Postmortem: The Void Hero Blues, Constraint, and Violence

The Void Hero Blues was a strange game to make. While I've been making games for nearly 10 years now, it was not only my first university student project, but also my first game to feature post-1998 quality 3D graphics. The context within which I made the game determined not only the development process, but shaped the concept itself. If I didn't have to make a game under the conditions I did, I would not have had any desire to make The Void Hero Blues. Unlike the rest of my work, this did not start out as a passion project.

I feel a very strong ambivalence about the game. On one had, it is probably one of the most technically impressive, visually interesting, and mechanically solid games I've ever made. On the other, the game's treatment of violence simply makes me uncomfortable. Let me explain.

Constraint

If you aren't familiar with the game, The Void Hero Blues is a short first person shooter in a cyberpunk setting. The player character, Void Girl, is stranded in a  pseudo-virtual environment, and must fight enemy security forces and survive for nine minutes. The catch is that every time she kills an enemy, a message will appear where they were slain that shares personal information about them. As her enemies are de-objectified, Void Girl's mood deteriorates. By the end of the game, she puts down her gun and stops fighting altogether.

The game was made over a semester and a half as an undergraduate student project at Ohio University. Most of the projects created in my class were made by teams of five or more people. Most of the members of these teams had never worked on a game before. Because I had a bit more experience than my classmates, I was pretty quickly bored with the team project I was initially assigned to, and figured that I could probably accomplish more on my own. Much to my surprise, my professor was kind enough to let me work on a solo project.

With most of my recent game projects, I strive to make something that is personal, experimental, subversive, or soulful. However, with this student project, I didn't have the free reign to do whatever I wanted as I usually did. I had to make a game using Unity 3D (which I had never done before), and I had to make it within a semester and a half. For the first time in a long time, I had to make a game using tools I was mostly unfamiliar with.

Most importantly, however, I felt a need to prove myself to my professor, and to the class. I felt that I needed to justify the privilege to work alone that was given to me. At the time, I felt that I couldn't get away with whatever nonviolent interactive art I wanted to do. Instead, I felt that I had to demonstrate that I could make a traditional game, with traditional mechanics, and do it well. I felt as though something that wasn't a "real" game wasn't going to cut it.

In short:

1) Because I had never made a 3D game in Unity before, I had to design a game that was easy to make.

2) Because I thought I had to prove that I was capable of design good, traditional game mechanics, I decided to focus on making a "fun" action or strategy game rather than an interactive story or "art game".

3) Because I have more experience making shooters than any games of any other genre, I could most realistically make a complete shooter game in a semester and a half. Making a shooter would also satisfy the requirement that the game is "fun" in a traditional sense.

4) HOWEVER, I also wanted the game to be subversive in some way. I wanted to be critical of the way in which violence was portrayed in games.

This is how I came up with the concept for the Void Hero Blues. It was one of the few concepts I could conceive that met the criteria for ease of development, fun, and subversion. However, it is the compromise between  fun and subversion that causes my discomfort about the project.

Violence

I think about violence in games a lot. I grew up playing shooter games and RPGs, and such games have probably been the largest influences on me as a designer. Even when I make a game about monsters that poop on the ground, I still rely on violence as the fallback mechanic. As a game designer, it's a habit that's been strongly ingrained in me, and I resent it.

Having violence as the primary way through which a player interacts with a game world severely limits the type of story you can tell through a game. For most people, the infliction of violence by them isn't a prominent aspect of the human experience. Halo, Quake, and Jedi Outcast are lots of fun, but at the end of the day, fun is all they are. Lately, I've been finding that narrative games in which violence is tangential to or absent from the experience, such as The Walking Dead, Sword and Sworcery EP, and Kentucky Route Zero, are far more compelling and meaningful. If I find a game primarily concerned with combat to be at all compelling, nowadays it is in spite of the violence, and not because of it.

In sprite of my criticism of game violence, every game I've worked on over the past two years besides Waker has been, in some form or another, a shooter. In three of those four cases - Empty Chambers, Toilets Meat & Drugs, and The Void Hero Blues - I attempt to provide critical commentary on violence in games through my game's mechanics. In these attempts, the violence in Empty Chambers and The Void Hero Blues both have left me uncomfortable, and the only reason it hasn't in Toilets Meat & Drugs is that the violence that does occur is between non-human cartoon characters.

