Categories
Game Development Games Geek / Technical

I Knew Something Was Wrong With Wind Waker!

I love the Zelda series, like most people. I even liked Zelda II: The Adventures of Link, but it could be because I bought the game with my own money back when I was too young to get a job.

So when I played Wind Waker for the Gamecube, I was a bit put off. After all, I liked Ocarina of Time and expected that the Gamecube version would be very similar. And I’m not complaining about the graphics like a lot of people did when it was first revealed. In fact, I think they look great.

I’m complaining because things aren’t as obvious as I think they should be. Now, I’ve played the original, The Legend of Zelda for the NES, and I remember being confused as to where I was expected to go. I only knew about things because friends of mine had already been there. I played a significant portion of the game on my own, but the experience was kind of ruined for me. And the game never told you where to go really (or if it did, I was too young to understand it), so it was entirely possible to discover the entrance to Level 4 before finding Level 2. But I played through A Link to the Past for the SNES and Link’s Awakening for Game Boy and loved them. Ocarina of Time for the N64 was also an incredibly great experience for me. Everything flowed in these games. I never felt like something was missing or that I was fighting against the game’s programming.

So what happened with Wind Waker? Don’t get me wrong. I think it is fun to play…most of the time. Fighting is incredibly fun, and the puzzles are a staple in Zelda games. But as I go through the game, I periodically find parts of the game that do not seem well done or polished up.

For instance, after you manage to destroy the boulder and allow the spring to flow, you can swim across to the other side. What you see is the entrance to a cavern, but there is lava preventing you from going inside. I see that there are some Bomb Flowers, so I think that maybe I have to throw them at the statues. So I tried. I threw the bombs at the statues. I threw them into the walls. I threw them into the lava. I tried to throw them across the lava. Nothing. And after some time, I decided to give up and stop playing that day.

When I came back to it, I still struggled. Then I threw a bomb at a statue, and apparently it hit it just right, because then it fell over! I later found out that you were supposed to hit the bomb on top of the pot it is holding, but I had thrown it there before, or so I had thought. Close only counts in horseshoes, hand grenades, and Flower Bombs (losing hearts because you didn’t stand far enough away is proof), and yet these statues needed precision hits?

There were other inconsistencies and frustrations that I can’t remember at the moment, but the point is that I kept feeling like Wind Waker was not developed with the same care as previous games in the series. While some parts of it were really well done, other parts were sources of confusion and frustration. I still don’t understand the Flower Bomb precision thing.

And then I find that Shigeru Miyamoto admits it. Later parts of the game were being made while working against the clock, with features being approved without enthusiasm. I am kind of shocked because I would think that you would give a person such as Miyamoto as much time as he feels necessary to make the game great.

I still like Wind Waker, but it is pretty sad to find out that the game was made in a way that didn’t even please the creator.

Categories
Game Development Games Geek / Technical

Escapist Magazine

A friend of mine recently emailed me to ask if I had heard about The Escapist, the new weekly magazine about video games and gaming culture. I hadn’t, even though it was covered at some blogs and gaming news sites…and Slashdot, the productivity killer which I’ve successfully been able to avoid for some time. Apparently this magazine is not just a new competitor for PC Gamer or Electronic Gaming Monthly. From the first issue’s letter from the editor:

The Escapist is an ambitious magazine, written, edited and styled with a fresh approach to communicating with gamers. We are the complement to the current gaming journalistic efforts. While the others give you up-to-the-second news coverage, we give you broad looks at news over time, discussing trends and proffering glimpses into the future. While the others provide previews and reviews of the next big thing, we give you a taste of the Cinderella game that might just steal the spotlight, plus a look at why. And while others ask developers about their latest projects, we delve into the masterminds’ thoughts and histories to find out what makes them tick.

So it is meant to be a magazine for mature gamers who don’t want hype and juvenile humor to litter their gaming literature. It’s for people who want to read about game culture instead of just news on the latest titles.

First impressions: I like it.

