Posted by Rampant Coyote on September 19, 2014
Or maybe I should have said, “Holy crap, it’s out!”
If I can cast my mind back that far, I remember this being the Kickstarter project I was most excited about. A known property. A known, experienced team. An RPG project that said all the right things: Turn-based, tactical, party-based. Even some of the original people working on it (or some of the people who had worked on the Fallout series, the spiritual successors to the original). Oh, yeah, and a cloth map (for the level I backed).
It was as close to a slam-dunk as one could hope for. I wanted to vote with my wallet. And I did. The only thing that could be better, I said, would be Richard Garriott Kickstarting a new Ultima.
Well, Garriott kinda sorta did (sans the Ultima name), and I still didn’t get as excited as I was for Wasteland 2.
And it has launched. Booyah. I had access to the beta, but except for a super-early access that kept crashing on me, I decided to wait until the game was complete, so I could enjoy the full experience. I guess that’s what I’ll be doing. Here’s hoping it lives up to expectations.
Filed Under: Game Announcements - Comments: 5 Comments to Read
Posted by Rampant Coyote on September 18, 2014
Yeah. Well, Nethack has been “in development” for how many decades now? Of course, it’s had a number of “official” releases. It seems there are certain kinds of games, particularly highly replayable ones like roguelikes, that seem to be more “okay” with being in-development than others. The fact that they are constantly tinkered with makes things stay a little fresh.
But I’m still not going to offer a hearty recommendation or anything. But I will say I have been playing the 3D roguelike Delver lately. As far as I’ve gotten, it is complete and playable. There have been some bugs, including one spot where I got completely stuck and unable to move, thus becoming something of a game-killing problem. I haven’t gone back to that save slot again to see if an update has made it possible for me to escape yet from my current position.
So – what is Delver, and what is it like?
In short, it’s a first-person, 3D, action roguelike. Yep, roguelike, with permadeath, procedural levels, gaining levels and new equipment, fantasy combat, and all that. If you play for a while, you’ll see the same rooms or arrangements over and over again (although the caves may be a bit more random than that). Maybe it doesn’t fit the Berlin Interpretation of a “roguelike,” but it works for me. Call it Roguelike, call it “Procedural Death Labyrinth,” call it whatever. It’s pretty fun.
The graphics are done in sort of a 16-bit style rendered in 3D. Enemies are sprites with very few frames of animation. For me, it all works fine, and while it gives it a bit of retro charm, this doesn’t make or break the game for me. I can see what’s attacking me – it has character – and get a good idea of what they are doing. That’s key (and based on earlier, alpha screenshots, something missing in older versions).
The game is entirely skill-based. Each time you level up, you get to choose from a selection of stats to improve by one point. This selection is not complete – you may not be offered the opportunity to increase the stat you really want to improve this level. But there are no class limits, and as an adventurer you can be free to wear any armor or use any weapon, wand, or spell in the game.
This is important, as the selection of items in the game isn’t unlimited. As you delve deeper, found armor tends to improve along normal lines, from leather to mail to plate, of varying quality. There are just a few varieties of weapons, also of varying quality, but some are enhanced with bonuses like additional electrical damage. Potions vary in color, and are randomized each game so that you don’t know what a potion of a particular color does until you drink it. However, that color-coding of effects will remain consistent for that particular game until the end (as far as I’ve seen).
Ranged combat occurs through bows and spells (often via wands). These use up charges and arrows, which are in limited supply, so you can’t just turn the game into a first-person shooter. On the receiving end, the spells can be the nastiest – especially from some casters. I die from a ranged blast more often than anything else. You can dodge ranged effects, or hide behind an obstacle. You can also maneuver so that another enemy is shielding you from ranged attacks, and will take full damage. It does seem like you get experience points whenever an enemy dies, regardless of whether you were the direct cause of death, or they died from another enemy’s attacks or they fell victim to a trap.
Traps are of the pressure-plate variety that I have seen so far, and will reset a few seconds after they go off. Sometimes you have no choice but to step on a pressure plate, as it is perhaps filling the floor in a narrow corridor. In these cases, you have a few choices. If an enemy walks over the plate and takes the damage, you have a few seconds to rush forward and past it before it resets. Or you can throw an object onto it to trigger it, and either rush ahead before it resets, or – if the item landed directly on the plate – leave the item alone and let it keep the trigger pressed, so it never resets. Or, obviously, just run over it and suck up the hit.
Monsters do respawn, although it takes a while. So if you really don’t feel ready for the next level, you can wait a little bit and grind the respawns. The last time I checked, it did feel like the level maps didn’t always fill out completely. Either it doesn’t do that, or some rooms are inaccessible in the builds I’ve played, or there is a much more subtle style of secret door that I missed than usual.
It seems that there’s supposed to be some trading that can eventually be done (one the people outside the dungeon in the beginning of the game offers things for sale), and some overall goal that I haven’t payed attention to. I’ve never gotten to the end of the game, but I have picked up bits of storyline offered at random in journal pages, or by the adventurers that hang around outside the dungeon.
Like any *good* roguelike, death should not seem arbitrary, and it almost always feels like I can blame myself. I got too bold & cocky (often dying with healing spells / potions / food in my inventory), or simply got stupid and ran into a surprise I was not ready for.
Overall, this is a cute, straightforward little game that I’ve had a lot of fun with. I rarely play for more than 15 minutes in a session, but that’s part of what makes me a fan. It’s just the kind of quick-break type of experience I need, and for me, the 3D action / first-person perspective thing is an enhancement to the roguelike experience. I hope it keeps getting expanded on, and that the last bugs get fixed. It’s worth keeping an eye on this one.
Filed Under: Impressions, Roguelikes - Comments: Be the First to Comment
Posted by Rampant Coyote on September 17, 2014
In Frayed Knights 1: The Skull of S’makh-Daon, I established the existence of alchemical grenades. They made the hobgoblins a lot more deadly, but they could also found and used by players, or manufactured by a certain alchemist.
