• ToyTalk and The Winston Show

    00_WelcomeFor the last few months I have been advising a company called ToyTalk, founded by a bunch of super-smart Pixar vets. Right now I am in an interesting and lucky place, where I can pick and choose what to engage with, and what caught my eye about ToyTalk was what they were trying to do.

    In short, they are trying to use voice as a primary means of interaction. With toys, games, entertainment in general. It’s very forward looking — think “what if your plushie had Siri!” It’s also very hard.

    Well, their first product has come to fruition and is on the App Store now, and FastCompany just wrote this article “Pixar Vets Unveil A Genre-Busting iPad Talk Show That Talks Back.”

    This is The Winston Show, and it’s a vaguely muppety kids app featuring goofy characters that talk, branching stories, photo booths, quizzes, etc — and it’s designed for your six year old to yell at it. Seriously. Winston and crew will understand what the kid says (well, some amount of it anyway!) and answer in ways that are contextualized.

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  • A little card game prototype

    I have been working on four or five 20130905-144728.jpggame projects at once for the last few months, and they are all at various stages of completion. I had been waiting to do an announcement once I had things like, oh, a company name… but this just arrived in the mail today and I couldn’t wait to share it. Shame on me for blowing the “proper” social media marketing plan, but oh well…

    This here is a nicely printed copy of a prototype I have been working on. Given the photo, I can’t keep the name secret, so… it’s currently named Rainbow, obviously.

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  • The Ready Player One MMO was Metaplace


    MMORPG.com has an article about a hypothetical Ready Player One MMO.

    For those who haven’t read it, Ready Player One is a novel by Ernest Cline that describes a network of virtual spaces running on a common operating system, called OASIS. The story is a fun romp, not too deep, about a kid who is looking for the secret prize hidden in an insane scavenger hunt scenario by the network’s creator.

    The book is full of geek references. The skillful playing of Joust is a key point; so is the ability to recite Ferris Bueller’s Day Off from memory. But of course, part of what captivates a gamer is the description of OASIS itself: a giant network of virtual spaces, capable of encompassing pretty much every sort of virtual space you might want.

    So the article asks, what about building something like that. Well, we did.

    Metaplace predated the novel. But really, the book describes basically what we built, and which is now gone. (The tech survives, within Disney, but isn’t used in this fashion anymore).

    I think many MMORPG fans were barely even aware it existed, because really, it got almost no marketing. And while we were around, people were perpetually confused as to what it was. Frankly, I found it too big an idea to wrap up well in a marketing message.

    • a generic server architecture that could handle anything from arcade games to MMOs. Servers ran in the cloud, so it was designed to be really, really scalable. Just keep adding worlds. At the time we closed it, there were tens of thousands of them.
    • the ability for players to own and make their own spaces. You didn’t even need to know how to make stuff in 3d modeling, it imported SketchUp from Google Warehouse even. You didn’t need to host your own art.
    • scriptable to the point where you could make a whole game in it. The scripting used Lua, which was a barrier for people. We had made moves towards letting people snap together behaviors (drag and drop AI onto something in the world, for example) but probably didn’t go far enough.
    • full web connectivity in and out, so that you could have stuff from the real world manifest in the games, or game stuff feed out to the web. Like, an MMO where the mobs are driven by stock quotes was easy to make. Or hooking a Metaplace world up to say Moodle (for education) or having NPCs read their dialogue from external sources. We had one world which performed any Shakespeare play by reading the plays off of a remote server, spawning NPCs for all the parts, and interpreting the stage directions.
    • agnostic as far as client, so you could connect lo-fi or full fancy 3d — in theory. We never got to the 3d, but we had clients running on mobile devices, PCs, and in web browsers. If we were still pursuing it, you can bet we’d be doing an Oculus version right about now. 🙂
    • worlds connected to one another, and you might change from world to world, but you also had a common identity across all the worlds. You could walk from Pac-Man into Azeroth, so to speak.

    I think a lot of people were turned off by the 2d graphics, and a lot were turned off by the fact that there wasn’t a full MMO there to just play, and a lot of people found building too hard. A huge part of why we didn’t succeed is that we were too many things to too many different people, and that split our efforts in far too many directions. The result was a tight but small community that never started to really grow.

    But if you were ever wondering why something like the Ready Player One/Snow Crash style world hasn’t been made — well, there it was… open from 2007 to 2009. It saddens me to see it forgotten so quickly, though in many ways it really did end up as just a footnote in virtual world history. I get a lot of “the last thing you did was SWG in 2003” from people who clearly didn’t know it existed or weren’t interested because it wasn’t a hack n slash gameworld.

    I might spend the time to dig through some screenshot archives and post up some examples of what got made. I miss that community a lot.

  • MMORPG.com interview

    I didn’t plan it this way, but we have two interviews on back to back days! This one was for Adam Tingle over at MMORPG.com, and it focuses mostly on MMOs specifically, as you might expect, with a lot of retrospective stuff. You can read it here.

    We talk a bit about the making of Ultima Online, the development travails of SWG, the promise of Metaplace, and even the origins of sandboxy features back in LegendMUD. A snippet:

    MMORPG: Do you believe in structuring a players experience, or prefer giving them tools to create a more emergent adventure?

    Raph Koster: Both, really. But I strongly believe that you can’t build the emergent tools on top of a static world. As soon as you decide to make storytelling or quests or whatever the basis of your experience, you sacrifice having dynamic and emergent things in the game, because you can’t break or upset all the static content. Whereas if you start with a foundation of simulation or UGC, and layer static stuff on top, that works fine, because the static content is built to assume shifting foundations.

  • Gamasutra interview about “What’s Next”

    I did a little interview with Patrick Miller for Gamasutra, as part of the run-up to GDCNext. A snippet:

    How do you see the role of games (and the kind of experience players expect) changing? Are there any games/other work do you see around you now that is indicative of an emerging trend in this regard — something which you think you’ll later point to as a watershed moment in the evolution of video games?

    It feels like we are swimming in this water already and not realizing it. Just recently, Gone Home charted on Steam above some big AAA releases. That’s a landmark moment right there. The press has already turned the corner to a significant degree – the debates over the artistic merits of a title like BioShock Infinite were already louder to my ears than the sort of traditional review discussion we used to get. The titles under discussion by craftspeople at conferences are the indie games, not the AAA games. We’ve seen the rise of artist enclaves, bohemian attitudes, old guard resistance, jejune manifestos (mind you, I think virtually all manifestos are jejune) and all the rest.

    I think the floodgates are open. We’re at the point now where the kids who grew up with widespread “mass market” gaming are adults and are steeped in the gamer culture and mindset, and with that is coming all the self-examination, the desire to see substantial thematic content, and so on. The revolution has happened.

    via Gamasutra – What’s Next? Koster talks ‘the revolution’, future of games.

    I am sure I will take flak for the jejune bit. #nodads 😉