The magazine is free online (there are syndication feeds available), and there is a high quality PDF version to let you print out the magazine yourself if you choose to do so. I think I would like to actually order a subscription through the mail, but they don’t seem to offer that option yet. Also, their website apparently doesn’t work too great with Firefox if you increase the font size, and IE doesn’t let you change it at all. They hard coded the text to match the images, so the small font size isn’t fun to read, and increasing it makes it difficult since it will cover or get covered by other elements on the page. They tried to copy the print magazine (which doesn’t really exist!) look and feel onto their website, and that just doesn’t work well. Luckily, XFree86 (I use Debian so I don’t have X.org yet) lets me zoom in on the screen, but it is a silly thing to require this workaround.

Still, the content is good. I may not agree with the opinion of everyone who writes for it. For example, I don’t think “gamer” refers only to people who play games exclusive to everything else, and I don’t think that definition is as commonly understood to be the case, as claimed by one author. I also don’t think that games should be considered “crack-like” and “addictive”, as the article on Greg Gorden described them. But it is refreshing to read an entire magazine that discusses the topics in a mature manner that I’ve generally found exclusive to blogs.

It’s also quite informative, as Max Steele’s article on mobile gaming in the 2nd issue shows. Being American and fairly isolated from international news in general, I didn’t know that the N-Gage had sold so well in the rest of the world, but Steele’s article touched on that platform while talking about the upcoming Mobile Platform Wars between Sony, Nintendo, and Nokia. Until then, I didn’t even know Nokia was involved! And the article also described who each company is targeting. I don’t know if Nintendo will end up the clear winner and I don’t know if I agree that Sony’s system will be disgarded as just more-of-the-same-but-smaller. I also don’t know if anyone likes reading an author talk about himself in the third person. But it was definitely a high quality article that made good arguments. A different article in the same issue focused on that video feature for the PSP while another complained about the loooooong load times for it, so there was plenty of depth and breadth to the magazine.

The Escapist is definitely staying in my RSS feeds, although I wish that the website version wouldn’t be so badly “ported” from the PDF. At the very least make the text larger. Ideally, the web version should be made for the web.

Categories
Game Development Games Marketing/Business

The Rising Cost of Making Games

With the newest game consoles arriving soon, there has been a lot of talk about the cost of making games. EA is insisting that next generation games will cost $30 million to develop. Outrageous! And then Will Wright comes along with Spore and describes a way to make huge games without spending money on creating your own content. I had covered Spore previously. Of course, not all games can be made in this way, and as I’ve read elsewhere, the use of HDTV by game consoles will mean that games will need better art. Blocky and polygonal models can’t hide behind low resolutions anymore. So the idea is that costs will rise for mainstream game development. I think it will be natural for most people to expect indie game development to follow in kind. Graphics on the par of Super NES won’t be good enough, and I don’t think it is good enough today either. Of course, I’m just guessing, so feel free to slap me down.

The Gamasutra interview with Epic’s Mark Rein on the topic of middleware solutions shows that Rein doesn’t think costs will rise that much. Since EA acquired Renderware, companies that compete with EA are looking to other middleware companies, so Epic’s tools have found a market. When asked about the rising costs of game development:

I guess one of the biggest things we’ve seen that’s bothered us lately is big companies like EA going and tossing out “it’s going to take $30 million to make a next-gen game” and we just don’t see that. I mean we’re making our next-gen games for 25-50% more than our previous generation games, and when we hear those kinds of numbers, we think that’s just bravado, that’s just them trying to scare their competitors out of the marketplace.

We don’t subscribe to that, we don’t think it has to be ridiculously expensive to make next-generation games, and we’ve done a lot of work – like our visual scripting system is a perfect example – in making our tools really optimized so that artists and designers can get the most out of the engine without having to involve a huge amount of programmer resources.

My favorite part was the last question. Apparently Activision and THQ have announced that their games will cost $10 more than before. Rein basically pointed out that the market will likely not allow games to cost that much more. He said there would be an increase in piracy and people revolting.

I think we spend enough money on games, and I just don’t think that’s reasonable. I think what you need to do is make better games, take your time, do them right, and sell more! I don’t think we’re ever going to have 20 million selling games, until we bring the cost of those games down, not up. I think the way to build the market is to decrease the cost of the games, not increase the cost of the games.

Make better games instead of making more expensive games? Who’d have thunk it?! B-) How does all of this talk relate to indie games? I think that making better games, taking your time, doing it right will allow you to sell more. Oh, and effective marketing to make sure that people know about your better and rightly made game in the first place.

