How Well Can You Really Know a Game?

0:00 In the year 2005, I DIDN’T get lost in a Target.

0:07 …But my mom kinda thought I did.

0:11 See, she would often bring me along to Target

0:14 when I was a kid— while she shopped,

0:16 she let me go off to where I always spent time: the video game section.

0:20 I would go and look at the games and play the little demos they had there,

0:24 the Nintendo DS chained to the wall,

0:26 the xbox controllers way down here for the TVs way up there.

0:31 And I DIDN’T LEAVE the video game section,

0:34 but I— here I’m going to draw you a diagram.

0:38 See this big box is the store,

0:40 and here are the shelves with the games and the demos.

0:44 And I was in that section,

0:46 but I wasn’t looking at the shelves or the demos, I was sitting here,

0:50 at the end of the row,

0:52 so when my mom came through and looked down the aisles, she didn’t see me.

0:57 Apparently she looked through the whole store,

0:59 the toy aisle and the book aisle and probably even

1:02 the clothes and the food as she got increasingly panicked,

1:05 and eventually I looked up because I

1:08 heard my name called over the store loudspeaker.

1:11 And I got up from the end of the aisle and walked towards

1:14 the checkout and there my mom was and she said “It’s been 40 minutes!!

1:19 Where were you??

1:20 What were you doing??” And I told her the truth:

1:24 I had been reading the Prima Official Game Guide for Star Wars:

1:28 Episode III: Revenge of the Sith: The Game.

1:33 I wasn’t allowed to have a video game console until pretty late in my childhood—

1:40 we would get a Nintendo Wii as a sort

1:42 of collective family hanukkah present in 2006.

1:45 Before then, I had to satisfy

1:47 my appetite for gaming from less traditional sources:

1:51 online flash games, sleepovers at friends houses,

1:54 and writing— magazines like Game Informer, and strategy guides,

1:58 like the Prima Official Game Guide for Star Wars:

2:01 Episode III: Revenge of the Sith: The Game.

2:04 But even after I got a Wii and started gaming proper,

2:07 I maintained this reverence for guides.

2:11 Because there, in hundreds of full-color pages, was the game.

2:16 Every level, every move, every jump and boss.

2:19 If I read the guide closely enough, it was almost like I was playing.

2:25 Here’s a couple sentences from page 6 of the guide for Star Wars Episode III:

2:31 Revenge of the Sith: The Game: “In this game,

2:35 you take on the role of a Jedi and must fight like a Jedi.

2:40 Unlike other games where you may have a dozen

2:42 or more weapons you can use to achieve victory,

2:45 in this game you use a single weapon— the lightsaber.

2:48 Use this Jedi tool for attacking, defending,

2:51 and even for cutting through metal to access

2:54 locked areas… After you learn all of this, you

2:58 will be ready to fight as a Jedi.”

3:04 This was…transportive writing to me, as a kid.

3:07 Now, I read it and see the mechanics it's describing.

3:11 I’ll both fight and open doors with my lightsaber,

3:15 I’ll earn XP points, I’ll get more moves.

3:17 But in 2005, I felt it was describing more— the boldness of Revenge of the Sith:

3:25 The Game, it told me, was that you would truly embody a Jedi.

3:30 This was a game about mastery of one tool, your lightsaber alone,

3:34 and the steps to mastery were contained within the very book I was reading.

3:39 If I memorized this book, I could master the game, before I even played it.

3:46 Almost exactly twenty years later, I booted up Star Wars:

3:49 Episode III: Revenge of the Sith: The Game for the first time.

3:54 And I found…a completely fine licensed hack n’ slash game.

3:58 I did, as the guide described, only use my lightsaber,

4:02 I did see the slightly varied playstyles between Anakin and Obi-Wan.

4:06 I didn’t, unfortunately, find the Prima guide very helpful.

4:10 It had very little to say on how I should fill up

4:15 the “skill meter,” which determines how much xp you get per kill.

4:18 It had no tips on what I should level up first,

4:20 if it was better to invest in a force push or saber throws or a jump attack.

