/

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The solar system is networked…

Sunday, June 23, 2013

dns-logo

I was reading about a few of my favourite long term NASA projects today, specifically the New Horizons mission to Pluto which is in its seventh year, when I discovered mention of the Deep Space Network. Now, I’d never really thought about how NASA manages communication with their projects; I had always assumed that each project had their own dedicated facility for monitoring communications and sending back commands to the unmanned probes. This, of course, totally violates a major principle of engineering: if you’re going to do something more than once, isolate that function in a single place instead of rebuilding it over and over again. So, it totally makes sense that there’s basically a space phone company. But, causally running into  the reality of it was still a little shocking. Not to mention the fact that I’ve never even heard of this organization; I can’t remember any news outlet ever mentioning them. And here’s the kicker: they’ve been around since 1958. That’s right! You read that date correctly: 1958. These guys actually pre-date NASA itself by almost a year! Check out their website.

So, the DSN provides all the telecommunications infrastructure for its “users” just like the local telephone exchange provides services for its “users”. They have three transceiver stations set up in isolated locations on Earth, each 128 degrees away from each other; the locations, plus the ability to link each station into a single array, means that they can constantly monitor all the projects that are beyond Earth orbit. The teams building the next Mars probe don’t have to worry about how they are going to communicate with their project on Earth; all they have to do is get an account with DSN, determine a frequency that they’re going to use, and away they go. That’s probably a gross oversimplification but you get the idea. How cool is that?!

The sad foot note to this story is that the DSN, like a lot of things in America, is in trouble: their systems are ageing and will need replacements and upgrades very soon. They have a serious problem staying compatible with legacy systems: programs like Voyager are still out there and still transmitting back information long after they were expected to die. And I thought the End of Life program at Speakeasy, Inc. was frustrating! So, as more and more of these projects are being launched and need loving care, the work load for a system that badly needs a facelift is just going to get higher and higher. Man, I do not envy these guys! Engineering is filled with heroes like the DSN: organizations that no one has ever heard of, but are providing essential services through budget and resource limitations. To the people at the DSN I say: “Chapeau bas messieurs!”

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More Future of the Past: a brief discussion of Jack Vance’s “The Demon Prince” series.

Wednesday, June 19, 2013
This is the first novel in the series. Published in 1964.

This is the first novel in the series. According to Wikipedia, it was published in 1964. But you’ll notice that this image claims it to be a 1963 Hugo winner.

I recently had the opportunity to re-read the “Demon Prince” series by Jack Vance. In preparing for this post, I found a 104 page treatise on Google Books  and the wikipedia article isn’t too bad either in giving a brief description of the world. I suggest checking both of them out. Vance’s settings often surprise with an unusual depth, especially for the work of one man. I won’t go too far into describing the world itself; I’ll leave that to wikipedia. Instead, I’d like to focus on a few of the things that I feel make it unique.

Most science-fiction that imagines a future spread of humanity across the galaxy assumes a one world government. Space travel and all the apparatus necessary for it would require massive organizations and resources. Hence, we have such fictional organizations as Star Fleet. But what if that wasn’t how it was? What if space travel was super cheap? What if people in the lower social orders could afford a simple craft with which they could prospect for new habitable planets like miners in 1849? What would would happen then? Enter the Oikumene and the Beyond.

The series begins in 1524. With the invention of the Jarnell Intersplit drive, humanity resets the calendar. Mankind has had 1500 years to colonize the galaxy before the story even begins. On the subject of the Intersplit function, Vance goes into more physics here than the typical science fantasy fare like Starwars. The Intersplit works something like the warp engines of Star Fleet as they were latter developed (Time Warp, factor 7 anyone?): making a bubble of the space-time around the ship and allowing that bubble to go faster than light speed. This allows Vance to get away from tricky relativity problems. He also makes a point to explain that most people know as much about this device as the typical person in the first world today understands water infrastructure and management. It’s enough that we have running water; why trouble ourselves further in understanding how it works? So, with space travel so cheap and accessible, what did people do? Quite simply, they tried to get away from each other and start new visionary societies based on theological or philosophical ideas.

