emr – Page 5 – The Roohr Way

Flythrough.Space Retrospective

I’m not going to rehash don’t remake an old game, but the principle very much applies. Flythrough.Space is a 3d remake of the EV series, and as such suffers from the “remastering someone else’s game” problem. That said, it was a long and involved software project, so there’s got to be something to take away from it, right?

Content Design

Don’t do content design up front. I had reams and reams of content for this project, a holdover from an even older project, making the oldest data seven years old! And the design of the map dates back to an EV Nova TC I attempted in 2005 or 6. The first plan involved using the graphics from Onyx’s Old Shipyard, back when the whole thing was going to be sprite based. FTS, while using the existing data, was 3d from the beginning so needed its own entire suite of assets.

I ended up using Blender because it’s Free Software and I wanted to keep the toolchain as free as possible. I wanted anyone to be able to pick up the same tools and build more content. It took me a while to become minimally proficient with Blender. One thing that ended up looking really cool was making rough textures with blender’s texture paint then applying a “paint” layer in GIMP with clean lines but dusted up with a rough brush and a makes for a worn look. The ships aren’t exactly up to modern standards, but I’m proud of the results nonetheless.

The planets turned out pretty good. Never did nail clouds though.

Technology

Flythrough.Space started out with very basic requirements. I wanted to do the game in 3d, I wanted menus, I wanted to be able to write object oriented code and I wanted to be able to break code into multiple files. Web was a platform I’d been working on for my whole career up to that point, and I wanted to make the game very easy to pick up and play, so web it was. There was a long period of using babel and Angular to compensate for the shortcomings of JS, but eventually we got all the goodies right in the browser! Once I was working in vanilla ES6 with no precompiler or other baggage, working with the code was pretty much a joy.

ECS

I tried to build an entity/component system. All of the game’s behavior is implemented in “systems” which are functions that get run each frame, requesting entities that have specific components to work on. For example:

export function velocitySystem(entMan){
  // Provides inertia.
  for (let ent of entMan.get_with(['velocity', 'position'])) {
    // Do physics
  }
}

The game state all belongs to entities or the player save object. This turned out to be a fairly awkward way to program a game. It was very nice that, say, velocity or AI could be added to any entity pretty easily. But there just weren’t that many different classes of things in FTS. A class hierarchy wouldn’t have become overly complicated, considering the small number of different entity types in the final game (ship, beam, planet, asteroid, projectile, explosion.) One major drawback was how it changed the code layout of the project. If you want to see what code controls the behavior of a ship, you need to browse several different files and it’s extremely unintuitive. Likewise, if you want to know what parameters a ship can have, there is similarly no single place to check out. There is no FTS bible. One possible evolution would be to put every possible ship param into the implicit base class, but then you’ve got a few parameters where absence matters…

Collisions

I wrote a primitive collision library myself, and my attempt to integrate a proper one later was frustrated by a lack of the primitives I needed, specifically objects with no rotation components.

The crowning achievement of the collision system is the line segment collider. Managing to implement (not invent, mind you, merely implement) allowed continuous collision detection which made combat work much better. It also enabled beams, which are a staple of the genre.

Missions

The missions system leverages ES6’s actually very nice text interpolation to make nice templated text. It uses eval all over the place to do it. It’s a bit fiendish how it works, and it works very nicely for stuff like “deliver cargo” but to add features like “go blow up ship” you’d need to add something in the system code to spawn ships depending on active missions. Probably wouldn’t even be so hard, but it’s low hanging fruit that I haven’t picked. Missions where a very late addition, right before the Alpha release. The json to define a mission looks like this:

  "smuggle": {
    "short_name": "Smuggle ${cgo(this.cargo.type)} to ${this.dest.spob}",
    "desc": "Some shady exporters need ${this.cargo.amount} tons of ${cgo(this.cargo.type)} moved discretely.",
    "offer_if": "true",
    "offer_state": "missions",
    "cargo": {
      "type": "${get_illegal_cargo()}",
      "amount": "randint(5,10)"
    },
    "dest": "get_spob_same_govt()",
    "reward": 14000,
    "accept_modal": {
      "text": "The dockhands quietly load the mislabeled containers of \"${cgo(get_legal_cargo())}\" into your hold."
    }
  },

But that sort of thing only covers random cargo missions. I’d designed the world for FTS without giving too much thought to how it would become involved in any sort of story, besides the idea that the Loyal Suns wanted to take everybody over and the Itaskans wanted you to visit every homeworld. This is a problem because in EV games, you’re supposed to play missions to unlock faction ships, and most of the ships in the game (especially the ones I’m most proud of) where faction ships. My inelegant solution: all ships available all the time. No dynamism. Nobody wins or looses. Some people just fight sometimes and if you hail them they’ll give you the slogans of their government. I think that without plotlines, there isn’t much of a hook. There’s certainly no endgame besides grinding up to an Absolver, Nightshade, Capital, Taoiseach, etc.

