Imagine a world where the ‘E3 pressure cooker’ is no longer sucking up precious development time and burning out our best and brightest. Imagine a world where the public face of our industry isn’t trashy hookers, cosplay, and an assault to all senses. Imagine a world where there’s no delineation between ‘gamers’ and ‘non-gamers’. I mean, people who watch TV don’t call themselves ‘TVers’, do they? And imagine a world where the most violent, misogynistic shoot fest sits side by site on the content-ranked ‘Itunes of games’ with beautiful, experimental experiences that are hugely profitable because they serve a powerful niche.

E3 is basically the embodiment of the Old Game Industry in the sense that it’s puerile, dripping with saggy strippers, and completely focused on what a certain luminary calls “The Reptilian Brain.” Out with the old, I say. Make way for the new game industry.

I’ve been rather busy of late, evidence the lack of posts. The rub: we (Flashbang) are kicking the ass out of Potion Motion, our next title. If you have any interest in such things, there’s an extensive thread on the excellent AIPX Student Game Developer’s Association forum where we’ve been posting test builds and getting fantastic feedback.

On principle, I’m opposed to the concept of crunch, but there are a few exceptions I will make. One is when you’ve got the design by the tail; due designer diligence is to ride it out, to see where the design wants to take you. To be honest, we were sidetracked for quite some time, obsessing over aesthetic polish. We hadn’t user-tested design assumptions in many iterations. Bad designers. Anyhow, lesson learned. E3 was a bit wake-up call and now we finally have it by the tail, due in no small part to the many gracious participant testers we managed to round up. Many thanks to you all and a tip of the hat to Sir Joel who has taken on the role of surrogate lead tester.

It was said many times at GDC this year, and I’ve seen it in action many times before – prototypes solve everything. Make the thing, put it in front of some users and watch design arguments disappear. This is why “Advanced Prototyping” was such a hit this year, and why I believe those skilled in rapid prototyping are poised to lead the game industry into a new world. Making good games is all about iteration and iteration is a function of speed. The math is simple: the faster you can complete a single test –> observe –> change –> test cycle, the more times you’ll be able to iterate over the course of the project. The more times you iterate, the better the game gets. Unlike a painting, it’s not really possible to ‘overwork’ a game, especially a huge, sprawling videogame. The closest thing I’ve ever played to an ‘overworked’ game, I’d say, is Warcraft 3.

Despite many attempts, Warcraft 3 has never managed to hold my interest. Even when I was using it as an assignment in my class I was never able to engage with it. On the surface level, I never fell in love with the treatment, but that’s never stopped me from liking a game with a good design at its core. Warcraft 3 turns me off because the design is overpolished. It’s been played so many times in testing, the numbers balanced and rebalanced so many times, the gameplay’s gone limp. Every possible outcome and type of player has been accounted for, every strategy weighed and balanced against every other. It feels sterile, like playing a game in a vacuum. To most if not all players, this is, like every other Blizzard game, a huge win. They find enjoyment on many levels. For myself, as a designer, as someone who has at least a modicum of understanding about the nuts and bolts of creating a game, there’s just nothing left for me. There’s no interesting asymmetry, no novel mechanics, nothing for my mind to tinker with. It’s just too well balanced. Blizzard games stand as monuments of achievement in design, polish, and playbalancing, but they’ve lost their soul along the way. Give me something dirty and flawed, created by an auteur mind toiling away in some basement. Give me a tool to express myself. Give me something alive.

So, yes, there is a spectrum, and I think it is possible to overpolish a design. So few games are in danger of arriving at that point, though, that it’s pretty much safe for all designers to ignore the possibility and try to power through just one more iteration. Test, observe, change, test. Quick, before the money runs out and the game is lost forever.

All I know about CSS I learned last night, so I’m sure I’ll be working little kinks out for the next few days. Thanks once again to Dan Pratt for creating the artwork and to Matt Mechtley for the CSS crash-course.

UPDATE: Yes, I realize the site is schnitzel’d in IE. I’ll poke at it more later. Right now it is time to play Hitman: Blood Money.

UPDATE the Second: mostly working in IE now. For some reason, there’s a random “S” at the top right of the side bar. It does not exist if you view source, nor does it show up in Firefox, so I have no idea how track it down. Anybody know about phantom S’s?

