• # Game Intelligence Design

Game Design and Theory

 Game Intelligence Design

IF, AI, and the confabulating-arranger model of interactive fiction

by Jorn Barger (jorn@mcs.com)

September 26, 1994

Abstract: One plausible design-paradigm for interactive fiction
might be to supply IF authors with an extensive library of
intelligent objects that 'know' how to interact realistically,
including a rich model of human behavior. Doug Lenat's Cyc
perspective, but for IF this knowledge may be more simply
collected in the form of stories-- in fact, a new mailinglist on
the Internet is devoted to compiling such a story-library. If
this library also tags all the most interesting possible
plot-lines, the computer's task might be extended to
"confabulating" the player's reality, on the fly, simultaneously
arranging both past and future so as to open as many interesting
plot-directions as possible.

A couple of issues ago (IED 7.4), Chris Crawford discussed the basic known
'topologies' for interactive fiction (IF)-- each of which he showed to
contain intractable fatal flaws. Basically, interactivity implies that the
user is making choices, which implies that the story is branching into a
tree-like topology. But Chris showed that storytrees must either be folded
back on themselves in a very limiting way, or have most of their branches
trimmed to (violent) dead-ends. If they don't, they'll necessarily expand
exponentially... so consequently, within these design paradigms, even
high-budget efforts are doomed to produce only simplistic and uninvolving
games....

The fantasy for the distant future, of course, is that the computer should
offer an infinitely-various Virtual Reality, full of objects and characters
whose behavior mimics 'real life' in great detail. In the ideal future, one
should be able to step into the pages of a Dickens or Tolstoy novel and
interact with its characters as freely as in 'real' life....

But how do we get there from here What sorts of design strategies might
make these new forms of IF possible?

Certainly, one step in the right direction will be to teach computers the
basic laws by which real objects interact, which is one of the traditional
explore the AI-world's leading contender for a truly intelligent program--
the Cyc project. Then I'll look at how Cyc's models overlap with those of
strategy for compiling a 'Cyc' for IF, using a text format called a
"meta-story", and offer some examples of how these can capture knowledge in
an intuitive way. And finally I'll explore a new paradigm for IF-- the
confabulating-arranger model.

The Cyc project as a universal knowledgebase

The last thirty years of academic AI research have produced very little
that computer-game designers would find useful. The problems they've chosen
to research have been too limited, and the programming structures they seem
to favor are impossibly slow for realtime gameplay. So the world of gaming
has pretty much had to invent its own styles of AI, as it's needed them.

But for the last ten years, a highly ambitious (and surprisingly
low-profile!) effort has been underway in Austin, Texas, to spell out the
entire range of human commonsense knowledge. The goal of this Cyc (for
enCYClopedia) project is a program that can read a newspaper, and
'understand' what it has read, well enough to detect violations of common
sense, just as human readers can. But to the extent that it succeeds at
this, it should be equally useful, at least in theory, for maintaining
internal consistency in a virtual world....

The Cyc team, led by Doug Lenat, has been trying to break down human
understanding into thousands of subdomains that they call "micro-theories",
like ailments, food-preparation, communication, and corporate behavior, and
then trying to translate the basic 'rules' of each such domain into the
language of symbolic logic. When they need to say, "If someone is
asphyxiating, they cannot breathe," for example, they write:

(LogImplication
(LogAnd
(allInstancesOf $AIL Asphyxiation) (bodilyInvolved$AIL $AGT)) (holdsIn$AIL
(LogNot (behaviorCapable $AGT Breathing bodilyInvolved)))) where$AIL and \$AGT are the variables for ailment and agent,
LogAnd, LogNot, and LogImplication are simple logical connectives
and "holdsIn" defines the context within which this 'axiom' holds.

According to the Cyc model, if an adventure game needed to know
what-happens-next at any particular point-- say, when a person drops a
delicate vase-- it would send a query to Cyc and in a matter of seconds,
Cyc should return with the news that vases dropped on hard surfaces usually
shatter...