A certain twisted, evil, black-hearted part of me really liked the idea. But then, I’m a guy who has my D&D characters stock up on Alchemist’s Fire all the way up to level 7 or so for fun and burning. It’s so useful for cleaning out those hard-to-reach monsters. So, in Frayed Knights 2: The Khan of Wrath, I kinda … expanded on the idea. Especially since spells have become so random.
In Frayed Knights 2, you have “shots” (as in “shot-put”) and “bombs.” Shots are single-target throwable items, and bombs affect a group. They can be used by anyone, although those with higher throwing skills will have an advantage. They serve a number of purposes:
- They provide access to baseline attacks of different types to attack enemy weaknesses. So if you encounter a fire-based enemy that is vulnerable to cold, even if you have no cold-based spells, you are likely (unless you’ve used them all up) to have at least a couple of cold-based bombs or shots in your inventory that you can use.
- They provide easy access to ranged attacks without the need to switch weapons. Positioning matters in Frayed Knights – and casters like to hang out in the back of groups where they are harder to hit with melee weapons.
- People other than sorcerers (which will usually, but not always, be Chloe) can have occasional access to some of the group-damage “minion clearing” attacks.
- When endurance runs dry, parties can fall back on throwing money at the bad guys. Yes, it’s a weird way to look at it, but when limited but “free” resources run dry in a fight, you can throw more expensive but effective weapons at them.
Bombs and shots have a range of attack types and levels. There are a couple that might not make the final cut for balance reasons, like sleep bombs. That may be a little bit too powerful no matter how much I raise the cost and lower the effectiveness. Then again, so are the sleep-based spells, so we may have a bit more work to do.
Of course, this being Frayed Knights, the bad guys are going to have access to these kinds of weapons, too. I want to be cautious about this, because if overdone, it makes the combats far too similar. You don’t want a battle against soldiers to feel like a battle against mages with better armor, with constant spells getting thrown in the form of bombs and shots. A little bit spices things up, a lot makes things tedious, boring, and unremarkable.
Filed Under: Frayed Knights - Comments: Be the First to Comment
Posted by Rampant Coyote on September 16, 2014
I have a quote from Antoine de Saint-Exupéry that hangs above my desk. I use it as a reminder – because I constantly need reminding. It says, “Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.”
I have a number of favorite quotes generally attributed to Albert Einstein. One of them goes, “Everything should be made as simple as possible, but not simpler.”
These serve to remind me that a reasonable level of simplicity is a virtue. As I have a tendency to make things more complicated just to hold my own interest (like the guy who invented, “Rock, Paper, Scissors, Lizard, Spock“). This tendency gets me in trouble sometimes. I rail against “kitchen sink design” (the kind of design where you throw in “everything but the kitchen sink” in terms of ideas and features) because it’s something I struggle with personally.
But – while there’s a very huge domain of possible games out there that can be made using very simple mechanics, it should be obvious that there are several orders of magnitude more game possibilities when you combine two or more of those simple mechanics together. But this increases complexity, especially as the number of potential interactions between the systems increase. This is a fascinating challenge of game design in itself – how do you limit or facilitate these interactions in a way that keeps complexity reasonable for your target audience?
Anyway, all this is really an introduction to a fascinating piece by Craig Stern, “Against the Cult of Simplicity.” He makes a ton of arguments (he’s a lawyer by day, so he’s good at this) that while simplicity may be a virtue, it is not the only virtue. It seems that the indie community is perhaps getting pushed too far in that direction. While it may be a good thing to correct some poor tendencies, what we’re really going for is a balance. Simplicity is not the end-goal for many (or even most) games.
It’s something of a companion piece to his earlier article at indieRPGs.com, “Where are all the RPGs at IGF?” This article illustrated another bias against more complex games – simpler games are faster and easier to “get,” which makes them more likely to get a fair shake from harried judges at these shows. If a game even sounds like it’s going to take more than ten minutes to evaluate, many judges won’t bother even looking at it.
Much of the challenge and delight (I like using that word – it isn’t exactly the same thing as “fun,” but it can encapsulate fun, fascination, admiration, and many other factors) of RPGs is in the interaction of these systems. Even in relatively simple RPGs (think 16-bit-style JRPGs), these systems can get really complex, balancing combat, exploration, some skills, leveling, gear, and expendable items (which represent a cost in gold, replenished through combat and exploration). But this is something that can’t be fully introduced to a player in five or ten minutes. You can touch on it, but it’s still a lot for a player to absorb, let alone gain any kind of mastery.
I think I’m in complete agreement with Craig, here. I believe that the quote attributed to Einstein (whether or not he really said it, it’s a good one) should be applied on a per-game basis, not to games in general. Extremely simple games are awesome, and can be both critically and commercially successful (Flappy Bird, anyone?). But that’s not the be-all, end-all goal of game design.
Filed Under: Design - Comments: 8 Comments to Read
Posted by Rampant Coyote on September 15, 2014
Unless we’re all victims of the most epic troll of gaming history – or the deal suddenly turns sour before the contracts are all signed (and it may be too late for that), it’s official – Minecraft and its studio Mojang are being sold to Microsoft for $2.5 billion. Which – is mind boggling. Utterly mind-boggling.
You can read some general information from Mojang here – Yes, We’re Being Sold to Microsoft.
And from Notch himself – I’m Leaving Mojang
I think Notch’s personal comments struck me the hardest. Here’s a small indie guy who made games for the love of games, and making them. And he found a role thrust upon him. Of course, for millions of dollars, one can deal with a great deal of additional pressures. But after a point – no. I get it. At least as far as someone who has never been rich can get it. But I have been poor enough to know that how some days it feels like money will solve everything, and then comfortably middle-class (and friends with some relatively wealthy folks) for long enough to know that it won’t.
But here’s the biggie. After so much money, Minecraft really wasn’t an “indie” game anymore. After this sale, it definitely won’t be an indie game anymore. And we’re living in a world where a game started in some guy’s apartment as a solo effort for a few months managed to make a truly obscene amount of money, to the point where it was sold for $2.5 billion dollars to one of the biggest companies in the world. And let’s get real here – it’s Minecraft that’s being bought / sold here. With a support team. The rest of Mojang is an afterthought – or, to be more charitable, icing on the cake.
