In Sex, Lies, and Video Games, Jonathan Rauch explains Façade, the avant-garde video game by Michael Mateas and Andrew Stern:
Conventional games create vast, immersive physical environments. The new game would all take place in a single indoor space, like a black-box theater stage. Instead of taking fifty hours to play, their game would take twenty minutes. Instead of advancing through levels without telling a story, the game would provide a compact, complete dramatic experience, like a one-act play. “We envisioned something where you could come home from work and play it from beginning to end, just like you come home from work and watch a half-hour television show,” said Mateas. “You could come home and have a half-hour interactive-drama experience. It’s complete in itself, it takes you on an arc. It entertains. But then the next day, you could come home from work and play it again and make something different happen.” Instead of offering the player menus of quests or options, their game would seem to flow as naturally as life.When Mateas, still a graduate student, told his adviser what they intended, the adviser replied that such a game would take a team of ten people ten years to build. The technology didn’t exist. Commercial game design often employs teams of dozens, and here were two guys, one a grad student and the other self-employed (Stern eventually quit his job to work on the game full-time), expecting to build a whole new kind of game with their own four hands and no budget to speak of.
Before they could build the game, they had to build a new programming language:
They spent more than two years constructing what they called ABL (for “A Behavior Language”), which encodes and controls virtual actors. “The actors’ minds are written in ABL,” Mateas explains. ABL itself has a sort of mind: enough artificial intelligence to decide how a particular character might, for example, simultaneously mix a drink, walk across the room, and yell at her husband, as a human actor could do.That done, they built, again from scratch, another piece of AI, which they call a drama manager. It is a sort of artificial dramaturge and director, which looks at what the player and characters are doing and makes plot and dialogue choices intended to ratchet up and then release dramatic tension. Then they built a natural-language engine, which “listens” to what the player types in, looking for emotional and dramatic cues that the in-game characters can react to.
Influenced by Edward Albee’s Who’s Afraid of Virginia Woolf?, Steven Soderbergh’s sex, lies, and videotape, Woody Allen’s Husbands and Wives, and Ingmar Bergman’s Scenes From a Marriage, they decided to drop the player into a marital crisis:
They hired actors to record five hours of dialogue, raw material from which the drama manager would build twenty minutes of game play.In the end, they accomplished, they reckon, about 30 percent of what they had hoped to do. “We shot for the stars in hopes of getting to the moon,” says Stern, “and we made it into orbit.” In July 2005, standing together over Stern’s computer in Portland, they pressed the button that “shipped,” over the Internet, a new game called Façade.
After watching the trailer, I’m not sure they needed video — or even audio — to pull off the concept:
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