Unfortunately, if you multiply that plausible retrieval-time times the
thousands or hundreds of thousands of deductions that would be needed to
keep an interactive fiction realistic from moment to moment, you're forced
to the conclusion that Cyc just isn't going to be fast enough to support
IF, anytime soon.

Probably the worst problem here is that Cyc-- unlike any other largescale
project in history-- didn't evolve by starting with a simpler version of
the whole, and gradually filling in the less-important details. Rather, Cyc
is being built by the much riskier strategy of accumulating detailed
subsections, one by one, with no known overall pattern... and later
streamlining it down to a "core knowledge base". To make that streamlined
enough for IF may turn out to be the hardest challenge of all!

So Cyc offers a good startingpoint for IF-theory, with regard to the
knowledge it hopes to embody, but perhaps not so good a model with regard
to the performance constraints of realtime IF. But we know for certain that
some level of realtime IF is possible-- Zork and Hitchhiker's Guide (etc)
have proven that! But is there a way to build an "IF engine" that includes
something more like Cyc?

The enduring popularity of text adventures, especially the Infocom games of
the early 1980s, has led a number of talented enthusiasts to create
programming languages especially for text-adventure development. Many of
these are available free on the Internet, where the newsgroup
rec.arts.int-fiction supports a thriving subculture of text-adventure
designers working in these formats. (The newsgroup has its archives at
ftp.gmd.de in /if-archive/.)

probably the most popular environment, because games created in TADS can be
run on almost every major hardware platform. TADS offers a modest range of
predefined object-types that have at least a minimal level of intelligence
about their own behavior. Containers and vehicles, for example, understand
that objects placed within them will move with them, and will be invisible
unless the container or vehicle is transparent. Characters automatically
grow hungry if they don't eat, and even eventually die.

TADS is object-oriented, with the objects themselves containing most of the
code embodying such "story elements":

class openable: container
contentsReachable = { return( self.isopen ); }
contentsVisible = { return( self.isopen ); }
isopenable = true
ldesc =
{ caps(); self.thedesc;
if ( self.isopen )
{ " is open. ";
pass ldesc;}
else " is closed. "; }
[etc]

The TADS object-hierarchy is firmly grounded in story-telling pragmatics:

Thing
Item: vehicle, surface, lightsource, key, food, container, clothing
FixedItem: switch, dial, button, decoration, actor, chair
Room

Cyc, by contrast, offers at the highest level the following, rather less
pragmatic, partial object hierarchy:

Thing
Intangible
IndividualObject
Event
Stuff
Process
SomethingExisting
TangibleObject

The Wisdom-FAQ mailinglist

to the full extent targeted by Cyc, this would surely be a major step
towards better IF. So with this in mind, a group of us from
rec.arts.int-fiction (and elsewhere) have spun off a new mailinglist to
investigate the possibility of building a sort of public-domain 'Cyc' for
IF.

The name for the mailinglist-- Wisdom FAQ-- is derived from the Internet
condense, into the most accessible format possible, all the most useful
information on any given topic. The "Wisdom FAQ" can be seen as a (rather
grandiose!) image of a FAQ that tries to contain all the wisdom of the
world, on every topic... starting, of course, with those truths most useful
for interactive fiction. (To subscribe to the list, send me a request at
wisdom-request@mcs.com. The accumulated archives can be ftp'd from
ftp.mcs.com in mcsnet.users/jorn/wisdom/. If you need me to email them to
you, let me know how many kilobytes your emailbox can handle at once.)

The mailinglist is grappling simultaneously with the task of simply
accumulating 'story elements' or axioms, and the more difficult task of
agreeing on a standardized way of expressing them. Because the latter task
is more technical and less interesting to many people, it will likely be
spun off into a second list of its own sometime soon.

