Reboot Reboot: 1-800 HOW'S MY BLOGGING?

If you're reading this, I consider you an important part of the site, some element of it's now-forming nucelus of commenters/contributors.


Articles have been posted over the past months but I consider the site newly live and active, and it's time for some critical assessments and adjustments.
Your input on the following is greatly appreciated:

1.) Nomenclature

Some of you may have noticed by now that the title term "design reboot" gets flung around an awful lot, but the majority of the content I post is not actually about doing a "reboot" of a francise or IP at all, it's spinning out a new idea using the old game as a point of departure. What should I call these? design sketches?

I reserve the right do to "proper" design reboots, I'd just like to clarify things. Should I just tag the posts with design reboot/design sketch and just title them differently?
"Design sketch" is a lot more accurate for what most of these posts are about, and likely will be in the future. I don't like starting off every post title with "design reboot," it's redundant information if that's how most of them start. I'll just better use of the tagging system.

(I still think "Design Reboot" is a perfectly good title for the site so don't worry. I'm far too lazy to go about redesigning that beautiful header--and hopefully there will be more content that is worthy of the inspiration for the site's name)


2.) Content

People seem to be interested to read the game comments, but the level design primers and other design discussion related posts seem to draw interest as well. What is your favorite content? What would you like to see more of?

What about update regularity--would you prefer more frequent updates, as they are now, even if the writeup isn't all that thought through, or would you rather see more developed write-ups?

As I just hinted in at in the comments section, I think I'd like to start "iterating" on design posts. There are so many interesting and worthwhile ideas posted in the comments, I would leave the original posting up, and then periodically revisit it, probably with additional artwork, with the commenter ideas factored in and elaborated.
This could then in turn spawn fresh discussion which, with enough momentum, gets rolled into another update later on, and visitors at that point can click back through the idea at different stages.


3.) Tone

This is one of these things I'll probably have to iron out on my own, but input would be appreciated. For instance take the most recent update. It makes fun of Alone in the Dark and then segues into an original idea. I'm concerned that this comes off as glib or disrespectful, especially in close proximity to a game idea writeup--I'm not trying to give the impression of superiority or "knowing better."

It's confusing because it's not a reboot and is labeled as such (see item 1), which has lead some people to think I'm disrespecting the talent and ability of those that worked on the games I'm re-imagining. Nothing could be further from the truth; the one major title to my name is Darkest of Days, a game that was not received charitably. I don't need to be adding to the general pile of flippant remarks posted on the internet. It's not what this site is about.

I guess there's not much of a question here, so much as a resolution to be careful about tone. I like to be funny, but it's bricks and glass houses when I'm talking about other developers. I need to keep my deprecatory comments limited to my own work, and address criticisms of other games more respectfully.


4.) Presentation

The other issues I wanted to bring up would be the formatting for the game idea posts. I've received comments that the hypothetical Metacritic ratings are distracting and the youtube embeds come off as amateurish--what do you think? The youtubes came from initially wanting to just embed some music for certain posts, and I got that all wired up but I didn't have a solution for hosting the mp3s. I agree that the embedded youtubes are probably distracting.

Are there any elements to the regular design write-ups you'd like to see? More art, even if it's rougher sketches?


DIAL 1-800

Any and all comments would be invaluable. If you enjoy this site, take this as the Public Broadcasting "viewers like you" moment.

And if you've made it this far: tune up all your gripes about fantasy gaming tropes and dust off those melee combat paradigms, because we'll soon be exploring the overripe world of western fantasy RPGs.

Free Radical, Stalkerbot, and Other Table Scraps

It was 2005, and like a lot of people I was obsessed with Half-Life 2.

I was still fairly fresh out of college and possessed of just enough ability, and time, and leftover invincibility that I believed if I worked hard enough, I could put together a targeted concept art portfolio that could get me a job at Valve. (Spoiler alert: it didn't.)

It was an invaluable lesson; the time spent playing in and around someone else's universe was an education in itself. Possibly more valuable was the understanding that a targeted portfolio can beg unfavorable comparisons to artists like the peerless Viktor Antonov, which is unwise.

I wrapped the images up in a special section of a larger but no less carefully curated portfolio, fiddled with the resume, and then sent the email off to Valve. Riding high, I posted the images on a few artboards including the conceptart.org forums.

On CA.org I was roundly excoriated by one poster in particular armed with a short, blunt list of my stylistic and technical shortcomings. Incensed, I clicked to the poster's profile--who were they to criticize, exactly?
It happened to be somebody with an email address that ended @valvesoftware.com (no, I didn't recognize the name). I considered it my official unofficial reply from Valve, as none ever arrived in my inbox, and that was that.

Dreams settled back down to the earth and between then and now I traveled extensively and worked on various projects.
Years later, I feel rather fond about these illustrations overall, and consider their posting here a kind of exorcism of that old feeling of defeat--I've learned since to consider the work itself the reward, and the things that come or don't as a result entirely secondary. Life as an artist is a lot happier in this frame of mind.