4:25 It, in fact, gave conflicting information with the game itself— the game told me

4:31 that to perform a saber “shunt,” I

4:33 should move away from my opponent while blocking,

4:35 but the guide told me I should block

4:38 and move towards my opponent to successfully “shunt”.

4:41 When I faced off against the game’s first boss,

4:45 Count Dooku, neither direction was very helpful.

4:48 I died multiple times,

4:49 and finally turned to my trusted friend: decades-old forum posts.

4:54 A dude from 2005 suggested I grab Dooku as much as possible.

5:03 I did this and cleared the fight.

5:09 It was disappointing, I guess.

5:11 Twenty years after losing myself in a Target to this guide,

5:16 I find out that it doesn’t have all the answers—

5:20 or even as much advice as a thread on NeoSeeker.

5:23 And yet I still like this book.

5:27 I like its exhaustive descriptions of enemy types—

5:31 General Grievous personally oversaw the development of “grappler droids”?

5:34 Cool!

5:35 I like that it breaks down every move

5:38 for every character for a completely forgotten multiplayer mode.

5:41 I like that there are interviews at the back of the guide,

5:45 with producers and stunt coordinators and combat designers.

5:47 For this guide, Star Wars: Episode III: Revenge of the Sith:

5:52 The Game isn’t some middling licensed hack n’ slash:

5:55 while reading it, you feel like this is the most important game in the world.

6:01 This is the appeal of these big strategy

6:03 guides I think— not just that by reading it,

6:06 you can master a game, but that there could be this much to master.

6:10 That a game could be complex enough that it could fill hundreds of pages,

6:14 that it could be a world unto its own.

6:17 And it’s not just Revenge of the Sith:

6:19 If you’re willing to really immerse yourself, any game can do that.

6:24 One of the first full-length books ever written about video

6:28 games was 1983’s “Pilgrim in the Microworld” by David Sudnow.

6:32 “Pilgrim in the Microworld” is a title

6:35 that evokes “Fantastic Voyage” or “Magic Schoolbus.”

6:38 You might think it will be about

6:41 shrinking down to explore blood cells or molecules.

6:44 Instead, Pilgrim in the Microworld, nearly every single page of it,

6:49 is about exploring something else: Breakout for the Atari 2600.

6:55 You might think, fool that you are,

6:59 that there isn’t that much to say about Breakout for the Atari 2600—

7:03 it’s a game where you bounce a ball off a paddle and break bricks.

7:07 Even the official manual seems to be stretching for 6 pages.

7:11 But you have never experienced a game like David Sudnow experiences Breakout.

7:19 At the beginning of the book,

7:21 Sudnow has almost no knowledge of games— or seemingly, technology writ large.

7:26 He’s a professor in California and a pianist.

7:28 Actually, one of his first encounters with gaming is during a performance

7:32 of his— he and his band are playing at a house party in Berkeley,

7:36 but keep getting interrupted by adults in the other room,

7:40 who are hooting and hollering while playing Missile Command.

7:44 Sudnow is annoyed, but also intrigued.

7:47 Soon after, he buys a COLOR TELEVISION and an Atari.

7:52 In 1983, 98% of households had a TV, 90% of them in color.

7:57 Sudnow was a holdout, a veritable caveman.

7:59 But, prompted by this experience at the party,

8:02 he goes to his local electronics store.

8:06 The store is, frustratingly, out of Missile Command.

8:10 Instead, the salesman suggests he tries Breakout.

8:13 Over the next hundred-plus pages of Pilgrim in the Microworld,

8:18 Breakout consumes Sudnow’s life.

8:20 And because he is so new to this whole thing, not just to Breakout but to games

8:27 and the very idea of manually controlling an electronic device,

8:30 no sensation is left unexplored.

8:32 For instance: he’s playing with the paddle controller for the Atari 2600,

8:37 a sort of dial that you can turn right and left to control the thing onscreen.

8:42 I described that in 16 words.

8:45 Sudnow is not so casual.

8:48 Line up your extended finger with the lower left

8:52 corner of the TV screen a comfortable six feet away.

8:56 Now track back and forth several times

8:58 in line with the bottom border and project

9:00 a movement of that breadth onto an imagined

9:02 inch and a half diameter spool in your hands.

