Author Archive

Miegakure at PAX Prime

Thursday, September 4th, 2014

We are back from PAX Prime! We were showing as part of the Indie Megabooth. I think the show went very well. People seem really excited about the game. I am glad that the new graphics are making a ton of people curious about what the game is (Not sure why I didn’t notice the difference as much at PAX East). They were a lot of work but clearly worth it.

Booth1

I tried to remember what the most frequently asked questions were, and I plan to write blog posts/ make videos about them. Questions were: is the fourth dimension time? (Nope!) How did you come up with the concept? How is this game even implemented?
If you have more questions that you would like me to answer please let me know (Excluding: when will the game be out?)

We had 4 stations initially but because the wait to play was getting too long, I added a fifth station saturday afternoon. Like last PAX, the main trailer was playing on a big screen, and the explanation trailer was playing on a smaller screen below that.

My favorite moment was witnessing a 9 year old girl play the game better than her father, giving him tips on how to solve the puzzles.

PC Gamer did an awesome preview of the game (they totally got it!).

For the first six or so levels, I did not get Miegakure at all. I was completing the early puzzles, but I had no idea how I was doing it.

I gathered some statistics about most of the playthroughs. It seems the game was played over 400 times, which gives an approximate average play time of around 23 minutes. That’s about how long it takes to play the first 13 “intro” levels. Many people played for one or two hours, but I have no trivial way of counting how many.

Booth2

Booth3

Booth4

New Trailer: How to walk through walls using the 4th Dimension

Wednesday, August 27th, 2014

 

 

An explanation of how walking through walls would actually look like if you could move in 4D.

This doubles as an explanation of how Miegakure works (finally! Also SPOILER ALERT) and what the fourth dimension is.

Ever since people discovered the concept of a fourth dimension of space around a century and a half ago, they have tried to come up with what would be possible if space was actually four-dimensional. Walking “though” walls would be one of the simplest consequences of being able to move in 4D space. But what would it actually look like? It’s not often that watching a video-game trailer actually teaches you about real math.

Of course, if you have watched the video, you know that it is not “through,” but rather “around” walls, despite what this movie poster or this comic book character, for example, would lead you to believe.

Additional Notes:

  • From the perspective of a regular 3D observer standing next to the wall the player character would suddenly disappear, and a few moments later reappear on the other side of the wall (assuming the player character is very thin along the fourth dimension).
  • There are infinitely many 3D worlds stacked on top of each other, even if in the Wall level the ground texture makes it seem like there are only two. A more complex example is the shape at the beginning of the trailer, which is a true 4D shape called the 120 Cell, as explained here.
  • Yup, the 2D/3D section is part of the game. There are more 2D levels. Not going to spoil how you get access to them.
  • The 2D/3D section has been part of the game since I first showed it at the Experimental Gameplay Workshop 2009 a couple months after making the prototype. At first I made it in order to explain the game, but it seemed like a good idea to make it part of the game itself.
    I took inspiration from Flatland (of course) and Super Paper Mario for the aesthetic. I couldn’t resist having the game contain its own Demake πŸ˜‰
  • Fun anecdote: the code that handles movement in 2D/3D is the same as the code that handles movement in 3D/4D, but one axis is ignored πŸ˜‰ The display code is of course different, but it reuses a bunch of stuff.

This trailer took a long time to make! It will be the basis for talking about the game more.
The pixel art was done by G.P. Lackey and the music by Disasterpeace & Mateo Lugo. I love how it turned out!

Big thanks to Vi Hart [Youtube Channel], Chris Hecker [SpyParty], Brady Haran and others for their suggestions on how to improve this video.

Oh I forgot to post here that we will be showing the game at PAX Prime, as part of the Indie MEGABOOTH.

Consistency Boundary: What makes a logically and mathematically consistent system?

Sunday, July 27th, 2014

“The laws of the model’s nature have to be logically and mathematically consistent with one another, but not with physics.” -J.C.R. Licklider (see previous post)

What makes a logically and mathematically consistent system? It seems to me that every system has a boundary within which it is consistent, and outside the boundary it starts to break down. How do we define this boundary?

The process of describing reality using mathematics is not perfect. First, an abstraction layer needs to be selected. That means we have to decide how detailed a model will be. If the model is too detailed, it will take too much “computation” to predict anything. If the model is too coarse, it might not predict enough effects.

For example, we can simulate the motion of an object by simulating every atom inside of it, but that may be unnecessary, and if the object does not deform very much at the scale we care about we can approximate it by a rigid body, which gives a simpler model that could work very well for our case. But if too much force is applied the object would start to deform or fracture, and then the model breaks down, and might give nonsense results.

In physics, we may know if the assumptions we make are reasonable or not. If we know for sure that in the situation we want to model not enough force will be applied to the object and thus it will never break, then it does not matter that the model does not handle this case.

In games, we create a set or rules for the game that often approximates reality to some level. So already we have chosen an abstraction layer. But we may not know what the consistency boundary of that model is, i.e. find out the places where the approximations we made result in nonsense situations. We may need to discover the shape of this boundary by playing the game itself. Like in physics, we can adjust the rules of the system to increase or decrease the consistent area, but unlike physics we are not bound by having to approximate reality.