The task of enumerating story-elements, though, is not so much a question
of technical as of storytelling expertise. For this reason, the Wisdom-list
eagerly welcomes non-technical contributors who nevertheless have a knack
for spinning out plotlines, or a gift for clever plot twists...

Every object tells a story... don't it?

The obvious way to keep these collections of story-elements organized is
according to which objects in the object-hierarchy they require. It's not
that hard, for any object in a game (or in the world), to rattle off the
basic rules of its behavior. One strategy for 'priming your pump' might be

* Where does this object come from?
* How does a person come into relationship with it?
* How might the person use the object?
* How might they change it?
* How might they be changed by it?
* How might their relationship with it end?
* How might it cease to exist?

One convenient format for compiling the answers to these questions might be
called a "meta-story":

The food meta-story: A person tended a garden or farm raising plants or
animals to eat or sell. They harvested the food when the time was right and
sold it or preserved it or prepared it and ate it or fed it to friends or
family. If it was well-prepared, their hunger was satisfied and they were
happy. The food travelled thru their intestines and had to be excreted. If
they didn't get enough good food, they got thin and died. Maybe the person
preparing the food put poison in it to injure the person who ate it. They
might have to disguise the flavor of the poison. Maybe they prepared it

The bottle meta-story: A person heated up some sand in an oven and blew air
into it with a straw until it became a bottle. When it cooled, they could
pour liquids into it and put a cork or cap on it to keep the liquids from
spilling or evaporating. They could also fill it by dipping it into a
larger body of liquid. When they took the cork out they could pour out the
liquids, or drink from the bottle. Two or more people could pass the bottle
around and share the drink. If they dropped the bottle on something hard,
it probably broke, and any liquid in it spilled out. The broken glass could
cut a person when they touched it, if they weren't careful. It could make a
car tire flat. If a barefoot person stepped on it they would get cut. The
broken base might act like a lens to focus light and start a fire, or
magnify something tiny. (The bottle with clear liquid in it might also be a
lens.) The person could knock someone unconscious by breaking the bottle
over their head. They could use the bottleneck to make their guitar play
better. They could roll dough flat by using the bottle like a rollingpin.
(etc)

So one approach the Wisdom-list may use could be to accumulate a sort of
'children's encyclopedia' of these meta-stories, elaborating each of them
to whatever level of detail our creativity allows.

But simply enriching the supply of intelligent objects won't necessarily
make the IF-author's job easier. For one thing, the more pre-existing
behavior that's been supplied for the game's objects, the harder it will
become for the author to anticipate every possible solution to the game's
puzzles. In fact, the farther we move in this direction, the less
attractive the whole idea of puzzle-oriented IF begins to seem...

IF and 'psychology objects'

Cyc has been circling closer and closer to the task of representing human
dramas, and claims already to have a working model of emotions and
motivations, but the Wisdom-list won't stand a chance if it doesn't
directly confront the problem of encoding literary plots.

The classic analysis of literary plots is George Polti's "Thirty-Six
Dramatic Situations". Polti analysed a huge range of classic plotlines in
literature, and declared these to be the basic ones: Supplication,
Deliverance, Revenge, Vengeance by Family upon Family, Pursuit, Victim of
Cruelty or Misfortune, Disaster, Revolt, Daring Enterprise, Abduction,
Enigma, Obtaining, Familial Hatred, Familial Rivalry, Murderous Adultery,
Madness, Fatal Imprudence, Involuntary Crimes of Love, Kinsman Kills
Unrecognised Kinsman, Self Sacrifice for an Ideal, Self Sacrifice for
Kindred, All Sacrificed for Passion, Sacrifice of Loved Ones, Rivalry
Between Superior and Inferior, Adultery, Crimes of Love, Discovery of
Dishonor of a Loved One, Obstacles to Love, An Enemy Loved, Ambition,
Conflict with a God, Mistaken Jealousy, Faulty Judgement, Remorse, Recovery
of a Lost One, Loss of Loved Ones

Only a few of these will normally turn up in the course of applying the
meta-story approach to story objects, because the most important 'objects'
in literary plots tend to be psychological ones, like emotions and
motivations.

