Digital Worlds - Interactive Media and Game Design

As well as providing environments within which games can be played, game worlds (and other virtual worlds) are increasingly offering the ability to record action from within a game. As the game worlds themselves support richer and richer interactions and behaviours, the game world becomes a virtual movie set that can be used for the production of game related “fan fiction”, as well as ’standalone’ animated movies.

Machinima is the name given to computer generated films that are rendered in real time using a game engine. That is, machinima represents a form of emergent gameplay in which the game characters are treated as “digital puppets” and used to act out a story that can be recorded using screen capture, or a screen recorder built in to the game to specifically encourage the recording of game demos, or more general machinima short films.

Read the Futurelab article: Machinima and education (September, 2007). Bear in mind the following questions as you do so.

If you are interested in the evolution of machinima, this article from the August 2007 issue of EDGE magazine (issue 178) is a good place to learn more: Screen Play: The Future of Machinima.

The best produced machinima films are scripted in a similar way to any animated short film, and then acted out using game characters. As well as one off short films, machinima has spawned several of its own series, such as The Strangerhood, a sitcom(?!) created using The Sims, which even attracted a review from the BBC when it was launched several years ago: Review: The Strangerhood (via BBC News).

See if you can find out what other ‘cult’ machinima series Rooster Teeth, the producers of “The Strangerhood”, created using the Halo game engine?

Creating Machinima

If you are interested in how to get started producing your own machinima, the following presentation gives an excellent overview - “Making Machinima” by Jeremy Kemp:

The two videos recommended in the presentation can be found here: What is machinima? and Inside the Machinima (both on Youtube).

Using footage from one game in another

One early use of machinima was as a production technique for creating cutscenes in one game, using the game engine of another. This approach has quite a long history, and is described in this Gamasutra article Machinima Cutscene Creation, Part One dating back to September, 2000, and followed up in Machinima Cutscene Creation, Part Two.

If you are interested in creating short, cutscene films, read the above two articles. They provide a good introduction to the storytelling techniques that go towards making an effective cutscene.

In more recent times, the growth of online multiplayer games has enabled full ‘cast and crew’ machinima productions, in which one character may take on the role of cameraman, filming the action as it is ‘played out’ by characters controlled by other game players.

How does machinima in general differ from “speed run” or walkthrough recordings of how to complete a game, or the production of game demos or game trailers from within the game itself? (See also Post hoc Game Documentation - Walkthroughs and Speedruns)

If you would like to view some more machinima, there is plenty on social video websites such as Youtube, as well as on dedicated machinima video sharing sites such as machinima.com. The GameSetWatch article World of Warcraft Exposed: A Moviemaking Culture describes the rise of machinima in the massively multiplayer online role playing game (MMORPG) World of Warcraft (WoW), and provides several links to directories of machinima created in that virtual world.

In “Alternate Reality Games: What Makes or Breaks Them?“, a blog post reviewing the rise of alternate reality games (ARGs) (see ARGs Uncovered for an into), Muhammad Saleem suggests several characteristics that a successful ARG should embrace:

- Storytelling or narrative
- Discovery/deciphering and documentation elements
- Cross-medium interactivity
- Blurring the lines between reality and fiction

To what extent do you agree with this view? If you are familiar with an ARG, write down how the game conforms to Saleem’s list. If you aren’t particularly familiar with an ARG, see if you can identify features of the ARG Perplex City that correspond to the categories listed above. To what extent do you think these “essential characterstics” apply to any digital game, ARG or otherwise?

The post also describes some ‘features’ that the ARG should avoid if it is to be successful:

- Lack of interactivity, too linear
- Lack of a reward
- No instant gratification
- Too difficult
- Same old game, different name
- Too scripted, too commercial

To what extent are these ‘negative features’ likely to detract from the success of any digital game, ARG or otherwise?

One popular refrain of the actors/characters in an ARG is that “this is not a game”. This reflects the fact that the game is being played out like a piece of invisibe theatre in the real world. At the same time, the actors act out the game narrative in a way that encourages audience participation, providing interaction with the game as far as the audience member is concerned, even if the actual direction of the game is largely scripted and tightly plotted ‘on-the-inside’.

How do you think the ‘this is not a game’ view relates to the idea of the Magic Circle, described by Salen and Zimmerman as “the boundary that defines the game in time and space” (see Getting Philosophical About Games)?

