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In Why I Love, PC Gamer writers pick an aspect of PC gaming that they love and write about why it's brilliant. Today, Phil explains why Uplink is the best depiction of hacking in gaming.
Films and TV shows have a patchy history when it comes to the accurate depiction of technology and computing. It's hard not to feel let down when a film like Inside Man uses invented over-the-top violence to prey on the worst assumptions of the gaming illiterate. It's hard not to roll your eyes when admittedly dumb shows spout streams of nonsense, safe in the knowledge that many viewers won't know any better. And that's just games. The more specialist the technical knowledge needed to understand a thing, the dumber its on-screen depiction seems. For instance, hacking.
But unrealistic depictions can be fun, too. Take the film Hackers, which I fully and unironically love. It's dumb, but in a way that lets everyone be in on the joke. It doesn't sneer like Swordfish; it celebrates. It invents a world of 3D operating systems and neon punks, and then works hard to make you want to be in that world. It helps that it was set in the '90s, and everything in the '90s was already ridiculous.
Uplink—the first game from Introversion Studios—creates a similar fantasy. You re a freelance hacker using a dial-up modem and an remote 8 gigaquad computer to work for a global organisation dedicated to cybercrime. To do so, you create long networks of connections and run various programs to break into a target server. It's absurd, but taps into the same feelings of excitement and subversiveness that are reason filmmakers keep unrealistically depicting hacking in the first place.
At their core these films are stories of a single person able to stand-up to and destroy an entire corporation. That same idea is at the heart of Uplink s campaign. It starts off small, asking you break into servers to delete specific files, but soon ramps up in scope. Once your skill rating is high enough you ll destroy research servers, track down rival hackers and frame innocent people for high-tech crimes. It all builds to a gloriously over-the-top technophobic finale, in which you're given the power to save or destroy the entire internet—Tumblr and all.
Uplink is great because it gets every aspect of this fantasy right. It's a tense sandbox of tools and possibilities that rewards initiative and punishes mistakes. It's a peerless lesson in how to make a game about hacking, and one I wish every maker of a hacking mini-game would learn from. Yes, it's unfair to expect a small section of an RPG or immersive sim to be as good as a game dedicated solely to hacking. I'm not saying these mini-games should have the same depth as Uplink, but there are some basic lessons that could be learned.
The most important lesson: tension. Too many hacking mini-games treat the hacking as a separate entity that's removed from the world of the game. Hack a shop in Bioshock, and the world stays frozen in place as you piss about with some pipe pieces. Break into one of Fallout 3's computers, and people politely wait as you play a word-based guessing game. This is pointless: hacking shouldn't be about the act, but the tension between the act and getting caught in it. (This applies to lockpicking, too. Automatic real-time lockpicking is inherently more tense than a convoluted mini-game in which the outside world ceases to exist.)
In Uplink, the tension is brilliantly realised through one of the game's most basic programs: the Trace Tracker. It emits beeps that mark the time remaining before a security system finds you. It starts out slowly, but as your window of opportunity diminishes it may as well double for a heart-rate monitor. The ramp up in tension it creates as you race to finish your objective in time is almost unbearable. Disconnecting with seconds to spare feels amazing.
Uplink's other stroke of genius is that it makes you click on and type things manually. It's such a basic idea: forcing you to use the real-world tools of mouse and keyboard, thus creating a difficulty curve that's directly based on how much pressure you're under. To break into a system, you have to juggle programs like the agonisingly slow password breaker, firewall bypasser, vocal analyser, proxy disabler and log deleter. That done, you still have to perform the task you've been hired for, whether it's typing in search queries or editing records. It's a race, and you'll only win if you perform every action to perfection.
That's what so many games get wrong about hacking. It needn't be complex, just frantic and demanding. Uplink has plenty of depth to its content, but the hacking systems themselves are relatively simple. You execute programs and perform actions. You manage your computer and search for information. You watch the timer and, at the last possible second, cut the connection. It's these basic actions, and the tension that bubbles under them, that makes Uplink the best example of silly sci-fi game hacking.
Introversion's delightful computer hacking sim Uplink is coming to those most cyberpunk of platforms, tablets. An iPad version was released yesterday, while an Android edition is "coming soon." Get your cyberglove on, decker.
Uplink turns you into a leet haxor for hire, sneaking into systems with malicious intent, stealing, sabotaging, and framing while you try to cover your tracks. Good fun, and now a fantastic way to make people sitting next to you on the public subterranean rail transport feel very nervous.