Other stuffs:

I have a new site design (currently in PSD form) thanks to the hardworking efforts of the inimitable Diamond Pratt-a-tat-tatt, which should be live in the next week or so. It’s hot like a buttasub. Now I just need to learn all about creating custom Wordpress themes .

Tune updates abound – I completed some first pass art and prototype number one which was a quick hack-in test of my proposed gravity/slider mechanic. Usually I encourage substance before polish but I got a good start on the art and it seemed prudent to keep going while the fervor had me. Now I have some art. There are a couple of lingering technical issues I’m interested in tracking down…on my computer the camera is all screwed up in the web player (looks like a priority issue but doesn’t occur in Dev for you Virtools buffs out there.) Does anyone else see this? The symptom is that it’s nauseating and nigh-unplayable because the camera constantly jitters and jangles. Also, I was seeing some z-sorting crapola in some of the textures. Again, though, I don’t see this stuff anywhere but on my box, in the Web Player. Up next for Tune is a recode of the basic systems including a cleaner, more modular way to do alterable parameters for stuff. What I have right now is hack-central. Also, a UI prototype detailing how the parameters, variables, and sliders will hook in to one another. Huzzah!

Via Clint Hocking’s blog, a most excellent and candid conversation with some big name designers. The conversation covers the gamut of hot designer topics; it’s basically a synopsis of all the good questions designers get asked by the gaming press. Harvey Smith always seems to be reading my mind when he answers which is both comforting and alarming. He always draws on personal experience to illustrate his points, which is exactly what I’d do. Cheers, Harvey. Will swings his Broadsword of Insight +13, cleaving (as usual) through waffle to get to the juicy center of any topic. Surprisingly thoughtful commentary from David Jaffee and CliffyB is the real story here, though. Based on what I’d seen of both these guys, they seemed like idiots. I knew they had heads on their shoulders, but I’d never seen them show it publicly. So, good for them. I still probably won’t go see CliffyB speak at GDC – I’ll not soon forget his awful ‘looping’ nonsense at GDC 2005 and lackluster performance at the Game Design Challenge this year – but at least I have a clearer idea how he’s a creative director. And, hey, I really like some of the things he and Jaffee have to say. They are contributing. Huzzah!

Lastly, I got Camtasia set up and working (a new soundcard later) and will be recording Virtools tutorials/game design exercises. These will be something of a supplement to the videos Matthew’s been doing, with a much greater focus on how to tune mechanics to be fun and other design-y types of things. Huzzah!

We’re not talking about booze here. There’s just no reason to hassle a guy who’s obviously over 18. There are no liquor licenses for games, no state-imposed fines for retailers who sell to minors. Just as a movie theater can sell R or NC-17 tickets to ten year olds all day long and face no government censure, games ratings should be industry-enforced. As a means to the end, keeping the government from regulating games, checking ID for M rated games is a good thing. But, hey, Target, your employees are hassling your game-buying customers, and so are you. Who scans IDs? Ridiculous.

To complicate my point and this debate, anyone who seriously thinks that play violence, even graphic video game violence, is genuinely negative for children should read Gerard Jones’ “Killing Monsters.” He has three great points:

1. Children seek out violent entertainment because it is empowering for them and because it is the way they deal with stress.

2. Adults do not interpret media the same way children do; we’re much too literal and so are not properly equipped to interpret what stuff actually means to our children. We would do well to remember that and to not interpret media literally, but as a child does. You know, before totally freaking out.

3. The entertainment your child chooses is an extremely important piece of parenting information – remember, children choose what helps them cope, what helps them develop, and what they like. Respect your children’s choices, learn from them. Allow your children to have heroes.

The book hits very close to home: violent stories, films, and games were my primary stress-coping mechanism as a child. I read Tolkien, Dragon Lance, Clavell, and Wolverine, watched “The Crow” and “Aliens”, and listened to ridiculous death and black metal. I needed these things as a release, a respite, to feel strong and calm at times when my life was, to be blunt, categorically miserable. Of course, I now find a great deal of humor in the things I was into as a child, but that doesn’t reduce the power with which they affected and supported me.