Data Driven

Every ship, star system, etc is defined in json files. Many previous game attempts had done a lot of work on making a perfect data loader. In this case, I was able to leverage Javascript’s own builtins to make something I’d consider basically perfect (or at least perfect in that it represents an idea taken to its full extent.) You can declare another object as a given object’s prototype and it just works, inheriting values that aren’t overridden. Objects are created on screen by instancing the data (with some enhancement, of course, but it’s all fairly easy to follow.) There’s no intermediary data is what I’m getting at; the javascript objects in the data directly translate to javascript objects in-game. Upgrades work by acting like a diff. Getting all of this to just work was one of the funnest parts of the project and will be the hardest part to let go of.

Community

The babylonjs community, by way of their forum, was extremely helpful. Having real live people who want your project to succeed and can help you use the tools they’ve built is a joy. I would definitely recommend treating community as a critical feature when picking frameworks and libraries.

That said, you also need to cultivate a community around your own project. That’s one angle where I failed in a big way. It isn’t easy to get other people to demo your game. Starting with something very you can get right into, rather than starting a player out as some sort of lowly level one wimp in an RPG might make a lot of sense. I eventually added cheat codes in the form of querystrings (bonus points if you can find them by looking through the source) so players could start in more powerful ships (and so that I could test them without grinding.) But without a large number of testers, tons of bugs slipped through the cracks. It took me way to long to realize that using Control as the fire button simply wasn’t going to work on mac, for example.

If you want to use FTS

I tried to do with FTS what Ambrosia never did with EV: make a totally open system that anyone can pick up, make a game, and truly own that game with. FTS is licensed under the GPL so if you throw in your own assets and release any code changes, you (yes, you!) can make a commercial EV Clone with it. The game scenario lives in the data and assets folders. If anyone has specific questions about how to implement something, I’d be glad to help. But I realized something: nobody is going to mod your game if they don’t love your game. Making a game easy to mod needs to be a secondary concern to making a great game. If you really truly want to build technology rather than a game, I would recommend partnering with someone with a vision for an excellent game, which brings us to our next point.

Putting the cart before the horse

I thought I knew exactly the game I was trying to build from scratch. However I was building it largely in a vacuum and I certainly wasn’t going back to EV Nova to see how the ship movement and turn speed compared. This was probably a mistake. I was so mired in what I could achieve technically that I wasn’t stopping to ask if the game I was building was actually fun or not.

I should have spent the bulk of the development on the basic combat loop, making sure the ship handling was fun, the AI was correct and tight and fun to play against, and the game balance was decent. Instead I focused on creating tons of content and features because I was trying to work from a feature checklist. Feature parity with a twenty year old game does not a compelling game make, as it turns out. On paper, FTS has what it needs, but I feel that it does not live up to that potential.

It’s a mistake I don’t intend to repeat. Future projects I’d like to get in front of people faster, I’d like to be less stuck on design decisions I didn’t even make, and I’d like to have the emotional fortitude to disengage from a project before it takes up half a decade.

Giant robot submarines, we’ve got those too

One interesting aspect of most knowledge being instantly accessible is the holes in that knowledge-things from the before time that never got ingested into the web and as such still mostly exist in your memory. I find myself trying to fill in those gaps sometimes. I found myself asking “what the heck was this old toy series I remember?” Not everything will get the Toys That Made Us treatment.

pink robotic lobster toy

I picked up a set (not pictured) at what I seem to remember being an aquarium gift shop, but it could really have been any pit stop on the mass pike, back in the 90s or early 00s. The scifi theme and being unencumbered by a fleshed out fictional universe was appealing.

