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Archive for Jak & Daxter

Pixelvolt Interview

Sep25

Periodically I was asked by Pixelvolt to answer a few interview questions.

Check them out here for the latest in Indie Game News!

I’m also posting the interview here for posterity:

Pixelvolt: Many enjoyed the Crash Bandicoot trilogy more than Super Mario 64 or DK64. How do you think the Crash Bandicoot franchise did against Nintendo’s heavy hitter platformers?

Andy: Crash Bandicoot was in development during the same period as Mario 64. We started in 1994 and first saw our rival at E3 in May of 1996, only 3 months before we shipped. Basically that meant that Mario had no influence on us (although it was to later inform Jak & Daxter). Doing platforming in 3D was hard, and both games took different approaches. Our aim was to try and bring the Donkey Kong Country style gameplay into 3D as faithfully as possible. Mario went for more open puzzle solving and exploration (Miyamoto called it a garden or sandbox). I personally like ours better because it’s more straightforward to play with less thinking involved (more twitching). I don’t like my platform games to involve too much thinking – I do plenty of that at work.

Pixelvolt: Were there any N64, GCN, or Xbox games that you enjoyed playing?

Andy: My favorite N64 games were Goldeneye, Zelda, and Banjo-Kazooie.

Pixelvolt: Do you have a personal favorite out of the Crash Bandicoot games?

Andy: Crash 2. It’s better technically than Crash 1, has a bigger more flexible move set, and the play is very balanced. It’s hard but not brutal. Crash 3 is great too, but I think it relies a little too much on gimmick levels (jet skiing, flying, etc).

Pixelvolt: Naughty Dog has always been great at pushing the limits of hardware. Can you give us some details from the development of the Crash series and the Jak series and just how far things were pushed – and how they were pushed?

Andy: Crash 1 was all about forging into the unknown. Everything was new. The gameplay was totally new. We had no model for how to do it in 3D, and it took 6 months of unplayable test levels before we developed some that were actually fun. On the technical side, the sheer volume of data was overwhelming for the computers of the time (1994-6). We had to do all the tool processing on big Silicon Graphics workstations. I actually had 8 gigs of memory in my desktop machine by fall 1996! Imagine that, the memory alone cost $75,000! With Jak, the seamless loading was hard. We had been heading in this direction with Crash, which featured a very sophisticated streaming system and extremely short load times (3-4 seconds!), but with Jak & Daxter, we had this early mandate to eliminate loading entirely. It was hard but very cool in a subtle way. Very few games do it even now.

crash_bandicoot1

Pixelvolt: Was it hard to leave Crash Bandicoot behind, and do you think there is a chance that Naughty Dog will save Crash from his most recent outings and produce another game?

Andy: Naughty Dog doesn’t own all the rights to Crash; Activision owns most of them, so it’s difficult for that to happen just from a legal perspective. Still, a fan can always hope.

Pixelvolt: What were some of the immediate allowances that were enjoyed most when switching from Crash to Jak?

Andy: No one would ever call the PS2 an “easy” machine to program for, but there were certain niceties compared to the PS1. Z buffering was a big one. On the PS1, you had to sort all your polygons and make sure they didn’t overlap. The PS1 really freaked out when polygons stretched off (or into the screen). Another more amorphous advantage was the huge step up in raw processing power, which made it possible to stop worrying about individual lines of logic (as much).

crash racing image

Pixelvolt: How did it feel among your video game peers when CTR: Crash Team Racing was being developed? With Mario Kart 64 having thought up the kart racer genre, was it awkward? Many gamers enjoyed CTR much more than MK64; how did this reaction make everyone feel after it was released?

Andy: Obviously, CTR owes a big debt to Mario Kart, even if the graphics are better looking and more detailed – but I also think – and this is one of the game’s big triumphs, that the handling and gameplay we achieved was really first rate. The combination of steering, power sliding, powerups, and the like was really very, very fun (not that Mario Kart 64 and Diddy Kong Racing weren’t too).

Pixelvolt: What do you and ND think of the current state of Crash Bandicoot. Since Crash Bandicoot: The Wrath of Cortex, almost all the fans agree that the quality has skydived; what do you and the original development team think of the situation?

Andy: I try not to look at anything Crash related after Crash Bash. It’s all kind of sad because even the basic art design isn’t “correct” with the standards of the Crash character.

Pixelvolt: Did you learn anything from video game development that is assisting with your writing at all?

Andy: As a serial creator (having made over a dozen major video games), it was interesting how similar the process was to any other complex creative project. Video games and novel writing are both very iterative and detail oriented. They use a lot of the same mental muscles.

Pixelvolt: What do you plan on doing next? Do you plan to do anything in addition to writing?

Andy: I just finished up adapting Untimed (my time travel novel) as a screenplay. And I’ve got three different new novels in the works. The one I’m working on at the moment is background notes for an epic fantasy series. I’m trying to create an entire extremely detailed world so that’s a lot of fun.

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Pixelvolt: Do you ever think you’d consider returning to game development?

Andy: I might someday. I have a cool dungeon crawler idea I’ve wanted to do for years. But right now, I still get to build worlds, characters, and general IP. I can do it faster and without as much stress. I miss the sheer exposure the games got as the whole business is on a much bigger scale than publishing. I’m immensely proud of all my games, but I also think Untimed is as good a novel as my favorite, Crash 2 is a game. Hint, hint. Nudge, nudge. Wink, wink. Buy, read.

Pixelvolt: What were your thoughts on Jason Rubin and THQ? I know a lot of ND/THQ fans thought he did a great job, despite everything working out the way that it did.

Andy: Jason had a real uphill battle there and very little time to fight it. He’s one of the most talented people I know, so I have to imagine that he did as good a job as humanly possible.

Pixelvolt: Tell us about your books. You’ve been a huge reader for quite some time. When did you decide you were going to leave the gaming industry and pursue writing full time?