Categories
Game Development

Simple Game Project for August: Oracle’s Eye

I am going to use this post to describe a game design I’ve been working on for about a week. I’ve given this project the codename Oracle’s Eye. Just because, really.

Why a codename? After working on FuseGB for June’s Game in a Day, I realized that sometimes the game doesn’t end up the way you planned. The game in the end didn’t have anything to do with Fusion, so the name was weird. Unfortunately, my project folder and Subversion repository was already using the name, and I didn’t want to mess around with it. If I use a codename, however, I can change the name of the actual game and not worry about how it will affect my development environment. The real name only matters when I publish it.

Anyway, Oracle’s Eye won’t be anything special. I am purposely trying to design a small game that can be completed within a month. In fact, it may be that what I’ve come up with will have to be reduced in scope even further. I need more experience and shouldn’t stop just because the game might not be very original or fun. I can concentrate on innovation and fun when I know more about how to make a game.

Basically, I am thinking about making a game like The Adventures of Lolo and Boxxel. The player will have to move about the screen, pushing objects around, and trying to get a Ball into the exit. Some objects are moveable, some are destroyable, and others can be activated.

The main object will be a Ball. The Ball will sit until acted upon. Then it will continue until redirected or stopped by a wall. To make the Ball move, the player can “kick” it by walking into it. A Ball can also be shot out of a cannon if the player walks into it to activate it.

To maneuver the Ball, the player can manipulate different objects in the level.

Some basic objects I plan to have in the game:

  • PIPES can redirect balls (wow, does this look bad)
  • GRINDERS can split ball into multiple balls and shoot them in multiple directions
  • WALLS can act as angled banks to bounce balls
  • PITS will steal balls
  • ENEMIES will fire upon player along straight lines and can be destroyed by balls
  • WARPS will transport an object to another spot
  • ARROW blocks will force objects in one direction

I can already see that a number of these will not likely make it by the end of August, but having more ideas than can be used doesn’t hurt.

The player won’t be able to do more than walk around. No shooting or button presses are needed to do actions as everything will be based on contact. If the player touches an object, the object gets moved or turns on or gets activated or whatever. I’ll probably track input to reset the level and to pause the game, but otherwise the controls will just move the player in four directions.

For simplicity, the levels will be “rooms” that can fit entirely on the screen. Rooms will be made up of permanent walls, an exit, and various objects.

Obviously the above is a bit too general, so it would be quite a stretch to call it a design document. I think calling it a guideline should be accurate, though.

Categories
Marketing/Business Personal Development

Danger Quicksand: Have a Nice Day!

I read David St. Lawrence’s blog, Ripples, regularly. Usually he blogs about corporate work or entreprenuership, especially for people over the age of 50. He has an amazing insight into working in the 21st century. He’s also an author.

I had been meaning to order his book, Danger Quicksand: Have a Nice Day! for some time, and I finally thought to myself that I knew I was going to buy it eventually so I might as well stop thinking about it and do so.

The book talks about what corporate work is like and how a worker should deal with it. Long gone are the days where you could expect to work at the same company for 50 years and retire with a nice pension. People are expecting to work through their retirement years. On top of this instability, people who have a job one day might find that they are not needed the next. Some people sign up for jobs that allow the employer to drop them with or without cause. And it happens. And it leaves employees with a bad taste in their mouths.

David St. Lawrence talks about the importance of setting the right expectations, for yourself and for your employers. He helps you identify exactly what might be bothering you about your current situation. He provides guidance to help you figure out your next step, such as how to avoid acidic coworkers and when you should start looking for a new job.

Read my book and you will get a good start on planning for your future. Don’t expect it to be like anything you have ever read. It is the absolute truth, delivered as compassionately as possible. One of my readers said, “Holy Crap! This is one scary book…I wish I had read it several years ago.”

This is the first career book written to level the playing field for employees who are trying to deal with the current realities of 21st century employment. You will laugh and curse as you see your current employment situation explained in all of its painful detail. Once you read this book, you will never drink the corporate Kool-Aid again.