In the section “Community Formation and the Magic Circle” from the Game Studies article The Playful and the Serious: An approximation to Huizinga’s Homo Ludens, Hector Rodriguez comments thus:

Game designers aiming to highlight trust and suspicion sometimes take the radical step of rendering the boundaries of the magic circle deliberately ambiguous. Phone calls or text messages received in the middle of the night may be real calls for help from a friend or part of the game’s conspiracy. Well-known examples include the Electronic Arts game Majestic and the plot of David Fincher’s 1997 film The Game. This uncertainty can generate experiences that resemble philosophical scepticism about reality. The designer becomes the equivalent of a Cartesian evil genius capable of controlling, and potentially deceiving, our sense of the distinction between reality and make-believe. From the designer’s standpoint, the players become toys to be played with; the game designer is the only player who for sure knows where the boundaries of the magic circle are.

A footnote in the same article elaborates further:

[6] The fuzziness of the magic circle is not restricted to children’s play. Recent scholarship on “expanded” or “pervasive” games has highlighted three techniques that subvert the magic circle (Montola, 2005). First of all, the location of the game can be ambiguous, uncertain or unlimited, so that participants may not be sure about the place where the game is played. Secondly, the temporal boundaries of play need not always be sharply demarcated from the rest of daily life. A game may, for instance, lack a clear-cut beginning or end; or its duration may extend until it coincides with a player’s entire life, even span several generations, so that its temporal boundaries become effectively irrelevant. Thirdly, games can blur the boundary between players and non-players by bringing “outsiders” into its sphere.

Serious Games and the Magic Circle

Just as ARGs make use of the ‘real world’ to roll out the game, we have also seen how real world situations can be ‘folded back’ into digital space, opening up the possibility of playing ‘real world’ games in virtual worlds (for example, The World of Serious Games).
To what extent do serious games require the player to adopt the view that whilst they are playing a game (and so insulating themselves from the real world by entering the magic circle) they are also not playing a game, in the sense that their performance in the game world could actually be replayed ‘for real’ in the real world, maybe as part of their job?

In Have You Got a Second Life?, I introduced the 3D social network Second Life, and hinted that this was just one of many such virtual worlds.

To see just how big the universe of virtual worlds is becoming, the Association of Virtual Worlds recently published a directory describing over 250 virtual worlds: The Blue Book: A Consumer Guide to Virtual Worlds.

Download a copy of The Blue Book: A Consumer Guide to Virtual Worlds. What categories does The Blue Book use to classify each world? For a consumer guide, what other information would you find useful to know? Identify three or four combinations of category that interest you, and see if a virtual world is listed that matches those categories.

Several other sites also offer comparison charts for the increasing number of virtual worlds that are now in existence. For example, virtualenvironments.info provides a comparison matrix of fifteen or so of the larger virtual worlds.

Identify two or three different scenarios in which it might be appropriate to visit a virtual world (for example, a business meeting, a school ‘geography field trip’, or a ‘night on the virtual town’). To give you an example of how such worlds might be used in business, for example, read this article from Business Week: The (Virtual) Global Office.

Now identify a virtual world that looks like it might provide an appropriate setting for each activity. Now visit each virtual world (or at least its website). In what ways do the worlds meet - or fail to meet - your expectations? Feel free to write a post about the scenarios you chose, the criteria you used to select an appropriate world, the worlds you selected (and why), what you expected to find in those virtual worlds, and how those worlds met your expectations. If you can find a demo video, or video review, of the virtual worlds in question, embed it in your post.

How should I behave in a Virtual World?

As with all social situations mediated by communication technologies, there is often a right way and a wrong way to behave when entering a virtual world.

Many organisations have a code of conduct that regulates their employees’ behaviour. Suppose that you work for an organisation that makes use of 3D virtual worlds. Write down five areas of personal behaviour, presentation or activity that might be addressed by a code of conduct for working in virtual worlds.

Now read the IBM Research IBM Virtual World Guidelines. Did you identify similar issues in your own list?

Read any typical game review, and it’s quite likely that it will provide you with a quick summary of the plotline or storyline of the game, a comment on its playability and the actual gameplay (as well as how easy or difficult it may be), mention of any improvements over previous versions of the game, a quick take on the graphics and fluidity of the animation, and maybe a recommendation (or not) about whether you should go our and buy this game, NOW! And it will probably have a rating as well (5 stars, or 3 out of 10, for example).