The Oikumene -the known world of Vance’s series which is also a reference to the known world of antiquity-is as diverse and rich as The United Federation of Planets is monotone and generic. Humanity has fragmented into thousands of variations, cultures, and, in some cases, physical forms; there are even some tongue-in-cheek examples of humans becoming completely different species–let’s just say that Vance has no love for vegetarians. Vance excels at bringing all these cultures alive and making them fascinating. Take the Darsh, for example: a desert people who have a detailed cuisine, several cultural mannerisms, distinct dress, a whole culturally specific system of concepts and jargon, and a national sport which gets described in detail. After a while, I get the feeling that Vance did have a form that he would fill out for every new culture that appeared in his books: some template that worked for him. Unlike Tolkien, however, were the plot of the story is just a sideline for the world building, Vance focuses on the story and his characters. The immersion is much more effective since you’re more engaged in the action: plot plays to world and world plays to plot.

As I said previously, this universe is really old: 15 centuries of development before the story even starts. And Vance does a good job of making this future feel old. Such a contrast to the shiny future that we typically get. He uses a ton of narrative devices to give a feeling of antiquity to a point in time that is as far distant from us today as we are from the year 500. There’s only one thing that breaks this illusion…

zatab

This is the Zatab that I’ve been using for most of my reading. It runs an open-source and modified version of Android and comes rooted. I have hundreds of titles in ebook or PDF format and open access to more than I could read in a lifetime. I agree that the experience of reading on a tablet is different than reading a book, but the convenience just outweighs the luxury of having books.

The series has not aged well. At some points in the narrative, the main character is forced to use a slide rule to make calculations. None of the technology is particularly visionary. The universe is still populated with viable magazines and newspapers that do good trade in paper hard copy. Computers are largely non-existent; though, there is an organization that is like a proto-Google which will investigate a subject and provide a report. There was intense irony in the fact that the device with which I used to read the series was far more futuristic than any of the technology in it.

If I were to turn these books into a film project, I think I might hold on to the 1960’s feel of the books and make them with that old science-fiction aesthetic which was so rampant in the 60’s and 70’s. It seems like every Larry Niven book has people wearing skin tone products, and a lot of the alien life forms in The Demon Prince series feel like things you would find on a Star Trek set. William Gibson coined the term “Ray Gun Gothic” for the celebration of science fiction from the golden age: things like Buck Rodgers and Flash Gordon. But here we’re dealing with something different: something that is fused with the ideas of the day and has that tone of psychedelia running through it. Remember that episode of Star Trek where the hippies take over the ship and set course for some Eden planet? Yeah, that’s what I’m talking about. But, instead of a glittering and utopian world view that the protagonist of “The Gernsback Continuum” bemoans, Vance’s future is a dark place where the more shadowy sides of the human condition are allowed to be expressed. It would be neat to see someone take on the project and shoot it like the Star Trek: New Voyages people.

Vance’s series is a true “movable feast”. It practically bursts with creativity, imagination, and erudite references. His vision is so unique and human when compared to other science-fiction writers whose imaginings border on friendly fascism. He might not have been a prophet of things to come like Verne, but he does provide his readers with a journey that captivates and bears up under repeat readings.

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King’s Quest revisited

Sunday, June 9, 2013

 

King's Quest welcome image. Once you launch the BAT file, this is the first thing that greets the player, along with an 8-bit PC speaker version of Greensleeves.

King’s Quest welcome image. Once you launch the BAT file, this is the first thing that greets the player, along with an 8-bit PC speaker version of Greensleeves.

I’m really fascinated by the history of computer engineering and, by extension, the history of video games. It’s watching the evolution that intrigues me: seeing concepts or solutions grow and mature into all new technologies or relationships. The other night, I opened my DOS emulator and played through “King’s Quest 1”. What a stark contrast to the kinds of interfaces we have today; these early adventure games demanded so much of the player and could be so cruel in return. There were so many skills that the player needed that were not part of the interface at all: mapping, save/restore system, etc. These early titles broke just about every rule of the Player’s Bill of Rights. Why were they so successful?

kq1-start

Welcome to the land of Daventry. We can see the player’s avatar next to the tree, Sir Graham, as well as the player’s first threat and obstacle: alligators and a bridge. Navigating your figure over this bridge can be tricky.