So often, we as game developers and aged gamers lament the constant flow of shallow power fantasies from our beloved industry. How many of us, though, are here today doing what we do because those fantasies empowered us as children. I have to be uncomfortably honest and say that, yes, power fantasy is what led me to want to create games. I’ve grown up, I’ve changed, I now yearn for more sophisticated games to cater to my grown-up tastes, but there’s simply no denying that I am who I am today because violent, shallow, power fantasy games gave me solace and comfort in my times of need.

Not ten minutes ago, I found myself engaged in a surprisingly heated conversation with a Target employee over checking ID for a game purchase. The best part: it wasn’t even me buying the game. It was the poor guy in front of me. This gentleman, obviously over 18, wanted to purchase a copy of God of War. For his trouble he was harassed, embarrassed, and made to feel guilty, as though he were buying some particularly offensive pornography. It went down like this:

He hands her the game, she scans it. The computer bloops up the familiar ‘this is going to take a while’ noise all line-waiting consumers dread. She mutters something about “need to scan your driver’s license for this now.” He shifts uncomfortably. “My driver’s license? Scan it?” He obviously doesn’t have a driver’s license and now everyone in line is privy to that information, which obviously makes him extremely uncomfortable. He hands her some card or other, probably a SS card, with his DOB on it. She tries to scan it; no dice. Great. His eyes dart around with the wild fear of a caged beast. I try to bail him out by asking if she’s really scanning his license for a game purchase. “I guess…” Yes, God of War Guy, it is preposterous. You are correct. Finally, she reads the DOB on the card, and decides it’s time to move the line along.

“Did you just scan his driver’s license for that game?” I ask. “Yes,” she says “it’s State law.” Is she serious? By her tone I can tell she is, and it’s very clear what side of this issue she stands on. I have to retort. “I’m sorry, but it’s not. There have been attempts to pass laws in various states, but they’ve all been blocked by their respective courts.” She takes this as a personal attack, we get into a bit of a ‘yes it is, no it isn’t’ cycle, and things degenerate. I tell her that I’m going to write a strongly worded letter to Target Corporate. She points me to the ‘write a letter to Corporate’ cards and falls back on “it’s not worth losing my job over.” I tell her that I’m not trying to get her fired, but that their new corporate policy is ridiculous. Surprisingly heated, as I said.

What the hell is going on here? Is Target deliberately misinforming their employees about Arizona state law? Even as a corporate policy, how does checking a driver’s license for a game equate to being harassed and publicly embarrassed? What are we, at the airport? Is God of War Guy wearing a turban? As he put it “it’d be easier to go to the liquor store.” Heh.

So, I’m a gamer. Not only that, I’m a game developer, which makes me part of a somewhat nonexistent constituency, politically speaking. Still, I hardly deserve to be treated like a child rapist. Of course, there are neat initiatives out there, like the Video Game Voters Network, working to counter the various legislative and political assaults on games, but in general the gamer as a political force is a non-entity. It would (and, I suspect, will) be a huge and vocal political force if mobilized. Senators Hillary Clinton (D-NY), Joe Lieberman (D-CT), and Evan Bayh (D-IN) would do well not to underestimatethe portion of the young voting population who are gamers. Why grope desperately for the scraps from the reactionary family values fundamentalist table with “The Family Entertainment Protection Act,”when you can capture a new, youthful constituency whose values are much more in line with those your party claims to espouse? Barf.

Are you aware that nowhere in the United States is it allow a minor access to an R-rated movie? From VGVN:

“Government does not regulate access to or the sale of movies, books or cable TV, and it should not regulate video games.”

Duh. I will be contacting senator McCain, and I will no longer be patronizing Target who, regardless of the underlying motivation, enforce a policy in their stores which personally affects and offends me.

I’ve no idea why I thought it would be a good idea to move right after GDC, but the deed is now done. My new command center is secured and things are back to a new, improved, more Feng Shui version of normal. And now: business!

I’m working on a paper and continuing with move-related activities for the rest of this week so there will be a trickle of GDC posts, with the bulk flooding in next week. At last count I have over forty pages of notes to parse out, respond to, and post. Alice does a preternaturally good job directly capturing GDC sessions and Gamasutra’s coverage was excellent this year so I’ll be sticking to thoughts and impressions, letting them spin off in whatever bizarre directions they want. For example, I started typing up my notes from the first session I attended, Emotion Boot Camp, and I ended up drawing a crackheaded mockup in Photoshop and writing about why I dislike game genres. Go figure.