Nobody believes this sort of thing is typical, but the fact that it’s proven to be achievable may drive some very strange thought. I remember several years ago when new people would constantly ask (and I was one of them, at first…), “how much money can you make with an indie game?” The answer was never satisfying, because it was like answering, “How long is a piece of string?”
Today, the answer to the question of what you can theoretically make with a single indie game is roughly $2.5 billion. Plus the millions made up to this point.
The thing is – and new game developers often don’t get this – it’s not a linear scale. You can’t make a game that’s half as good as Minecraft and expect half that kind of return. At this stage in the game, you can’t make a game that’s ten times as good as Minecraft and expect half that kind of return. You can’t make a business plan out of these kinds of stories, any more than you can “invest” in a metal detector expecting to find millions in buried gold coins in your backyard. Sure, it’s been known to happen. But the odds are against you, and it’s not like there’s a prize for being a runner-up.
My feeling is that this is the climax of the so-called “indie bubble.” Maybe there’ll be a lot of johnny-come-latelies who finally figured out that there was a gold rush going on, and cluelessly believe they can achieve Minecraft success levels if only they spend enough money marketing.
But what it really does for me is put the final period on this chapter of game development history. Towards the end of the last decade, I would ask, “Is this the ‘Year of the Indie’?” – Whatever that meant. I couldn’t really tell until the year was over. I think around 2007 or 2008 marked when I thought indie gaming finally gained some real traction, beyond the “casual game” space. And of course, with mobile – particularly the early success of the iPhone – things just exploded. But that’s died out now, and anybody piling on because of this Minecraft peak is probably going to experience disappointment.
I guess my new question is, “What now?” Of course, if I could answer that question, I’d probably be rich. Maybe we’ll get one more surge of Minecraft wannabes. Maybe – after this last surge, we’ll get something approaching maturity and sanity. I dunno.
Filed Under: Biz, Indie Evangelism - Comments: 7 Comments to Read
Posted by Rampant Coyote on September 12, 2014
For today, here’s a super-fresh quote from Swen Vincke or Larian Studios, which strikes near and dear to my heart. After hitting a home run, selling more than a half-million units, paying all the debts and investors and being able to fund the next game with the proceeds, Vincke snarks:
“So much for turn-based fantasy RPGs not selling, crowdfunding not working and a developer like us not being capable of bringing a game to market without the help of seasoned publishers.”
This is from today’s post, “Thoughts after releasing Divinity: Original Sin and what comes next.” I recommend reading the whole thing, if you are either a fan of Divinity: Original Sin, or a game dev, or just interested in game development. The whole article is awesome, combining some temporary business-related thoughts as well as nuggets of wisdom about building games in the modern era. Here is one nugget of wisdom I couldn’t help but quote:
“If content is the king, polish is the queen. The best content in the world will get low ratings if you have a poor UI and no gloss, or if players don’t understand your systems. These are easy things to say, but they are very hard to put in practice and sometimes you find that you may have to backtrack a lot. Don’t hesitate about this, just do it.”
I could comment on both, but as usual, I feel like I’m only a poor follow-up to an expert. But I do remember being told by one the executives at Infogrammes (now Atari) after they acquired us around early 1999 that they did not believe there was a market any longer for role-playing games. He told me this when I could look at the chart of the best-selling games of the previous year, and I remember seeing something like six of the top 20 games being RPGs. Or maybe I’m combining console and PC game sales in my mind. But I remember Diablo was getting long in the tooth and cloned, that Baldur’s Gate had been a big hit, and Final Fantasy VII on the Playstation had rocked the world pretty thoroughly. His information was about five years out-of-date, and hadn’t really been true even then. Of course, when they finally realized RPGs really were selling, it was because “the market changed.” No, they were never wrong, the market simply changed around them.
There’s a lot of factors involved in what sells or doesn’t. Content and polish, as Vincke says. The marketplace. The competition. The mass appeal. Sheer luck. Who would have thought that a game with giant block environments and characters that looked like 8-bit game characters rendered in 3D blocks would become a mega-hit? Nobody. Not even Notch.
And as for polish – well, as he says, easier said than done. It can be hard to see when you are really close to it, and it’s hard to know when enough is enough. Great companies have fallen because they couldn’t settle for “good enough.” Many more have fallen because what they thought was good enough… wasn’t.
Either way, though, I’m thrilled by the success of Divinity: Original Sin. Not only is it a great game (from as much as I’ve played, which isn’t nearly enough), but it “sticks it to the man” (and to “common wisdom”) in all the right ways.
Filed Under: Quote of the Week - Comments: 2 Comments to Read
Posted by Rampant Coyote on September 11, 2014
“[L]et’s talk in the abstract about the worst thing that ever happened to role-playing games is recorded audio for dialogue. I happen to believe that was the death of my joy. Because that limits… that causes production things… the content has to be nailed down at a certain point.
“So [voiced] text is not easily revisable. As I play, text is easily revisable; audio isn’t. As I play, I want to make tiny little changes to the tone, to the feel of things, but you can’t do that when you have all this audio — oh my god, all the audio that we have to record! So what I’m going to say is: for what the audience wants, we are forced to create these things that are very brittle, that cannot be revised.
“Whereas in the happy old days of Baldurs Gate and things like that, I thought you had the best of both worlds. You could have a little snippet of dialogue that would give character, but then you would get in text trees which you could easily scan and click through. For page, that’s the important thing; dialogue pace. In a good old-fashioned role-playing game, the user controls the pace, where unfortunately in both video and recorded audio, you can’t scan it and you can’t backtrack in it.”
Now – I love good voice acting in games. Everybody does. And I cringe as much as everybody else at the bad stuff… Few things can make a little animated character on the screen come to life as well as expertly done human voice. We hear the nuance. We hear the emotion. We hear character.