These reviews serve a useful purpose, of course - they help provide consumers with a ‘third party’ recommendation about whether or not to purchase a particular game - but in the short form of 200 words or so, (which isn’t a lot of words!), there’s not a lot of space to provide a detailed critique of the game…

So it’s quite rewarding to find an ‘unreview’ that takes the time to “examine[s] the game design of [a] title and consider[s] some of the implications that these design choices had on the game’s audience”, as the post Super Mario Galaxy (from the Only a game blog) does.

The post assumes some knowledge of the game, so if you haven’t seen or played it, watch the following video review:

Read through the “review” (”Super Mario Galaxy“), paying attention to the following questions as you do so; feel free to search the Only a Game blog, or use the Digital Worlds custom search engine, to explore the questions a little more deeply.

• What genre of game is Super Mario Galaxy? “Rushgames” and “virtual tourism” are also mentioned in the post in this context; what are the defining characteristics of “rushgames” and “virtual tourism”?
• What is “kinaesthetic control” and how does it affect the gameplay?
• What camera viewpoint is used in the game? What is a camera viewpoint anyway?
• To what extent is two-player gaming supported in Super Mario Galaxy?
• How is the notion of “lives” used in the game, and how does this compare to a normal use of character lives? What is the “normal” use of character lives in a game, anyway?

Another take on the “Super Mario Galaxy” development story can be found on the wii.com website, where there are a series of interviews with the Super Mario Galaxy development team.

• According to the director of the game, what new move was created for Mario, and how is it initiated with the wiimote controller?
• How was the music for the game recorded?
• How does Shigeru Miyamoto, who was in charge of the design of Super Mario Galaxy, describe the gameplay of the Co-Star mode?

If you have a Nintendo Wii console and fancy trying out the game, you can find “Super Mario Galaxy” on Amazon.co.uk (game guide); there are also several walkthroughs available - for example, check out this walkthrough from Gamespot.

Something for the family this week - Moshi Monsters:

Moshi Monsters is a free online game for kids, in which they adopt a monster and look after it. Kids whose parents give us their approval can become members on our site, and can adopt a Moshi Monster. Kids care for their monster by solving puzzle games, which earn their monster virtual rewards called Rox. Kids can spend Rox on virtual items like food, furniture and other treats and toys for their monster. Over time their monster will increase in level, be able to visit new locations in Monstro City, and earn all kinds of in-game rewards for playing. Monster owners will also be able to make friends with other owners and leave messages on their pages.

(For more details, there’s an “in-depth tour” of the game on the Game, Set, Watch blog: Exploring Online Worlds: Mind Candy’s ‘Moshi Monsters’.)

It’s claimed that the ’solve-to-earn Rox’ puzzles make the game “educational” - do you agree?

To provide a faintly serious side to this post(?!), how does Moshi Monsters address issues of child safety and parental control? What is the Moshi Monsters line on advertising on the site, compared to its ‘thematic rival’, Neopets? To what extent do you think Moshi Monsters is simply providing a vehicle for selling Moshi Monsters branded goods?

How does the parental advice offered by Moshi Monsters compare with information for parents provided on other child-friendly social networking sites such as Habbo Hotel, Club Penguin or Barbie Girls?

If you’re after 5 minutes of *really* educational fun (?!), why not have a go at Typeracer…

The game it to type a quote out from a book, movie or song lyric faster than the people you are competing against…

Of all the 3D virtual worlds that can now be found on the internet, Second Life is arguably the one that has received the most popular press attention.

If you have ever been in to Second Life, then you will be familiar with the sort of things it can offer. If you have not visited Second Life - or indeed, never been into a 3D, avatar populated immersive world - here are a couple of quick tastes of what life is like “in-world”.

The first is a presentation about Second Life that has been uploaded to the social presentation sharing SlideShare - “An Introduction to Virtual Worlds: Second Life and Beyond. Even if you have been into Second Life, quickly flicking through the presentation may point out some features about it that you didn’t notice at the time.

The second is a user-generated movie about Second Life that I discovered YouTube…

How does Second Life differ from 3D worlds like Google Earth or Virtual Earth? How does it differ from 3D game worlds? In your opinion, is Second Life a game?

Now watch the following clip about the game “The Sims” (IGN Review) - what similarities and differences are there between Second Life and The Sims?

The most obvious difference to me is that in The Sims the player takes on a third person, God-like role, controlling the actions (to some extent) of their player characters, whereas in Second Life, the “player” becomes (or actually is) the avatar.

In the Sims, the game world is a self-contained fiction: the aim of the game, such as it is, is to help the player characters live out their lives in the Sims world. To a certain extent, there is an element of ‘progression’: players must look after characters within the game world that are dependent on them and help them keep up with Joneses - get a job, and education, a house and so on (every time I have tried to play the Sims the session has ended with my characters’ house burning down!)

