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Turn 10 Studios: Impressions

I meant to post this about 5 months ago, but I’ve had a lot of difficulty coming up with more to say than a strictly emotional impression, nevertheless, I thought I’d punch it out.

In November I was fortunate enough to have some lunch-time conversations with Bill Giese and Korey Krauskopf from Turn 10 studios. While I can’t speak to the specifics of much of the things we talked about, I spent a lot of the time talking to them about what it’s like to work in the studio.

I’ve found that many of the people at Microsoft have a gleam in their eyes, the kind that comes from doing something you love. Turn 10 has this gleam in spades, but moreover they have a tremendous amount of energy.  I’ve never really had the chance before to speak at length with people who have been developing games in full blown professional studios for a large tract of time.  If Turn 10 is my only datapoint, it’s probably a good one.

Turn 10, if you’re not aware, are the developers of the Forza Motorsport series.  This series is essentially Microsoft’s answer to the Grand Turismo series, and they’ve done a pretty amazing job.  Walking around in their studio, you can see why.  Every scrap of wall that isn’t spackled with design plans is brimming with racing gear.  They even have a test setup with full on racing bucket seats.

When Korey and Bill talk about their game, I was struck by how excited they were about it.  I guess on reflection I’ve always seen this happen, in interviews with game developers, even transcripts of those interviews, you can tell from the text how much they love their game.  It’s a spectacular thing to be able to do what you love for a living, and this industry demands it, because that love gets channeled into passion for the game and hopefully into something that will excite gamers just as much.  I think Turn 10 has done a pretty decent job at this so far, and I’m looking forward to their future offerings

If you want the opportunity to talk to Korey, or one of several others at Turn 10, they’re holding a promotion where you can play Forza 2 against them, tomorrow night.  Check it out here.

What Ever Happened to Tex Murphy?

Chris Jones and Aaron Conners?

Backup.  Today’s Zero Punctuation regarding Zack and Wiki features references to several old adventure games (Yahtzee himself being a designer of some very emotive ones).  Among these are two piece of box art that are probably unfamiliar to most people:  Under a Killing Moon and The Pandora Directive.

These two games are are the 3rd and 4th installments in what is generally referred to as the Tex Murphy adventure series.  You play a cynical middle-aged Private Investigator set in post WW3 San Francisco.  The first two games (Mean Streets and Martian Memorandum) are controlled in a reasonably standard side view that we have come to expect of adventure games, with the addition of a flight simulator-esque interface to travel from place to place.  Mean Streets in fact was originally designed as a flight simulator with some adventure elements added in, although the reverse ended up being the result.

The three latter games (Under a Killing Moon, The Pandora Directive, and Overseer) all use live character actors, and most of the game takes place in a first person view of a mostly photo-realistic environment which is accomplished by projecting photographs onto 2D meshes.  These adventure games were hilariously funny, intuitive, and kept you playing until the very end.  The interface was extremely ambitious for the time (Moon came on 4 CDs in 1994, Pandora came on 6, and Overseer on 5 plus an alternate version on DVD, the first game I ever saw do this).  Nevertheless, the game suffered from a variety of mostly technical issues, and were being made during the twilight of adventure game popularity.  Sales were, one can assume, not exemplary.

A year after Overseer was released, the Utah based Studio - Access Software - was acquired by, wouldn’t you know it, my company, Microsoft!  Microsoft was, I assume, primarily interested in Access software’s more lucrative property in Links Golf, because the Tex Murphy series was never heard from again.  This is particularly unfortunate because Overseer ends in a cliff-hanger.  In 2004 Microsoft sold Access Software, now known as Indie Built, to Take Two Interactive, and it became part of the 2K Sports brand, again emphasizing the golf label over the now defunct Tex Murphy series.  Indie Built created a snowboarding game for the launch of the 360, and was then closed by Take Two in 2006, with no public reasons given for the closure.

Chris Jones and Aaron Conners were the designer and writer, respectively, for this phenomenal series, with Jones playing the titular Tex Murphy.  Aaron Conners also made novel versions of Under a Killing Moon and Pandora Directive, which are pretty good for pulp fiction.

Both Chris and Aaron moved with the acquisition to Microsoft to work on projects there, primarily on the Links series and the Amped snowboarding series.  Aaron seems to have moved to 2K Sports following the second sale, and worked under the 2K label until Indie Built was closed.  He has subsequently left the software industry entirely, and has started a contracting company called WordPlay LLC.

Chris on the other hand appears to have left around the same time Indie Built was sold to Take Two, becoming a partner in an new company called TRUGOLF that makes life-sized golf simulators for what I can only assume to be the “I have a vacation house in the Hampton’s” crowd (One can assume that Chris Jones really, really likes Golf).  Both he and Conners still live in Salt Lake City, Utah.
So what’s to become of Tex? Well, Tex has a sizable following over at James LeMosy’s Unofficial Tex Murphy Site.  Last month Aaron Conners left a note on the forums saying that he and Chris have a new game they’d like to make, and are actively searching for a publisher.  If that goes well, they’ll try to use it as a shoe-horn to make the final chapter of the Tex Murphy series, in some capacity.  The story is finished, apparently, and waiting to be told.  It’s been 10 years since we last heard from Tex Murphy, hopefully it won’t be another 10 before he finishes his tale.

If you’ve been negligent, you should try to get your hands on a copy of Under a Killing Moon and The Pandora Directive.  If you copy the contents of the CDs into folders on your hard-drive, you can get DosBox to mount them as separate CD-ROMs, and you can avoid the interruptions you would have encountered at the time of having to switch CDs constantly because the games natively support putting each CD in it’s own CD drive (if you for some reason had 4 CD-ROMs in your PC in 1994).  There’s a lot to learn - both good and bad - in terms of game design from these games, and the writing is extremely rich in both.  I would highly recommend the investiture.