More recently, I decided to figure out what the heck they where. I didn’t have the original handy, but after googling some vague descriptions, an imageboard (of all places!) pointed me in the right direction with a very accurate rendition that sparked my memory.

I’ve now got a decent handle on what the internet seems to know about Silverlit Toys’ Multimac. There isn’t much of it. They can be had on ebay (see the lobster above.) There are good pictures of the drivers here, as well as some information.
some good pictures of the crustacean-shaped submarines as well. There are a couple of forum posts here and here that put it in context (how it related to other lines, where parts where reused, etc.)

But really, these just create more questions than answers. Especially looking at the shark, lobster, and crab shaped submarines I’m reminded of Lego’s Aquazone line – which one came first? Or was there a general atmosphere of “giant animal shaped robots piloted by humans” in the 90s?

I had a small breakthrough when looking at the packaging of the lobster and crab though – I believe that they are a later addition to the line because they have a URL on their packaging! It might be possible to date them by when that became common practice, but now I’m eager to actually dig up the site!

This one is small and hard to read.

And this one has a label over the URL, but a upon close reading they appear to have just owned “www.oceandiscovery.com”

And in 2001, the internet archive captured a copy!

And that’s it, everything the English-Speaking internet knows about this (dare I say mysterious?) line. I suppose that’s what made it appealing at the time: the suggestion of a wider world, a connection to a past (specifically the giant-robot-and-vehicle toy-verse that included more popular lines like Transformers and Zoids) that I didn’t really have knowledge but the matter-of-fact-ness of the packaging suggested it. It was as if to say “yeah, you know, giant robot submarines. We’ve got those too.”

Flythrough Space: Beta

It’s been a couple of months since I last wrote about Flythrough.Space. It was the first time I ever got any feedback on the project from people who understood what I was going for, so it was pretty informative. I had productive discussions about perspective and (as I’d feared) overlapping 3d models are a bit weirder than overlapping sprites.

In any case, if you tried it before and thought it was rubbish, you might as well give it another try because it’s radically different, at least in appearance. Go to the settings menu and try out the different options. Message me if you want cheat codes to try different ships (or figure it out from the source!) When in doubt try resetting the settings or refreshing the page.

New Features:

Sound effects. Pew pew, etc.
Anti-tunneling collisions. Players complained that it was hard to hit stuff; this was partly because of a well known problem called collision tunneling. I bit the bullet and ported over a line collider, so now fast-moving shots should connect more frequently.
Implemented a settings menu so that as I started to add GPU and CPU hungry effects I wouldn’t leave people (or my own laptop) behind. It’s slightly jank so I recommend refreshing the page after you leave the menu to make sure the settings take effect.
Guided weapons.

Asteroids! Mine them for fun and profit! Blow the metal (orange) ones into very small (hard to see) pieces and scoop them up by flying over them. Then go to a market and sell!
Lighting effects. Though each star system could already define its own lights, now ship explosions cause a flash in addition to particles. I was reading The Dark Forest and the descriptions of space made it necessary. Also shadows are in but don’t work very well.

Piracy! You can now plunder disabled ships for cash and cargo. Press ‘B’ when you’re close to a disabled ship.

Starfield. Classic space videogame effect… it lets you see where you’re going. Got some good help on the babylonjs forum with this one. I originally tried to build it with a shader, but gave up and did it with a massive number of sprites.
Perspective (or, well, the camera looking at your ship from an angle) is now optional. If you prefer your space-shooters to be top down (because planets getting bigger and smaller is disorienting, for example) you can have that now. An ortho camera proved to be not quite what I wanted, though it would still be cool if combined with a vertex shader that applied perspective to individual objects, to better achieve the look of a sprite-based game but with the lighting benefits of a 3d engine.

Impact Physics! When you hit stuff, it gets pushed!
Zoom! It became too hard to debug weapon placement without it, so I added it in. Use [ and ] to zoom in and out.