Andy: I’m a lifelong creator and explorer of worlds. As far back as first grade, I remember spending most of the school day in one day dream or another. I had a huge notebook stuffed with drawings, story bits, and concepts for an elaborate Sci-Fi/Fantasy world I cobbled together from bits of Star Wars, Narnia, and Battlestar Galactica. By fourth or fifth grade, not only was I losing myself in every fantasy or Sci-Fi novel I could, but I was building Dungeons & Dragons castles and caverns on paper. Then from 1980 on the computer. Over the following decades, I wrote dozens of stories and created and published over a dozen video games all set in alternative universes. And as an avid reader (over 10,000 novels and who knows how many non-fiction volumes), it was no surprise that I eventually decided to write some books of my own.

Pixelvolt: Would you ever consider having any movies or games made based off your books? If so, would you oversee any of the development?

Andy: Uh, big yes. As I mentioned, I just finished adapting Untimed into a screenplay. That was a lot of fun and took far longer than I thought, including at least six major drafts. Untimed is a focused story of about the right scope for the big screen, and it’s fairly short (75,000 words), but I still had to cut at least a quarter out of the novel and learn to adapt the story telling to the new strictly audio-visual medium. Now I just need to figure out how to sell it and get it produced. Haha. Film, unlike novels, is a very collaborative medium.

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Pixelvolt: What are you currently playing?

Andy: I’m still playing a bit of WoW. I have on and off since launch and used to be a serious raider in the Vanilla, BC, and Lich King eras. I played The Last of Us when it came out from start to finish and that was hands down the best story-based game I’ve ever played. Really, really emotional and intense. My two games of the moment are really different: the new Mickey Mouse Castle of Illusion with my five year-old (I loved the Genesis original) and Bioshock Infinite. That’s an awesome game too. The control and character isn’t quite as good as TLOU, but it’s really engaging, and I’m totally drawn in by the 1912 alternate America and its in-depth and surprisingly accurate depiction. Speaking of 1912, my first novel, The Darkening Dream, is a fantasy set in 1913, so if any of you are curious, think Bioshock Infinite, minus the floating city and plus a 900-year-old vampire, crazy Egyptian gods, and some nasty succubus on preacher action.

This interview was originally posted here.

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  5. Crash for Charity
By: agavin
Comments (22)
Posted in: Games
Tagged as: Andy Gavin, Crash Bandicoot, Jak, Jak & Daxter, Jason Rubin, Mario, Mario Kart, Naughty Dog, Pixelvolt, Silicon Graphics

UK Playstation Mag Interview

Jul08

The below is an interview I did earlier this year:

Andrew, give us a bit of background about yourself before the days of Naughty Dog. (growing up, interests, coding background)

I grew up in the simultaneously cosmopolitan and suburban area of Northern Virginia (just outside of Washington D.C.). I was the right age to catch the first big wave of gaming in the late 70s, early 80s. I played all the arcade classics as they came out and eagerly pestered my dad for an Atari 2600. This was a time when there was tremendous experimentation and creativity going on. New video game genres were invented all the time.

In 1980 my science teacher brought into class a Heathkit H8 her husband built. We were given a single mimeographed sheet of paper with the BASIC commands. I read this and then wrote out longhand a draft of a text-based RPG where you wandered around and fought orcs and trolls for gold and tretchure (I could program, but I couldn’t spell). During lunch I typed in and debugged the game, editing my paper copy as needed. It may seem overly ambitious to try and recreate D&D as one’s first program, but you have to make what you love.

bedrock

This was taken just after Jason & I moved to California in 1994

At the age of twelve, I met Jason Rubin in class (we were both bored and loved games). Seeing as I was a great programmer and Jason a great artist (by middle school standards), an instant partnership was formed. We sold our first professionally in 1985 (at fifteen). This partnership continued all the way through school and beyond. Our company, first called JAM Software, was soon renamed to Naughty Dog (1987). We made and published six games before the original Crash Bandicoot.

Since Crash Bandicoot: Warped, the third title in the franchise and Naughty Dog’s final main instalment in the series, gamers have felt that Crash Bandicoot has lost its magic. As someone who was there at its creation, how do you think the series could be revitalised?

Crash needs a total reboot. There is an opportunity to reset the history and go back to his creation story and the original conflict with Cortex. In that context, one could reprise classic Crash 1 and 2 settings and villains. At a gameplay level, it would make sense to use a more modern free-roaming style, ala Banjo-Kazooie, but with state of the art graphics. There are very few (almost none) true platform games being made today and it’s a shame, as the mechanics were really fun. I would concentrate on Loony Tunes style animation and really addictive action oriented gameplay. That’s what we did with the original Crash and there is no reason it couldn’t be done today — but it would look every bit as good as early Pixar cartoons.

Given the current Crash games, people forget that he was once cool. Our Crash had a certain whimsical edge to him. Sure it was goofy, but it wasn’t dumb. Crash has a deliberate touch of post-modernity, not unlike other cult favorites like Buffy the Vampire Slayer. It’s thematically very different, but the same kind of self-referential meta-cultural quality is there.

What do you make of Crash Bandicoot today? Are you sad that he’s gone from PlayStation Icon to yesterday’s mascot? (Maybe also talk about your opinion of non-Naughty Dog Crash endeavours, did they fail?)

I don’t pay much attention to recent Crash games. For me, He’s like the hot high school girlfriend who put on 50 pounds. I just can’t look.

Post Naughty Dog Crash games fall down not only in being too goofy, but in gameplay and balance. We tried very hard to make every level and every segment of every level evenly paced, addictive, and engaging. Every pile of boxes, every set of enemies, was carefully placed to try and build a rhythmic pulse to the gameplay. Crash was about being frantic, but at the same time relatively free of frustration (although some Crash 1 levels were too hard). There was a lot of layered depth so that you could merely finish the level, or you could try to maximize your performance in terms of collection, speed, or both.

