Dev Game Club

Welcome to Dev Game Club, where this week we start a new series on 2005's Psychonauts. We stay in the same year as our last game, and dive into a little of the prehistory of the game before diving into the game proper. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary.
Sections played:
Coach Oleander's Brain
Issues covered: making something for someone else to own, spinning off from LucasArts, staying true to their persona, being a more open studio, documentaries about the studio, the possibility of the studio closing, how the game starts, a super stylistic game, clear identity, bringing individuality to each character, asymmetry, offending the efficient developer, hand-crafting everything, impeccable writing and voice acting, themes coming through later, trailblazing, an indie scene in San Francisco, changing guards at publishers, drawing on psychology for its setting, a cohesive and pure game, exploring two tutorial areas, customizing buckets of figments of imagination, building engine game and studio together, crunch-tastic development, a variety of action and platforming primitives, an underimplemented feel and polish, fighting the camera, systemic cameras that have trouble covering everything, a big swing, asymmetric multiplayer modes, mutators, an internal mail alias, voice over IP, what do you need to support an MP game post-launch, inventory tetris, risk to return to get a loot item, a vestigial element of games, forcing hard choices or loops, re-examining genre "defaults," informing our own work, Octavia's gadget system, giving more agency to the player, a shifting meta, a wide tunnel of known options. 
Games, people, and influences mentioned or discussed: Splinter Cell: Chaos Theory, Tim Schafer, Grim Fandango, Full Throttle, LucasArts, Microsoft, Ed Fries, Majesco, 2015, Metal of Honor: Allied Assault, Infinity Ward, Call of Duty, Jason West, Vince Zapella, Nihilistic, Infinite Machine, Zombies Ate My Neighbors, Phantom Menace, Dean Sharpe, Kalani Streicher, Broken Age, Unreal Engine, Kiln, Two Player Productions, Scott Campbell, Disney, Warner Bros, Studio Ghibli, Peter Chan, Day of the Tentacle, SW: Republic Commando, Beyond Good & Evil, Monkey Island (series), Spyro, Super Mario (series), Illumination, Braid, Celeste, Choice Provisions/Gaijin Games, Super Meat Boy, Team Meat, World of Goo, Crystal Dynamics, Prince of Persia: Sands of Time, Ocarina of Time, Ashton Herrmann, Unreal Tournament, Quake, Duke Nuke'em, Hunt: Showdown, Repo, Peak, Matthew, Outlaws, Aliens vs Predator, Starcraft, Matthew, Diablo, Animal Crossing, Resident Evil (series), Harley Baldwin, Halo, DOOM (1993), Maas, Project: Octavia, Troy Mashburn, Thief (series), Kirk Hamilton, Aaron Evers, Mark Garcia.
Next time:
more Psychonauts!
Twitch: timlongojr and twinsunscorp
YouTube
Discord
DevGameClub@gmail.com

Welcome to Dev Game Club, where this week we complete our series on Tom Clancy's Splinter Cell: Chaos Theory. We talk about some of the late levels before turning to our takeaways. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary.
Sections played:
Through Battery (B) and Seoul (T)
Issues covered: whether Tim is North Korea, Steam Deck support, the intimate level design of Hokkaido, nightingale floors and ninja, ninja kids, level design that wraps around, changing up the levels, timed sections, cool ideas for the space, connectivity, different types of cameras, a frustrating metric challenge, directing the player, contextual movement and tagging, telegraphing metrics, negative design metrics, finding additional story, the set-up for Seoul, contrast against Battery, escalating the dynamic objectives, the "reversal," upping the ante, getting 100%, the whistle, finding a body as a negative stat, deducing player intent, unconscious witnesses, combining states, layering tools and immersive sims, wanting more guidance to the systems and verbs the player has access to, building tutorial stuff last, executing on the tone, dynamic changes to the plan, leaning into the tech appropriately, communicating enemy AI state clearly without UI, the limited reach of this genre. 
Games, people, and influences mentioned or discussed: BioStats, CalamityNolan, OI Interactive, RealmSoft, Clockwork Ambrosia, Michael Patton, Nathan Hiemenz, Ian Clark, Lian Hearn, Across the Nightingale Floor, Teenage Mutant Ninja Turtles, Team Ninja, Vanquish, Platinum Games, Metal Gear Revengeance, Clover Studios, Fallout 3, Skyrim, Jedi Knight, LucasArts, Kevin Kauffman, Matt Tateishi, Jake Stevens, Knute Rockne, Prince of Persia: The Sands of Time, Mysteries of the Sith, White Men Can't Jump, Woody Harrelson, Star Wars: Rogue One, Hal Barwood, Hitman: World of Assassination, Nintendo, Majora's Mask, SW: Republic Commando, Mission: Impossible, Project: Octavia, DOOM (1993), Alien: Isolation, Kirk Hamilton, Aaron Ever, Mark Garcia. 
Next time:
Psychonauts!
Twitch: timlongojr and twinsunscorp 
Discord 
DevGameClub@gmail.com