In contrast, Second Life just provides a canvas for creativity and social interaction - Second Life is an online world (in contrast to the desktop or console bound Sims) within which you can chat and socialise with other people from all over the world.

Want to know more about Second Life?

We’ll look at worlds like Second Life again in later posts, in the contexts of community and making money in virtual worlds…

In the meantime, the following video replays a Google tech talk, recorded in March 2006, featuring a presentation from Glimpse Inside a Metaverse: The Virtual World of Second Life. Even though Second Life has moved on since the presentation was recorded, if you’re interested in hearing about Second Life from the insdie (including some insights about the techie stuff!) it’s well worth listening to:

If you want to try Second Life out for yourself, you can find it at Second Life - http://secondlife.com. If you would rather read about Second Life second-hand, then there’s always the book Second Lives: A Journey Through Virtual Worlds, by Tim Guest!

However, as we’ll see in further posts, there are plenty of virtual worlds other than Second Life, many of them popular with different age groups (Second Life is largely for the over-30s!). So don’t feel as if you have to join Second Life to experience a 3D virtual world - as you’ll see in the next post on this topic…

Going through some old notes I’d collected about potential ideas for exercises in 3D worlds, I came across the following checklist I’d scribbled down at some point that seemed like good things to know about when exploring a 3D digital world.

If you can think any other ‘need to know’ skills, please add them as a comment.

Can you:

• zoom in and out;
• tilt the view to a desired perspective;
• rotate a view;
• navigate to a particular location;
• search for a particular location;
• bookmark a particular location;
• add an information layer in a “mirror world”, such as one of the following:
  • Google Earth;
  • NASA WorldWind;
  • Virtual Earth 3D.

When it comes to controlling 3D avatars in a digital world, can you move around as easily as you can in the real world?

Give yourself 5 points if you get the joke ;-)

For the sake of completeness, as much as anything, I thought I’d just complement the Our World in 3D… post with a brief reference list of interactive online media and desktop applications that you can use to explore the night sky, and the objects contained within it.

There are several applications around that let you observe the night sky as if you were on earth, as well as letting you explore it in a 3D navigational way…

• Worldwide Telescope (Microsoft):

• Celestia:

• NASA Worldwind:

• Google maps for other worlds: Google Moon, Google Mars and Google sky (a map of the night sky); there is also Sky in Google Earth:

• Star viewer: a mashup based on Google Sky, that provides an interactive map of the night sky that includes embedded images and videos that offer a useful extra level of detail, or commentary, about celestial objects we can see from Earth.
• Wikisky: similar to Star Viewer, but more comprehensive.

Visit one or two of the online applications, or download one of the desktop applications. To what extent do you think that the power of interactivity brings the idea of the scale of the universe home, compared to descriptions one might find in a book, for example?

[The videos referred to in this post are available in the compilation Splashcast video show "Our Heavens in 3D" on the Digital Worlds Splashcast video channel.]

The main focus of this post - SketchUp - is probably more fitting as a weekend project than anything else, but if you’re looking for a quick Friday afternoon game, I’ve mentioned one of those too at the end of the post…

SketchUp is a 3D design tool that can be used to create 3D models of buildings (as well as other objects). SketchUp models can be displayed in Google Earth and used in other 3D web applications and virtual worlds.

SketchUp works on Mac and Windows computers and can be downloaded from http://sketchup.google.com/.

It is also possible to model - and view - objects inside building that you have created, as well as creating the buildings themselves.

In true collaborative style, you can share and edit the designs that other people have created by checking them out of the 3D Warehouse.

One very powerful feature of SketchUp is the ability to use a photograph as the basis for a model, as the following movie illustrates:

Download Google SketchUp and have a go at creating your own 3D model. There are lots of video tutorials to help get you started on both the Google SketchUp website and on YouTube. When you have completed your model, why not upload it to the 3D Warehouse, or post a movie of a walkthrough of your model to a video sharing site, with a link back here? :-)

To what extent do you think SketchUp might be useful as part of a game design or development process? (Hint: you may find SketchUp for Gaming a useful starting point, although bear in mind that is is a piece of marketing material!)

Free Rice

If you’re looking for something a little more casual to play with to while away a Friday afternoon, then check out this casual serious game - Free Rice. For every answer you get correct in this simple word game, 20 grains of rice will be donated to the United Nations World Food Program.