The latest game in the Jak series was the PSP spin-off Daxter in 2006, which was developed by Ready at Dawn. Do you think the Jak series should be resuscitated, or is it best left in the past? (perhaps speak about what it had going for it, how you feel the series progressed in terms of quality, if it needs to be brought back)

There is a lot of opportunity in the Jak franchise as well, but fortunately for  the little orange back-talker, Naughty Dog (aka Sony) still owns the rights. Who knows, he might surface again.

PlayStation

What was it about Sony and Playstation that made you feel that it was the perfect brand for Naughty Dog to partner up with? (relationship with Sony over the years, why you felt it wouldn’t harm Naughty Dog’s future)

In 1994 when we started, Sony didn’t have a mascot character. So we set about creating one on the theory that maybe, just maybe, we might be able to slide into that opening. I’m still surprised it worked.

Ultimately the relationship with Sony was a really great partnership. Sony is a quality driven company, and we were a quality driven studio. Naughty Dog products are fully commercial in the spirit of early 80s George Lucas and Steven Spielberg efforts. We believed in mass market pulp that through sheer quality rose above its commercial pulp sentiment. This jived well with Sony’s culture, which was driven to high quality products with the broadest appeal.

In 2004 both Jason Rubin and yourself left Naughty Dog. Considering the company was, and still is, producing high quality games, why did you leave? (perhaps talk about your time at ND, memories of working on certain games, where you think you brought the company, what state you feel you left it at, and where it is now)

This is complex. At the simplest level, when Jason and I sold Naughty Dog to Sony, the deal structured the working relationship for the next four years. Highly unusually, this actually played out according to plan and to the total satisfaction of both parties. We intended to make threes games, and we did: Jak 1, 2, and 3. In addition, by 2004, Jak X and Uncharted were well underway.

As the company grew, Jason and I groomed senior guys who were capable of running the teams. Namely, Evan Wells, Stephen White, and Christophe Balestra. By Jak 3, Evan was the game director anyway, so it was time for them to fly by themselves. And fly they did, as the post Andy & Jason Naughty Dog games are probably even better.

The two biggest Naughty Dog Ips since your leaving would have to be the Uncharted series and the upcoming title The Last of Us. As someone who is now on the outside looking in, how do you view both of these franchises? (Do they keep in line with what you hoped ND would achieve? Do you wish you were still working at ND in order to help develop these kinds of titles?)

Uncharted is in every way a Naughty Dog series. It follows from, and improves upon, the things we were working on with Crash and Jak, taking them to the next level. Evan was an instrumental co-creator of all the Naughty Dog games since Warped, and he was both steeped in and a major contributor to the games from 1998 on. He and the rest of the gang kept heading in the same direction, they just raised the bar on execution even further.

For a long time, Naughty Dog games have been about integrating narrative and gameplay. We wanted to draw people into the world fully and give them a rich story without detracting from a game’s most important quality: fun gameplay. Uncharted took this to the next level with storytelling that’s better than a lot of movies, while retaining intense playability.

Now I’m also really excited for The Last of Us, as apocalypses and teen girls who fight are two of my favorite things (in fiction).

With talk of the PS4 on the horizon, what do you think Naughty Dog is capable of on next-generation systems? (technically, narratively)

I think NDI will just keep taking it to the next level. Uncharted 3 and The Last of Us already look so good it’s hard to imagine where there is to go, but I expect not only will things look even more real, but the machines will have the power to include more and more enemies (or whatnot) on screen. We could see zombie games with a couple hundred zombies (not necessarily from NDI).

0flektorFinally, tell us about Flektor and your new passion for writing novels, Andrew. (also, perhaps mention how/if working in the games industry fuelled or influenced your passion for writing)

As a serial creator it was interesting how similar writing a novel was to making a game. Video games and writing are both very iterative and detail oriented. They use a lot of the same mental muscles. My latest novel, Untimed, is about a boy name Charlie, who falls through holes in time. A clockwork man is trying to kill him, but there’s an eighteenth century Scottish girl who can bring him back home – assuming they don’t destroy history by accidentally letting Ben Franklin get killed.

Untimed (http://untimed-novel.com) is very much in the same broad fun spirit that characterized Crash and other Naughty Dog games. I return to one of my favorite mechanics, time travel, which I forced into Crash 3 and Jak 2 (no one complained). Creating the world was very similar to what you do with a game. I had to balance the pros and cons of time travel for my heroes. If your characters are too powerful, there is no jeopardy. So I had to invent all the restrictions and deal with the issues of paradox. In many ways, this is like balancing a video game control set. There are differences of course: games are about fun, and novels are about character and dramatic tension, but the fundamental creative process is similar.

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By: agavin
Comments (29)
Posted in: Games
Tagged as: Crash Bandicoot, Heathkit H8, Jak, Jak & Daxter, Jason Rubin, Naughty Dog, Playstation, Sony, Uncharted

The Last of Us – My Review

Jun26

gaming-the-last-of-us-cover-artTitle: The Last of Us

Studio: Naughty Dog

Genre: Zombie / Survival / 3rd person shooter

Played:  June 15-25, 2013

Summary: Masterpiece (even if I weren’t biased)

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With The Last of Us, the trajectory Naughty Dog has been pursuing for  over a decade reaches for and achieves new heights. This synergy of world building,  gameplay integration, emersion, and story telling  really began with Jak & Daxter. True, with Crash Bandicoot, we made  inroads in all but the last (anyone remember the “Crash, can you find my battery?” plot of Crash 2?). Crash focused on integrating addictive gameplay with a consistent, coherent, and lavishly produced setting (I’ll include character in this setting), but it didn’t have any true story  or drama.