Beams! Take an XIC Prospector or drillship out for a cinematic experience.
Textures. Ships have them now, including an (optional) glow effect around emissive (self-lit/glowing) bits which I think look pretty cool. Each model has multiple (per-faction) skins which are easy enough to palette swap and add more.
Fixed various bugs, including making the map show up right away when you pause the game (now you don’t need to drag it) and explosions now show up reliably.
Particle effects everywhere!
Every item (ship or upgrade) should be available for purchase somewhere. There’s no notion of unlocks, you just need to get enough cash and drop by the right stellar object. There’s now a test which enforces this!
Trade routes. The trade system is still a bit confusing, but the fluff text should direct you to some decent trade routes (or some very lucrative ones, if you are willing to brave pirate infested space!)
Alert text at the bottom to tell you, for example, that you’re too close to the system center to engage your sidereal drive (jump to another system.)
Optional ‘arcade’ mode where shots don’t inherit velocity from the things firing them. Should make hitting stuff easier. I think it matches the behavior of other genre games. I don’t like it very much myself, but that’s why it’s a setting.

Carriers can launch fighters! They don’t do anything particularly clever yet though, they just use the normal AI for the most part. Q to launch, (hold) R to recall, F to attack your target.
Saving and loading, so your progress isn’t erased every time you land on the page. Like settings, for now saves are using local storage. You can also upload or download a save file from the same menu.
Pause button now takes you to the main menu; press ‘m’ for map and esc to return from the map. This means I don’t need to debounce map button presses and as a result it’s less janky.
You can now see which systems are mission destinations in the map, even if you haven’t explored them yet. An orange circle around a system indicates that your mission is there.
Code changes: Entity manager is now a singleton, so I should not have to pass it around everywhere. Refactored the HUD into individual widgets. Ships can now inherit from other ships with the “extends” property, which should cut down on clutter in ships.json and make nova-style ship variants much more possible. Input is a lot less gross.
Control changes. Using CTL as the fire button wasn’t feasible on Mac. Same deal with +/- for zoom.
Data Changes: Cleaned up terminology for factions so it should be much easier to read the data files.

Where we go from here

So what’s next? Well, I’d really, really like feedback. Yelling into the void is less than satisfying. I’d like people to give the game a spin and tell me how horrible it is. One thing I’m especially concerned with is making sure the ships feel right – not too quick, not too fast, not too slow. The weapons could also be a lot more balanced. The biggest improvements to the game at this stage will be all about tweaking the numbers. Nothing would delight me more then someone downloading the game and trying out different tweaks to see if they can find the fun. Yes, I realize that this would ideally be done in the prototype rather than the final game but hey, not all projects can go perfectly.

What do I still want to add? I’d like to fill out the galaxy with more planets and more NPC placement. If anyone wants to write planet descriptions I’ll do my best at editing. A lot of the Loyal Suns, League, and a bit of Freehold territory still needs attention. More diverse asteroids would be cool too. As far as big code features, well, fleets are a big one. More missions would be nice. A more in-depth hailing system to allow planetary domination would be cool and give the game more of an end-state. Also, the AI is full of bugs and would really benefit from the level of unit testing I’ve applied to player.js.

I may take a hiatus from development for a short while, or I might not. I keep telling myself I’ll try to work on another project, but I keep coming back to FTS.

Digital Native: workflows

Made in Renoise with a Monologue sample, the same Cheetah drumkit I used for BattleMETAL, and an Ob-Xd. Mastered in Reason.

I wrote the melody in Reason (sequenced on some ABL-3s, played on Manis Iteritas), exported each measure as a separate file, then imported them all into Renoise and painstakingly sequenced them back in order so I could write drums on top. Then I exported the tracks, put the drums back into Reason, and finished the track. This took quite a bit of time but the results speak for themselves.

Sequenced entirely in reason, with mouse-edited drums and mostly ABL-3’d synths (starring the TAL-Bassline 101).

ABL-3s driving Manis Iteritas again, except this time the sequences where random! I let the machines go and automated the whole thing in one epic train ride into Boston.

Don’t remake an old game

I’ve seen this way too often. A flashy trailer, some assets, a community project, a feverish dream at reclaiming the glory of games when they seemed new to you. I have made this tragic mistake, but you don’t have to. No matter how much you want to, do not pick up a 20+ year old video game and start trying to make a remake (in Unity! In Unreal! In Godot!) I’m not saying that you will fail, but I’m saying that you probably won’t get what you want.