The first thing to note is that I have backups for almost all time slots in case it becomes clear the session is not going to be worth my time (as sometimes happens.) I’ve walked out on a lot of speeches over the years for a variety of reasons; I can smell a lemon within the first five to ten minutes . Last year there was a particularly appealing-sounding speech by the lead programmer of Metroid Prime, one of my favorite games from the last few years. Specifically, he was talking about how he designed and implemented Prime’s exemplary camera system. Unfortunately, he didn’t really have anything insightful to share about how to design a better camera system. His speech could be boiled down to ‘I solved the problem by being a very smart man.’ Great. Thanks a lot.

*thumbs down + raspberry*

So I walked down the hall to a fascinating session about usability testing that yielded a wealth of practical information that I’ve implemented both in teaching and testing my games. Seems to be the way of it.

In years past, I’ve stuck around out of a sense of courtesy to the speaker or because I keep hoping they’ll finally get around to saying something useful, especially when the session title or topic is very interesting to me. The reality, though, is that there are a lot of crap speeches every year at GDC, and if you find yourself in a session that’s biting the Big One for whatever reason, the biggest favor you can do yourself is to go find something better. Fill out a comment form saying that you’re walking out and why, but don’t waste time and energy on a session that’s not valuable. I guarantee you’ll be able to find another session to go to. Try stuff outside your area or things that sound random or interesting. This is how I’ve stumbled on some of the best sessions I’ve ever seen. A session by Brian Moriarty enigmatically titled “The Secret of Psalm 46” comes to mind. It featured an hour long playback of a lunar eclipse writ large on the projector screen and some fascinating information about Shakespeare intertwined with a meditation on the nature of human creativity. It stands out in my memory as one of the best speeches I’ve ever seen, GDC or elsewhere. Delightful.

Game Design Workshop

Overview: This intensive 2-day workshop will explore the day-to-day craft of game design through hands-on activities, group discussion, analysis and critique. Attendees will immerse themselves the iterative process of refining a game design, and discover formal abstract design tools that will help them think more clearly about their designs and make better games.

Marc LeBlanc
Robin Hunicke
Tim Stellmach
Steve Librande
Randy Smith
Jonathan Hamel
Andrew Leker
Art Min
Frank Lantz
Austin Grossman

I’ve been to the Game Design Workshop numerous times, and I really can’t recommend it highly enough. I’m using it as a backup to the Emotion Boot Camp session this year simply because I’ve been to it many times, but if you’re any kind of game designer – aspiring, master, or otherwise – there’s something here for you. Veteran designers like Steve Librande, Randy Smith, and Marc LeBlanc enlighten by their simple presence. Robin Hunicke is a designer at Maxis, previously of the Interactive Entertainment Group at Northwestern University. She and I have a lot of crossover in our approach to understanding games, mostly stemming from flow theory, so I really dig the direction of her research. Also, I really liked her aesthetic experiment at Indie Game Jam 2. It’ll be fascinating to find out how her background has translated into her work as a designer at Maxis. Also, perhaps she interfaces with Will in some capacity. If so, I would love to pick her – and by extension his – brains. Actually, I would like to eat his brains. To steal his power. Yum.

I’ve also found the Game Design Workshop to be a fantastic resource for brainstorming and creativity tools. In years past, they’ve introduced participants to various creativity tools and locked them in with immediate, focused exercises in game design and brainstorming. I try to emulate some of the environment they create in the Game Design Workshop in my Gameplay and Game Design class. In fact, I was introduced to my all-time favorite creativity author, Roger Von Oech, through this session at GDC 2003. If you haven’t checked out this book and are employed or seeking employment in any creative field, do yourself a favor and order “A Whack on the Side of the Head” right now – it’s the best $10 you’ll spend this hour.

Emotion Boot Camp: Putting More Emotion into Play

Overview: Using what players like most about play, this playshop offers tools and tactics for creating emotion for next-generation player experiences based on XEODesign’s close examination of players during play, and Isbister’s research at Stanford and the Rensselaer Games Research Laboratory.