The Jak franchise introduced a more elaborate narrative and characters with more complexity, particularly in Jak 2 where we  started integrating the cinematic segments in a  more interwoven fashion. The Uncharted franchise took this to new levels, essentially becoming Indiana Jones type movies that you played, but TLOU climbs yet another step further, delivering characters you care about , true drama, and intense cinematic language  while preserving a completely coherent style and intense gameplay. Everything about the game serves to reinforce the overall tone: the pathos of two people trying to heal in the face of great horror.

[youtube http://www.youtube.com/watch?v=OQpdSVF_k_w]

The art design is fabulous. Again, even though the Art Director (Erick Pangilinan) is one of my best friends (obviously biasing me) this is objectively true. It’s certainly one of the best looking games to date. There is a deliberate choice to heavily light — stylistically overlight — the entire game. While there exist some dark underground parts, for the most part, the lighting is luminous. Intense white light (think Minority Report) starkly bathes this ruined vision of America. No gloriously decayed texture is left hidden. Closeups of characters show every stain and frayed thread in clothes worn for months (perhaps years?). This is a world  of contrast. Lush greenery has reclaimed much of the urban landscape, yet crumbled concrete, rusted steel, and burned out cars litter the scenery. As do sordid blood stains and desiccated corpses. There is a sense here of great violence, and desperation, much of it in the past. Little details abound. Shrines to dead loved ones. A tiny grave marked with a teddy bear. Family photos. Rarely does it look cloned or stamped (although that door with the weird seal is everywhere) . Nor, despite a strong and coherent visual style, is it repetitive. As we move from the Northeast to the Heartland to the Mountains the scenery — and even the seasons — keep changing. Weather is used to great effect. The rain in early Boston sequences is stunning, as is the chilling lakeside blizzard late in the game’s second act.

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The view took my breath away

The minimalist string music compounds the game’s haunting atmosphere. While the game is full of detail, it’s in the broad sense, fairly stark — as the bulk of the scenery is ruined and deserted. This lends the whole world a quality of emptiness  reinforced by the matching sonic starkness. The sound effects are harsh and solidly naturalistic, emphasizing both the natural (bird noises) and the discordant tone of decayed materials (like rusted garage doors opening). To this background soundscape is added the grim punctuation of the combat sounds. Every grunt, sneaker squeak, bolt action, and gurgling last breath is vividly apparent.

There is a minimalism to the interface that fits with the overall tone. The title screen is a single frozen camera shot of a window. The menus are barely styled and contain only exactly what they need. The art is simple and iconic. Not only does this work from a stylistic point of view, enhancing the serious tone of the game, but the controls are direct and to the point, easy to use, preventing you from getting distracted by mechanics. With TLOU, it’s the story and characters that matter, not the mechanics of saving a game. Many elements traditional in modern titles are toned down or absent. Achievements? Not part of this world. Secret collectables? The game has them — in the form of Firefly pendants — but they are understated mementos of the dead, not the bombastic collectables typical of the genre.

640px-Joel_crafting_smoke_bombs

Minimalist interface

Technically the engine steps out of the limelight and just delivers — and delivers in spades. Bugs are minor and few and far between. I never crashed or got stuck. There are some frame rate problems in the biggest and widest of shots (and they do look gorgeous) or sometimes with the flashlight or “hearing mode,” but this never hurts the gameplay. I noticed a couple extremely minor graphical glitches. Mostly stuff just works, often combining multiple disciplines in classic Naughty Dog brilliance. The animation, particularly in interaction with the backgrounds and other characters, is a triumph of both art and programming. It’s perhaps the slickest, most lifelike, ever used in a game. The AI is first rate. The environments feel wide open and vast, and they have a certain non linearity, yet because of the nature of the game you must be contained, and it’s done very artfully. Rubble fills stairwells, broken down vehicles block alleys, collapsed bridges deter overzealous exploration. So much of what makes this game look so great is the amazing synergy between art and tech. The rain, the water, the snow, the glowing light effects, the realistic shadowing and flashlight. It’s all solidly in both realms.

Hunger games much?

Hunger games much?

Different elements of the gameplay work well together. The game’s phenomenal pacing is made up of story cuts, intense combat, sneaking, and scavenging. This last, which is surprisingly satisfying, is sometimes done in the heat of battle — or at least when hiding from deadly foes and desperately looking to bolster ones supplies — and sometimes an end all onto itself. These quieter moments, after a brace of nasties are defeated, or in an abandoned section of city, are welcome relief. The game rarely has enemies sneak up on you once a section has been identified as safe, so these provide a nice break in the tension. The crafting itself is simple. There are a 4-5 resources and similar construction costs for pairs of items. Healthpacks and molotov cocktails share resources, as do shivs and weapon enhancements. Everything is in short supply and desperately useful. Pills can be used to upgrade your character, but you must chose in which manner. Spare parts upgrade guns and the like. The weapons are nicely differentiated, each with it’s own strengths and weaknesses, and they get noticeably better when upgraded. The shortage of ammo always prevents any weapon from being overpowering. Even the assault riffle, gained in the last level, isn’t too fearsome against your body armored opponents.

last-of-us-zombie

I dare you to put one of these in your bedroom

Let’s discuss the gameplay. Technically TLOU is a 3rd person shooter, but it makes a number of stylistic alterations in service of mood that completely alter the feel. This isn’t your typical shooter where ammunition is plentiful, the character sponges up bullets, and healing is easy. You can only survive a handful of hits. The arrival of more than 2-3 mobs in close proximity is a near certain recipe for death. The healthpacks (potions) take some time to apply and are in short supply. Joel and Ellie do a lot of creeping around in the shadows. The key here is to avoid agroing too many mobs, and when you do, to lose them by getting out of the way. A number of mechanics serve this end.