But… like much of story, it comes at a cost. It conflicts with gameplay. It limits, as Young and Rolston explain. If you want your game to be more like a movie, so that the gameplay is a linear affair that acts as an interactive separation between talky bits, fine. But I like my RPGs to be a bit more open-ended than that.
Speaking as a developer… I had text and dialog changes constantly in Frayed Knights: The Skull of S’makh-Daon. Right up until release (and afterwards, actually), I was tweaking the story as much as the gameplay. The two had to work together, and in spite of my best efforts I’d find dialog that had to be adjusted (or branched) to account for the different ways in which the player might navigate the story and the world. That’s hard enough to write when it’s just text. What if those had to be revised with yet another trip to the recording studio? What if the original voice-actor wasn’t available? Does the cost and inflexibility of voice-over work encourage developers to skimp on potential dialog? (If so, I haven’t noticed, but it would certainly impact me, the shoestring budget guy).
Talking to someone at Comic Con last weekend, they recommended fully voiced dialog for my game because they hate to read when playing a game, but they will listen to somebody talk to them “all day.” I mentioned that for me, I’m kind of the opposite. Maybe for the first couple of lines – especially if it’s a major bit of character-revelation or a significant plot development – I’ll listen all the way through. But most of the time, I’ll read through the line of dialog, and then interrupt the voice-over in mid-sentence to jump to the next part. Voice is just too slow.
I love the idea of bringing the Baldur’s Gate style back into vogue – where the first line or paragraph was voiced in any particular scene, so you get the flavor of the character. But in talking to some modern players, they aren’t so keen on that. In short – players don’t want to read when they are playing a game. (I suspect some of them don’t like to read, period, but that’s another story.) I do get that. I find myself in the same boat. When playing a game, certain parts of your brain are active, and get into a rhythm. Going into text-reading mode completely breaks that flow, and engages different parts of your brain. At least, that’s how it feels. It breaks the flow of things. And while gaming is primarily visual, we can be interpret audio information and communication in a way that’s less disruptive then stuff we have to process visually.
So I dunno. Maybe I’m out there on the fringe, wanting a return to the Baldur’s Gate style “samples” in hopes of getting the best of both worlds. Maybe I’m really out to lunch on this. Maybe I’m too far from the “mainstream.” I dunno.
Filed Under: Game Development - Comments: 18 Comments to Read
Posted by Rampant Coyote on September 10, 2014
Markus “Notch” Persson is an incredibly lucky person. And with that, I don’t mean that at all as a slight against his skills. The guy paid his dues. He made craploads of games for previous employers. He co-created an MMO. He participated in Ludum Dare competitions. He’s got mad skills. He’s easily in the top 20% of indie programmers – probably in the top 10%, and he’s got a good head for design. He’s better than me. He was destined for success, sooner or later. But now he is a rock star. That’s not an inevitability no matter how good you are. His stardom came through a combination of skill, hard work, and an unbelievable amount of good luck. Things just clicked and went viral, and he was good enough and positioned well enough to take advantage of it.
And now, the rumors are circulating that Microsoft is offering just under $2 billion (with a “b”) for his company. And, of course, Minecraft.
Me? I’d take it. You can fund a lot of startup game studios and new game projects for a couple of BILLION dollars. Of course, we’re not talking about a lump sum of a couple billion dollars of cash here, either. It’s probably staged and a combination of cash, stock, and other assets released in a staged fashion. But I’d be for taking the money and using it to change the world. After all, at a certain point, that’s all that kind of money is good for – it’s exceeded your capacity to use it as a plain ol’ consumer. You gotta hire up people to do awesome things.
And for that, good on him! The only thing bad about it is that it’s given a lot of people some very strange perceptions of what indie gaming is like. There may be another story like his in the future – I sure hope so – but it’s not like anybody of half his ability and half his diligence (or even an equal amount of both) is just going to go out there, make a game, and expect half or quarter or even 1/100th of the success he’s achieved. Especially not with just one or two games. Sometimes – like Rovio with Angry Birds, or Terry Cavanagh with VVVVVV, it’s a last-ditch effort after innumerable failures that brings success. And sometimes the “big hit” never happens.
Now, if I were Microsoft (or rather, if I was in Microsoft’s shoes… I can’t possibly envision what goes on in the corporate mind that causes them to be so disdainful of their customers), here’s what I’d put on the table:
#1 – The total distribution would be tied to Notch being directly involved in the release of Minecraft 2. Microsoft has it’s eye on a franchise, and it needs to be launched by The Man himself. The guy managed to make himself a rock star – the very thing the publisher / studio system has repressed for the last couple of decades – so you want him to the the front man.
#2 – I wouldn’t mess around with current distribution of Minecraft 1. In fact, I’d allow it to continue being ported to other platforms. The more the merrier. I’d want EVERYONE to have the opportunity to play Minecraft 1. And get addicted.
#3 – Minecraft 2, I’d be a schmuck about and limit it (probably) to Microsoft platforms. So all those people who loved the game on every system under the sun would find their way to own the new one on a PC, console, tablet, etc.
#4 – And yes, I’d milk the name and franchise as much as possible. I’d want new games to come from “the creators of Minecraft!”
Assuming these rumors are for real and it really does go down:
Yeah, there may be some people out there hating on him for even considering this deal. Many of them would probably take that deal themselves in a heartbeat if the situation were reversed. Assuming it goes through, nobody really knows what this means to the game that indie legends are made of. Hopefully, as gamers, we won’t notice a difference.
But you know what? It’s his game, and it’s his call. I hope that, in the end, he’s satisfied with his decisions. I’m pretty happy for him. He didn’t set out with this kind of expectation, and I honestly believe that he did what he did in order to make the coolest game possible. I’m happy to know that occasionally, that still pays off.
Filed Under: Indie Evangelism - Comments: 12 Comments to Read
Posted by Rampant Coyote on September 9, 2014
I remember as a kid, getting one of the first Commodore 64s off the assembly line, and the absolute dearth of games available. I remember really wanting to get one game – Turmoil – even though it was a clone of an only somewhat entertaining game because it was one of the only ones out there. I didn’t actually get it, to which I may credit my own career in video games. If I wanted games for this new, cool system, I had to make them myself.