You won’t get the IP

In order to use the name “Your Favorite Game” you will need to purchase it from the existing owners. If nobody is producing sequels it’s probably because the IP holder has chosen not to. You will not be able to contact the IP holder and if you manage to, they will not sell it to you. If they do offer to sell it, it will be at a price way outside of your price range. If you wanted to purchase it at that price, you’d need to take out a loan, you’d need a business plan, and the project would very quickly not be fun anymore. You could also just sort of not quite use it and hope that the IP holder does not decide to shut you down. But getting the name is extremely important, because the path is littered with other semi-remakes that didn’t use the name, and you didn’t like any of them. Somehow, none of them had “it” because you’re still looking at remaking the old one, not playing someone else’s remake. Will you fare better?

The myth of fans

But I have a ready-made audience! You cry. Except you don’t. Videogames are massively more popular now than they were when Your Favorite came out. The audience for games has increased in size but the number of fans of Your Favorite has remained constant. It might be because genres have moved on. It might be because other franchises took up the banner. But the number of people who potentially enjoy The Remake is actually much smaller than the original fanbase was. Some people will have drifted away and don’t care anymore, some have probably moved on from gaming. Some may never have existed, because you don’t know what the sales figures are for Your Favorite and it was released before social media and steam statistics so you can’t really be sure what the size of your audience is. What about the number of active posters on the discord/reddit/forum where people desperately wish someone would finally come out with The Remake? That seems like a reasonable proxy. Go find this number (I bet it’s less than 100, but you may have better luck.) This is likely to be the maximum number of people who will care about The Remake. If you still want to embark knowing that you’re working for that audience exclusively, read on.

The myth of memory

So your intended audience is the people who are still online right now clamoring for The Remake as they have been since Your Favorite didn’t get the sequel it so richly deserved. But these will also be your harshest critics. Like you, each individual who played Your Favorite had an idea of what the game was, but they’ve each had twenty plus years to elaborate on that idea, and these imagined games have diverged. There will be a multitude of conflicting expectations which will mean that you cannot possibly satisfy them all, or even most of them. Indeed, because they (and you) have had years to embellish this imagined sequel and for their expectations to diverge, it’s possible that no game will satisfy them-no game will ever live up to what they want. The Remake may not have a ready-made audience, but it does have its first and harshest critics. But surely new technology will allow you to wow them, right?

The myth of progress

Making games is so much easier now! Surely if I take modern tools such as Unity, Unreal, Godot, Source, Lumberyard, etc, I will be able to rebuild this old obsolete game with minimal fuss. This may be true for arcade games like Space Invaders or Asteroids, but Your Favorite is only about 20 years old, so this is a misguided attitude. The tools of game creation are very good at making modern games. If you are building a sophisticated but off-the-beaten-path project, you are as much on your own as the original creators of Your Favorite where. Which is not to say that you can’t create original titles with modern tools-just that by constraining yourself to an archaic design, you may not be winning yourself any saved effort. You’re not a wizard from the future, coming back to build a castle with magic spells… you’re pounding in nails with a cordless drill. Modern game engines have primitives for things like “guy walking around” and “wheeled vehicle.” Trying to mimic the behavior of weird bespoke setups from the time before physics engines will result in very little off-the-shelf stuff to use. Same goes for a million other quirky modes of interaction with games that have ultimately been replaced with stuff like “reasonable defaults” and “realistic physics.” You’ll be reinventing the wheel constantly. You might be able to make it look nice, but many (most?) such projects stop there.

The Right Move

What should I do? If you really want to share the joy that Your Favorite brought you, you need to figure out what it is about the game that you found enjoyable. Consider the cargo cult; to recapture the bounty of cargo drops, people (so the story goes) built elaborate fake airstrips, thinking that if they created the right conditions, cargo would appear. I see the same in remakes – “if we take the art assets (or clone them, or redo them but off-brand-enough that we don’t get sued” and keep the gameplay exactly the same, it’ll be awesome!” Don’t do this. What you need to do is break down the design of Your Favorite, and figure out what it was that made the game compelling. “Everything” is not an acceptable answer, you need to be critical. You need to think about what you can reproduce in $CURRENT YEAR and what’s an artifact of its time, like compromises due to affordances of the platform, or time constraints. You must translate those compelling aspects into your future projects, and discard the anachronisms and sacred cows and genre conventions that belong to the past. Make your own game.

Playing a 90s web game in the 20s

The first videogames I recall playing where applets on the early web. I’ve decided to explore what I can find of these games on the Internet Archive. I’ll leave notes on how to run them yourself and where to find them so you can follow along.