There are a lot of shadows. Counters and obstacles are conveniently crouching height (this rarely looks forced). You can creep around fairly rapidly. Humans can see and often probe the darkness with flashlights. The infected are generally blind (or crazy) and so are easier to sneak up on — but clickers and bloaters are tough and can kill you in one bite. Joel (and Ellie) have quite the sense of hearing and can “hear” through nearby walls to spot the outlines of enemies. This is a little gamey, and the mobs apparently can’t do it, but in practice works quite well. One of the most effective strategies, particularly with the infected, is to stay in stealth at all costs. There are a couple of ways to kill silently (more or less). Humans and runners can be strangled or knifed (which wears out your blades but is quicker). The bow can be used to silently kill most opponents at a distance and if you’re lucky, you won’t break your arrows. Overall it is deeply fulfilling to wipe out a whole crew without them ever seeing you. This often requires replaying the section several times to learn the layout and careful looting of every possible supply.

Speaking of which, the looting, scavenging, and crafting mechanic is awesome. Everything is so scarce, ammo so valuable, and everything you craft so useful that a few items easily make the difference between life and death. It’s also extremely satisfying to evade some opponents, sneak around, craft an extra shiv or health pack and then kill them. You can augment the melee weapons to make them kill faster (very useful as while melee is satisfying, should a second or third mob show up while you are pummeling someone, it’s bad news). You can build shivs (essential for fast silent kills, surviving clickers, opening secret doors) or healthpacks or a number of bombs. The bombs come in three types. Molotovs, nailbombs, and smokebombs. Each have their use. The fire is great against infected. The nailbombs can be thrown OR left around as mines. I didn’t appreciate the smokebombs until near the end of the game, but they create a kind of dead zone that the human mobs won’t fire into and which can be used to kill them. Used sequentially and in tandem with the flame thrower they make a lethal combination.

Moments like these are genuinely touching

Moments like these are genuinely touching

I have a few quibbles. The aiming can be difficult at times, particularly until you upgrade “weapon shake.” It’s few hard to land a head shot (or even sometimes a shot) before someone shoots you. When opponents are behind you or off to the side it can be frustrating to try to turn and strike them. There is some kind of quick turn around move. I didn’t master it (but should have). Some sections with lots of enemies are quite hard. There appears to be at least a bit of DDA (Dynamic Difficulty Adjustment) to help you get by if you die a lot in one spot. Actually fighting bloaters and particularly bloaters together with clickers can be VERY hard.

I’m betting TLOU required A LOT of tuning to reach its current fun factor, as it would be easy for gameplay involving so much hiding, creeping, and dying to be boring — but the elements combine to make it really fun. After the first chapter I learned to become  methodical and search every corner for loot. Instead of being tedious, this served as a break from the tension and turned out to be incredibly satisfying. The melee is extremely graphic with a good amount of variety. It’s quite creepy hearing a guard gurgle as you strangle him or slamming an infected in the neck with a baseball bat “augmented” with taped on scissors. Everything serves the horrifying mood.

Uh oh!

Uh oh!

And mood is one of the game’s greatest strengths. TLOU draws from nearly every post apocalyptic source and builds trope after trope into a satisfying, coherent, and perhaps more realistic whole. It’s prettier and less hopeless than The Road — and considerably more believable. No film could ever offer this scope. The sets (or CGI) would be far too expensive, the cast too enormous. Yet TLOU also strives to compete with film in terms of emotional engagement and character development. I’d argue it succeeds.

The longer form (it took me 18 hours to play through on normal difficulty) helps with the character part. I’m becoming of the increasing opinion that film is actually an unsatisfying format — offering far too little depth, particularly in this day and age when the 2-3 hours are mostly consumed by overlong effects driven fights. Some of TLOU’s vignettes should come off as forced, as they are drawn  directly from tropes and fairly straightforward. One that comes to mind is when the hunter humvee murders two innocents while a hiding Joel and Ellie watch. However, in the context of the game and  characters it was surprisingly effective. TLOU is a clear case where the whole transcends the sum of the parts. And hell, a lot of the parts are pretty damn good.

the-last-of-us-bathtub

Can we say creepy?

Neil Druckmann (who I hired as a promising intern programmer a whole career ago) turns out an emotional script. Again, it draws extremely heavily from tropes. Everything any post apocalyptic survival story has ever had is here: hunters, cannibals, resistance leaders, a cure, friends who turn (into zombies), reversals, quarantine zones, etc. But in moments little and big the relationship between Joel and Ellie builds — so much so that the little downtime conversations are real gems. By the time the Pittsburg chapter concludes, Ellie becomes in your head someone really worth fighting for — and the remainder of the game — wow, it really delivers. I often feel (reading or watching) that the second half lets me down. Good as the first half of TLOU is, the second is several times better.

Really notable for me was the entire “winter” sequence. Coming out of a really emotional turn  in Colorado TLOU employs cinematic language and plotting in a highly effective way. So much do we care for the characters, and so pretty is the game, that it manages to make 10 minutes of trudging through the snow exhilarating! And that’s only the beginning. I really liked the way the game cut back and forth between playable Joel and Ellie as it told the story from both perspectives. Although, I have a slight nitpick with the “arc” of the section villain, who starts out with some complexity and sympathy and turns monster without too much explanation. But such is the momentum of this story that it sails right over speed-bumps like this.

So basically, if you care about video games at all, play The Last of Us.

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PS2 Memory Lane

Apr25

I was recently asked a couple of questions about the early days of Playstation 2 development…

My first dev unit looked more or less like this

My first dev unit looked more or less like this

Can you remember your first reaction when you saw the PS2 for the first time?

My first PS2 glimpse was hardly typical. In the spring of 1999, I had to go down to LAX and claim my prototype unit. It was one of the first to leave Japan (a few weeks earlier we had sent an employee to Tokyo to get one and he’d been turned back at the airport because the customs people thought it might be a weapons computer!). It took several hours of walking paperwork around freight offices behind the airport to claim my prize. When I did, I dug through the giant crate of peanuts to uncover a handmade aluminum cube about 18 inches square, filled with wire wrapped circuit boards. It smelled like ozone. The shell was a bit bent in transit and I was terrified it wouldn’t work. But it did.