For the first few weeks, that was the case – there were so few games available that even “okay” ones would do. That didn’t last long. The C-64 was an amazingly popular platform in its time.
One of the reasons game developers get excited about a new console release is that it finally wipes the slate clean (to a degree). The glut of games they’ve had to compete with over the years will finally disappear in one glorious blast of freshness, and they can be a “launch title” on a platform with only a few dozen titles the first few weeks.
It seems that even this extreme “reset” isn’t quite working anymore. People have many, many options and each new platform release is less of a “revolution” than the previous. Of course, those of us in the computer game side of things are all too familiar with all of this. Especially with Abandonware and places like GOG.COM and Steam keeping the classics alive, I’m competing not only against the current “glut,” but against an entire legacy of classic works.
And then novelists can say to us all, in their best Bruce Willis impression, “Welcome to the party, pal!”
When there are so many options, it can be rough as both a player and as a creator. This was brought home for me a little more fully at Comic Con last weekend. I was certainly excited about the games made by local indies. But in a world with such a glut of games, it was tough getting people excited about Yet More Games. Nobody’s going to go out of their way just to get the chance to play “new games.” They won’t act like Matthew Broderick’s character David Lightman in Wargames and take risk and effort to get a sneak peak at some mysterious unknown, upcoming games. Why? There’s a half-dozen or more games coming out every day on Steam, or every hour on Android & iOS.
Even going by category doesn’t help much anymore. When I first started working on Frayed Knights, that style of game had all but disappeared. First-person, turn-based RPGs? On the day I officially started development, that alone might have been enough to distinguish my game. I like to pretend that I was a trend-setter, but honestly it was simply time for those games to make a comeback. They aren’t common, but it’s not enough. Especially not in a world when I can go online, and for the price of a fast food hamburger (or less) get one of the classics that inspired these indie games in the first place. They might be a little clunky and “low res,” but they are still fun.
I think one of the big tricks really is the classic “elevator pitch.” At the Xchyler booth at Steamfest this year, a fellow author found that once she started describing her story in a thriller anthology rather than simply referring to it as an excellent anthology of thriller short stories, the book started selling. Yeah, this is something that seems obvious to an armchair quarterback, but these kinds of things are easy to lose track of when you are down in the trenches.
As both a gamer and a game developer, I want to hear the story about the game. Just as I’d like the quick two-sentence description of a book or story. That’s what will set this particular game apart from the awful glut of options. It doesn’t have to be audacious, although that certainly works. I heard Lyle Cox of Mount Olympus Games describing his game, “Together: Amna and Saif” as a means of facilitating communication and cooperation between couples. That’s a far cry from my own “elevator pitch,” which was more storyline-centric, but it certainly seemed to work.
I love RPGs, and I am easily addicted to “4X “strategy games. But I have plenty of these games already in my library. You can’t just give me a category or genre and win me over anymore. Sorry. The days of having no games but Turmoil on my Commodore 64 are long over.
I need to know why your game is special. I want an elevator pitch. Keep it short and sweet. Pique my interest, make me want to care.
I want a story.
Filed Under: Indie Evangelism - Comments: Be the First to Comment
Posted by Rampant Coyote on September 8, 2014
This weekend, Rampant Games was at Salt Lake Comic Con, showing an early alpha build of Frayed Knights 2: The Khan of Wrath. We’d created a special demo particularly for for convention. The idea was to have an adventure that players could experience in about 5 minutes of playing that would give them a taste of the game and the combat system. We also passed out cards with discount codes for the previous game in the series, Frayed Knights: The Skull of S’makh Daon. It has now been 24 hours since it ended, and I’m still collecting my thoughts, though I did take quite a few notes. I’m trying to distill the whole experience into the most valuable take-aways now.
But in the mean time, I thought I’d just compile a few random thoughts and experiences from the show in no particular order for your entertainment and possible edification:
I learned that this kind of event is really a two-person job. My wife had the other exhibitor pass, and she occasionally brought me something to eat or watched over my kiosk while I took a bathroom break, but she was only there for part of the time on Thursday and Friday, and she didn’t really know how to play the game, either. So I soloed it, and I think it hurt things. Also – that meant only the tiniest of breaks. That meant up to 9.5 hours straight of being fully “on”, rarely able to sit for more than 60 seconds at a time, talking people through the demo until my voice was completely hoarse. Plus a half an hour to an hour before the show setting up, preparing a new build, watching over things, and around a half-an-hour to an hour after the show dealing with last-minute visitors, cleaning up, putting stuff away, and trying to record notes.
It was exhausting, and this was all on top of six weeks or so of pretty breakneck development efforts to get things going. But…. it was a memorable experience! I learned a lot.
As you can see in the image to the left, there are SOME challenges to demoing games at Comic Con you might not get at PAX or E3…
I got 500 special cards made for Comic Con, with a metallic finish and a time-limited discount code on the back for Frayed Knights: The Skull of S’makh-Daon. I love the card, but in retrospect I printed too many. I gave out less than 200, I think. Better too many than too few, I guess.
I brought hand sanitizer and a package of wet-wipes used as napkins when I hastily wolfed down something to eat, or to wipe down the game controller. I was feeling a little self-conscious about wiping down the game controller after every few users. I didn’t want to wipe it down right after they were done, because I didn’t want them to get offended that I might be singling THEM out as having really germ-laden hands (although in a few cases, yes, I was). But I didn’t want my controller to be a contributor to Con Crud (TM), so I did what I could.
At one point I was really worried if I was being overly zealous in my efforts. Then I saw a young man walk by who had played my game a couple of hours earlier. He had a finger buried almost to the first knuckle in his nose.
I continued my efforts to wipe down the controller as often as I could.