9:05 That's how knob and paddle are geared,

9:08 a natural correspondence of scale between the body's motions,

9:11 the equipment, and the environs preserved in the interface.

9:14 There's that world space over there, this one over here,

9:18 and we traverse the wired gap with motions that make

9:22 us nonetheless feel in a balanced extending touch with things.

9:26 These 100 words are not Sudnow’s description of using a controller:

9:30 these are the first 100 of thousands of words describing using a controller.

9:36 Nothing is taken for granted— no hand position,

9:39 no twist of the dial, no rhythm or momentum forgotten about.

9:42 And my god, if you think Sudnow is comprehensive on the controller,

9:46 wait until you read the DOZENS of pages about how he should LOOK at the screen,

9:51 where exactly his EYES should rest.

9:54 Pilgrim in the Microworld is, if nothing else,

9:57 a continuous reminder of how much we skip

9:59 over when we talk about playing a game,

10:02 how even the most comprehensive guide still neglects to detail

10:06 the role of our fingers and hands and nervous system, our peripheral vision,

10:11 our transposition of physical inputs into a digital landscape.

10:17 And then Sudnow keeps going, sucked into a hilariously familiar spiral to anyone

10:23 who’s ever been obsessed with a game.

10:25 He starts complaining that Breakout doesn’t play “fair,” that the game will

10:30 sharply angle some rebounds no matter how cleanly he hits a brick.

10:35 He’s incensed: “All right,

10:36 veer off to the side… Mess with my carefully aimed shot.

10:40 But if you want forgiveness for being a computer,

10:43 don't put rocks in the snowballs." (this is him

10:47 chiding the game for “cheating.”) “I stored the disturbance

10:50 like you register a lie on the first date

10:53 and puzzled for a moment over the game's moral integrity.

10:57 If the programmer could patch up an organizational weakness with a trivial

11:00 trick like this, where else might there be monkey business?

11:03 If it was their way to let you feel competent,

11:06 giving you three easy placements and then veering off

11:09 as if you wouldn't notice it, they were stupid.

11:12 Anybody would see what was up after a few times at the controls.

11:16 The tactic didn't speak well for Breakout.

11:18 What if she lies all the time?” But despite his discovery

11:23 of what we might call “game design,” he keeps playing.

11:26 He’s determined to pull off a specific sequence,

11:29 to break all bricks on the side, so he can get the ball up on top

11:33 of the wall and have it bounce around uninterrupted for a while.

11:37 He tries the sequence over and over and over,

11:40 resetting the game every time he can’t pull it off.

11:43 He ceases to view Breakout as a game at all.

11:47 “Forget the computer.

11:49 Breakout was a grid, an object with known fixed properties,

11:52 no more an opponent than my piano or a layout

11:56 of city streets or a hopscotch pattern on the sidewalk.” He wants,

12:00 more than anything, to clear the board with one perfect ball,

12:04 to not miss a single time.

12:06 He wonders if he should get a camera

12:09 to film himself playing to further improve his skills.

12:12 He is, in the parlance of our times, learning to speedrun.

12:16 By reading Pilgrim in the Microworld, I realized how absurd it is to think

12:21 that you couldn’t write a book entirely about Breakout,

12:24 that we are so quick to ignore

12:27 the intricacies of our interactions with machines.

12:31 Sudnow ignores nothing, and in doing so,

12:34 finds core truths about how we relate to a video game.

12:39 “The central skills of these games,” he writes,

12:42 “arise out of lucratively programmed caring… it’s not

12:45 that you have to ‘care’ in order to get good,

12:48 but rather that you have to be kept caring… a goal remains alive

12:53 by always moving just ahead out of reach.”

12:57 Because this, writing essays and making videos,

13:00 is my job, there’s a limited time I can allow myself to keep

13:04 setting goals within a particular game before I have to move on.

13:09 Years ago, I talked about the infinite appeal of Sekiro’s parry,

13:12 of being able to see what perfection would look like,

13:15 even if it remained forever beyond my grasp.

13:18 Sekiro is an interesting example though,

13:20 because there’s so much of the game that I ignore in pursuit

13:24 of that one goal— I almost never use the prosthetic tools, for example.

