A Forum for Original Thought

Nowadays, people hunger for original analyses and theses. Their pangs are reflected in the popularity of video series like The Idea Channel, Extra Credits, The Big Picture, and TED talks. Essentially, these are just spoken essays and presentations. They don’t really utilize the video medium, other than by coupling speech with a slideshow of images and (occasionally) video clips. Yet more and more these videos are supplementing written forms like blogs and columns. The intersection of unquenchable desire for consumable media (i.e. videos) and a veritable drought of mental stimulation makes spoken essays a desirable form of idea transmission.

Perhaps the number of quick-fact “educational” videos (e.g. Minute Physics, Smarter Every Day, CGPgrey, Vsauce, numberphile) stimulated the Internet’s interest in science. Indeed, there seems to be a vibe coursing through the tubes that “science is cool”, even if the way science is taught in schools isn’t. The realization that the scientific realm, learning, and, more generally, intelligent thought can be interesting has made people desire an influx of original analysis. It stimulates the brain, giving way to more thought in a way that other media has (mostly) failed to do.

In a world with an endless volume of consumable content, our brains may have become starved. Long periods of rumination can be painful and boring, so we flood it with cheap, throwaway media. Yet these times of inward reflection may serve an important purpose. Unfortunately, our over-stimulation by Internet videos, TV, movies, video games, and music has left us unable to focus on content-delivery platforms like text. We thirst for mental stimulation, yet cannot bear to gain it by taking a step backwards. This conundrum gave rise to the popularity of “spoken essays”. They inject creative, original thought quickly and painlessly. As we mull over this gem, we can further explore the subject in the video comments. Such discussion is evidenced by the considerable quality of comments on the aforementioned videos. Trolls, raging arguments over politics and religion, and insults have given way to (somewhat) thoughtful debates about the video’s analysis. Occasionally the next video in the series might make mention of some interesting points or surprising overall consensus concerning the previous video.

But is the classroom going extinct as a forum for intelligent discussion? Does it have a place in the furious online world? Perhaps. Although quick-fact videos give information, they very rarely delve into the depths of the subject and explain it in a way that lets the viewer solve entirely new problems on their own. They give the information top-soil, but hold back any sort of theoretical bedrock. A viewer might come out feeling smarter, but she will not have gained any tools in her arsenal of critical analysis and problem solving. This is partially due to the medium. Spending a longer amount of time to explore the subject drives off the initial appeal of the videos: quick learning.

However, some video series manage to seriously teach a subject while staying interesting. Crash Course has series on biology, literature, ecology, US history, and world history, served up by the eponymous vlogbrothers. They don’t necessarily go into the same depth that a yearlong course would, but that’s not really a problem here (it’s called “Crash Course” for a reason). The fact that dozens of videos are being spent exploring one subject is a start. Another faux-classroom video venue is Udacity. Udacity is a different beast; it is much more of an exploration into online courses than Crash Course. The physical classroom is woefully unfit to teach computer science. Udacity takes a stab at creating a classroom environment that takes advantage of its medium to deliver a more fitting CS education to a much greater volume of people, while still keeping a basic academic form.

Ultimately, I see a rise in the popularity of systems like Udacity, as well as series like Extra Credits and The Idea Channel. If educators want to truly grab the interest of new generations, they need to examine that which is already capturing attention. Rather than lamenting the advent of consumable, throwaway media, embrace it. There is a place for education in online videos and video games.

The Future of the Source Engine

Valve’s Source and GoldenSource engines and Epic’s Unreal engines have had a long, acrimonious feud. Both Golden Source and the Unreal Engine debuted in 1998 in Half Life and Unreal, respectively. Both were considered revolutionary games at the time. Unreal blew technical and graphical expectations out of the water. Half Life left a legacy as one of the most influential games in the FPS genre.

Unreal Engine screenshot Unreal Engine screenshot
i2Zan0DmFkTfy Golden Source screenshot

Fast forward 6 years. Valve, in the meantime, has released Team Fortress Classic and Counterstrike, both extremely revolutionary games. The Unreal and Unreal 2 engines (the latter was released 2 years prior) had become extremely popular platforms for game developers, mostly because of the engines’ notable modularity and room for modification.

In 2004, Valve debuts the Source engine with Half Life 2, a ground breaking game that completely demolishes competition and sets a long-lasting legacy in terms of story, gameplay, and graphics. For comparison, Unreal Tournament 2004 was published the same year.

Unreal Engine 2 screenshot Source screenshot

In another 7 years, Unreal Engine 3 has been released and games like Gears of War and Batman: Arkham City have been developed using it. Valve has just published their first widely supported game, Portal 2. The Source engine has been evolved over the years, and many graphical upgrades have been applied along with compatibility with major game consoles.