The iPad edition is available now from the iTunes App Store for $4.99.
The Humble Bundles keep on rolling, with a new 'pay what you want' indie mega-bargain arriving mere weeks after the last one wrapped up. The new Humble Introversion Bundle packs four games from English indie Introversion: hacking sim Uplink, RTS Darwinia, its multiplayer sequel Multiwinia, and Cold War 'em up Defcon.
The Bundle also includes two Introversion tech demos, the procedural city generator used in Subversion and a voxel-based destructible building demo. As Subversion is on indefinite hold, it'll be nice to get a good look at some of it at least.
The Bundle has already outsold Xbox Live Arcade's Darwinia+ within 41 minutes on sale, Introversion revealed on Twitter.
As ever, all games come DRM-free, but you can activate them on Steam if you fancy. And, as Humble Bundle tradition dictates, you can choose how you divvy up your money between the developers, organisers, and the Child's Play charity and the EFF.
Head on over to Humble Bundle to name your price.
Darwinia and Defcon developer Introversion stopped working on Subversion nearly a year ago, Eurogamer has discovered.
Subversion resembled a collection of tech demos but "the core game itself wasn't really that great", creator Chris Delay told us.
"What happened was, we were tinkering away on Subversion for ages and ages, trying to make some progress - and we did make a lot of progress on it - but we always had this worry that the core game itself wasn't really that great. There wasn't really much to do.
"We had literally years of tech demos but no sort of cohesive core game. It's the core game that was missing.
"Whenever we stopped and thought about it from a high-level point of view, in terms of what's the player going to be doing, where's the fun going to come from, we were drawing a bit of a blank, all the time.
"We finally faced up to it," he said.
Subversion, an infiltration and espionage game where gamers controlled a team of operatives moving through hostile high security buildings, is officially now on hold.
"It's on hold and we openly told everyone to forget about it for now, pretend it doesn't exist if you can."
Chris Delay, lead designer, Introversion
"Yes, that's exactly what it is," confirmed Delay. "It's on hold and we openly told everyone to forget about it for now, pretend it doesn't exist if you can.
"We do plan to go back to it - that's our firm intention, to go back to it after this game. But we wouldn't want to promise it or anything like that, or for anybody to get their hopes up, because we're a small company and we can't work on more than one project at once, so we always have to pick what we're going to work on.
"We had quite a few chats to discuss what we wanted to do and switched whole heartedly onto Prison Architect, and Subversion hasn't had anything done on it since then.
Prison Architect, a game about building and managing a high security prison, "fell out" of Subversion, Delay explained.
There was a Subversion mission where you had to "bust" a team mate out of jail, apparently. "You had to get this computer hacker out of prison," Delay said. "And we started all this work on this prison code code, and it was turning into a massive project just for one level.
"While we were doing it, laying out the prison in our Subversion map editor was actually really good fun. And that's the gestation of it, really - that's where it came from."
Prison Architect will be a PC game and, Delay said, probably also for Linux and Mac.
"It's still too early for us to say a lot about Prison Architect," Delay said. "We find it difficult to pace this stuff, because it's still a while off being released, and we don't want to give it all away at this point.
"It's not a 2011 game, but we're hoping for early next year to be launching this thing."
Prison Architect was recently submitted to the Independent Games Festival - the same competition Darwinia won back in 2006 - and Introversion hopes to launch around the time of the IGF awards (March 2012).
Will Prison Architect win?
"That was a very different time, when Darwinia won. Even now I don't believe Darwinia would sweep the awards," said Delay. "It was a different era then."
Six years ago, Introversion was crowned king of a soon-to-boom indie world. Today, Introversion still clings to those same high points. Mistakes were made, hard times were hit. But Delay is upbeat about the health of the British developer today.
"We get people on the forums and things going, 'Have Introversion gone bankrupt or something?' People really worry about Introversion because we did hit some really rough times, around 2008, 2009 time," Delay said.
"We don't even have an office any more. We got rid of our office; we've come right down to just the core team."
"We don't even have an office any more. We got rid of our office; we've come right down to just the core team. There's only a handful of us. It's like the first days when we started out and there was just three or four of us working on something, all working at home, just on the next new game. We've kind of got back to how it used to be, and we're quite enjoying it now for that reason, because we're able to just go ahead and make our own game again.
"It seems like a simple thing, but we didn't have that for a long time. We had a big team; we were up to 11 staff at one point, which doesn't sound that big, but that's very big for Introversion. 11 staff and a few freelancers all working on console versions of the game and stuff like that. We were a much bigger company then and we were spending a lot of money each month. That's what it ultimately came down to. And it wasn't really that sustainable like that.
