Now that E3 is over, I can finally talk about my game. It’s called Hit & Myth, and it’s the brainchild of two talented people I’m working with.

The first is Ryan Clark, who created the basic engine for the game and also came up with a technique that allows us to get some realistic-looking lighting very cheaply. It allows us to get content in the game quickly, and you can read all about the technique at his webpage, Zarria.net.

The second is Wynne McLaughlin, the lead designer, who has been writing for games and TV for years. He got this job by creating a couple of very good Neverwinter Nights modules. Wynne is adding a really funny, sarcastic sense to the game, as evidenced by this screenshot.

Me? I’m the secondary coder (and we also have one more coder/designer named John Sripan). We also have a bunch of great artists on the project (as the screenshots should attest).

The game uses Robotron/Smash TV mechanics – the left pad moves your character and the right buttons control the fire direction. There’s tons of weapon pickups that make you more powerful, and you can cast spells (we have a nice spellcasting mechanic that allows you to cast spells very quickly once you get used to it). Basically, you run through the levels, shooting everything that moves, until you get to the boss, which says something snarky and then tries to eat you. So you kill the boss, too.

Now, I’m fully aware that I’m not working on a Game of the Year here. I’m also aware that the platform the game is for is new and shaky and has a lot of competition. But in the end, the game is going to be a whole lot of cheap, blasty fun and I hope that the people who do buy it get a kick out of it (and oddly enough, Ryan recently said almost exactly the same thing to me).

Warren Spector has a dream. He calls it the “one city block” RPG idea, and he’s talked about it several times. The design consists of a relatively small area that is modelled with such detail and interactivity, and has NPCs that are so “alive”, that this small area can support as much gameplay and story as a “normal”, mission-driven game. Warren was certain that with Deus Ex he was going to get the chance to create this dream design of his – in fact, the original design of Deus Ex called for three such city-blocks – one in New York, one in Hong Kong and one in Paris.

As the development of Deus Ex continued, he discovered that the technology to implement his design still wasn’t there, even after all these years. So as the development of Deus Ex progressed, the game became a lot more linear and mission-driven, like other games.

But Warren’s attempt wasn’t a complete failure. The second mission of Deus Ex is set in New York, and comes very close to fulfilling his goal. Far too much stuff is scripted, but there are a lot of people on that map, all with different personalities and goals. There are a lot of very different places, and a metric ton of secrets (including a secret mission that is very easy to miss). All of these make Hell’s Kitchen feel more real than environments in most other games.

Hong Kong is almost as good, but by the time you get to Paris it becomes apparent that the incredible amount of work necessary to put a map like this together was beginning to wear on the designers. Paris is the last map with free-form elements in the game – all of the rest of the maps in the game are very traditional, mission-based maps. They still have secrets and alternate paths, but the conflicting goals, the complex NPCs and the scripted optional sequences are gone.

This is one reason that Warren has called for the development of tools that could generate game content automatically.

Content created through generation used to be extremely common in gaming. All of the maps of the original Populous were created simply by generating strings of random numbers (and Peter Molyneux admitted in his 2000 GDC presentation that the Promised Lands expansion pack to Populous simply consisted of those random numbers reversed).

Starflight is another older game that benefited greatly from generated content. Starflight attempted to give players the experience of their own Star Trek five year mission. In order to do so, it was necessary to give the player a very large number of star systems and planets to explore – too few and the player would feel too constrained and wouldn’t get the sense of grand exploration that the designers were going for. So the designers stuffed the game with over two hundred star systems to visit and over eight hundred individual planets to explore. But Starflight was made back in 1986, before hard drives were common and CD-ROMs even existed, so the game had to fit on floppies. The only way the designers could fit so much content on two 360k floppies was to generate each planet on the fly using algorithms.

So if generated content (both pregenerated and on-the-fly) was so common, why isn’t it used any more? Why is Warren’s request so difficult to fill?

If there is one thing the human brain is good at, it’s pattern recognition. In fact, the brain is so good at it, we humans often see patterns where none exist. The nature of the “game worlds” of Populous and Starflight were very simple – they weren’t hard to generate, and they weren’t large enough for patterns to develop to clue the player in to the fact that they weren’t hand-made.

That’s all changed. Generating a Shenmue-style world is a much tougher challenge than generating a 64×64 heightmap – but it may not be impossible. If this problem could be solved, it could allow game worlds to get bigger and more detailed without requiring teams to double in size and schedules to extend even farther than the industry standard eighteen months. It could also finally make Warren’s dream a reality.

I finally managed to track down a copy of the now-rare Quake mission pack Scourge of Armagon. I wanted it specifically so I could watch Scourge Done Slick, which is an excellent machinima that marries incredible gameplay with a great sense of fun.

Of course, once SDS was over, I started playing Scourge myself and discovered that it’s actually a damn good mission pack and does lots of things with the Quake engine I wouldn’t have thought possible. I also couldn’t help but notice how little things had really changed from a gameplay standpoint in first-person shooters.

I mentioned to my good friend Lee that I thought that Quake was revolutionary, but that since then all other FPS games have simply been evolutionary. Now, Lee’s a naturally contrary person, so he asked me why I thought this. After all, Lee said, Quake wasn’t the first true 3D polygonal game. It wasn’t the first first-person shooter. It was ugly – all browns and greys. What made it so special?

(It must be noted here that my good friend Lee is a big Marathon fan.)

There are several things Quake did that made it revolutionary. Allow me to bullet point:

It was the first 3D polygonal first-person shooter that used 3d models for almost everything – yes, there are still a few billboarded sprites in the game, but they are used only for minor things like explosion effects. This fully 3D space gave the game a coherent feeling no other game had at the time, especially when combined with…

Lighting effects. Quake was the first game to have real 3D lighting – Carmack insisted on it, even though it was an incredible challenge to do in eight-bit color and it meant having to draw every frame of the game twice. The effect of having every light source (even rocket explosions!) affect every object in the game drew the player in – and pointed the way towards the future.

QuakeC and Radiant – id’s player-friendly philosophy allowed players to use the same tools as original level designers instead of the hacked-up, reverse-engineered tools of the past.

And finally, Quake was incredibly popular, which meant that the people who did create new content had a huge audience for their work. The fact that Quake came out just as the internet was beginning to take off didn’t hurt anything either.

Quake probably wasn’t the first game to do any one of these things, but because it did all of them at once and rode the rising wave of the internet, it created a huge fanbase willing to create new content and continually breathe new life into the game. Quake didn’t create modders, but it empowered them in a way they hadn’t been before. Modding moved out of the realm of putting Barney at the end of Wolfenstein 3D and into the realm of Team Fortress. That’s why ten years after it’s release people are still making cool things for Quake like Scourge Done Slick.

And that’s a revolution.