He also talks about how important it is to make sure your employment readies you for self-employment. While I think he was mostly addressing the 50 and 60 year olds who find they can’t get hired and so need to have the skills to run their own business to survive, this part of the book was the most interesting to me. It was a nice reminder that I should never think that being bored or at ease at my job is a good thing. I should always be looking for a challenge. And in the end, the only safe employment is self-employment. Working for someone else means you can be fired by someone else. Since companies now operate on Internet time, the high turnover rates will be the norm. He urges the reader to be prepared for it.

I know he sometimes blogs about making your business stand out by focusing on the customer, but seeing it in action was delightful. It was really cool to see he signed the book (and spelled my name correctly to boot!) before shipping it out. The invoice had a handwritten “Thank you!”

If you are afraid of getting fired, have been fired, find yourself working for a company or employer you can’t stand, feel lost, or otherwise have issues in the workplace, this book should be a big help. It doesn’t provide the answers for everything, though. After all, you should know best how to proceed. It just provides guidance by shedding light on exactly what you are experience. Clarity and focus are great motivaters, whereas confusion and ignorance make it difficult to win. Danger Quicksand is one of those eye-opening books that lets you know how it is possible for you to work and have a sane, healthy life.

Categories
Game Design Games Geek / Technical

Game Rules Are In Fluxx

I’m always trying to learn about new game mechanics, so when I discovered the game Fluxx by Wunderland, it was more than just fun. It got me thinking.

Fluxx is a card game in which the rules change as you play. Some people might be familiar with the game of Mao: the rules are secret, and part of the fun is figuring out what those rules are. Unfortunately it requires one or two people in the game to already know the rules, and there are apparently many variations on the game depending on the college campus you went to when you learned about it. Fluxx, on the other hand, is very specific. Everything is out for everyone to see, and so rule changes are always disclosed. Naturally, it is much easier to pick up the game after only a few hands.

Even though the rules change as you play, it isn’t difficult or confusing. In the beginning, you have three cards, and you must draw one card from the pile and then play one card from your hand. That card you play can change the rules immediately. For example, you can play a “Draw 5” card, and now each player must draw five cards and play one. The card “X = X + 1” means that you add 1 to any number. In this example game, playing this card will now require everyone to draw six and play two. Even the winning conditions can change as Goals are played or removed.

I thought this game would appeal mostly to technically inclined people, since it seemed like a programming game based on if statements. Apparently everyone, including children, gets into this game easily.

I think that there are a few things going for this game. The interface is simple. It’s a card game, and everyone knows how to play card games. The rules are simple. Just follow what it says on the table at any given moment. It is easy to handle the complexity. Some rules supersede others. Others simply change existing rules. And each card tells you exactly what you need to do. No need to go to the instruction booklet just to find out what it means to draw the “X = X + 1” or “Let’s Simplify” cards.

What can I apply to making video games? Well, for one, an easy to use interface isn’t just a suggestion. It’s necessary! As Xemu has said, the interface IS the game. If Fluxx made it difficult to follow or make the changes, it would feel more like work than like play. There are definitely elements of video games that feel like work, such as jumping puzzles. Video games should be as easy to pick up and play, or if that is not possible for some reason, they should at least make it easy for the player to figure out what they have to do. Fluxx has the equivalent of context-sensitive help screens, and games such as Super Mario RPG or The Sims are perfect examples that used them nicely.

Another thing to take away from Fluxx is the idea of modifiers and rule changes during the course of play. Imagine playing a sidescroller and then hitting a spot where the gravity is reversed or a different force is in effect. It will likely change the way you play that game or at least move about. Maybe an enemy will only be revealed when the wind tunnel is on, or perhaps you can only find an item when X-Ray vision is available. While it is normal for an item to have a simple effect, such as a bullet killing an enemy, perhaps rules that have a wide effect make for interesting gameplay? If all players on a server now have attacks with 50x the force due to some muscle-enhancing gas in the level, it will definitely change the way the game is played. Even if only one player is affected, it can be interesting and fun.

Sure there are power-ups, and none of what I am talking about is really all that new in video games. Games make use of these techniques more or less all the time. For example, speeding up, slowing down, and/or stopping time for all entities in the game are used in Prince of Persia: Sands of Time, Viewtiful Joe, and Max Payne. Quad damage in Quake 3 is another example. In Super Smash Bros. Melee, one of the pokemon will make the screen go dark for a few seconds, naturally affecting all players.