The Pantheon of game sites was, more or less Alfy.com, Ezone.com, and MoFunZone.com. When the flash era hit, we got Newgrounds, Addictinggames, and ArcadeTown.

This is the earliest capture of alfy.com, from 1999. It’s not the screen I’m most familiar with, but I’m curious to see which games are present already. It appears to be constructed entirely of image maps, so we need to inspect it to find any of the links.

Tail Gunner, Javanoid, Missile Commando, Urbanoids and Asteroids I definitely remember, and we’ll certainly get to them later. This landing page from May 2000 is closer to what I remember:

I’m sure the layout is somehow janked up by my up-to-date browser, but that is the gist of it. Some websites used to be like this. The different clickable sections are sharply rasterized images. There are probably a bunch of things on here which I’ll explore later, but most of my time was spent in the arcade tab.

At just the right resolution, the utterly noisy but correct layout is evident (this is the space games section. I recommend checking these pages out; static screenshots don’t do it justice. Everything is animated. I already recognize a ton of classics just from the little portal views.

Let’s try some games. You’ll need to install the JDK so that you have appletviewer available as a command. To do that in Ubuntu, use

sudo apt install openjdk-8-jdk

In order to make these games run in appletviewer, you need an HTML file that calls them. When I run appletviewer, I get

java.security.AccessControlException: access denied ("java.lang.RuntimePermission" "accessClassInPackage.sun.audio")

Good to know that this was discussed on Usenet in 2001.

Ok, so let’s install virtualbox, download windows 98, and give it a shot!

I needed to enable virtualization in my BIOS to make virtualbox work. Also I set up the good display driver because when I tried it initially the colors weren’t right.

But the display driver wouldn’t work! The radio button sets it to the driver, but it still thinks it’s disabled. Bummer. I also tried installing ie6 with winetricks, but it was too unstable to use

Let’s try windows XP! We’ll apparently need the JVM. In order to get that on there, I burned a virtual cd which seems to be the easiest way to get files into your virtualbox PC. And it works! At least for some of the games. Check out this one on the author’s site: http://www.javaonthebrain.com/java/warp15/

This had the best graphics and probably made the strongest impression on me. The green/purple stuck with me enough that it’s the base color scheme for my 40k army now.

I probably haven’t played this game in twenty odd years. Does it hold up?

Well, the graphics are amazing. The author used POV Ray to make vibrant raytraced sprites that look great even in 2020. But the gameplay… Well, it’s impossibly hard. The controls don’t work quite right, you can only have two shots on screen at a time, collisions are wonky, and it’s very easy to accidentally slam into a wall and die.

Maybe I’ll return to get some other games working, maybe I won’t. I suspect that the problem with other games is that the assets aren’t in the archive, and if a more current source could be found they’d work just fine. Also some may require newer versions of Java. I’ll leave that as an exercise to the reader. May I recommend SuperKid.

MELT (ELM Collective)

MELT is an anthology, and as such each track is pretty distinctive. It really pays to listen to each track closely here, as each individual artist has done a lot to make tracks memorable. The overall impression is an IDM treat with lots of delicious drum machine rolls and synths you can really sink your teeth into.

Dracul starts off the album on a strong note with metallic beats and an iconic synth melody.

This track has a couple of particularly well-executed change-up. It plays in a bunch of space that you usually wouldn’t hear in an IDM track. Lots of different sounds playing short sections of a melody in turn, chopped vocals, and other excitement.

Not only is this track great, but it introduced me to Iconic Black Suit who has a deep catalog, including Bionic Eyes Won’t Cry.

Ridebreak absolutely nails the Hangable Auto Bulb drums, but just as you think that’s all it’s going to be, it launches into this awesome soaring videogamey melody that carries the rest of the track. It took me a few listens to get into it.

Pandemic: Week 0

We watch and read the news, so to some extent we knew it was going to be bad. The people who tell you not to worry about things told me not to worry, but this time, I ignored them. We stocked up on food, cough medicine, electrolyte-water, and yes, all-important Toilet Paper.

On Wednesday night, our CRO called it on slack-Hopjump is now working from home. This was in advance of the threshold that E-Staff had previously set, and a very welcome proactive move to flatten the curve. This will be an adjustment for all of us though. I’m going to try and maintain my routine-when I would be on the train I’ll keep working on projects or music or what have you.

State Street still still hasn’t called mandatory WFH yet.