What most impressed you technically when you started to work with PS2?

At first, the thing was a beast. Well, later it was still a beast. But what was really impressive once you got into it was how much floating point vector math you could do on the vector units if you took the time to program them. This was HARD. Seriously HARD, but the things worked all from on chip memory and were ridiculously powerful for the time.

Did you notice any wider changes to gaming, culturally for example, as a result of the PS2’s impact?

The PS2 had sufficient horsepower to make games look fairly realistic. You could actually put motion captured human models in a game and have them look okay. On the PS1, this was hopeless. Take a look at how blocky Lara Croft was back in the day and you’ll see what I mean. The ability to have human characters drove the whole style of games in a much more realistic and film-like direction. Before that, games were much more cartoon in style.

The more official dev unit that came many months later

The more official dev unit that came many months later

What one, stand-out factor do you think helped PS2 become so successful?

It was small. It played DVDs. The price was reasonable, and the games rocked.

What do you think was PS2’s most technically accomplished or innovative game and why?

I’d say that the Jak & Daxter games were certainly among the most technically accomplished. Our engine was really customized for the machine, and it was a machine that really rewarded custom design. The architecture wasn’t like anything else. But we were evolutionary in game design and there were certainly games that innovated more in genre. The PS2’s middle and late periods brought some really innovative and creative games like Katamari Damacy, Ico, Shadow of the Colossus, and Okami.

What do you think will be PS2’s lasting legacy?

I think the Playstation in general, and the PS2 in particular, really brought video games out of the Mario/Zelda kiddie style and into direct parity with the other broad entertainment mediums like film. The stylistic line between an effects laden blockbuster and a big video game is very thin. There’s even been a lot of back-flow as video game sensibilities push into other mediums.

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Jak & Daxter Q&A

Sep12

What was the original concept for the game and how/why did you come up with it? Was it a deliberate attempt to create a PS2 mascot to rival Crash?

Of course we wanted the J&D franchise to be as big (or bigger) than Crash. And while this didn’t come to be, it was certainly our goal. The formulation of new game ideas involves two aspects: genre and style.

As to gameplay genre: On the PS1, good looking free roaming 3D seemed impossible. The machine lacked any hardware sorting or clipping, and had a relatively low polygon count. Plus, the AI challenge of creating a camera that didn’t leave players puking was extremely daunting. So we locked down the viewpoint to improve graphics and focus on traditional Donkey Kong Country style gameplay.

But with Mario 64, Miyamoto showed that free roaming was possible, albeit on the N64 and with no small dose of camera frustration. By the time we began Jak & Daxter (January 1999) newer games like Banjo-Kajooie vastly improved the playability. Clearly, on the PS2, full 3D could be great.

Did you draw inspiration from anywhere in particular for the game’s look and feel?

With regard to style: With Crash we enjoyed enormous worldwide success in no small part due to our collaboration with Sony’s worldwide producers. So for J&D we set out to create a character and environment that merged elements from worldwide cultures. You can see the result in Jak, who is a hybrid of western cartoons and eastern manga.

We asked every Naughty Dog artist to spend a couple of days sketching concepts for the look of the game. We threw these on a giant table and picked elements we liked as a group.

It was an ambitious title for its time – what were your biggest challenges in realising your original vision? Was it a rocky development?

Like every first on a system Naughty Dog game, Jak had a rocky development. First of all, the PS2 was ludicrously difficult to program, particularly in those early days when no workable examples or libraries existed. On top of that, I made the audacious choice to write the entire game in a programming language of my own design called GOAL, creating a brand new compiler and debugger from scratch. In addition, to realize the ambitious graphical goals we invented a roster of brand new technologies: several different level of detail systems, perhaps 10 rendering engines, seamless loading from DVD, advanced runtime physics, and joint animation systems to rival the offline tools. It was really really crazy and basically took us about 20 months just on the engineering side before the engine was able to produce the kind of levels we wanted.

Can you tell me more about the mooted 3rd character and why it was axed?

There never were any serious plans for a third character. But we had more ambitious plans for Daxter in the beginning. He was supposed to be able to hop off your shoulder and run around and do stuff. That didn’t happen until the second game. Same with the vehicle stuff. We squeezed the racer in, but barely, and we had much more aggressive plans for it.

How close to your original concept was the finished game?

Very close. We wanted to put you into this beautiful fully rendered fantasy world and yet to allow full interactive exploration. We wanted no loading, elaborate storytelling, a camera you didn’t need to manually control, and both classic platform and vehicle gameplay.

Which element of the game are you most proud of, and which element, if any, do you feel fell short?

I’m both most proud and most torn over GOAL, my custom language and development environment. This ended up being so much harder than I thought, and is certainly the most sophisticated programming I’ve done in my career. In the end it was pretty awesome, although not without its quirks. I’m also supremely proud of our completely load-free seamless-world . We were the first to do this (I even have a patent on it!), and few have attempted since. It was a lot of work! And let’s not forget Jak’s control, which I personally programed. Jak has really good control, as good as any game ever. His animation is incredibly fluid, yet he is supremely responsive to both the player and the environment. Even basic elements of his control system were written and re-written a dozen times.

How would you like the first Jak & Daxter to be remembered? What has it brought to the medium of video games?

The single most important thing that J&D brought to the medium (and there are countless smaller things) is its consistent and complete integration of the game and story elements. This comes to full fruition in Jak 2, and continues peerlessly today in newer Naughty Dog games like Uncharted. Jak has a detailed and involved story, but it’s never a semi-interactive movie, it’s a video game! The storytelling does not come at expense of the gameplay.

Which of Naughty Dog’s big PlayStation characters – Crash, Jak & Daxter, or Nathan Drake – is closest to your heart, and why?