Nicole Lazzaro
Katherine Isbister

Nicole’s research is interesting, though I disagree with some of her approach – some things she’s shoe horning into ‘emotion’ don’t sit quite right with me, something I need to articulate better perhaps. I also cringe slightly at the way XEODesign is trying to create a fit-all ‘system’ to apply to games and to sell it to everyone. Knizia’s ‘using the same approach often leads to the same results’ sits much better with me and my personal experience of game-centric creativity and design. Then again, this alone should be reason enough to listen to what she has to say:

“Most informative talk at GDC. Every designer should learn how to read this language.”
-Will Wright, Creator of The Sims

Based on their site, I’m not exactly sure which session Will Wright said this about, and if it was in fact theirs, but I’ll give them the benefit of the doubt .

I’ve been chatting with Katherine on and off for almost a year now; we may collaborate on something in the future. I really like her laid back, grounded approach. In a weird way, she kind of reminds of Carl Sagan – she brings a sense of awe and wonder to her work in a nonchalant way, and it’s hard to imagine disagreeing with her.

Do it Yourself Usability: How to use User Research to Improve Your Game

Overview: This tutorial introduces game developers to the basics of usability testing. Attendees learn how to use usability testing to ensure that their design vision comes across to the end-user.

Marcos Nunes-Ueno
John Davis
Kevin Goebel
David Quiroz
Charles Harrison
Philip Hove
Tracey Sellar
John Hopson

Woot. Marcos and crew were amazing last year – they probably ran the best organized tutorial I’ve ever been to at a GDC. This session was overflowing with useful, practical tips and strategies for identifying usability problems in games; they’re applying a bunch of great metrics for success in games that I think few designers understand or appreciate. My short rant about metrics is this: in order to improve something you must first measure it.

How to Prototype a Game in Under 7 Days

Overview: From the whirlwind Experimental Gameplay Project that lovingly brought you TOWER OF GOO and SUBURBAN BRAWL, this session is a giant collection of bite-size tips, tricks, and demos showing how anyone can prototype a ton of games in no time at all.

Kyle Gabler
Kyle Gray

I love, love, love the Experimental Gameplay Project. I wish I’d been a part of it. “Rogue ideas, brilliant and well-executed. Nothing is so beautiful and perfect. When I see it, I want to share it. Then I feel it, and I want to create.” Yeah. Cheers, gents.

On a pragmatic note, I’ll be very interested to see if they have anything insightful to add to their lengthy post of same name on Gamasutra. There were definitely some interesting nuggets in there, but the whole thing felt a bit inchoate to me – hopefully they’ve gotten to more meaty fare after more time spent mulling. If not, I’m off to see “Game Design Considerations for Alternate Controllers” with the Harmonix guys. I really loved what they tried to do with Antigrav, and Guitar Hero rocks my socks like a box of chalk. And, hey, the ‘Alternate Controller’ bit seems particularly apropos, what with the Revolution looming.

Counter-Intuitive Creative Direction

Harvey Smith

Overview: Harvey Smith–Studio Creative Director for Midway’s Austin Studio–moderates a panel on the continuing evolution of the game designer, outlining crafty tactics for building strong game design teams, developing creative leaders, framing up game concepts and avoiding tricky mistakes associated with the role of creative direction at video game studios.

Why? Because I dig Harvey Smith’s style:

“I believe in creative process.” Smith states, emphatically. “I don’t believe creativity is some wild no man’s land. I think it’s something that can be de-constructed. I think you can come up with practical techniques. I think you can develop a shared vocabulary and then communicate with the people around you and upgrade them and they can upgrade you.”
Like one of his early mentors, Doug Church, Smith also believes in the value of a shared game design vocabulary: “It’s getting there now, but thirteen years ago when people sat down to talk about what made a game fun or not, it was really hilarious. It was like watching drunk people at a party try to explain some sort of important life experience to one other. It just didn’t work.”

Preach it, brotha!

Experimental Gameplay Sessions

Jonathan Blow

Overview: A collection of short presentations showing new and experimental game designs.

This has been one of my favorite sessions every year since its inception (2002.) Each year, you get the results of the Indie Game Jam, which are always bubbling with innovative ideas and effective (if somewhat ragged) implantations. In addition, this is a showcase for a variety of fascinating, innovative projects that haven’t gotten the attention they deserve or show great promise. Interestingly, some projects that go off a storm at Experimental Gameplay go on to be successful, fascinating, industry changing events. For example, the tumultuous ovation Katamari Damacy received when it was shown at Experimental Gameplay 2004 convinced the Namco executives present it would be worth releasing in outside of Japan, to the benefit of all game-kind.