Anatomy of Addiction

I’ve recently introduced my girlfriend to a little game called Civilization 4. Having sunk countless hours into both it and its predeccesors over the years, I’d put the game down in favor of more recent fare. While the game is not really new, I’ve been thinking more about design than I was when I first picked it up, so I thought I’d walk through some of the thoughts I’ve had in the last couple of weeks.

Civ4 has what you might consider to be a rather steep learning curve. There are a lot of concepts to grasp: How combat works, the rules governing production, finances, research, health, and culture, trading, exploration, terrain effects, religion, corporations, great people, resources; The list continues on and on. This list of concepts adds a significant level of complexity to the game.

Sid Meier once defined fun as ‘a series of interesting choices’, and that’s reflected greatly in his most famous series of games.  While the strategic complexity of Civilization 4 is high, the game is broken down piecemeal into a series of reasonably intuitive choices.  When your turn begins, the game will cycle through all the cities that need attention because whatever they were building has completed, and it will ask you what the city should build next (while recommending some of the best choices for that particular city’s current conditions).  Once that’s done with, the game cycles through all the units you control that are awaiting orders, the scope of which are reasonably straightforward, move to a different location, or perform an action, or even simply ‘automate my activity’.  If you’ve finished researching a new technology, the game will ask you what technology you want to work on next, or show you the tree that demonstrates what the impacts of each choice will be.

This series of simple, but interesting decisions form an emergent gameplay which is highly sophisticated.  When you add in the dynamics of interacting with other players, the result is a highly entertaining game.  This is why the Civilization series is a GOOD game, but not why it is addictive.  Those roots lie in a fundamental result of these simple choices.

Anyone who’s played a Civ game is certainly aware of the “One More Turn” phenomena.   These games are impossible to put down.  There’s no clock in the game, because time is piecemeal, so by the time you manage to exert some form of self-control, you look up from your computer, bleary-eyed, and find that it’s now 3:45am and you’ve just been game-locked for the past 6 hours.  I loved Bioshock and Portal, but they don’t give me the itch the way Civilization does, because those games don’t have a pound of pure psychological crack built into their framework.

The key to the addiction in Civ is I believe delayed gratification.  As I’ve discussed before, addiction comes from giving the player food-pellets (which are rewards of some kind) at frequent, but not regular, intervals.  There is something about the irregularity of the pellet reception that triggers certain psychological mechanisms that rhythmic reward does not.  In Civ there are several types of rewards going on, and there are a myriad of factors that go into the determination of the time between requesting the reward (beginning the production process) and the reception of said reward.

Because you have several cities, each producing something to bequeathed at a later time all at once, your subconscious brain is not able to grasp a pattern behind the frequency of reward, even though you can clearly see how many turns it will be until you get a pellet.  This is compounded by the fact that you have a lot of things to do each turn, so there is a significant amount of time that occurs (usually minutes) between movements of the clock forward.  The amount of real-time that occurs between turns is not consistent however, which again adds to the irregularity of the pattern.

Every time something completes, you can literally feel a small jolt of excitement, at which point, like a drug addict who’s becoming resistant to his favorite hit, you immediately request your next jolt, but you’ve got to wait for it.  Not too long mind you, just a few turns, but with so many of these activities going on at once, you’re going to get another hit in just one more turn, until it’s 3:45am and your cat is yelling at you to get out of his chair so he can go to bed.

Get Over the Hardcore

Stardock has built themselves a tidy little market turning around profits that are orders of magnitude higher than their development costs (under a million!).  They’ve done this on the piracy haven that is the PC, and without using DRM.  In the dawning hours, as the industry is starting to realize the potential in casual gaming, I think we can predict a related move:  Getting away from the hardcore gamer.  Trends that begun with the first high resolution FPS in the nineties are beginning to reverse.  I predict in the next 5 years a major shift away from those large budget titles and into a field of much smaller, more innovative and original titles with smaller development budgets, delivered through digital distribution, and appeasing a much broader audience than the twitch crowds.

And I’m looking forward to it.  (On a related note, Dreamfall is getting released on Xbox Originals on Monday!)

Interview with Chris Satchell

This is nearly a week old now, but Gamasutra has a great interview with Chris Satchell (General Manager of XNA) on the XBL Community Games.  It’s nice to see that Microsoft does care about pushing the medium in ways that go beyond graphics capabilities.  Good job folks.

Colorblindness and Videogames

Destructoid has a good article up about the problems those of us who are colorblind or color-impaired (like me!) have with videogames. To discuss this a little further, approximately 10% of the male population suffers from some degree of color impairment. The article’s author seems to be significantly more colorblind than I am, as he can’t tell the difference between the red and green on Big Daddies in Bioshock. Neither of us, however, can see the boat in this picture (I’m told there’s a boat here).

Red Green Ishihara Test

I’ve never found my colorblindness to be so significant that it ever impaired my ability to play videogames, but I’m certainly on the less severe end of the scale.

There have been noises in the industry about taking accessibility into consideration when designing a game, which I think is terrific, although of course there are always trade-offs in doing so. In the realm of color-blindness however, the solution to this problem is nearly always to never use color as the sole indicator of anything in the game. This is not only often reasonably easy to do, it’s also sound design practice to aid those who are not color-impaired as well. It’s nice to see that Peggle has gone to the trouble to design an entire mode around the colorblind, but it would have been reasonably simple to simply add symbols into the design of the blocks in the first place.

Creative Commons Attribution 3.0 Unported
Creative Commons Attribution 3.0 Unported