"It sort of required us to have big success on the consoles, which Darwinia+ never really achieved. It actually continued to be outsold on Steam, even though the game's been out on PC for ages. The Steam versions and all the PC versions of Darwinia just carried on doing better.
"We thought [Darwinia+] was a bit of a misstep, a bit of a mistake, and luckily we have enough games out now - four main games and one console game - that continue to sell to this day, and that keeps us going."
Despite the advances of the past decade, from physics engines and motion control to near photo-realistic graphics, there is one area in which games still have huge scope for improvement. Why, after all this time, are so many videogames still so bad at telling stories?
True, there are more examples of better quality writing to be found these days. More adult themes and activities have crept into titles like Heavy Rain. But there's no escaping the fact that for the most part, most games have about as much narrative sophistication as a Choose Your Own Adventure book.
Scripts, voice acting and the range of choices available to the player have all improved, while open-world games offer a sense of freedom which exists outside of the boundaries of plot arcs. Yet in some ways, these advances serve only to highlight the jarring nature of what happens when you are funnelled into pre-scripted paths.
Why is this? Will it ever be possible to play a game with causality, where you can truly affect the outcome of a story? Eskil Steenberg, the solo developer behind the innovative first-person MMO Love, certainly thinks so.
"It's already been done, except we don't think about it as story-telling," he explains.
"Take Counter-Strike, for instance. You wouldn't call that a strong story-telling game, but its a game where most of the players have stories from the game. It's a very limited story, which involves mostly bombs and hostages and how many people are left. But they are stories and they are told by gamers."
This concept of players developing their story within a set of rules is known as "emergent narrative". Indie games like Dwarf Fortress, the oft-mentioned Minecraft and Steenberg's own Love are leading the way in this field. By offering up gameworlds you can interact with on a deeper level, they create the potential for dynamic, player-authored storylines.
"The human mind is hard-wired to construct narratives as means of explaining what one experiences in one's real life, when watching a movie, or when playing a game," explains Mark Riedl, an assistant professor at the Georgia Institute of Technology's School of Interactive Computers. He is currently conducting research into intelligent narrative computing.
"But while an experience in real life or a game can be compiled into a narrative, there is no guarantee that that narrative will be a 'good' one.
"Emergent narrative is simple to achieve; all you need is a rich environment and a good set of rules with which to simulate the microworld," Riedl continues.
"The alternative, which I refer to as "managed experiences", relies on a storyteller that is looking at the microworld, the player, and future possible narrative trajectories, and attempting to enforce some sort of structure."
Steenberg has adopted a similar approach for Love. "The game itself generates the entire world. The players can build a settlement anywhere in the world, and the AI are independent AI characters," he explains.
"There are five different tribes: they fight the players, they help the players, they do all kinds of things they act as if they are independent actors. And that creates a story that is very very dynamic and a lot of things can happen."
This strategy is markedly different to the one most developers employ today. "Currently I think that games are kind of depressing," says Steenberg. "If you play the first Zelda game it's 25 years old, but you can do more things in that game than most games you can play today."
He adds: "That tells me we haven't really gotten very far. The games that are closest are games like Fallout, but they are very scripted. They are sort of brute forcing it. Instead of making a roller-coaster, they're making a roller-coaster with multiple tracks and various places where you can switch tracks."
Chris Delay of Introversion Software (the studio behind indie classics Uplink, Darwinia and Defcon) has a different take. Though Fallout 3 is scripted, he feels the game manages to create a sense of freedom with its narrative.
"They did a very convincing job of populating the world. I didn't feel like I was too on rails or anything. It certainly felt much more open than the average first- or third-person shooter," he says.
"So in that sense, they successfully did it. They created a whole world and filled it with interesting stuff. The world never felt to empty or sparse, there was always stuff to do."
Riedl argues that true agency the freedom to change the world and plot isn't actually necessary for gamers.
"I think this is where game designers have excelled: scripting plot lines to create the perception of agency, without actually enabling the player to significantly change the direction or outcome of the game's plotline," he says.
"Players have what I call 'micro-agency', the ability to affect the simulated world from moment to moment, but not the ability to affect the overall plot."
But this approach creates a huge burden on game designers, according to Riedl. "Theoretically, for every branch point the amount of plot-related content that must be authored at least doubles, resulting in an exponential growth of plot-related content."