While some players did it by accident, many players were quick to dismiss the dialogs & story bits as quickly as they came up, in an effort to get straight to the “action” — of turn based combat. On at least two occasions, they asked where their weapons were. Obviously, they were FPS players unfamiliar with the genre. I tried not to take their dismissal of the story elements as an indictment of my game in particular, but young gamers at a big convention looking for a quick gaming fix. A lot of them were boys in their early teens or pre-teens, and they seemed to be expecting Shooty McDudebro. They didn’t often seem enthusiastic when they walked away.
I was talking to a fellow game dev Josh Sutphin at our booth the following morning – who had a very successful showing of his SHMUP, Legacy of the Elder Star. He laughed and agreed that it was a genre thing. “This role-playing game would be so much better if it didn’t have all this story getting in the way of the action” is something we have a tough time imagining a genre fan saying. Taking home the idea that story is bad and to be kept as minimal as possible would be the wrong take-away. (And a lot of people genuinely seemed to enjoy the dialogs, even repeating them out loud in their own interpretation of character voices, and laughing).
Nevertheless, interrupting the flow of the game for a non-interactive “cut scene” (which my dialogs sort of act as, I agree) is definitely an issue, and something I need to think about. Even when you see people play and can ask questions, neither you nor they might be able to answer exactly what they want / like / expected / disliked about the game, so it can be a challenge to draw the right conclusions.
There were a lot of aspects of showing a game on a crowded expo floor full of geeky sights and sounds that might not apply to the real marketplace. If anything, it was probably an environment more like arcades I grew up in (so I guess the “Utah Games Guild Arcade” was aptly named). The games that showed the best were bright, clear, easy-to-understand, action-packed, and flashy. They drew attention to themselves by the moment-to-moment gameplay, and were easy to “get” even with a short attention span (which describes me well when I’m on the expo floor as an attendee).
However, while these are virtues of certain styles of games that wouldn’t directly translate to others, that doesn’t mean there aren’t broader lessons that can’t be gleaned and applied. Civilization V has a great deal more “curb appeal” than its predecessors, and not necessarily to the detriment of gameplay. (And I’m going to leave that particular argument alone…) And that appeal isn’t limited to drawing attention at trade shows. Just as we learned that different background music could completely change the “feel” and tension of an action sequence, the cosmetics and context within a game can totally improve the emotional appeal without single change to the mechanics. Although that’s not to dismiss the need to tune mechanics to the perfect “feel,” too….
I met an old friend / coworker at the NinjaBee side of the booth on the second day. We’d had no idea that we’d been working right behind each other, with only some tables between us, for a whole day. Things were just THAT BUSY. For all of us.
Sadly, I had friends, family, fellow authors from Xchyler Publishing, fellow indies, etc. come by to visit me at the booth, and we could never talk for more than a few seconds before someone would grab the controller and need my attention.
I hadn’t put an “attract mode” in Frayed Knights 2 for the demo. In retrospect, I don’t think it would have done anything to attract more visitors to my little kiosk – things were busier than I could handle in the first place – but it might have attracted more of the “right” kind of player, or at least helped prepare interested players for the game they were about to play. There’s something to be said for setting expectations. Especially for the ones expecting an indie version of Call of Duty…
One of my frequent comments about the show – as someone who attended the previous Salt Lake Comic Con and the SLCC “Fan Xperience” convention six months ago – was that I didn’t feel like I was “at” the Con. The con was something that happened around me, but I wasn’t really a part of it. I saw a handful of booths (mostly before the expo floor opened), and saw some bits of swag from other places, but for three days my world rarely extended far beyond my little kiosk. People mentioned all the panels, celebrities, booths, and fun stuff going on. But except for fighting crowds on my way to the restroom, or the awesome costumes that surrounded me, I missed it. Ah, well.
I really liked being part of the big Arcade, although I didn’t get to spend nearly as much time networking with my fellow devs as I think I expected. I got to know my immediate neighbors a bit better – the awesome folks from Deli Interactive, and Lyle Cox of Mount Olympus Games. But otherwise – we were all so slammed that we had to fight to get any time to play each others’ games.
What I did see impressed me, though. We’ve got some amazing talent here in the Salt Lake City area. I knew this from our Utah Indie Nights, but seeing it all on display with banners, posters, and polished demos (as far as I was able to see / play) really drove home the point.
Besides an attract mode, I wished I’d made the game more self-explanatory, and helped it pitch itself to players and potential players. Really, anything that would help me be more hands-off so I wouldn’t have to devote my full attention to a player … and even leave the booth for a few minutes and feel confident that people could pick up the game and play it and have fun without my assistance … would have made a HUGE difference. I guess I neglected that part to focus on other things because I knew that I’d be there to help people through it… not realizing that I was chaining myself to my kiosk by that decision.
Will I do it again?
Maybe. There were things I think I did pretty well with under the circumstances (especially the 5-minute adventure), and some things I realized I could have done better, and would do differently in the future. There are things I could do better to “monetize” the experience, to do a better job of making the whole thing pay for itself and not draining my shoestring marketing budget so hard.
Going with a group booth was definitely the way to go. That made things a lot cheaper, and I think having the whole booth out there, open on three sides full of displays and different games, really helped attract attention and traffic.
The biggest value from the experience was watching real people playing my game, seeing what worked and didn’t work, and then hearing some of their feedback, enthusiasm, and suggestions. While there are probably cheaper ways of obtaining that kind of information, it was a great cross-section of skill and interest level, this was very, very important.
Filed Under: Frayed Knights, Game Development - Comments: 5 Comments to Read
Posted by Rampant Coyote on September 5, 2014
Have a lot to say but no time to say it.
Here’s the Utah Games Guild Arcade just before they opened the doors at Comic Con. Unfortunately, my side of the kiosk is opposite this shot:
I’ll post a lot more soon.
Filed Under: Rampant Games - Comments: Be the First to Comment
Posted by Rampant Coyote on September 4, 2014
So today, I act like a “real” game developer (I’ve been faking it for almost twenty years) and act as an exhibitor at Salt Lake Comic Con. It’s been a rough several weeks getting this little demo of Frayed Knights 2: The Khan of Wrath ready. It’s felt very much like a release, with all the attendant pressure and stress and crunch. I love making games, but it’s hard work. If nothing else, I’m proud of making a self-contained demo adventure with a complete story (if one that ends in something of a mystery tied into the rest of the game) that can be played inside of about five minutes or so. Trying to encapsulate an RPG experience into something that can be played by a random visitor in the middle of a show floor isn’t easy.