13:28 I don’t care about most of the character’s sidequests.

13:31 I don’t explore the levels anymore,

13:33 I simply sprint through them to get to the next boss.

13:36 I decided which parts of the game are important to me, and neglected the rest.

13:42 If I had to make a case for really knowing a game,

13:45 I don’t think I’d pick Sekiro.

13:47 I think I’d pick The Game Baker’s 2016 title, Furi.

13:52 Furi isn’t one of the games I’ve spent the most total hours

13:57 on— I discussed those in a Nebula video a few months ago.

14:01 It’s not the game I’ve replayed the most either,

14:04 though I have truly lost count of how many times I’ve replayed it.

14:08 But Furi is the game that I feel I’ve

14:12 scraped every crumb from, most thoroughly internalized every piece.

14:15 Here’s how the game works: Furi is a boss rush.

14:18 The game is exclusively 10 bosses, with slow linear walks between them.

14:23 Each boss has multiple phases, never fewer than 4, often as many 6.

14:28 Each phase of each fight is different, and hard,

14:31 and you will die to almost all of them on your first try.

14:35 But this is actually built into the structure of the game— you,

14:39 the player, have 3 lifebars, and when one of these lifebars is depleted,

14:43 you only start that phase of the boss over, not the whole fight.

14:47 If you lose all your lifebars, then yes, it’s game over.

14:50 But beating a phase of the boss actually earns you back one lifebar,

14:54 meaning you’ll always get to try out a phase

14:57 at least twice before going back to the beginning.

15:00 This is all there is— no upgrades or skill trees,

15:03 no items to forget to use, no sidequests to ignore.

15:07 Just repeated practice folded into a fight, over and over.

15:10 Once you beat the game, you unlock the “Furier” difficulty,

15:14 which can feel insurmountable but really just teaches you that you

15:18 can get so much better at the game than you even thought.

15:22 I’ve been playing Furi since it came out— not continuously,

15:26 but I probably return to it at least once a year.

15:29 The combat rhythms are a part of me now, I often don’t even have to think before

15:34 knowing how to counter a string of attacks.

15:37 Also, in between revisits, I listen to its soundtrack while working out.

15:41 I know the sound of Furi in my bones.

15:44 Are there people better than me at the game?

15:48 Of course, at least 798 of them.

15:51 There is still a goal in front of me, always more to be known.

15:55 But it feels great to have this thing, this little adrenaline-fueled indie game,

15:59 that I know just like how Sudnow wanted to know Breakout.

16:04 In the middle of Pilgrim in the Microworld, Sudnow,

16:07 a 43-year-old professor and piano player,

16:10 does the thing that every obsessive yearns to do:

16:13 he actually goes to Atari and interrogates the people

16:17 who made the game on how best to play it.

16:20 He meets the designers and programmers, the wizkids of Atari,

16:23 the folks who made Breakout (as well as Super Breakout,

16:26 a game Sudnow seems to be almost entirely unaware of).

16:30 And he doesn’t ask them the questions a researcher writing a book about

16:34 a game might ask— he doesn’t want to know what brought them to this job,

16:38 or how they decided on Breakout’s elegant design,

16:41 he doesn’t want a tour of the facility.

16:43 He wants to know which brick, exactly, he should hit first.

16:48 He wants to know, precisely, the best strategy to win.

16:52 He acts as if he’s meeting God and has

16:56 one chance to suss out the secrets of the universe.

17:01 But the designers don’t know!

17:02 They simply programmed the game— they didn’t master it.

17:06 They cannot give Sudnow the perfection he seeks.

17:09 Sudnow’s assumption— that the creators

17:12 of a game would be near-omnipotent within it,

17:15 know every detail, be able to nail every trick— makes sense.

17:19 After all, they designed the laws of that particular world,

17:22 they spent hundreds or thousands of hours creating every detail.

17:26 It would surely be the height of hubris to suggest

17:30 that anyone could know “more about the game” than the creators.

17:36 Sudnow could scarcely imagine the idea.

17:39 But I have wondered this before.