If you are tempted to search for an answer, then why not use a use a charity fundraising search engine such as Everyclick for your search?

[The videos contained within this post can also be viewed in the compilation "3D Modeling in SketchUp" show on the Digital Worlds Splashcast video channel]

In the series of posts on alternate reality games (ARGs), we saw how ARGs could make use of ‘real world’ technologies to help engage the player in a game , by creating “real”, fake company websites, for example, or contacting the player, in context, via SMS.

In this post, I’d like to briefly explore the extent to which the real world is using user interfaces that are reminiscent of 3D games to recreate a version of the real world in virtual space. To set the scene, if you aren’t familiar with 3D services like Google Earth to Virtual Earth, might I suggest you have a quick read of Friday Fun #9 Gaming in Google Earth and Virtual Earth 3D and follow a couple of the links from that post, before reading this post any further…

You might also care to listen to Building a 3D Model of the Globe, a presentation from 2006 by John Hanke & Brad Schel, the Google Product Directors at the time.

Or watch this demo of 3DVia 3D models in Virtual Earth…

Recreating the world…

Although only a few years old, the origins of Google Earth are already confused by the mists of time. In Notes on the origin of Google Earth, Avi Bar-Zeev of research and development consultancy Reality Prime, and one of the people involved in the development of the software application now known as Google Earth, writes: “So we seem to have a few diverging memories on the origin and motivation behind Google Earth. One co-founder says it was Neal Stephenson’s Snow Crash. One co-founder says it was the famous Powers of Ten flip-book and movie.”

Whatever the origins of Google Earth, the pace with which it - and other tools of its kind - have been developing means that it may not be too long before it may take on the role of a virtual world. Avi Bar-Zeev again (Google’s Virtual World, Redux): “GE already is a virtual world. It’s a virtual earth. It has all of the features of a virtual world (spatiality, point of view, presence, information modeling), minus a few we’ve come to expect from a game or socially-oriented space (seeing yourself, seeing other people, and directly interacting tog[e]ther). … The thing about GE is that it’s a so-called ‘mirror world.’ The whole point was always for GE to accurately and compellingly reflect information about the real world.”

In that article, what does Avi Bar-Zeev claim are some potential applications of using Google Earth as a virtual world? Five points to the first person to post a list of them back here as a comment ;-) What other applications can you think of that may be missing from that list? If you think of any, post them back here as a comment, or maybe write a blog post summarising the original list and then adding your ideas for further applications too.

It has been possible for some time to import ‘artefacts’ (or objects) into Google Earth and Virtual Earth. But whilst objects in Sketchup Warehouse may have been intended for use in Google Earth, ‘real’(?!) virtual worlds, they can also be used in real unreal virtual worlds(?!), as this example from Scenecaster shows:

Support for Google Sketchup Warehouse models has also been announced for use with the Multiverse virtual world platform, as this CNET article describes: Google tools to power virtual worlds.

What is the Multiverse “Architectural Wonders” project described in the CNET article? The article itself was recent some time ago (can you find out when) and attracted quite a lot of attention when it was announced. See if you can find out what the current state of the project is, whether it was dropped, or whether it appears to have transformed into something else, and comment back here with the latest news you can find…

From 2D to 3D

Creating 3D models ‘by hand’ is not the only way of generating them. Traditional 2D photos can now be processed so that “3D views” of them are possible, hinting at a future where you’ll be able to import a model of your house into a mirror world simply by photographing it…

Unfortunately, the Fotowoosh website is no longer available - it will be interesting to whether it reappears as a fully fledged service over the coming months…

When People Roam the Virtual Earth…

Google Earth and Virtual Earth already provide the opportunity for anyone to explore a virtual 3D version of many real world cities. To what extent do you think the experience would be different if instead of the current ‘any point you like’ birds eye view camera positioning, the camera view was over the shoulder of your own personal avatar? How and why do you think the experience might feel different?

If you are interested in knowing some of the technical details behind an early implementation of Google Earth, How Google Earth [Really] Works tells the tale from the horse’s mouth…

If you did listen to the Building a 3D Model of the Globe presentation, see if you can find out how much has Google Earth moved compared to the description of Google Earth given in the presentation. What predictions were made in the presentation about the future of Google Earth (as stated in 2006) and to what extent has the current version of Google Earth met, fallen short of, or exceeded those predictions?

[The videos from this post can be seen in the "Our World in 3D" show on the Digital Worlds Splashcast video channel.]