For example, imagine a game where a character moves in a 2D grid and the player can place an arrow on a square to redirect it. This model assumes that the character can only move horizontally of vertically within the grid, and so far this is consistent. But what happens if you let players place two arrows on top of each other? If the effects are additive, suddenly diagonal movement needs to be considered, but the model so far has not taken this case into account. This is the edge of the consistency boundary. At this point we need to either disallow the case of diagonal movement and potentially make the game less rich and interesting, or allow the case and grow the consistency boundary, but this may be hard to design as new rules need to be created, and problematic areas may still exist, just further away.

Sometimes, problematic cases can be avoided by level design instead of system design. You can design the levels of the game such that this situation can never occur (ex: what if no more that one arrow is ever given to the player?).

This process of stripping away problematic cases is a lot of what game design is, at least in my experience. There are ways in which it can be done elegantly and inelegantly. Inelegant ways often leave the problematic cases apparent. The player can see the parts that have been cut of, or worse, they are forced to understand details about it. Presumably the system is the interesting part, not its boundary (though games that explicitly explore this idea could be designed and may be interesting).

In the aesthetics of game design, I feel like a game that is very consistent is more beautiful than one that is not.

The thing I talked about before is that in games the goal is not to simulate reality, so we have an extra tool in our hands: generalization. For example if SimCity is a model of a city, then adding Godzilla to it is a generalization. Or taking an FPS (which is a simulation of a person walking in an environment) and adding portals.

This creates additional problems because while we are fairly certain that reality is consistent, we do not know about other, generalized, realities. (If the first part is like physics, this part is a bit like inventing new mathematics).

So for example, it appears to me that Portals are not very consistent. A lot of issues appear pretty quickly, as seen in these drawings I found online:



It might be interesting to try to design Portal in a way that would allow for more consistency, and gets closer to handling cases such as these. I am not sure this is possible.
Sometimes consistency can be improved by fixing things near the boundary, and sometimes the whole system needs to be rethought from first principles.

Another example: What happens in Fez when you get projected behind an object? This is an inconsistent situation that needs to be resolved with additional rules from the designers of the game. It comes from the many-to-one nature of projection.


Miegakure was surprisingly consistent. You can take almost any concept and generalize it to 4D. There are very few consistency problems in gameplay, mainly related to the rules of pushing blocks, which would happen in any number of dimensions. So because there is so much consistency in terms of the 4D generalization, the problem has been finding a good level of abstraction, especially graphically. In some way there are two types of consistency boundaries. The consistency problems that come from abstracting, and the consistency problems that come from exploring. The abstraction consistency boundary seems contained within the generalization consistency boundary.

Sometimes I want to make things clearer or more beautiful at the expense of correctness. Or rendering 4D properly is sometimes too slow (just like 3D graphics are just an approximation of reality!). For example I spent a long time on the extruded 3D trees and it was well worth it. The goal was to get a more detailed level of abstraction of what a four-dimensional universe would look like. But I will talk about it in a later post.

[Part 1] [Part 2] [Part 3] [Part 4] [Part 5] (Part 6)

Looking back (Do you think your conception of reality has changed from making this game?)

Tuesday, July 1st, 2014
(Here’s another expanded transcript of part of the talk I gave at NYU)
A question that people ask me once in while is: Do you think your conception of reality has changed from making this game?

I find that one of the things that excite me the most about Miegakure is that because it takes concepts familiar in three dimensions and generalizes them to four dimensions (or even n dimensions) it distills these concepts to a more fundamental core. There is something more truthful about a concept that has been distilled to a simpler form, but it also helps us understand the concept better.

A good example is rotation. A rotation is fundamentally a 2D thing; you need two dimensions to define a plane of rotation. We are so used to thinking about rotations in 3D that we think about the axis of rotation, but this doesn’t generalize to nD: the 2D plane that is perpendicular to that axis is what is important. The focus on 3D space actually hides part of the truth. Transforming the plane of rotation into an axis loses some information about its semantics, which causes problems for example when you want to transform the rotation itself (ex: the idea of an axial vector in 3D is a hack). But you can’t even transform the plane into an axis in any dimensions but three, so considering the general case helps us avoid making this mistake.

When trying to generalize a concept we often find that some parts of the representation do not generalize at all. Then, we search for a new way to think about things, a new viewpoint that allows us to throw away the parts that don’t generalize. What we are left with is often much more beautiful than what we started with originally, because it describes the same concept, but in a much more concise and precise way.

We can use n-dimensional space as a way to discard viewpoints that are not as fundamental as others because they do not generalize.

Rotating the view

In Miegakure, the player’s main action is a rotation (when the space appears to deform, the player is actually just turning their head 90 degrees into the fourth dimension) and there are rotating objects in the game. So the player is learning about rotation in a more general context and it enlightens their concept of rotation in 3D.

I think this idea of distilling and generalizing concepts happens in other games, in some form.

Go board

We celebrate Go because of how rich its situations are compared to how small its rule set is. Go distills the rules of territory and life and death to a form that allows us to explore it, to a form where we can get glimpses of fundamental truths about our universe. Go is so simple that we feel that it has be fundamental.

Frank Lantz talked about similar ideas in this great talk.



This is a slightly different idea:
Portal takes the usual laws of physics and adds portals to them. There’s some exploration of what having portals might mean by themselves, but what is especially interesting to me is the way that Portals affect things like momentum.

The idea of using gravity to increase momentum then rotating that momentum to cross a pit makes the player think about momentum in a different way and that reveals things about it. Momentum is seen through the more general lens of portals. There are actually problems with this because it is difficult to cleanly generalize, but I will talk about it more next time.


[Part 1][Part 2][Part 3] [Part 4] <Part 5> [Part 6]