Over the course of the week, the state of mass rolled out measures. In the span of a week we got a state-level state of emergency, a national state of emergency, schools closed, gatherings limited to 25 people. You can get details here. Food is take-out only. It’s been odd to see policies evolve so quickly. I wonder if the idea is to slowly introduce the policy to avoid a panic or if the situation is really evolving this quickly. We knew since the Biogen conference that it was here; why not take a crisis stance immediately?

The biggest difficulty is accepting that this isn’t a blip, this is something that will be with us for a long time and is going to change the course of human events. The futures we each envision for ourselves and our families need to be revised, and I worry that we’re paralyzed by that process. A slow-motion version of the deer-in-the-headlights effect.

So don’t wait. Don’t wait. Distance yourself from others. Flatten the curve. It seems risky and uncool to defy those who would tell to just keep going like nothing is wrong, but this is one of those moments where you need to listen to the doomsayers.

PAX East 2020

On the eve of the Covid-19 Pandemic, with the stock market tumbling, hundreds (thousands?) of game fans breezed into a convention center to try some new stuff, purchase apparel, and frequently use hand sanitizer. It was everywhere.

There’s something sinister about the rise of Discord, but I can’t explain why yet

Thursday was far better than Saturday, so definitely go then if you can. I was able to play far more games, and the boardgame tables where much easier to navigate.

Exciting New Games

While speaking to the creator of BlazeSky, I name-checked Escape Velocity and he knew what I was talking about. But the more I look at it, the more it looks like Empty Epsilon/Artemis. The different styles of play (rescuing people, combat, exploration, etc) are represented by different characters who give you quests, which is a neat approach to writing storylines. I found the banking camera made it difficult to reason about where my shots where going, and I hope that at launch there’s an option to keep the camera steady while the ship turns, but even if there isn’t I’ll probably play the hell out of it.

Another game that was physically demanding just due to its camera was Sludge Life. After you fight through its extremely elaborate recreation of a 90s desktop interface you’re dropped in a colorful, heavily distorted 3d environment. Very Getter: Headsplitter. The distortion (I think the vertical FOV was unusually high or low or whatever) was jarring and slightly dizzying. I predict that this game will be a stoner-hit of Rez proportions. Devolver is playing in the same space as Adult Swim here.

Watched some people play Dunk Lords. The world is ready for strawberry-headed athletes. You could dismiss it as Space Jam: The Videogame but stripped of its bizzare branding, the concept of cartoony basketball feels pretty novel. Sports games that attempt to simulate a sport (like EA’s catalog) or Be a sport (like Rocket League) aren’t my jam, but using the basic rules of a sport to do something unique or new definitely is.

Watched some Panzer Paladin play. There was an enormous reproduction of the cover art, standing out against the crowd. Makes me wonder what the differentiator is. It looks like a Gameboy Advance game (specifically, it looked like Metroid) to me, and though the mechanics where cool and smooth, I wonder who’s buying enough copies of this to justify an enormous booth at PAX. What’s the differentiator. Are they just striking at the right moment? Is it the great Anime art? Am I not enough of a sidescroller fan to understand what the difference between it and AVGN Adventure (which we also demo’d) is.

A radically different sidescroller with very clear differentiation was Carrion, a game where the avatar resembles the blob monster from The Thing. I’m not sure what the gameplay is besides sliding and swinging around an industrial environment and eating (?) the little NPCs that run from you.

If you’re itching to play Star Citizen but don’t like social interaction or having to hire an entire clan to operate your large spaceship or pass flight training to join an org, and also want a game that’s finished, I unfortunately can’t recommend Everspace II yet, because it isn’t finished either. But what I did play compared favorably to Star Citizen, and I venture to say that it’ll be done far sooner. The vision of space was colorful and dense with things to explore and tractor beam into your ship.

I also got a chance to demo Brigador Killers. In addition to the stompy robots seen in Brigador, you get to play as an infantry suit or a giant floating wrecking ball. The controls are also slightly different – rather than absolute direction, your WASD controls are now relative to the mouse. It took some getting used to, especially with the wrecking ball.

Parting Thoughts

Check out the screen attached to this expensive of a gaming PC. I’m not sure words will do it justice, but if you’ve been here, you know.