The meta-story approach can still work fine as a way of accumulating
story-elements, though, even if you choose a totally arbitrary
startingpoint (for example, hypnosis), so long as you're comfortable with
the storytelling aspect of things:

The 'hypnosis' meta-story: Once a person learned they could control others
by hynosis. So they hynotized others into giving away their money and power
and their health and their self-respect. And these people didn't even
realize what had happened to them. Eventually things got so bad they were
desperate to discover the source of their situation. Then one person got a
glimpse of the truth, and then lost it, and then saw it again, and tried to
tell others, and got dismissed as crazy, and attacked, but finally figured
out how to lead others to see the truth, and they rose up together and
overthrew their oppressors.

The intuitive familiarity of the story-format allows almost any topic to be
productively explored...

Reverse-engineering emergent-behavior

While the artificial-life theorists have been hoping to discover a few
simple laws that will result in a vast payoff of interesting stories, via
the principle of 'emergent behavior', the meta-story approach might be
thought of as an attempt to outdo them by 'cheating'-- first you spell out
the stories you want to see 'emerge', and only then do you analyse them and
try to 'reverse engineer' the set of simpler laws that will produce them.

So even something as simple as Maslow's hierarchy of needs (physiological,
safety, belongingness and love, esteem, cognitive, aesthetic, and
self-actualization needs), which might seem like a plausible startingpoint
for a simple set of a-life laws, leading to emergent behavior, reveals some
extremely inobvious patterns (at least from a mathematical point of view),
when analysed for meta-stories:

The physiological-needs meta-story: Every so often, a person gets a craving
to consume food and drink. They usually arrange to have a source of these
nearby, that they can rely on for purity. They may prepare the food and
drink, cooking things, cutting them up, mixing them together, adding
flavorings to make the experience pleasant. Or maybe they expect another
person to do that for them. Usually, a group of people who live together
will sit down together to eat, at a table with plates and silverware and
glasses. Afterwards, someone must clean up. Sometimes they may eat at
restaurants, or in a vehicle as they travel. They may carry a container of
water to drink (perhaps flavored or mixed with nutrients or stimulants or
intoxicants), or stop at a vending machine or drinking fountain or coffee
machine. If a person's daily calories consumed don't equal their calories
burned, they lose weight. If they consume more, they gain weight. If they
lose too much weight, or fail to drink enough, they can die.
Water-plus-wastes is excreted by urination, food-after-nutrient-absorption
by defecation.

The safety-needs meta-story: A person felt unsafe, and they didn't like it.
Maybe there were other people or animals around, untrustworthy ones, and
their home wasn't secure. Maybe they had to leave the safety of their home
during the day, and risked being attacked. Maybe it was nature that
threatened them, in the form of high cliffs, deep holes, quicksand,
dangerous bodies of water, weather that's too cold, hot, or violent, etc.
Maybe it was poorly maintained technology that was the danger. The person
changed the environment or changed their behavior so that the danger was
lessened and they felt safer.

The belongingness-and-love-needs meta-story: A person felt lonely. They
sought out others' company and acted charming so they would be welcome. Or
they acted domineering so that others would be afraid to reject them. Or
they acted hurt so that others pitied them.

The esteem-needs meta-story: A person felt that no one respected or
appreciated them. So they tried to do something admirable, and then made
sure that others knew about it. Or maybe they lied about doing something

The cognitive-needs meta-story: A person needed to know something, or was
just curious. They sought out a book and read it, or a teacher and took a
class or asked them questions. Or they just observed the thing they didn't
understand, and thought deeply about it, maybe doing experiments. If they
discovered something new they probably published their findings.