But now – hey! We’re here! And if you are at Salt Lake Comic Con this weekend, come take a look and play! We’re at Booth 521, with a whole bunch of other great games. Come, play, chat, have fun! Especially if you are press, there’s a lot to see!
Okay – on to other things. One question I used to get asked for the first Frayed Knights game that still pops up occasionally is, “Why can’t I make my own characters?” If you’ve played the first game, it’s pretty obvious. It’ll be even more obvious after this second one. To me, it’s kinda like asking the same question of The Witcher, or Planescape: Torment. “Why do I have to play this Nameless One guy? I’d rather play a hot elven maiden. And why can’t I make his own party members too, instead of being stuck with this useless floating skull?”
Not that I think my game really compares to Planescape: Torment in terms of awesomeness. But hey, set your goals high, right?
The bottom line is, this is a game ABOUT these particular characters. Their personalities, their roles, their backstories… it’s their game. And it’s a story-heavy game. It’s about a dainty half-elf warrior with a chip on her shoulder, a show-off adrenaline-junkie rogue, a nature priest who chose the nature-worshipping lifestyle to avoid the stress of, say, adventuring, and a ditzy but cute-and-perky sorceress with a scary violent streak.
You can’t change the characters without having a completely different game. You may as well ask, “Why don’t you have randomized dungeons in this game?” Or, “Why isn’t it a science-fiction game set aboard a space ship?” Okay, I guess that if we consider the early Might & Magic games, the latter one *is* possible without fundamentally changing the game. But you see the point. These are great game ideas. I mean, you can play Sword of the Stars: The Pit, and make your own character, play in a sci-fi setting, and have randomized dungeons all at once, and it’s a great game! But it’s very, very different. And I’ve got a couple of ideas for games kicking around in my head that are begging to be made that do involve creating your own characters from scratch (and one involves randomized dungeons), as that’s something I really enjoy, too.
I think that in response to this, I kinda went overboard on the customization options in Frayed Knights: The Skull of S’makh-Daon. I spent a great deal of time and effort making it so that the characters could really expand beyond their roles. In practice – I don’t know that anyone beyond the testers really did much with it. Was it wasted effort? Should that time have been spent in other places to make the experience for the vast majority of players better? I dunno. While I’m not emphasizing that so much with the revamped system in the sequel, it’s still part of the legacy of the series, and there’s still a ton of options for expanding or specializing the role of each of the characters in the party. You can still turn Dirk into a spellcaster if you choose.
One thing I haven’t committed to yet is whether or not you will have any power to customize the other characters that will periodically be a temporary part of your adventuring group over the course of their adventures. But I’ll save the discussion of that one for a later post.
Anyway – in the meantime – COMIC CON!
Filed Under: Frayed Knights - Comments: 3 Comments to Read
Posted by Rampant Coyote on September 3, 2014
There’s a little thingie going on right now on Facebook about the ten books that influenced you the most. I’m posting them here because … well, Facebook. And because it is a fun topic for a blog post.
This is a weird question, of course, because a book might have influenced me via the Butterfly Effect. So maybe the book wasn’t much of a direct influence on me internally, but indirectly it caused a small course-change in my life that had long-reaching effect. So a lot of my favorite books (mostly fiction) aren’t really the most influential. I’m totally cool with that. I’m happy with my awesome escapist fantasies not exerting a powerful influence on me…
… except a lot of them did. I can’t vouch for the order, and I expect six of my choices to have changed by tomorrow, but at this particular moment of my life, here are the books that come to mind. And maybe it’s cheating to make so many of them be a series or a collection of books, but in this case, if you ain’t cheatin’, you ain’t tryin’.
1. The scriptures (particularly Bible & Book of Mormon)
2. The Lord of the Rings series. How could it not be?
3. Mindset: The New Psychology of Success. Can’t recommend this book enough, actually.
4. The House With a Clock In Its Walls. Today’s kids have Harry Potter, which is awesome. But when I was a kid, this was one of my early experiences with urban fantasy / horror geared for younger readers, and it was wonderful.
5. The Conan series (particularly but not exclusively the ones penned by Robert E. Howard). This was probably a bigger influence on my love of fantasy that Tolkien.
6. Bullfinch’s Mythology. Before I got into fantasy, I discovered mythology (mainly in the 4th grade) – particularly Greek / Roman – and was fascinated.
7. Advanced Dungeons & Dragons core rulebooks. First edition. Seriously. Where would I be / what would I be doing if I’d never discovered these?
8. The official book of Ultima. It may have been that book that caused me to seriously attempt to get a job at a game company after college. I remain fascinated by the stories of how those early games were ceated.
9. Hackers: Heroes of the Computer Revolution by Steven Levy. I haven’t read it in a while, but for about a decade I think I re-read it every 2-3 years.
10. The Millionaire Next Door. A jumping-off place for some pretty profound changes to my understanding of the difference between money and wealth.
Wow. I feel like I just barely got started on the list, and I’m already up to ten. Like I said, I’ll probably want to replace six of them by tomorrow, but there you go.
Filed Under: Books - Comments: 7 Comments to Read
Posted by Rampant Coyote on September 2, 2014
I seem to be making up for my lack of convention-going as a kid later in life. This sprint / summer, we’ve been to the Salt Lake Comic Con “Fan Xperience” convention, Steamfest, the Fantasy & Renaissance Festival. We went down to Cedar City to hit a play during the annual Shakespearean Festival. Last weekend I hit two evening shows at the Timpanogos Storytelling Festival. This weekend I’m a vendor at the Salt Lake Comic Con. We deliberately deferred the whole Westercon / FantasyCon thing in July. Even so, it’s been an action-packed six months.