But before I get to the "Valve Portfolio," I was referring to, here are a couple of mod/expansion type ideas I thought about in those days. Like everyone else--who wasn't thinking about Half-Life 2 then?



Free Radical would be the one and only clever name (in the vein of Blue Shift, Opposing Force) for a HL universe project that I ever came up with; the idea itself wasn't so great. Something about a rogue Combine soldier type's journey to the other side; maybe early levels would involve fighting against the Resistance but coming round to following Freeman eventually.

It was conceived to be graceful under the constraints of a one man mod project and so is naturally consigned to triviality by that nature... I still like the image, though.

Michelle is the leader of a small enclave far outside the realm of Combine control--she wears a trophy Combine Elite uniform as a dress. Largely intended as a anchor character for a group that the player encounters and possibly embroiled in petty politics. Gameplay scenario is the "drifter comes to town" where the player becomes familiar with a small, mostly closed defensive layout and then Combine stage a vicious assault. Player must defend and then help with the emergency withdrawal.

Stalkerbot (working title--I suppose Free Radical would have worked here too?) was more ambitious, though still basically a smallish mod project. It was intended as a day in the life experience of someone who slid hopelessly underneath Combine rule.

It opens on a HL2-style limited POV cinematic; periodic time-lapse montage from a vantage point inside an apartment whose walls peel as times go sour. You are a man who watches his wife wither and grow desperate and the (tastefully implied) death of a child from malnutrition. With no other option, you volunteer to become a Metrocop. One of them.
Actually building this thing would have dictated the resolution of the story here (how much Metrocop training/indoctrination?), but I liked the idea of showing how by degrees, even decent people (even you, player) can get roped into evil things.
Before long there's the sequence where the player is an active participant in the brutal suppression of a food riot, probably staged at the very train station from the opening of HL2. You thump on those helpless civilians and it's probably fun, in that Stalinist regime sort of way. You fall a little further down but at the critical moment there's an awakening, a forced ultimatum by a superior say, and it pulls you back to your basic humanity.


And for that, you're hauled away and turned into one of those ghoulish "stalkers" that haunt the corridors of the Citadel.
You end up being further dehumanized by random incorporation into an experimental man-machine weapon rig of the Combine (pictured right), and then fight war-crime worthy mission against the Resistance.
It'd be like fighting in a small-sized mech, HUD and all... at which point there again you reclaim one last stake in your humanity and I don't know, take the Citadel of City ## with you in an enormous explosion. These things always end in explosions. I'm sure it would have been really touching/ass-kicking.

A very early sketch from 2005 of Breen being confronted by three Advisors. I abandoned this fairly quickly when I remembered the implications of the ending of Half-Life 2--Breen would never had this sort of confrontation for the defeat at the hands of Gordon Freeman, because at that point, in order to escape the Citadel Breen had to abandon his body. Oops.

Looking back now, my trouble with the all of the above is that they are generally more story-centered than anything that is concretely related to gameplay, which I think is a classic beginner's mistake.
We are taught to think in stories, perceive the world and recount it to others in stories; it's very difficult to make the transistion to being a designer who focuses on the gameplay experience of the player and the "story" experience as an outgrowth of that, not as the primary concern.

And I must also point out as a fairly slavish devotee to the House that Valve built that however much I like the cold moderism of the Combine "stalkerbot" look, I believe it at odds with the established fiction. The Combine generally developer bio-weapon/quasi-organic solutions for this kind of thing, as evidenced by the Strider and the deleted supersoldier character seen in the (excellent) HL2: Raising the Bar book, not cybernetic.

And finally here are the "Valve portfolio" pieces themselves.

I still like the Civil Protection Carrier & riot shield designs very much despite their derivative nature; I was a little let down by Episode 1's lack of depiction of civil unrest in the face of the Citadel's destruction (alluded to in the first image).
I also thought that Metrocops with riot shields were a gimmee for gravity-gun play--say you still couldn't grab the cops, but you could grab the shields and then launch them at the other cops, or hold one up in front of you to block shots. Great fun.
(This first image is the only one I really noodled with in a fit of George Lucasing before posting. Feel free to examine the original version to the left from November of 2005 and tell me Han shot first or whatever.)





The City 16 material is middling, mod fodder at best; though the citadel on Xen is still a strong visual to me and agreeable callback to the first game. The aerial shot was the very first of its kind I had ever attempted.

The Mobile Barrier is an almost complete failure since not only is it nonsensically redundant--functionally the same as the citadel's creeping outer walls but not as pure, not as abstractly menacing--I failed to communicate the key aspect of the design, which was that the upper boom-arm would in conjunction with the other barriers project a forcefield wall, a key visual I neglected to actually depict.

I've always admired artists that leave out early evidence that they were once mortal men--I'm still terribly mortal, as an artist or a designer, but here's hoping a generosity of spirit gets me somewhere later on.