The esthetic-needs meta-story: A person was oppressed by a boring or ugly
environment, so they made or acquired or sought out objects that were
pleasing to their senses. Maybe they recorded the process of creation, so
that it could be reexperienced later, by others. Maybe they positioned
these creations within their environment so they could experience them
often. Maybe they grew bored with them after a time.

The self-actualization-needs meta-story: A person had everything they
needed, but didn't feel fulfilled. So they looked within themselves to
discover what their heart wanted most, and followed their bliss...

"SimNormal"

Given the ambitious scope of the Wisdom list, there's a serious risk of
getting bogged down in such a mass of story-content, that one loses any
sense of a startingpoint, and so also any chance of actually building a
working IF program!

One way to keep these meta-stories somewhat 'grounded in reality' is to
visualize them as being acted out on a computer screen, using even the
fairly primitive existing standard for graphics adventures like King's
Quest and its ilk. If your stories are too abstract for this technology,
you probably haven't thought them through in enough detail!

I like to imagine a sort of SimCity-like environment where a community of
little NPC's go through their daily routines of life, in a completely rote
fashion, with no emergent behavior expected or desired. (In honor of
Normal, Illinois, I call this world "SimNormal".)

Looking again at the belongingness-needs meta-story above, it's clear that
before you can visualize it as a SimNormal animation, you have to break it
down further, according to certain typical patterns of how these needs are
satisfied:

The casual-acquaintance meta-story: A person gets to know another by being
introduced, or by introducing themselves, or by crossing paths
occasionally. When they meet they exchange mild greetings and smalltalk
about weather, news, gossip, entertainment they've seen. If nothing
divisive turns up, they may gradually open up and trust each other more.

The simplest way to encode this might be to give each person an
intimacy-level toward each other one. Zero would mean total strangers, but
each time they noticed a given person it might increase by one. When it
reached five, say, they'd shift to casual-acquaintance mode, and greet each
other. If they're introduced, on the other hand, they might reach five
right away. As this number continues to grow, their greetings should become
more extended in time, stopping to chat if they're not in a hurry. (There
could be a chatting animation that's designed to be cycled continually, for
whatever duration they've reached.) Discovering common interests may cause
the intimacy-level to skyrocket. Discovering incompatibilities, or failing
to see each other for a long time, can cause the intimacy-level to drop.

The best-friend meta-story: A person gradually gets to know someone else,
and enjoys spending time with them. (Or maybe it's a sudden strong
connection.) They arrange to spend time together, do things together, maybe
talk on the phone. They tell each other their private worries, and try to
help each other. These exchanges make them feel better. Sometimes they
fight, and reconcile or not. Maybe one of them gets an S.O. and that causes
them to break apart. Maybe it just stops being so fun, and they drift
apart.

A person may maintain a 'short list' of those with the highest intimacy
rating, and when they're bored or upset they'll look to these for support.
A person-soothes-person2 story could be very simple-- time is consumed and
person2 feels better. (Person1 may or may not feel worse-- if they do, it
bodes ill for the friendship!) There may be a certain potential for
conflict at each point, which should depend on the sorts of personalities
they are, and whether they're in competition for scarce resources.

The pals meta-story: A person has one or more best friends, and that group
grows larger as others are allowed to join their get-togethers. Maybe
they're invited or maybe they just show up and tag along. If someone
doesn't like them they may be driven off. Several times a week, at least,
they arrange to meet together. Maybe there's a power struggle between two
who both want to lead. Maybe one by one they drop out; maybe others take
their places.

The planning-logistics of getting a group of free-thinking individuals
together are a lot more complex than for just two. Maybe any of them can
invite the others-- there'll need to be be a 'get-together meta-story' to
handle this.