I simply want to be consciously aware of such generalized mechanics. Changing the rules and goals sounds like something that could make an otherwise bland game into something interesting and, as seen in Fluxx, can actually BE the entire game.

Categories
Game Development Games Marketing/Business Politics/Government

The ESRB Ratings System

Since the “Hot Coffee” scandal is in the news, and enough people are talking about it, including developers, I’ll just add my own thoughts so that more than enough are talking about it.

If you haven’t heard about “Hot Coffee”, essentially Rockstar, the developer behind the Grand Theft Auto series of games, is getting itself and the general game industry in a lot of trouble. The already controversial GTA: San Andreas apparently has a sex mini game buried on the CD. You can’t actually play the mini game normally. As far as I can tell based on the media that I’ve read so far, you have to get a patch that someone else made that unlocks access to the content. To top it all off, Rockstar’s statements ranged from quite confusing to downright lying about it.

GTA:SA is already rated M for mature by the Entertainment Software Ratings Board. The ESRB provided its own ratings system, and this system is getting a lot of heat. While they providea description of the ratings, I’ll give a basic review of the main ratings:

  • E for Everyone: basically, safe for children
  • E 10+ for Everyone 10+: children 10 or older can handle it
  • T for Teen: not safe for children, but teenagers should be mature enough to handle it
  • M for Mature: the key word, Mature, should indicate that it is not safe for people who are not mature; technically, not for people under the age of 17
  • AO for Adults Only: usually those words imply content the likes of which you will find on late night Cinemax

Now, the ESRB changed the rating from M to AO due to the unlockable content on the game. A new version of the game that prevents the mod will be released for the fourth quarter of the year with the original M rating. If stores wish to sell the current version, AO rating stickers will be provided to them. Of course, most retailers will pull the games from their shelves instead.

Of course, the damage has already been done. Senator Clinton is proposing a law similar to the laws proposed in Illinois. GTA:SA was already considered “bad enough” by certain people, but this “hidden pornography” has a number of groups and politicians up in arms. It’s basically a debate about protecting children, free speech, and the fact that the game wasn’t originally meant to be played by children in the first place. It’s rated M, so children shouldn’t be playing it.

Kotaku does a nice job describing the differences between the movie and video game rating systems, although I would like an actual answer to the question, “What is the purpose of the rating system?” because telling me that they are voluntary and who sponsors them isn’t telling me about the purpose.

Anyway, if we were to compare the ratings to the movie industries ratings, which are widely known, you could see they are pretty much line up nicely:

  • E == G
  • E10+ == PG
  • T == PG-13
  • M == R
  • AO == NC-17

Granted, there are slight differences, but if you understand one, you can understand the other without too much of a problem. At least, I would think so.

One complaint I’ve seen a lot about the game ratings system is that it is so similar to the movie rating system that they should just adopt it themselves. Unfortunately, I couldn’t find any reason as to why the ESRB cannot do so. I imagine it might be a trademark thing, but I would like to believe that the MPAA wouldn’t charge an exorbitant amount of money just to allow another industry to use it, especially since the two have so many business connections.

Another complaint is that the difference between M and AO is negligible. I’ve seen many blogs and news articles comparing the two descriptions and concluding with, “WTF?!” Or, to clarify, they find that the difference is a bit contrived and shouldn’t exist.

Of course, in the movie industry, a movie that is rated R will play in most theaters and can make money, whereas a movie rated NC-17 wouldn’t. The sweet spot is PG-13 because now teens AND adults can pay to see it. So there is a huge incentive to get your movies a lower rating, and some people have taken issue with movies like Saving Private Ryan and Orgazmo getting ratings they shouldn’t deserve due to who made the movie.

Similarly, a game rated AO will not sell at most retailers, whereas M will. So some people believe that difference between the two ratings is artificially created to allow otherwise extreme content to sell in stores. In either case, children are not supposed to be playing these games, but they can more easily get access to a game rated M than one rated AO.

Just like they can more easily get access to R rated movies on DVD than those rated NC-17. In fact, this problem can happen more than the problem with children getting access to M rated video games. But I’m still waiting for the outrage and sensationalization on that issue.