Advanced Prototyping

Overview: Creating effective prototypes of game designs, user interfaces, and technologies requires a unique set of skills and knowledge, somewhat distinct from the skills used in making a game. This lecture discusses creating these various types of prototypes from an advanced and in-depth perspective. The talk goes through a number of important questions and topics that should be addressed before, during, and after the prototype is created, including metrics for judging the effectiveness of prototypes, how to decide the focus of a prototype, how to design, start, and build the prototype, both from a content and a code standpoint, and how to iterate the prototype via testing and integrating feedback. Various approaches to these issues are compared and contrasted, with the end goal of teaching attendees how to create successful and high quality prototypes.

Chaim Gingold
Chris Hecker

Chaim Gingold is kind of my hero. I’ve been following Chaim since his inspiring bendy plant game prototype thing from Indie Game Jam 2. It was a supremely neat, organic, and delightfully social little puzzle game. Beautiful. Last year, he gave an interesting little blurb at the Experimental Gameplay Sessions about the rapid prototyping work he does at Maxis, and showed off some of his quick and dirty prototypes for various things, some of which I recognized from the Spore presentation (the curving/branching city roads, for example.) So, yeah, he gets to do rapid prototyping for a living and he works with Will Wright. Best job ever.

Come to think of it, Hecker is also a badass. He was one of the original creators of the Indie Game Jam (the main one, I believe) and has contributed vitally to giving innovation a voice and a place in the industry. Each year, he reports back the output of the Indie Game Jam at the Experimental Gameplay Workshop at micro-machine speed, and the world is better for it. He now also works at Maxis, on Spore. Good times.

One thing that I originally found off-putting about the Indie Game Jam/Experimental Gameplay Workshop was its emphasis on the programmer-as-designer model. I come from an art background, and while I’ve learned how to program well enough to create rapid prototypes in Virtools, solving clever technological problems may never come easily for me. That said, I think the only litmus test one needs to pass to be considered a game designer is that of designing a game. Stupid, right? I honestly don’t care what the medium is (amazing and innovative board games do exist), or whether the game is built around a clever piece of technology. I don’t buy the idea that the only way to innovate is through the prism of demo scene style programming. It certainly seems to help, though I’m almost inclined to call in a ‘correlation versus causation’ strike: it seems that brilliant, creative people – IE people who program at that level – are drawn to creating innovative fare regardless. A foundation of intelligence and education builds thinkers instead of drones, I’d say. Also, and I guess I draft Costikyan on this, it seems to me that different combinations of game elements in different measures and applied different ways do constitute innovation, albeit incremental. I look at a game like X-Com and I don’t see anything that can’t, if componentized, be traced back to earlier designs. That’s not the point, though. The point is how they were combined, how the system feeds into and out of itself, and the overall tuning of the game. The Longview, essentially. God, I love X-Com.

What’s Next in Design

Will Wright

Overview: Why are you still reading this? It’s Will Wright!

Nuff said. Will always amazes with his intense, blazing intelligence, keen insight, and boundless warmth, humor, playfulness. No matter what he’s talking about he’s not to be missed. And if you really need more convincing, watch his speech from last year or read my ranting fanboy post about it. Mmm. Brainsss.

The Game Design Challenge: The Nobel Peace Prize

Eric Zimmerman
Cliff Bleszinski
Harvey Smith
Keita Takahashi

Overview: The Game Design Challenge is back! This year’s theme: Design a game that could win the Nobel Peace Prize. Come and see how our contestants solve the design problem – and vote for the winner!

With this challenge, Zimmerman’s outdone himself. This is awesome, and I cannot wait to see what Keita Takahashi comes up with. The topic seems tailor made for him. Also, it’ll be interesting to see whether it’s as neat, interesting, and innovative this year without Will Wright to bring the house down. As usual, I expect at least one of the three participants to completely drop the ball, to not really do their homework. In the ‘Design a Love Story’ challenge, it was Warren Spector’s cop out non-design; last year it was Peter Molyneux’s lame, overproduced tech demo with Emily Dickenson poetry read over it. My money’s on Cliffy B, who always seems to me to be a fountain of buzzwords and Potemkin insight. Should be a great session for a variety of reasons.

Right! That takes is up through the middle of Thursday. More to come later!

- Swink