The housemates meta-story: A person moves into a living-place with one or
more housemates, sharing common areas. Usually, the housemates play the
role of friends to some degree, listening to each others' daily stories.
Some housemates are neater than others, and this will lead to conflicts.
When bills arrive, they sometimes have to be split up unevenly and this may
cause tensions. One person is probably the most responsible, signing the
checks, etc. Each probably has one or more annoying traits that try the
patience of the others. Maybe one by one they move away, and are replaced
by others, or maybe they all leave at once.

The co-workers meta-story: A person gets a job at a workplace, with others.
Some of these become friends, others maybe casual acquaintances. Some
become enemies. Even when they fight, they still have to work together, or
quit, or ask for a transfer. Their enemies may try to make them look bad to
their bosses.

The confabulating-arranger model of IF

So if we continue to pursue these directions of research, what sorts of IF
might become possible? How do you give the player an infinite world, and
still keep enough control to involve them in especially interesting
stories?

If the computer 'knows' all the most interesting sorts of dramas in
literature, one strategy could have it be continually, unobtrusively
revising the virtual world behind the scenes, so as to open up as many
interesting plotlines as possible.

So the game might open with a person in their apartment, waking up in the
morning, and if they go outdoors they may be presented with a series of
neighbors whose dramas they can become involved in... but none of these
dramas needs to have been worked out in detail beforehand. Rather, the
computer will continually improvise new possibilities based on the player's
choices, and the view of reality they've been allowed thus far. If the
player chooses not to follow up any given opening, that's no problem...
there will be many other options to explore.

This way, the past is as undetermined as the future, and can be molded to
any extent, limited only by what the player has already been shown and
told. So the computer is actively arranging that new developments will be
as interesting as possible-- "confabulating" reality, to use a psychiatric
term.

And in this, the "confabulating-arranger" model perhaps most closely
resembles the activity of the brain, during dreams...!
---------------------------------------------------------------------------

Bibliography

* Chris Crawford, "Flawed Methods for Interactive Storytelling" IED 7.4,
April 1994.
* Douglas B. Lenat and R.V. Guha, "Building Large Knowledge-Based
Alto, High-Energy Software, 1992.
* George Polti, "The Thirty-Six Dramatic Situations" Boston, The Writer,
1977 (originally published 1900).

Some journal references for more on Cyc:

* "CYC" AI Magazine 7(1), 1986
* "When will machines learn?" Machine Learning, Dec 1989
* "Cyc: Toward Programs With Common Sense" CACM, Aug 1990
* "Knowledge and Natural Language Processing" CACM, Aug 1990
* "Common Sense and the Computer" Discover magazine, Aug 1990
* "Cyc: A Mid-Term Report" AI Magazine, Fall 1990
* "The commonsense reviews" Artificial Intelligence, 61(1), 1993
* "CYC-O" Wired magazine, Apr 1994
* "Enabling agents to work together" CACM, 37(7), 1994