As the sole coders on their games, this is an issue Steenberg and Delay are only too aware of. "It's very, very expensive to produce all this content its only an option for a really big company," says Delay.
"And of those really big companies, very few choose to go that way, because it's actually much easier and in many ways more reliable just to churn out a Call of Duty: Modern Warfare-style scenario, where generally everything is on rails."
The cost of development means indie developers are frequently more reliant on procedural content that is, content generated by the game itself.
Delay's latest project, Subversion, is a Mission: Impossible-style game in which the player pulls off heists. The game is set in a rich, procedurally generated gameworld that simulates entire cities, including the interior and exterior of buildings, and the security systems that protect them.
"The typical way to make a heist game would be to design some levels and in those levels to script specific things, like this button switches off the security and this guard walks this path and so on," he says.
"But then you get a predictable result and you get predictable gameplay. Rather than coding specific events and set pieces, I've been programming the world to be as general as I can so that security systems genuinely work.
"If you have a camera in a room it doesn't just automatically trigger the alarm it has to be wired into a monitor somewhere, and there has to be a guard watching the monitor and when the guard sees you on the monitor, he has to press the alarm button. And any one of those is a fully simulated system that you can tinker with to your own advantage."
It is this rich simulation of gameworlds which will afford players the option of a wholly dynamic approach to heists. They can approach missions as they choose, and because the world is so deep, numerous options for emergent narrative will exist.
"My initial design idea was to have a gameworld in which there were procedural missions wherever you looked. In any building, anywhere in the city there would be things that you could steal or break into, but that wouldn't be the core game," Delay says.
"My plan is to have this rich gameworld in which the game of Subversion will be set, and the core game will make much more use of hand-crafted levels."
So if well-simulated gameworlds provide scope for emergent narrative, where does this leave the traditional plot? When it comes to RPGs and adventure games, we're used to narrative arcs, plot twists and character development complex structures that emergent narratives so far don't produce.
According to Riedl, procedurally generating plots in games may not be so far away. "I think procedurally generated side-quests could be low-hanging fruit, in the sense that many of the technologies are ready to go and can be performed fast enough for games to realistically use," he says.
Riedl has already embedded his branching story generation algorithm into the Unreal Tournament engine, as part of work that is partly funded by the US military. By simulating a marketplace, the system challenges the player to prevent a terrorist bomb attack through talking to NPCs. If the player thwarts an NPC's efforts, the algorithm rewrites the narrative - dynamically changing the responses of the NPCs to the player's actions.
"Once one game demonstrates its effectiveness, demand may follow. There will always be room for emergent narrative, when used properly," says Riedl.
"Procedurally branching game narratives, in which a procedural content creation system makes small adjustments to the main plotline of the game, or weaves emergent sub-plots into the game, may come a bit later. In some respects, Mass Effect 2 has taken a step in this direction."
Riedl suggests that similar approaches could be used in multiplayer games, either to co-ordinate NPCs or to co-ordinate player stories when teams break up. However, he's unable to elaborate further on his own plans in this regard due to having signed a non-disclosure agreement.
For Delay, there are issues with dynamic plots that go beyond the purely technical. "There's a a wider question is it possible for a videogame to tell a good story, in the traditional sense? Because I'm actually not sure," he says.
"Stories tend to be quite character driven. The story emerges out of the characters doing what they would do in the world. And those are the really great stories. But in videogames you've got this massive problem the main character is controlled by the player. So it just doesn't have any of that inner emotion or drive in the same way that a screen character would do.
"If you then ask, is it possible to procedurally generate a good story, I would say it's even harder. You're starting from a medium that isn't that great at telling stories in the traditional sense, and you're trying to do it electronically."
While Riedl has had success with story generation algorithms, he says developing emotion in the output is challenging.
"In academic research labs such as my own, we have AI systems that can generate short fairy tales from scratch and AI systems that can generate branching story trees for games and training simulations," he says.
"This is because the structures of fairy tales and many computer game plots are relatively straight-forward, focusing on action and causality. The harder problems involve the conveyance of nuance and emotion through story."
So what does the future hold when it comes to story-telling within games? Steenberg and Delay are in agreement: creating the deep, simulated gameworlds needed for well-developed dynamic and emergent narratives is incredibly complex, and success is hard to measure.
"Right now, if I were a commercial game developer, I would be very hesitant to make the kind of game that I've made, for those reasons," says Steenberg.
"On the other hand I'm sort of convinced that at some point, and I think some of my players are at this point, people will play a game and they will understand what a game can be, and how dynamic a game can be.
"And that will make other games feel incredibly old."