I also demo’d a Cookie Clicker clone which I won’t name to protect the guilty. It pitched itself as being about the development of life from molecules to technological singularity. However, in reality it is a cookie clicker clone, the meta of a game (buy stuff on a tech tree to augment your abilities) without the actual gameplay (you score by just tapping the screen. Anywhere on the screen. I wondered again what the filter was between successful games and trivial games. Was presence at PAX a marker of success or a desperate gambit? I told myself I was done with the game, but then I reached down to the tablet and tapped it a few more times.

Unrelated image of a book that was on sale at the convention

Notes on the BattleMETAL soundtrack

BattleMETAL, the big-stompy-robot game was recently (finally) released! It’s been in development for quite a while now, and most of my involvement (beyond repeated testing and sharing opinions about gameplay) has been doing the soundtrack, so here are some fun behind the scenes facts. I wrote these tracks between 2016 and 2019 starting with Predator and ending with The Matock. Unless otherwise noted, I did the tracks in Reason.

This is probably the best track on here, owing to something resembling a coherent melody. Sort of reminds me of something The Knife would write (not that it’s as good as theirs!) That line is one of the few places where I actually used a bitcrusher… under all of that, it’s a u-he Tyrell. I never did get that synth to work properly in linux, and you have to download it from a German magazine to get it, but it’s nice. The rest (and by that I mean the phaser’d Monopoly, the default synth for this project) are heavily influenced by Frank Klepacki’s classic Bigfoot.

This track was written in a fairly meandering way, I had a pretty good idea the opening (the initial delay’d up drumbeat and bass) and ended up just sort of adding pads and sequences to the end of it until it was long enough. The lack of music theory really shows on this one. Like most of the tracks here, it uses Cheetah MD16 samples and (believe it or not) the 3rd demo preset for Reason’s builtin convolution reverb.

This is my first attempt at a synthwave track (if you don’t count Conniver, which I don’t, because that was more of an industrial thing.) There are a lot of preset arps going on here, and it’s the only track that isn’t using the signature drum palette. A version got re-purposed from its original form to serve as the trailer track when BattleMETAL was in its early stages (complete with samples of the EarthSiege trailer boasting of “Exquisite Texture Mapping.”)

I know this track isn’t the most musically challenging, but I actually still find it pretty compelling. It’s one of the early ones. The lead is a Charlatan, which was one of the synths I was most excited to explore when Reason finally added VST support. You can hear me tweak the settings over the course of the track-I love doing that sort of thing. Unfortunately, this was the only track I’ve managed to complete with the synth, because it keeps crashing now. For the pad, which I think I did an especially good job on, I used eXpanse which was the first wavetable synth available in Reason as a Rack Extension (about a year before we got VST support) and enabled a whole new world of sound design for us Reason diehards.

One of the more recent tracks. It’s using Viking for the bass again (which means, oddly, it sometimes skips a beat… listen for it, you’ll hear it in Predator too) but reflects my newfound confidence in making melodies in step sequencers. In fact, I think I did most of the sequencing in this track with the ABL3. The funky sequence that comes in at the end is especially fun. The Balakett is all about speed and the Monitor is all about raw power, to win with the Matock you need to dance. I also want to call out the ES-01 rack extension as an extremely underrated and great sounding softsynth. Love that thing.

I’d like to say that the lack of a melody in this track is meant to reflect the soulless nature of the PSC character and its total monomania around the extinction of the planet, but then I’d be giving myself way too much credit. This track is “meh” and I should feel “meh” about writing it.

The patch for this started out as the “Acres Of Glass” preset for Europa. I’ll always enjoy tracks that are just me playing chords for five minutes, really puts you in a good place, even if the chords are gloomy. The voice talents here include Pete (“Punching out!”), Sabrina, The Conet Project, and Techno Ejay (if you can find that one, I owe you a cookie.)

The Balakett (Bonus, so no embed apparently)

This didn’t make it into the game, so it stays as a bonus track. It’s also the only track I made with Renoise (you can probably tell from the drum wankery in the middle.) It was intended for the post-mission screen, but it’s altogether too cheerful for the apocalyptic tone of BattleMETAL. It’s using the ob-xd synth, which I’ve found to be excellent. Also, in classic Renoise beginner fashion, it ends with an extra block of the last note just stretched out forever. oops.

Overall, the experience was a fun one, and I expect I’ll do something similar again someday.