17:42 Can you know a game better than the person who made it?

17:47 Super Mario 64 was released in 1996 for the Nintendo 64 console,

17:51 and there has not been a single time in the subsequent

17:55 history of the world that people weren’t playing it.

17:58 Can you imagine David Sudnow, who nearly drowned in the complexity of Breakout

18:04 for the Atari 2600, playing Mario 64?

18:07 He’d spend 50 hours just stretching Mario’s face!

18:11 The official Nintendo Player’s Guide for Mario 64 is 129 pages long.

18:16 It has guides to each of the 120 stars

18:19 in the game with cool rendered versions of each of the levels.

18:22 It has a page on the game’s secrets,

18:24 like Yoshi on the roof of the castle or the rematch against the big penguin.

18:28 It’s a good start, though shorter than you might expect for a game

18:33 with such nuance— there’s relatively little on just how flexibly Mario can move,

18:37 how you can chain together his dives and long jumps and such.

18:41 The minutiae of each level’s geometry is left totally unremarked upon.

18:46 The guide represents a tiny fraction of the knowledge

18:50 that went into the creation of Super Mario 64,

18:53 the endless strategies and techniques the developers

18:56 and playtesters might have used to approach each level.

19:00 You could fill a thousand pages, multiple thousands,

19:03 with everything each developer knows about this game.

19:07 And yet.

19:07 I wonder, if anywhere in those thousands of pages,

19:12 you would read the phrase “parallel universes.”

19:16 In the nearly three decades since Mario 64’s release,

19:20 players have done things that I am sure the creators thought were impossible.

19:25 Getting every star in the game in 95 minutes.

19:29 Rolling credits while only obtaining 16 stars, or 1 star, or no stars at all.

19:35 Leaping backwards up stairs, through space and time and solid matter.

19:39 But the one that stands above all else, to me at least,

19:44 is playing the game while refusing to touch its most important button.

19:49 This is what Pannenkoek details in his video “SM64-

19:54 Watch for Rolling Rocks- 0.5x A Presses (Commentated),” which is,

19:58 I believe, one of the greatest demonstrations

20:01 of fan devotion to a game ever recorded.

20:04 What Pannenkoek shows in this video isn’t just a commitment of time or skill,

20:10 but a knowledge of Mario 64 so mind-bogglingly

20:12 deep that in the middle of the video,

20:15 he says maybe my favorite phrase in all of YouTube.

20:18 “You might be wondering what I’m going to need all this speed for.

20:22 After all, I do build up speed for 12 hours.

20:25 But to answer that, we need to talk

20:30 about parallel universes.” In the simplest possible terms,

20:37 Pannenkoek is attempting to complete this level

20:40 while never pressing “A,” the jump button, in a game entirely about jumping.

20:47 This is, frankly, an impossible task.

20:51 Accordingly, Pannenkoek accomplishes it in an impossible way.

20:54 What he describes, over the course of the 25

20:58 minute video “SM64- Watch for Rolling Rocks- 0.5x

21:02 A Presses (Commentated),” is nothing less than an explanation

21:05 of how to break the physics of a universe.

21:08 Utilizing a handful of lines of code meant to do nothing more than reduce

21:13 big decimals and check to make sure

21:15 that mario is correctly colliding with the ground,

21:17 Pannenkoek instead builds up so much speed that he

21:20 leapfrogs into what he refers to as a “parallel

21:23 universe,” an invisible replica of the level that exists

21:26 far beyond the bounds of the visible geometry, just one of a massive grid

21:31 of “parallel universes,” all the almost-certainly unintentional

21:33 result of how this code resolves

21:36 the coordinates of a player’s position in space.

21:39 Using this portal into the multiverse,

21:42 Pannenkoek ping-pongs around parallel universes like a madman,

21:44 ultimately bouncing off a bug he lured

21:47 into the perfect position 12 hours before,

21:49 all to reach a platform that holds a star that even

21:54 a casual player could probably reach in a couple minutes.

21:58 But Pannenkoek knows the game on a molecular level.

22:02 And so he does it without jumping.

22:06 Importantly, the strategy this video demonstrates

22:10 isn’t one done with literal hands-on-controller.