Batman: AC screenshot
screenshot-2

However, it becomes readily apparent that the visual styles of these two engines have diverged in the years since 1998. The Unreal line of engines have supported games like Bioshock and Mass Effect, but have also bourn the brunt of AAA games. Such games are known for their muted brown-grey color pallete, uninteresting story, and factory-made gameplay. Unreal Engine games are commonly criticized for having character models that look “plastic” (a result of game developers setting specular too high on materials), awkward character animations, and overuse of lens flares and bloom.

Games on the Source engine, on the other hand, consistently revolutionize some aspect of gaming. For example, Team Fortress 2, Portal, and Left 4 Dead are widely known for innovative gameplay. Unfortunately, Valve has lagged behind in terms of pushing the graphical frontier. Half Life 2 was smashingly good for its time, much in the same way that Halo stunned the gaming world back in 2001. However, every Source game since its debut has looked more and more aged.

Even worse, developers are driven away from using the Source engine due to a set of tools that have barely evolved since they were developed in 1998. Hammer, the level creation program, and Face Poser, the character animation blender, are unwieldy and unfinished; Source SDK tools are notorious for their bugs and frequent crashes.

Conversely, the Unreal toolset is streamlined and easy to jump into. This appeal has drawn more and more amateurs and professional developers alike. The editor allows you to pop right into the game to see changes, whereas the Source engine still requires maps to be compiled (which can take minutes) in order for the most recent revision to be played. Unreal’s deformable meshes dwarf the Source engine’s awkward displacement system.

However, I have a feeling that a couple of factors are going to come together and boost both engines out of the recent stigma they have incurred. The biggest factor is that at some point the AAA game industry is going to collapse. The other critical event is Half Life 3.

Yes! Do I know something you don’t? Have I heard a rumor lurking the Internet about this mysterious game? No. But I do know history. And that is more useful than all the forum threads in the universe.

Half Life was released in 1998. Half Life 2 was released in 2004. Episode 2 was released in 2007. Half Life 2 took 6 years to develop, despite being on a side burner for some of that time. By extrapolation, Half Life 3 should be nearing release in the next 2 years. However, circumstances are different.

The Source engine was developed FOR Half Life 2. Graphics were updated. But the toolset remained the same. In the time between HL2 and now, Valve has been exploring other genres. Team Fortress 2, Portal 2, and Left 4 Dead 2 all took a portion of the company’s resources. In addition, that last few years have been spent intensively on developing Dota 2 (which, by the way, was the cause of the free release of Alien Swarm). The second Counterstrike was contracted out. So Half Life 3 has been a side project, no doubt going through constant revisions and new directions.

However, unless Valve is going to release Day of Defeat 2 or Ricochet 2 (yeah right) in 2013, production on Half Life 3 is going to kick into high gear. There is one fact that drives me to believe even more heavily in this theory.

Since 2011, and probably even earlier, Valve has been pumping a huge amount of effort into redesigning their entire suite of development tools. It had become readily apparent to everyone at the company that the outdated tools were making it impossible to develop games efficiently.

“Oh yeah, we’re spending a tremendous amount of time on tools right now. So, our current tools are… very painful, so we probably are spending more time on tools development now than anything else and when we’re ready to ship those I think everybody’s life will get a lot better. Just way too hard to develop content right now, both for ourselves and for third-parties so we’re going to make enormously easier and simplify that process a lot.”
-Gabe Newell

Because both TF2 and Portal 2 have been supported continuously since their release, they have been the first to see the effects of this new tool development. Valve seems to have used these games as testing grounds, not only for their Free to Play business model and Steam Workshop concept, but also for new kinds of development tools. First, the Portal 2 Puzzle Maker changed the way that maps were made. In the same way that Python streamlines the programming process, the Puzzle Maker cuts out the tedious technical parts of making a level.

The second tool released was the Source Filmmaker. Although it doesn’t directly influence the way maps are made, its obviously been the subject of a lot of thought and development. The new ways of thinking about animation and time introduced by the SFM are probably indicative of the morphing paradigms in the tool development section at Valve.

Don’t think that Valve is going to be trampled by any of its competitors. Despite Unreal Engine’s public edge over the Source engine, especially with the recent UE4 reveal, the AAA game industry is sick, and no other publisher has a grip on the PC game market quite like Valve does. And although 90% of PC gamers pirate games, PC game sales are hardly smarting. In fact, the PC game market is hugely profitable, racking up $19 billion in 2011. This is just a few billion shy of the collective profits of the entire console market. Yet the next best thing to Steam is, laughably, EA’s wheezing digital content delivery system Origin.

Numbers Source

Anyways, here’s hoping for Half Life 3 and a shiny new set of developer tools!