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Can you tell us a little bit about your interest in game development and where it all started?
When I was 10 years old, my Dad, who worked in the software industry, took me to a special Computer Programming school for kids hoping I'd become Bill Gate's one day. However, I had no interest in learning programming; instead I got to play my very first computer game at the school. And from that point on, video games were pretty much my obsession.
My first attempt in making video games happened when I was 12, and my enthusiasm quickly faded due to a bad 5 inch floppy disk which carried a week's worth of my work. When I went to college around 1999, I was pretty much bored with the math and programming, and I started to put all my spare time on digital animation and 3D graphics.
At the time, there were no domestic video game development studios in China and video game education was also a vacuum. And by accident, I met some very enthusiastic students in the college who wanted to make video games. It seemed like a good place where I could put my digital art skill to use. Once the training started, the adventure and joy from game development has never stopped.
Speaking of college... What was your role in Cloud and how did it come to be?
My first big student team project in the grad school at USC Interactive Media Division was not Cloud but Dyadin (IGF 2005), where my role was lead artist. It was the first video game made by student team in our division. The big success brought a lot of attention to the school, therefore the school started a grant to encourage students to team up and make more innovative games. The grant was open to the entire university.
As one of the applicants I came up the rough idea of making a game about clouds and rallied around students and faculties. Once the cloud game idea won the grant and got funded by the school, we put a team together. My role was team lead. As a result I worked with the team on many aspects of the game: gameplay prototyping, game design, story and all the visual arts.
What do you think made Cloud the 2006 IGF Student Showcase Winner?
Being one of a kind--a fresh emotional experience that's different from anything on the mainstream market.
Following Cloud, you went right on to working on flOw. How did Cloud's success influence you?
It's not the success part of Cloud influenced me but the failure of Cloud. So many people downloaded our game, including people who never played games. I guess they were lured to the childhood fantasy. As a result, their lack of game knowledge prevented them from enjoying the relaxing experience---instead, their frustration of learning how to control the game ruined the experience.
I learned from Cloud that there is a huge market for games that evoke a different emotional experience. However, new markets mean new audience. In order to search for a design methodology that enables a game to satisfy both experienced gamers and not so experienced ones, I started the flOw project.
Interesting concept to work with! How was flOw conceptualized and developed?
As part of my master degree thesis at USC, flOw, the original web game, was made for the sole purpose of testing whether the design methodology I developed based on Flow theory works. In the academia, there was a lot of many research about how to use an A.I. to read player's performance and alter the gaming experience. However, through playing those games myself, I feel there are so many cases where the A.I. can't assess player's true feeling based on rigid formulas.
As a side effect, the false reaction of the A.I. broke my "sense of control", a key condition to enter the Flow state. Therefore, through learning successful video games with mass appeal, I came up a different approach to adjust the difficulties of the game. I call it Active Dynamic Difficulty Adjustment, which uses player's choice to change the difficulty of the gaming experience.
The trick is to embed the difficulty adjustment choices in the core gameplay mechanics so that when player makes those choices, he won't feel interrupted from the core gameplay. In flOw, player's only action is swimming and eating, and the way the player engages different content with different difficulties is also through swimming and eating. And the result of the testing was amazing
flOw is now available on PS3, something that indie developers aspire to. How did you make the leap to console?
My business partner Kellee Santiago and I were very lucky to have studied at the USC Interactive Media Division where we took a class called business of interactive entertainment. It's that class that opened our eyes that starting up a company and chasing your dream is not a fairy tale; instead it's something totally possible for normal people like us who had no money, but a passion.
We had a sneak peek at the great potential and promising future of video games through Cloud. And we really hope the maturing of video games as an interactive medium could happen faster. We want to push the boundary of video games and allow more people around the world to see games like Cloud, to awaken the dormant market so that more people can join us to further expand video games' emotional range and meet various needs from the public. Not just things made for excitement and leisure but also things that are thought evoking and deeply emotional. With that goal, we started to pitch the grand idea of Cloud, the commercial version to almost all the publishers in North America.
Quickly, we realized that based on the experience we had fresh out of school and the ridiculous budget we asked, there was simply no one who would take the risk with us. It had to be the timing and pure luck that we encountered the opportunity of making games for the digital distribution platform for next generation console like Wii and PS3. Both of Sony and Nintendo were going to launch their new gaming consoles, and they were both dying for new content on their digital distribution channel.
The fact that flOw was a rather complete game concept made with two students in three months helped us to convince Sony that they could trust us for a much smaller game than Cloud. And then the leap was made.
Well that's great! What are you working on now?
We are finishing up our second title for Sony's Playstation Network, Flower. A game that is a sister piece after Cloud and flOw. Our version of a video game poem dealing with our inner desires towards the wild nature and urban life.
What would you say is the biggest challenge you've faced so far as an indie?
The biggest challenge is to grow up, to become experienced from inexperience. We made so many mistakes in running a startup company and in game development. Though we've overcome all the challenges, the taste is still yummy pain.
Thatgamecompany is still up and running. And we are making games that we believe will push the boundary of what video games can communicate.
What advice do you have out there for those aspiring to join game industry as an indie?
Really consider indie game developer within our industry. Just look around at what's happened in the past two years. How many of your favorite indie games have shown up on the commercial platforms? How many highly reviewed video games are from independent studios? This is the golden time of independent video games. We see so many talented new faces coming out of school and even veterans who left the big studios to form their company and chase their dreams. The renaissance of video games is already happening.