22:13 Instead, Pannenkoek is doing this via a TAS,

22:16 which stands for “tool-assisted speedrun.” This is a tool that can

22:20 be programmed to play the game with inhuman speed and precision,

22:24 to build up just the right amount of velocity,

22:27 to launch into a parallel universe at just the right angle.

22:30 It might disappoint some of you

22:31 to learn that Pannenkoek isn’t personally running

22:34 on this hill for 12 hours or controlling

22:37 movement between parallel universes with a real-time joystick.

22:40 But I would encourage you to reframe that thinking— Pannenkoek’s appreciation,

22:45 his commitment to this game,

22:47 has moved beyond what is physically possible for a human to perform,

22:53 and yet that hasn’t stopped him.

22:56 This is not a greater understanding of the game

22:58 than the people who made it, per se.

23:00 Pannenkoek never claims that he could have made Mario 64,

23:04 or programmed it better than the developers.

23:06 Instead I think of it like the comparison between an author who wrote a book,

23:11 and a fan who’s memorized every word of it.

23:14 Both have a specific knowledge of the thing

23:17 that the other couldn’t even approach.

23:20 I think when I poured over game guides as a kid,

23:24 I was hoping they would turn me into a sort of TAS.

23:28 If I memorized every one of Anakin and Obi-Wan’s combos,

23:31 if I knew how to deal with each enemy,

23:33 if I was never surprised by the layout of any level,

23:36 I’d be playing the game at maximum efficiency— and thus,

23:39 interfacing with it in the best possible way.

23:42 This is what David Sudnow craved in the middle

23:45 of his journey with the Atari 2600.

23:47 Breakout— like Mario 64— was a grid, an object with known fixed properties.

23:53 If he could turn himself into a computer,

23:56 he could finally play the perfect game.

23:59 He writes that rather than playing the game as a human uses a tool,

24:04 maybe he needs to, quote, “suppress all grace and care and conform

24:07 my own attitude into the sort of a being

24:10 through which the calculations can pass…

24:12 the action on the screen must incorporate me,

24:16 reducing or elevating me to some ideal plane of synaptic being through

24:21 which the programmed coincidences will take place.” He dreams of being a TASbot,

24:28 of turning himself into a computer.

24:31 Until he finds something else to want, that is.

24:35 Games, as he wrote, arise out of lucratively programmed caring.

24:39 And a computer can perform far more optimally than any human but it can’t care.

24:45 It can’t decide what its next goal is,

24:48 can’t find the motivation to chase what’s just out of reach.

24:52 This is, actually, where Sudnow settles at the end of his book.

24:57 “Wouldn’t the efficiency kick be short-lived?

24:59 With a fully worked out strategy wouldn't you barely have to look?

25:04 Strategically best moves are ultimately reductive,

25:06 tailoring participation down to its absolute minimum… giving you

25:10 “command” from afar and behind the scenes, so to speak,

25:15 with nothing much to do.” With this realization,

25:19 he stops resetting the game after every nonoptimal opening,

25:23 starts playing like a human again.

25:25 He forgets that it’s a grid, that he once meant to turn himself into a computer.

25:31 And when he does, he finally plays that perfect game.

25:36 Even Pannenkoek and the army of TAS programmers across the globe,

25:41 they’re using machines but they’re not playing like machines.

25:44 A perfectly optimized system would never try

25:47 to complete a game about jumping without jumping.

25:51 A perfectly optimized machine would never play a game

25:54 at all— what is optimal in caring about something so inconsequential?

26:00 And yet we do.

26:03 Because caring about something is an end unto itself,

26:08 passion is found in the process, not the result.

26:11 It’s impossible to fully, truly, know a game.

26:16 That’s the whole point.

26:26 Hey!

26:26 Let’s get right to it: I’ve got another video,

26:29 on something completely different, that you can watch right now, only on Nebula.

26:34 What is it?

26:35 Well let me just say…it’s a short essay on trying

26:39 to obtain a working copy of Danny Boyle’s 2007 film, “Sunshine,” on blu-ray.

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26:47 Long enough that I felt compelled to make a whole video about it.

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