Crash and Neo Cortex are my favorites, and I also have a really big sweet spot for Daxter (who is such a hoot). The Uncharted characters are awesome too, but I can’t take any responsibility for them, so the connection isn’t as personal. And don’t get me wrong, I love all of my babies, even back to the forgotten ones like Keef the Thief, but really Crash’s wicked orange grin melts my heart, and Cortex is who I secretly wanted to be… If I were a cartoon 🙂

This interview was originally posted here.

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By: agavin
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Jak & Daxter Retrospective

Feb15

A video interview of myself and other Jak & Daxter team members talking about the game 10 years later.

[youtube http://www.youtube.com/watch?v=GT4Ppbg257g]

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Jak & Daxter Return

Feb06


A couple of weeks ago I went back to Naughty Dog to do some interviews for the Jak & Daxter Collection, which releases tomorrow (February 7). And of course you should go buy this right away, only one click AFTER you buy my novel, The Darkening Dream. But my thoughts about the visit have been logged on the Naughty Dog blog:

While I’m still good friends with many Naughty Dogs and frequently see them socially, it’s been a couple years since I was in the office itself – and this was my first time in the new gigantic Watergarden 2.0 space.

Wow! My baby is all grown up and popped out a helluva pack of rugrats. When I left, the office was 25,000 sq/feet and we had about 80 people – which at the time, seemed enormous enough – now it’s over twice that big with more than twice the folks. From the walls hang giant murals of Naughty Dog masterpieces. It’s enough to make you feel small…

You can find the full post here!

I also got the chance to catch up with all my friends, virtual and real.

Pack leaders old and new! Left to right Christophe, me, Jason, and Evan.

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Tagged as: Jak & Daxter, Jak & Daxter Collection, Jak and Daxter: The Precursor Legacy, Naughty Dog, Playstation 3, PlayStation Blog, Uncharted, Video game

Announcing the Naughty Dark Contest

Jan02

This is the kickoff post for my new experimental — and hopefully permanent — giveaway program. Via this contest you, dear reader, will have the opportunity to win signed copies of Crash Bandicoot and Jak & Daxter games as well as my books and cool toys. All you have to do is participate in my gleefully elaborate scheme to help sell and promote my new novel, The Darkening Dream.

A detailed list of prizes and rules can be found here!

Or by clicking anytime on the big contest icon in the sidebar.

So if signed copies of any of the following look up your alley, read the rules and participate! And even if you aren’t a collector they apparently have significant dollar value because a set of four signed Crashs sold on Ebay recently for over $453!

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  5. 11 reasons you should buy The Darkening Dream
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Tagged as: Andy Gavin, Contest, Crash Bandicoot, free, Giveaways, Jak & Daxter, Naughty Dog, Prizes, The Darkening Dream

11 reasons you should buy The Darkening Dream

Dec26

1. It’s a great book.

2. It’s only $2.99 — but the price might go up soon.

3. You loved Crash Bandicoot.

4. You loved Jak & Daxter.

5. I was a great boss, friend, or co-worker.

6. My vampires don’t sparkle.

7. There are several beheadings.

8. Decrepit ancient Egyptian gods are cool.

9. The girl on the cover is really cute.

10. I handed you a glass of $100 wine at some point.

11. The book includes a “cesarian by vampire scene.”

And 4 refutations to your protests:

1. I’m poor – but it’s only $2.99.

2. I don’t have a Kindle – you can read Kindle books on a smartphone, iPad, or the web.

3. I’m too lazy to click twice – bad excuse.

4. I don’t read – do you really want to admit that?

Buy it now!

Then after you do, retweet, share, like, or otherwise spam this post or a link to the book on all of your social media! 🙂

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Naughty Dog – 25 Years!

Dec23

www.vg247.com has written a very nice piece on Naughty Dog’s 25th anniversary.

There’s been a few anniversaries in the gaming world this past year: Ubisoft’s 25th, Blizzard’s 20th. But it seems there may have been one that slipped under the radar, which is a big surprise considering this studio is now perhaps one of the most widely-recognised on the triple-A scene.

Naughty Dog is 25 years old this year.

But all things have an origin.

Jamming, man

In 1986, high school students Andy Gavin and Jason Rubin joined forces to found what was then known as Jam Software. The pair had been experimenting with computer programming, tooling around with C++, before combining their talents.

But it was in 1989 that the first seeds of the company as we know it today were sown. Making a new beginning, Jam Software was renamed Naughty Dog, with EA-published RPG Keel The Thief for Apple IIGS, Amiga and PC the first release under the new moniker. Its next effort, Rings of Power for the Genesis or Mega Drive, arrived in 1991 – another RPG published by EA.

And in 1994, Naughty Dog developed a 3DO fighting title for the now defunct Universal Interactive Studios (better known in recent years as Vivendi Games) called Way of the Warrior, with both single-play and multiplayer.

Based on Way of the Warrior’s success, Mark Cerny, then head of Universal Interactive Studios, agreed to back the company’s next games. What came afterwards signaled the beginning of Naughty Dog’s true success.

“Whoa!”

In 1996, with a distribution deal secured, Naughty Dog released a unique platformer called Crash Bandicoot. It was published by the fresh-faced Sony Computer Entertainment, which had released its debut console, the PlayStation, over 1994 and 1995.

Despite a few errors (our first game was actually published in 1985) this is a nice article with lots of good stuff and some fun videos from the different eras. Check out the full text here.

And if you are interested in what I’m doing now, here.

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By: agavin
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Posted in: Games
Tagged as: Andy Gavin, Apple IIGS, Crash Bandicoot, Jak & Daxter, Jason Rubin, Mark Cerny, Naughty Dog, Playstation, Video Games, Vivendi Games

Jak & Daxter Collection

Nov22

I’m happy to announce that Jak & Daxter will make its PS3 debut this February with the launch of the Jak and Daxter Collection. This is an awesome way for a new generation of gamers to experience (or re-experience) three of Naughty Dog‘s PS2 masterpieces.