Hog Derby: Duels

Back when I was part of the Halo: Custom Edition mapping community, I offered my help to a team called Hog Derby Productions. The team had produced a series of poorly made videos (called Hog Derby) which consisted of the infamous “hog duels”, in which two or more players are driving a warthog but lack a gunner. They run into each other and try to flip the opponent, thus allowing them to be crushed. I ended up befriending the guy behind the series (dariusofwest) but, although I offered my services, never did any work on the actual production. I had joined in at a slow time, when everything was coming apart at the seams after only a few episodes of the reboot, Hog Derby: Duels (which actually had story). After a while, I left the CE community. I kept in contact with the producer, though, who also composed all the music for the show.

Nonetheless, after many false starts involving terrible cameramen, voice actors, and production schedules, the series came back together after dariusofwest joined Machinima. Having just recently released Episode 4 after almost 2 years, HDP has more episodes in (speedy) production. The series has gone from terrible filming, story, and voice acting to an OK show with lots of potential. As I watched darius struggle through the months and the different changes that occured, I have to say that the show would not have survived if it wasn’t for his endless dedication. I must also say that the experience of seeing all the behind-the-scenes mechanics was extremely interesting, as was being able to hear and critique all of darius’s music before it went into the show.

Now it seems that I will soon be working as an editor of one of the episodes (actually a short, rather than a full fledged installment). After 2 years, I’m definitely ready. I’ve always liked video production, from script writing to filming to editing. I haven’t worked on a project in months, and I’m eager to get in the production loop again. To support Hog Derby: Duels, please check out the latest episode (or all of them) and give it a thumbs up!

Episode 4: Part 1

Map Design

I’ve always been highly interested in creating levels for games. Computer games enchant people with their story, gameplay, and graphics. Some designer created everything I see in it. It would be incredibly fun and rewarding to wield the same power as the game designers.

Ever since I was a little kid, level design has occupied me as much, if not more than, the game itself.
I started out with games that came with easily accessible editors. Strategy games such as the Age of Empires (and Age of Mythology) have drag and drop editors accessible from within the game. Command and Conquer: Generals has an easy-to-use editor, accessible through its root directory. As I grew older I began to experiment with triggers more, crafting a crude story or giving a gratifying gameplay experience.

Most of these maps were for single-player games, with one exception. I would often hang out at my friend’s house and invite he and his siblings to compete in map-making competitions. We would take the turns crafting Super Smash Bros. Brawl maps, with a rather short time limit. The we would play a quick match on it. The best would get saved and played often. I made quite a few enticing designs in those sessions. My levels created unique gameplay situations that weren’t achieved in the default maps.

My attention slowly fixed on a new game. While I had been familiar with Halo: Combat Evolved for a while, it suddenly occurred to me that I could create single-player levels with story as interesting as the game’s campaign. I looked into it and discovered Halo: Custom Edition. I got involved in the community, and tried my hand at non-drag-and-drop map creators. While I didn’t know it at the time, Halo’s utilities are extremely obtuse. I never had much success in creating my own levels, although I experimented with new kinds of enemy formations and scripting on pre-existing custom multiplayer levels, although I met with little success in the latter. I had an entire 5-part campaign planned out, including overhead sketches, concept art, the beginnings of a 3D model (although I was still a newbie at modeling), and enticing characters. Needless to say, it never got off the ground. To this day, I dream about how cool it would have been.

A step up from Brawl, but a step down from Halo, came Halo 3 Forge. Although it was purely multi-player and was not very powerful, Forge let me create a blend of the epic Brawl maps I had forged and the Halo campaign I had brawled with. I would Forge until my friends got tired with me (I am a PC gamer to the heart, and don’t own any consoles). The recent Halo: Reach called me back to that, although the Reach Forge was so much more powerful that I never had the time to truly explore it.

After Halo, I discovered the Orange Box. Boy, did that open up a whole new world to me. I soon after discovered the Source SDK and began to explore the glorious world of Source map-making. To this day I have a campaign planned out for Half-Life 2 that follows a rebel operative as he subverts Combine operations in the American heartland. The only thing that disappointed me about HL2 was the limited capacity for storytelling (no first-person dialogue, cutscenes, or interaction). TF2, on the other hand, tells a great story, despite being purely multi-player. I am in the starting stages of figuring out how to bring a single-player story experience to TF2.

In addition to Source, Steam let me find Crysis. The Sandbox2 editor truly lives up to its name. I spent hours in that editor, sculpting tropical islands and scripting helicopter fights, beach assaults, and stealth insertions. The great thing about Sandbox2 is that it was extremely to pick up, requiring only a few tutorials from someone like Xanthochori. Crysis 2 with Sandbox3 was disappointingly more complex.


To check out some videos of maps I’ve made and other videos (I’m also into video production), see my YouTube channel.

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