• So I have a decent amount of JavaScript experience now and decided I was gonna lower my head and start cranking out some 2d games, partly to learn, partly to have fun. Afterall, HTML5 canvas is such an easy and enticing medium. I love the JavaScript implementation of it. But after literally struggling for a week to get basic game functionality working I have had enough of the little stupid bugs that pop up with JavaScript. Don't get me wrong, I still love the language for scripting. I'm just not going to spend 20 mins coding and 5 hours debugging just because the language is crap.
I've decided to return to my previous endeavor, Java. I like Java a lot and the only reason I haven't pursued more in the way of game development is just for the fact that Java is limited to mobile or PC apps that may never see the light of day unless it's hosted on some obscure Java game hosting website that is populated with 2,000 half developed games that no one will ever care about. BUT, still, I enjoy hand coding and I know C# but don't feel like using Visual studio and I really don't wanna hand code C# on the .Net or whatever. I use Visual Studio for business apps (ASP.NET) but I don't wanna build a game with it.
So, does anyone have any points to share about why moving to Java for game development is not smart? Besides the whole, "Java is slow" thing. I mean things that might make it harder in JAva to make games vs. in other languages. Please share your thoughts.
• By andrii_k
Hi all! We are a team of two programmers developing a turn-based browser strategy, and we need someone to help with the art.

It is a card+board strategy. Every player has a castle, and in their turn can move units and play cards.
Current art is partially placeholder, partially original (contributed by some friends),
but we'd love to have somebody joining the team and taking care of the visual side.
Main tasks are drawing cards, objects on the board and interface elements.
A prototype is available here https://lords.world (needs at least two people to play properly, but you can play against a dummy bot to get an idea).
Please pm if interested. Best regards,
Andrii ﻿and Serge

• Hi there, my name is René, and Im a pixel artist, this is my first post here and Im kind of exploring my own freelancing possibilities in the field.
Please excuse my english, Im from the chaotic Venezuela, I'm currently living in Colombia, and looking forward to know another beautiful country and culture.
I have years of experience working professionally on 2d and 3d animated pieces for a wide variety of cases, but I'm a bit tired of rendering times, illumination artifacts, rigging and binding stuff here and there, processor slowness, plugins mismatch, plugin bugs, plugins outdated, licensing updates, corporative projects, that's a good reason, and found a lovely branch on the field that embraced my like a cotton cloud on a shiny day, Pixel Art.
Then I begun a surprisingly productive journey on Fiverr a few months ago, until a guy got my attention with a interesting project that I'm about to begin. So I had to put my Fiverr status on standby for a while.
While we take our time to start that project, my mind and hart asks for a taste of the Patreon experience, and so I've been thinking for a while of doing something related to the Cyberpunk dystopia, but as I have no time to do another project, I thought releasing graphic assets packs in some way, so I've been relating this and that and figuring maybe in some developers community I could let know this to begin with.
There are so many styles and mechanics on the gaming possibilities that I want to release a wide range of assets for general purposes, but inside a unique world theme, so I made my mind over this Cyberpunk topic now, but if things go well, I would need to ask to the audience for a new Theme.
This is my on my avatar hehe by the way, just a pic to express a bit of my animation skills.
I established my corner on Patreon already, but I have little knowledge of the platform, so any suggestions are welcome, and you are welcome as well to visit and comment any inquiry related to the topic.
Check it here: My Patreon
Thanks for reading. Have a nice day!
René.
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