Essentially, what’s the outrage here? That’s the question a lot of game players are asking. The games are already not supposed to be played by children, so changing the rating will not do anything but make someone who is 17 wait a year before they can play it. Big deal! Of course, historically video games were played by little children. How many of you adults have heard your mother complain that you shouldn’t play video games anymore? That you should “grow up” and act your age? There is a perception that video games are children’s toys still. They are not anymore, and people need to learn this fact. It doesn’t help when the only ones making noise in the media are the ones who insist on saying things like violent games are being “marketed to children” or that these games are “training kids to kill cops”. The implications to parents and others? Violent and sexually explicit games ARE being marketed to their children. Who is saying otherwise?

So what’s going to happen? Politicians are going to continue to make it clear that they are outraged about the situation, or at least clear to those who will vote in the next election. They’ll continue passing laws that won’t have any effect on actually protecting children since the parents will still be the ones who make the majority of the purchasing decisions. Jack Thompson will continue to create his own facts to scare parents. Parents will be confused when they see games that clearly state they shouldn’t be played by children while they hear the media insist that these games are being marketed to them.

In the end, no one will be able to trust anyone. But I believe that Rockstar basically gave the entire video game industry a nice, big black eye. Talking about the nuances of the issue doesn’t change the fact that parents, media, lawyers, and politicians have a perception about video games that is a bit different than it was before “Hot Coffee”. Changing that perception to reflect reality, where an adequate and clear ratings system already exists for parents to use, will be tough. It already was tough, but it is just made all the more tougher since Rockstar gave the opposing view more ammo, no matter how immaterial it would be to the actual issue.

I believe that “Hot Coffee” would have died out on its own. It is a poorly made mini game, and outside of the juvenile curiousity, no one would play it for long. But, the content is technically pornographic, and generally there are laws that restrict the sale of pornographic material to minors. As informed game players, we know that playing a copy of GTA:SA won’t let us play the mini game. We’d have to find and apply the patch to the game first. It’s not as if an unsuspecting child, who shouldn’t be playing the game anyway, can stumble upon the mini game in the course of normal play. Nevertheless, this information isn’t getting out there to the general public. The perception is basically along the lines of “Rockstar has released a game that rewards children for killing cops and glorifies violence. Now it turns out it also allows this child to simulate sexual encounters! This is an outrage!”

Nevermind that GTA actually punishes you for killing cops. Nevermind that children shouldn’t play this game in the first place. Nevermind that it is not possible to just “play sex” with a purchased copy of the game without going through the steps needed to download and apply the patch/mod. Nevermind that the ESRB couldn’t possibly have been able to rate the game based on this content. The point is that Rockstar, the ESRB, and by association the video game industry are perceived as the enemy of parents and moral values. Not to claim that Rockstar is completely to blame and that parents are allowed to be ignorant. Not at all. There are clearly people out there who have an incentive to be less than genuine about the facts, including politicians and game developers alike. Also, I believe that Rockstar should be able to make whatever games they want. This issue is not cut and dry, since they didn’t release the mini game as something playable in the first place and so probably shouldn’t have been required to disclose it.

But the content shouldn’t have been on the CD. While it is normal for developers to leave unfinished levels or other things in the build, this mini game is a bit much, I think. It wasn’t just some unfinished level or 3D model. The repurcussions from this incident and the reactions to it will likely extend farther than just legal issues for M or AO games made by mainstream developers.

Categories
Geek / Technical Marketing/Business

FOSS Innovations

I’ve been reading different news articles about Free and Open Source software. I’ve also read articles that both praise and denounce FOSS. I’ve participated in flame wars and civil discussions about the merits of FOSS.

One argument I’ve seen appear countless times is that FOSS can only mimic the features of existing commercial software. The idea is that with commercial software, there is a profit motive, so innovation occurs. FOSS, without a profit motive, can only aspire to do what other existing packages do. Essentially, people are arguing that FOSS can only copy commercial software features.

There are a few problems with this argument that I can see, and I don’t mean to talk about one-off theoreticals like, “Well a person COULD release a new feature under the GPL”.

One, the way this argument is formed implies that FOSS and commercial software are mutually exclusive. When this argument comes up, no one ever clarifies what they mean by “commercial” software. It is just assumed by all parties involved in the argument/discussion that commercial software is proprietary software that you sell. This assumption and the wording of the argument (FOSS vs commercial) leads to the conclusion that FOSS is the software you don’t sell. This assumption furthers the idea that FOSS can only be free as in beer.