In the case of The Void Hero Blues, I think that the cause of discomfort is the dissonance between the game play and the narrative content. The game's protagonist is a reluctant fighter who grows self disgusted with each life she effortlessly takes, but actual player has a different experience from her. Dodging lasers, finding health packs, and killing enemies are all fun things for the player to do. The visual and audio feedback the player receives upon sinking their blade into an enemy's flesh is satisfying. If you remove all of the narrative and subversive elements from the game, you're (arguably) left with a satisfying minimalist shooter. It is the game's biggest problem. I tried to make something that was both compelling and fun, and in this case, these two goals were at odds with each other.

Because of the game's dissonance between its game play and its narrative, I think that the game's message - that every stranger we meet is a human and not an object - was lost on a lot of the players. Some people I've met online were impressed by the game's subversive elements, but most of the people I've watched play the game only talked about the mechanics, graphics, and features of the game, not its meaning. Many players, as they played the game, actively expressed a lack of sympathy for the characters they killed, sometimes mocking them as they shot them, or remarking that they deserved it. In the case of these players, the game had failed to accomplish what I had hoped it would accomplish - feelings of sympathy and remorse.

In spite of my ambivalence about the game, I am proud of it, and if you haven't played it yet, I hope you do, but I still feel really odd about the finished project. Once I complete work on Toilets, Meat, and Drugs, I'm going to take a break from violent games for a long time. After much experimentation, I think I've realized that violent mechanics aren't going to help me achieve what I want to achieve as a game developer. I want to tell stories that are relevant to people's lives, and I know now that attempting that through action games will likely be a waste of time.

If you have played the game, how did you respond to it? Did you find it enjoyable, meaningful, or compelling in any way, and if so, why? In regards to my more general discussion of games and violence, am I actually full of shit? Please let me know.

AIN'T NO BLUES LIKE THE VOID HERO BLUES

I am very pleased to announce that The Void Hero Blues is now available for download!

You can check out the game and download it from itch.io. You can also do the same from Game Jolt, but, let's be honest, the itch.io page is better looking.

I have some things I'd like to say about the game, especially regarding themes of gender and violence, but I'm fairly exhausted from cranking this beast out, and would like to get more feedback first.

Thank you so much for playing! I'm very proud of how this one turned out.

Now that The Void Hero Blues is good and done with, you can expect a lot more writing from me over the next few months, as well as the imminent release of Toilets, Meat, and Drugs: A Pink Monster Story. TM&D has been painfully close to completion for the past month and a half - until now, I simple haven't had the time to give it the little push over the finish line. 

It's been five months since I've worked on Waker. I needed a break, but am trembling with anticipation at the thought of working on it again. I think developing The Void Hero Blues has been a huge transitional phase for me as a game maker, for reasons I'll get to in the next post. I feel energized in a way I haven't felt in a long time. I think I can make Waker really, really special, not only because I have the technical skill, but because I feel driven to do so in a way I haven't felt in a long time.

Devlog Update (Toilets, Meat, Drugs, and Gender/Romance/Sexuality)

Life's been preventing me from writing as much as I'd like. There's a lot I'd still like to say about Gamergate, about conversations with strangers, about gamer identity as a capitalist construction, and about soda pop and self destruction. Sadly, I've got no time for any of that. What I do have time to do is fulfill the bare minimum requirement for this blog's existence, and update the devlog for Toilets, Meat, and Drugs and The Void Hero Blues.

I'm currently in the process of implementing NPCs and writing dialogue for Toilets, Meat, and Drugs: A Pink Monster Story. I never set out for the characters of  TM&D to be well-developed, or for the story to be profound. However, as I write for TM&D, I'm beginning to notice that themes of queerness, sexuality, and androgyny are sprouting up through the cracks. This is a pleasant surprise.

From the beginning, I had vague androgynous intentions when designing the game, mostly with the aesthetic (I'm going to combine pinkness, cuteness, and hearts with terror, explosions, and BLOOD), but it was never anything serious. I didn't set out to make a strong or elegant ideological statement through the game. But the ideology seeped through, and continues to.

For a while, the game steered clear of sexual/romantic themes altogether, until I recieved feedback for the original version of the game and playtests of the upcoming version. During that time, at least one person referred to the game's charming mechanic as "flirting," While I didn't original conceive of the mechanic as such, from that moment onward TM&D became a game about flirting.

The game's aesthetic, combined with the game's heavy mechanical focus on flirting, reproduction, and physical change, have naturally influenced the way I write for the game. Because of the aforementioned mechanics are so prominent, the characters must refer to them fairly frequently. Meanwhile, because I've felt reluctant to directly impose a gender on the player character,  and because the player character is capable of flirting with nearly everyone in the whole game, I haven't assigned a gender to anyone in the game (with the exception of the one human character). Essentially, the world of TM&D is one in which, if sexuality isn't experienced by the player, it is at least implied, and, yet, gender is virtually nonexistent.