From this screen shot, we can see the basics of the interface: the score tells you how far you’ve gotten through the game as well as how much is left, the command prompt is waiting for a text entry. Sierra was pretty notorious for having a bad parser, and the commands that you would be expected to use were generally two word commands: verb + noun. In “King’s Quest 1” there was only one instance where they pulled the ‘guess the verb’ game; most of the challenges that the player faced were from super easy deaths. In one instance, you need to move a rock to find a dagger; if you’re standing on the wrong side of the rock, you die. There is no hint to explain this, you simply have to get killed, restore to an earlier point in the game, and then try again by standing on the other side. This is a clear violation of number three on the player bill of rights: “To be able to win without experience of past lives.”

kq1-save

Here you can see my save/restore method at work. Notice that you have so many slots, this is because in games of this type, it could be easy to make the game unwinnable. A good strategy would be to spread your saves out, giving yourself a wide spectrum of restore points.

Players would be expected to make detailed maps of the game world, noting where they found each item or each encounter. For instance, there’s a fairy godmother whom the player encounters in a specific location; she casts a spell that allows you to walk through monster territory unscathed. It’s pretty helpful to find your way back to that location. In the present day where people return products that they can’t figure out in 20 minutes, and the designer’s mantra is “don’t make the user think,” why would anyone pay money for an experience like this? Especially when we consider that this game sold for 40$ or more in 1987; that was a really big stack of money back then!

Thinking it over, I’m sure that the answer to the question has to do with the kinds of people that were buying computers in 1987. The computing atmosphere was slowly transitioning away from the hobbyists and computer enthusiasts to the mainstream. These early adopters, however, were fascinated by complex systems and were willing to dig into their new toys to see how they worked. Adventure games and text adventures also provided interesting systems with fantastical elements for the player to explore. Though the typical customer today would find creating a map of their game tedious, my friends and I found it great fun. As computer games became more accessible to the mainstream, the adventure titles slowly disappeared. Game publishers just weren’t interested in a niche market. Now that we have tools like “Kickstarter” which specifically allows niche markets to be serviced, we are already seeing a revival of this once dead genre. So, what we have in front of us are two starkly contrasting models of how people work: on one hand people don’t want to think and are inherently lazy; on the other, people find exploring and solving problems or puzzles very satisfying and will pay for the experience. It’s very easy to go down a cynical path with this and start making generalizations about the masses and what constitutes a viable mass product. But, considering Double Fine’s success, maybe that niche is not as small as once thought.

If you’re also interested in the history of computer games, and micro computing in general, I really suggest checking out the Digital Antiquarian. You can find his blog at this link.

 

 

 

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At the drawing board

Saturday, June 1, 2013
making-software

On the left we see Mathematician and Software Engineer Marios Richards while on the right we have Dr. Burckhardt, owner of Ludic Philosophy, GmbH. They are working on the problem of connecting a physics engine to a system for creating and handling agents: a model of the physical world mapped to a model of the mental world.

It’s pretty incredible when you get to see a thing go from some quick sketches on paper followed with a lot of arm waving and slap-dash metaphors to a real, living and breathing product. And that’s just what we’re seeing here. Because Ludic Philosophy is so bantam weight, the speed of change and evolution is blinding. In the past few weeks, Dr. Burckhardt appears to pull new tools and applications from thin air. His creativity and energy is infectious. When he talks about his vision, you can see the excitement behind his eyes. This is exactly what I’ve been looking for: an intimate team of people who are really into what they are doing.

Right now, a large focus of the company is making Agent Oriented Programming a reality. This has the potential to be a paradigm shift. Agent Oriented Programming was first detailed in a paper by Yoav Shoham in 1991. You can read his paper on the subject here. I’m still reading through it myself and hope to write a more detailed post in the near future. The basic idea switches from a world of functions that manipulate objects to one where autonomous agents manipulate objects and interact with each other based on things like beliefs, capacities, goals, and obligations. Dr. Burckhardt sees some very interesting possibilities in new definitions of machine learning and human/machine interaction. Right now, it’s still early days, but the ideas are flowing and prototype creation is fast and heavy. In the next week, we will see the realization of our first efforts towards a demonstrable example of what this concept can do. I’m very happy to be here at the beginning. What an opportunity!

 

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