It’s been a little weird for me going from being just an attendee to becoming something of a participant. With Steamfest, I was a panelist and sat at my publisher’s booth (and actually got to sign books!). The “big one” for me is definitely Salt Lake Comic Con, which begins on Thursday. I’ll confess, I’ve been kinda dreading it. Although, as of last night, I think Frayed Knights 2: The Khan of Wrath is finally in something of a demo-able shape, and so I’m feeling less dread (and more of just being plain ol’ tired). Ten hours a day of standing and showing people a functional game? Sure, no problem. As long as the game keeps working…
It’s been some crazy hours, some changes in direction, and things are not exactly as I’d envisioned them a couple of months ago. But, while far from perfect, we’ve managed to put together a complete, self-contained adventure that people can play within around five minutes. I’m still fixing bugs, editing text, and cleaning up bits (and I’ll probably be doing that even past the last minute, but always keeping what we have as a fallback), but I at least won’t feel embarrassed showing the game this weekend. We made some incredible progress, and a whole bunch of pieces of the game that have been put together one at a time are finally coming together. I’m excited for people to try it out, see what we’re doing, and offer feedback.
And I’ll knock on wood right now lest I attract Murphy’s attention.
Anyway, if you happen to be at Salt Lake Comic Con this weekend, please come visit the Utah Game Guild Arcade. Frayed Knights 2 will be there, as well as many other great indie games from talented folks all over the state. Some of of the games I’ve mentioned in the Utah Indie Night posts will be on display, as well as many others. Come in, kick back, and play some games!
And since I know folks will ask: Yes, eventually I’d like to put this demo up on the web for the general public to check it out. I have to re-enable KB & Mouse control, though. Right now, for the purpose of the demo, it can only be played with an XBox controller. And as the community here is a LOT different from the players at Comic Con, so I’ll probably want to make some customizations. Or – rather, remove some customizations I made for the convention. I’d like to re-enable the inventory system, which will take a lot of work, and there was neither the time nor desire to do that for Comic Con. And before I do ANYTHING, I think I’ll want to get some serious sleep. Right now, sleep sounds very, very nice…
Filed Under: Geek Life - Comments: 3 Comments to Read
Posted by Rampant Coyote on September 1, 2014
Even with my various quibbles over her “Tropes vs. Women” videos, Anita Sarkeesian managed to open my eyes. It’s hard to watch her videos and not feel like we need to do better as an industry. I worry about creating a lens through which you are viewing everything looking for offense (because you will find nothing BUT offense if you do that), but as a male gamer and game developer, it’s easy for me to overlook something that might make women feel less included as a member of the audience. Sarkeesian’s videos do an awesome job of pointing some of those elements out. The compiled videos of some of the worst offenders, pulled from the wide history of gaming (and sadly, usually not obscure titles), can be a little stomach-churning.
Yeah, guys, we can do better. As developers, we can create better. As gamers, we can demand better.
No, not to the point where we forbid large swaths of storytelling possibilities, or where we grade games based on their inclusiveness (okay, someone is certainly welcome to do that, but I’d consider it a useless measure. I’m all for games with niche appeal, but I want a wider representation of niches). I am not a fan of people screeching injustice just because a game doesn’t address the needs of one segment of the market or another. (There’s a difference between complaining about a game not meeting your needs / desires as its potential audience – which I do all the time – and taking it as an offense / affront / wrong. The latter closes minds, the former opens up devs to the marketing / sales potential of addressing a wider audience…)
But it seems to me that there’s a pretty commonsense range between “insensitive” and “oversensitive” and that Sarkeesian’s videos have caused some dialogue and helped move things back from the former direction. If nothing else, as a designer, I’d rather not sin in ignorance. And for that, I thank her for her videos.
Now, one of the points I discussed with a friend of mine many months ago was her “damsels in distress” trope. My friend, something of a literary connoisseur more than he is a gamer, noted that the trope has existed in stories for a very long time as a way to teach boys about the proper use of strength. It’s a basic biological fact that in terms of raw physical power, men have a clear advantage over women, and this has often been used as a tool of oppression. You need look no further than Syria and Iraq today to see how disgusting and barbaric this oppression can really become. While there are some unfortunate side-effects of these stories (treating women as prizes to be won, specifically), the “damsels in distress” trope exists to teach some very basic rules:
The man who kidnaps / imprisons / threatens / forces his will upon a woman through his advantage of might / political power / etc. is the villain. The bad guy. The one who deserves his comeuppance at the end of the story, even to the point of his death at the end of many tales.
It is the responsibility of those of greater strength / power / etc. to use these advantages to protect, defend, and rescue those who are oppressed by such villainy, even to the point of risking their very lives to do so. “With great power comes great responsibility” and all that.
I think with the events over the last couple weeks involving Zoe Quinn and Anita Sarkeesian, it is clear there are many disgusting trolls out there who never learned this lesson. Or perhaps they relish being the villain. Regardless, no matter how much you might disagree with somebody, attempting to silence them via threats, intimidation, force, cyber-bullying, hacking, etc. is not only an act of evil, but also probably means you’ve lost the argument.
Might never did make right. Online harassment is evil. No matter how worthy one might think one’s cause might be, stooping to such disgusting measures only pollutes whatever it touches. If the video-game fan community doesn’t want these wretched sacks of crap to represent us, we need to be intolerant of their views. Yeah, I’m preaching intolerance. Tolerance of evil isn’t a virtue.
Now I’m gonna get back to making and playing games.
Filed Under: Geek Life - Comments: 18 Comments to Read
Posted by Rampant Coyote on August 29, 2014
This one from Cliffski, and I find his opinion is pretty much the same as mine:
Short answer: Yes, depending on your definition.
Longer answer (my interpretation): It’ll be the game developers crashing and burning, not so much the market.
Solution: Go for your dreams, but don’t be stupid about it.
It’s the same story. The gold rush has been going full force, and sooner or later the music will stop. We have way many more players than we have chairs already.
Filed Under: Biz, Indie Evangelism - Comments: 2 Comments to Read