Now, if you are expecting this game to be primarily about queerness, sexuality, romance, or androgyny, or if you expect it to make a profound statement about any of these things, you're going to be disappointed. That was never my intention with this project, and I am not the most qualified person to make profound statements on these topics. However, while my exploration of these themes may be shallow, they are themes that aren't typically explored in games, and certainly not in this manner. It may just be icing on the cake, but icing is still really fucking tasty, and it's the good homemade stuff you don't often get your grubby hands on. Just remember that it doesn't have any nutritional value. I don't want to sell the cake as something it isn't.

MEANWHILE...!

Regarding my student project, The Void Hero Blues, I'm mostly focusing on modelling, texturing, rigging, and animating the art assets, and implementing them in game. I don't have much else to say about my work on this one, so I'll let the pictures do the talking.

Both of these games should be done in time for the holidays, for whatever that counts. Just a reminder that the rest of my games can be found here. Follow me on Twitter @alchiggins, as Twitter's become the primary way I engage with the game development community. Cheers!

Void Hero Blues and Toilets Meat and Drugs update

First, I'm going to start with the bad news. I'm formally putting Waker on hold until next year. For the next few months, I need to write half a thesis and finish The Void Hero Blues, and I'm aiming to get Toilets, Meat, and Drugs all done and out of the way. The sound guy for Waker, Ashton Morris, also has plenty on his plate to deal with. People ask me about Waker on a semi-regular basis, and I'm sorry that I haven't been able to resume development on it. Yet.

Good news is, Toilets, Meat, and Drugs: A Pink Monster Story, is nearing completion. I need to add a couple more endings, update the tutorial, update the story, and add music. The bulk of the work is done.

I went ahead and jacked up the speed of the player and all NPCs - it improves the game tons. Combat is oodles better than before, if you wanna play that way, and fleeing/evasion is now a more effective strategy than in the original.

The closer that TMD: PMS gets to completion, the less I have to say about it. When it comes to these projects, silence is often good.

MEANWHILE....!

Development on the Void Hero Blues is picking up. It's my first time working in (true) 3D since my teenage years, first time using Unity, and my first time coding in Javascript. Development is slow. Building the test level above, and simply getting the player to shoot and reload, has taken up the first couple months of development. But I'm finally moving on!

Here's an early model of the grunts you'll be fighting in the game. Designing the grunt was tricky - because the point of VHB is to humanize the victims of game violence, and perhaps re-sensitize players to game violence, I needed something with a human face that could be a subject of sympathy. However, I also needed something that could be mass produced. I compromised by settling for a character with an androgynous build and exposed, expressive mouth, but with their face mostly covered. However, I gave the bulbs on his visor "eyelids" so that they could remain expressive.

Not bad for my first serious attempt at modelling a humanoid, I think.

And here's the player's weapon! It kinda reminds me of Quake III's rocket launcher. I left a blade in there in case I have time to add a melee attack. The texture's still a work in progress - this thing definitely needs a bump map.

If you're looking for something to play in the meantime, why not check out Empty Chambers, Digital Toilet World, or How to Fly?

Toilets, Meat, and Drugs Update, Waker and Void Hero Blues Non-Update

TM&D now has too many monsters. Up to 25 playable beasties:

You kind of have to view it full screen.

There's been a slew of tiny changes, the most significant of which is that NPCs now spawn, grow and evolve as the player grows. Not only does this mean that the game's difficulty automatically adjusts with the player's ability, but previously explored areas never grow dull and constantly change. It breathes a lot of fresh life into the game! The end game is pretty epic when a random assortment of miniature gods crawl across the landscape.

I'm also about halfway done with the new areas. The new game world will be over twice the size of the old one. I also only have 2 more new monsters to program. Once I'm done with both of those things, I just need to rework the story, update the tutorial, write the music, and finish the thing!

Then I'll get back to Waker and The Void Hero Blues. VHB needs to be done by December, so it'll take priority. I'll then focus all of my energy on Waker and try not to be diverted by any more side projects. When I started Waker, I didn't have very many quality games in my catalog, and I felt a need to flesh it out. While Empty Chambers is awfully pretty, and Digital Toilet World has it's charm, both are pretty tiny games, and don't really show off what I can do as a developer.