Tim is traveling this week, so we are reaching into the Discord Game Club interview archive. This time around, BioStats and Calamity Nolan interview Michael Patton, Nathan Hiemenz, and Ian Clark, who talk primarily about the development of Clockwork Ambrosia, but hit on lots of other stuff. We expect to return next week.
Twitch: timlongojr and twinsunscorp 
Discord 
DevGameClub@gmail.com

Welcome to Dev Game Club, where this week we continue our series on Tom Clancy's Splinter Cell: Chaos Theory. We talk about the game's tone, the depth of mechanics and their uses, the spaces, and the use of fidelity. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary.
Sections played:
Up through Displace
Issues covered: a wry tone, avoiding technobabble, countering drama with comedy, who various characters are talking to, layering in narrative, setting games in real places, consumer cultures, global customer bases, stepping over a line, getting some Sam time, delivering a variety of types of experience through a game mechanic, detecting player stories, guards becoming keys, different ways to tackle bank lasers, infinitely recursive stacks and punch cards, talking to the old guy, the many uses of a sticky camera, using quick save as a gadget, fire and alt-fire, load-outs, multiplayer asymmetry, pacing of play, whether every role was equally fun to play, office buildings, nuanced level design, a long way around to a briefcase (aka a not-so-brief-case), a high quality bar, cloth sims, high fidelity shadows, integrating new technical features into gameplay, physically-based rendering, making artistic and design choices that support the design.
Games, people, and influences mentioned or discussed: William Shakespeare, Hamlet, Metal Gear Solid (series), Hitman (series), Thief (series), Ghost Recon (series), James Franco, Jonah Hill, The Interview, Jack-Ax (series), Sony, Bourne (series), Grand Theft Auto (series), Far Cry (series), Marvel Cinematic Universe, Assassin's Creed (series), America's Army, Evolve, Dead by Daylight, Interstate '76, Xbox, PlayStation, Unreal, Clint Hocking, Harley Baldwin, Kirk Hamilton, Aaron Evers, Mark Garcia. 
 
Next time:
Finish the game?
Twitch: timlongojr and twinsunscorp
YouTube
Discord
DevGameClub@gmail.com

Welcome to Dev Game Club, where this week we continue our series on Tom Clancy's Splinter Cell: Chaos Theory. We cover lots of topics, delving into stealth and AI systems, objectives and their communication, and other thoughts. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary.
Sections played:
Another mission
Issues covered: whether it was designed for a controller, graphic fidelity holding up, the fixed function shading pipeline, the crossover between audio and visual meters, what's going on with the light meter, ambient noise affecting how quickly you can move, adjusting eyesight, layering mechanics into a mini-game, sprinklers everywhere, hose extraction, trip lasers, using a body as a laser avoider, a key that isn't a key, interrogation mechanics, consequences for not interrogating, multiple paths to information, forgetting the vision modes, the marketing targets for particular consoles, dynamic mission objectives, motivating spaces through pattern language, having to mark up the world to tell you what's important, a digression into climbing anywhere, "what map?," not wasting space, clockwork levels, a globetrotting set of ops vs single-location games, Brett has a good point, contrasting flavors, just jumping in and having the briefings paper over travel, the attract mode, benefitting pacing.
Games, people, and influences mentioned or discussed: XBOX, Pulp Fiction (obliquely), PlayStation 3, Clint Hocking, NOLF 2, Max Payne, Metal Gear (series), Three Men and a Baby, Poltergeist, Eternal Darkness, Mission: Impossible (series), Entrapment, Sean Connery, Catherine Zeta-Jones, Dishonored, Prey, Hitman, Die Hard, Assassin's Creed, Crazy Climber, Cairn, Jusant, Hideo Kojima, Reacher (series), The Gray Man (series), The Hunt for Red October, Quiller (series), Shadowlord-72, Kirk Hamilton, Aaron Evers, Mark Garcia.
Next time:
More TCSCCT!
Errata:
Apparently there were in fact multiple shader units on the original Xbox, and supported Pixel/Vertex 1.1 shaders. We regret the error. (Fixed function was still a thing, though, I'm just not remembering the details correctly.)
Twitch: timlongojr and twinsunscorp
YouTube
Discord
DevGameClub@gmail.com