To make this idea clear (or not, since I always make bad examples), imagine if I asked you, “Do you want to buy this bottle of safe purified drinking water or drink from that spring over there?” The way I worded that question would imply that the spring water is not safe. It may or may not be safe, but by asking that question in that way, I’ve pretty much made up your mind, haven’t I? At the very least, you now have a doubt about the safety of that spring water. Now imagine that instead of talking about the water directly I discuss a side effect. “You can only grow tomatoes in safe water.” What happened? I’m still implying that the water from the spring is unsafe compared to the purified water. After all, I explicitly mention that the purified water is safe, so the spring water must not be safe, especially as you can’t grow tomatoes with it. Only this time you aren’t being asked about the safety of the water. You are being asked about growing tomatoes, and if you just argue about the ability to grow tomatoes, you implicitly agree that the spring water is unsafe while the purified water is safe. It may be that the spring water is also very pure and also very safe, but you’ve accepted that it is completely different from water that is safe by assuming a clear distinction. Crafty, eh? And maybe contrived…

Two, and related to the first point, the argument mentions the profit motive as if it was exclusive to “commercial” software as opposed to FOSS. Since it is possible to have commercial FOSS, FOSS can also be developed with a profit motive. If by “commercial” they instead meant “proprietary”, I still don’t understand how keeping the source secret inherently makes it more innovative than FOSS.

Still, I’ve thought about it. The Free Software Foundation wasn’t formed to create innovative software. It was formed to make it possible to use Free software with a Free operating system. Innovation wasn’t the purpose at all. Somehow this weird debate about the innovation from FOSS vs commercial software came up from others. Almost always, the question gets posed by someone who is against FOSS, and of course this situation pushes the idea that FOSS advocates insist that FOSS is more innovative that proprietary software.

It’s a confusing mess. One the one hand, you want to argue about the merits of FOSS or proprietary software. On the other hand, arguing simply makes people think you accept their assumption about commercial software vs FOSS. And if you argue to point out the assumption, you lose people who find your “meta arguments” pointless.

Anyway, I believe that innovation isn’t exclusive to proprietary software. I also believe that FOSS can be commercial. Heck, my business will depend on it to be the case!

But just saying so isn’t good enough. After all, Microsoft and other companies have been doing a good job perpetuating the idea that FOSS is communist (implying all sorts of evils by doing so) and that “commercial” (implying FOSS can’t be commercial) software provides true innovation. I think it would be interesting to see if a list of FOSS innovations could be made. Of course, innovation isn’t necessarily originality, and Microsoft’s marketing show that it is apparently innovative to make their OS more secure than previous iterations.

Still, a list of FOSS innovations would be nice to have. What did FOSS developers do before proprietary developers “copied” from them? I proposed making this list as a project for the DePaul Linux Community. I’ll take it on myself if there is a lack of interest there.

Of course, when a study or three say so, it only lends more credibility the idea that FOSS promotes innovation. And one innovation I use everyday without thinking about it: Firefox Live Bookmarks. Add one to the list…

Categories
Game Development

A Post on Writing Game Loops

Joost Ronkes Agerbeek wrote the first of what will hopefully be a series of game programming posts with Writing a Basic Game Engine. While it may not have a lot of meat to it, it is precisely the topic of the game loop that gets passed over a lot in game development tutorials and books. Usually, examples are either awkward or they are too specific to the example itself. Sometimes this loop is not discussed at all or in too general a manner to be useful. After all, the real game development is in input, graphics, sound, etc. It is a simple and basic article that I think fills a void for people learning to make games. I definitely see ways to improve on what I’ve done based on reading this post.

Categories
Game Development Geek / Technical Linux Game Development

Writing Portable Code

I recently bought and received Write Portable Code by Brian Hook of Book of Hook fame. As I intend to make my games playable on multiple platforms, I need to learn how to not only write good software but also write good portable software. I believe that this book can be invaluable to that end.

And within the first few chapters, I’ve already learned about a new tool: Valgrind. It’s an open source suite of tools for debugging and profiling x86-Linux programs. Sweet! I’m definitely going to look into it.

Anyway, the book promises to be both practical and informative. Hopefully it won’t be like other books that are failures at both, and so far, I don’t believe it will.