TM&D is the first mechanically rich game I've made in a long time, is pretty substantial in scope, and really rounds out my collection of work. As a matter of fact, it reminds me a lot of the games I made in my early adolescence. I honestly haven't made a (complete) game of such length, or with such a large world, since I was 14, nor have I found myself pouring so many hours into a game's development. The graphics are pretty shitty too, just as they were back then.

Making games with crude, minimalist, punk graphics is so liberating. Give it a shot.

But, yeah, after this, no more goddamn side projects. Starting next year, all Waker, all the time. Oh, I think Waker's second birthday was sometime last month. Shit. I feel pretty awful, I couldn't work on it at all this summer - by the time my broken wrist was pulled out of the cast, I had been totally derailed by TM&D. So, so sorry.

Void Hero Blues, Site Updates, RIP Freeindiegam.es

Here's some more screenshots from The Void Hero Blues. If I can get away with making this whole damn thing with cubes, I swear I will. Can I say how much I love bump maps?

Also, I've been tidying up the site a bit. The "games" page is a lot more user friendly, and you may have noticed there's a whole bunch of new entries with the text, "coming soon". I've decided, for posterity's sake, to upload a bunch of old and unfinished (playable) work. Unfortunately, some of my best stuff from my teen years has been forever deleted, but what I've presented what I've been able to salvage. I'll be uploading old games as I have time. Stay tuned!

I also want to pay homage to freeindiegam.es, which recently was shut down. Most of the recommended games on this blog I originally found on that site, and one of the happiest mornings of my life was when Terry Cavanagh shared Digital Toilet World. It was a real special website, and if nothing takes it's place, I'm half tempted to spearhead an effort to help replace it. Terry, Porp, Stephen, Tim, Aquin, and Noyb, thanks again for two years of fantastic work. You're some of the coolest sons-of-guns there are.

Void Hero Blues Production: Day 2

Void Hero Blues Production: Day 1

This 3D thing is pretty cute, I guess.

Recommendation: The Gray Garden, Waker Update, New Project:Void Hero Blues

Item Number 1:
Recommendation: The Gray Garden

The Gray Garden is an RPG by Mogeko, translated by vgperson, who also translated Standstill Girl and Mad Father . It takes place in a world in which, in the aftermath of a great war, angels and demons learned to coexist peacefully. Hell, they get along so well that God and the Devil flirt with each other - it's pretty great. You spend most of the game playing as a demon schoolgirl who lives an innocent life, up until her town comes under attack by flaming bats sent by the devil of another dimension.

The combat's stupidly easy, and it's a bit cheesy, but this doesn't detract from a surprisingly engaging story - it's one of those visual-novel-in-an-RPGs-clothes sort of deals. Combine that with dark humor, quirky loot, and a unique take on Christian mythology, and you have a damn worthy narrative experience.

You can download it for free. It's an RPG maker 2003 game, so it'll require downloading the RPG maker 2000 runtime for it to work. Of course, if you're the sort of person who likes these sorts of games, you've already got it installed, now, don't you?

Item Number 2: 
Waker Update

Sound production on Waker has begun - my audio guy (Ashton Morris, check out his tunes!) is sending me some sick music and sound effects. On top of that, I'm done revising the pre-existing section, finally moving onto actually progressing the story. To be totally honest though, I have to admit that Waker will probably remain in developer hell for longer than I've last estimated (November 2014) because of...

Item Number 3:
The Void Hero Blues Announced

So, I was having trouble this semester motivating myself to work on a year-long student game project. It was essentially just a multiplayer arena game, which I found dreadfully boring to even think about working on. While technically more impressive than anything I had worked on before, creatively, it felt like a step backward for me. I'm ready to move on and make games that are more experimental, political, and self-aware. It was also a problem that, on the seven person team, I was the only one willing to program. It was a depressing situation, but my professor rather kindly allowed me to work on a solo project. That project is The Void Hero Blues.

The Void Hero Blues is a first person shooter game about the objectification of strangers. Every time you kill an enemy in the game, you will be alerted to a bit of personal information about them. One enemy is an avid stamp collector, another is a loving parent, and this information will be made known to their killer - you. Maybe it'll be funny, maybe it'll be sobering, hopefully it'll provoke thought about objectification and violence.

I should have some levels made in three weeks or so, will show 'em off then. It'll be my first project made in Unity, and my first (truly) 3D project since I was a teenager (sadly, all of the first person shooters I made as a kid are forever lost) (and Empty Chambers doesn't really count). It'll be done by December.