The Jak and Daxter Collection features three classic Jak and Daxter titles – Jak and Daxter: The Precursor Legacy, Jak II, and Jak 3 – all three of which I lead programmed and co-directed, were written in my awesome GOAL programming language, and totally kicked ass. They were remastered by Mass Media, working closely with the team at Naughty Dog. With the launch of Jak and Daxter Collection, you’ll be able to experience the adventures of Jak and his Daxter in 720p high definition with crisper visuals, smoother gameplay animation, and in full stereoscopic 3D. And, I’m sure all of you hardcore collectors will be happy to hear that each game in the trilogy features full PS3 trophy support!

The Jak and Daxter franchise set a benchmark for the platformer genre with its amazing storytelling, huge environments, no loading, and gaming freedom. In fact, it holds seven world records in the Guinness World Records: Gamer’s Edition 2008 including the First Seamless 3D World in a Console Game. If you can believe it, the Jak and Daxter franchise will be celebrating its 10th anniversary this year on December 4th! An amazing amount of effort and talent from the entire Naughty Dog team, went into these babies over six long years, and they can all be yours on one little blu-ray!

[ NOTE: the content of this post is partially — ahem, largely — purloined from the Playstation blog. ]

More more posts on video games or find out what I’m up to now.

By: agavin
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Tagged as: Daxter, Daxter Collection, Jak, Jak & Daxter, Jak II, List of Jak and Daxter characters, Mass Media, Naughty Dog, Playstation

On Writing: Passes and Plots

Nov13

This afternoon I finished the rough cut of my 7th major draft of my novel, The Darkening Dream. In my process, a rough cut is a draft (in this case v4.55 — yes you can tell I’m also a computer programmer) where I’ve done all the major changes I intend, but I haven’t yet gone through and reread the whole book (again, for the 40th or so time) to fix up little inconsistencies I missed and to tweak and improve the prose specifically. Part if this is that different read and edit passes have different paces, and it’s not a great idea to mix them.

In a rough cut pass one is struggling to perform large scale surgery. To cut out big sections and sew them back together. To remove characters, objects, or character the motivations, purposes, or settings of things. I like to move fairly fast during this phase because I have to keep in my head all the little loose ends that need to be tied up (I try to write them in my change plan — a kind of chapter-wise outline of changes — which I follow as I redraft). Plus, during a big rough cut the novel is also “broken”. To me this is analogous to the period when a program can’t be compiled or crashes in some heinous way. So, I don’t really want to stop too long and noodle over a sentence. I don’t like either my novels or my programs broken. It was S.O.P. during Crash Bandicoot and Jax and Daxter to build a test disk every night that testers would play the next day. If your build was broken, this couldn’t happen and other people couldn’t work. Same with the book, I like to be able to give it to a beta reader if necessary. You can’t if it’s broken.

On a read-as-a-reader pass one drops the thing on the iPad (these days) and then read it from start to finish, jotting quick notes or highlighting problems. If you stop to fix them for too long, then you lose the feel of the book as it was intended to be read. This, by the way, is why if you want to really enjoy a book, you should read at least a few pages each day. If you take a two-week hiatus (or more), you lose too much continuity.

And finally, there is polish. In this kind of pass you line edit, or change on the fly. Improving sentences, polishing phrases, fixing errors, trimming fat, whatever. It’s possible while doing this to easily trim 5-15% out of a scene without actually removing any real content. This too has its easy analogy in programming: optimization, particularly of memory or code size (no longer very relevant). In this kind of pass you just work at the low level, and so you can move slowly.

So that was passes. Now onto plots and subplots.

In my previous major draft (v4.43 — don’t ask) my editors pointed out something huge that I was subliminally aware of as a problem, but hadn’t pinpointed the exact cause. I had two major subplots going in my book. One was the main plot, and the other was the villain‘s secondary agenda. I used to have three, but that was in versions before 4.xx.

To explain this, in v4.43 and before: There were the heros and the villains. The villains had this super bad plan going, and they had multiple sub goals serving this plan. The two main villains (meaning the ones who have points of view in my story, not the boss villains) had this separate — albiet bad — agenda to get something from a vaguely good third party. The heros were both the target some of the other offscreen villains and collateral damage of the pov villains. Now this was done originally to show that the villains were so badass that even distracted they were crazy nasty. The heros had as their agenda stopping the villains and saving themselves (nothing really wrong with that), however, they were never really able to understand the actions of the villains because of the mysterious secondary objective.

By making the seemingly simple change of merging the secondary objective and with something the heros had this entire situation was changed and improved. Now, the villains want something the heros have, and although they do much the same things they did against the third party + the collateral part, they do it all to the heros (and a little to each other, because they’re evil!). By way of analogy, before the heros and villains were on adjacent train tracks lobbing bombs at each other and trying to cut each other off at the pass, now they’re on a head-on collision course firing full time at the other. This got rid of the third parties which no one cared about, and had the net effect of creating literally dozens of additional opportunities for conflict and 5 or so new big head to head confrontations — and this is in a book filled to the brim with fights. Conflict is a novelist’s bread and butter, so this is win-win.

It’s also worth saying that to improve any work. Be it video game, novel, or whatever. When you get well articulated suggestions you have to be willing to try and view their merits objectively. This is with the end of judging if the end result would be better in an absolute sense. Of course, sometimes even if it is, the bang for the buck isn’t there, or there are tradeoffs. The changing itself, however, is part of the process.
FOR MY PREVIOUS POST ON WRITING, CLICK HERE

Related posts:

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By: agavin
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Posted in: Darkening Dream
Tagged as: Andy Gavin, Arts, books, Crash Bandicoot, drafting, drafts, Fiction, Heroes, Jak & Daxter, Novel, novels, plot, subplot, The Darkening Dream, Villain, Writing
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