Jonas Kyratzes’s new game, The Sea Will Claim Everything, is now on sale as an individual product. This is an amazing work, and you should get it the next time you have $10 to spend on a game.
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Courtly Intrigue LARP Rules Part 1
I’ve found myself longing to play in a Live-Action Roleplaying Game that focuses on courtly intrigue. What I mean by this is the social sparring, witty repartee, and backroom dealing that happens among aristocrats in the movie Ridicule or among university professors jockeying for tenure. I’ve experienced some of this when playing Vampire: The Requiem using the Mind’s Eye Theatre rules, but that game has a major problem for me. Characters can kill each other with strange powers, so someone playing the political game has to also worry that the person they’re verbally sparring with can decapitate them with a swipe.
I’m working on the rules, but I want to design in the open so that I can get feedback and suggestions. Here are my base concepts for the game:
- This will be a LARP in the American Theatrical style. No foam weapons, and the game runs similarly to a tabletop roleplaying game.
- Sessions take approximately four hours and can be linked into an ongoing game.
- The game can be played with minimal intervention from a Game Master, although an organizer may help with bookkeeping.
- The game can be played while standing and moving around, with limited interference from out-of-character mechanics.
- Direct combat is not useful. Any victories or defeats will happen through social interaction.
- Special in-character skills or abilities may help a character, but they will not take the place of social intrigue.
- While a player’s strategy and charisma will be helpful, a player lacking social skills or cleverness can still have fun and influence things.
My idea so far is a combination of concepts from the card game Whist, the TV show Survivor, and the mancala game Oware.
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Namatjira Dawn
For some time now I’ve been working on a project called Namatjira. It’s a game that Melissa Avery-Weir and I have been designing and working on for years now, but we’ve only recently gotten serious about it. The following shots are pre-alpha; the final product may look different.
Two Interviews
I’ve spoken with a few people lately, and two of the interviews have gone live. First, there’s my talk with the Armchair Gamer Podcast. We chatted about games each of us is playing, and then the hosts asked me an array of questions. I even talk more about some upcoming projects than I believe I have before. You can listen to the episode on its page.
I also spoke with Games For Change about my recent title “Passing the Ball.” They asked some interesting questions about mood and interactive storytelling. You can read the interview on their blog. I understand they’ll be posting a part 2 soon with an interview with some of the GDC Online folks who commissioned the game!
I Just Uninstalled GTA IV
I started playing Grand Theft Auto IV a few days ago. I uninstalled it today. Steam says I spent 16 hours playing, out of its assuredly fifty-plus hours of content. Many of those hours were spent paused while I was doing something else.
Nico Bellic was drawn to America by his cousin’s stories of wealth and comfort. A life without killing or pain, where things were easy and nothing hurt.
The main characters and relationships in the game are endearing in a dark way. The graphics were quite nice, especially when compared to the previous game in the series, GTA: San Andreas, which my wife is playing right now. The amount of detail in the city and the number of things one can do are amazing.
In reality, life in Liberty City was a struggle. It was the same cycle of steal, kill, flee as before, except in an unfamiliar place where everything is harder and everyone is a stranger. No respect and no opportunities. And always the need for money.
But the game isn’t interesting. The gameplay is the same as previous games, with clumsier driving and walking and slightly better shooting. The missions are more restrictive than ever. In GTA III, you could cleverly solve missions by blocking an escape route with a car or planting a bomb in a target’s truck. In most of GTAIV‘s missions, you must use this car and go here, and then the guy will escape in a cutscene that removes any obstacles, and then you must chase him across the city and he’s impossible to catch and then he flees on foot and you confront him in another cutscene. And if you screw up at any point, you need to start the mission over because we don’t have any checkpoints.
Nico slowly learned something about America. America had a vision of itself: rich, easy, luxurious. And it forced you to pursue that vision. Everyone pursued that vision. Even if you wanted to do something else, be someone else, you couldn’t. You needed money. And you had certain talents that were valued, even when you weren’t valued as a person.
This is one of those games where the developers have crafted this world and this game that they’re incredibly (and rightfully!) proud of, and then realize with dismay that some grubby player is going to get her grubby fingerprints all over it. So they do their damnedest to make sure the player can’t interfere with their lovely work. Any place that the player could screw up the game with her insistence on cleverness, they stop that shit.
And when you got money, it corrupted you. It hurt you. Money made you crazy, bought you drugs that tear you apart, got you in debt, got everything you love set on fire. You needed the money, but the money ruined you.
In the end, once I moved on to the game’s second safehouse, I gradually lost interest. The mission structure sprawls out and the characters are less interesting, and I became less invested in Nico Bellic’s “I’m a man full of guilt who wants a different life yet I don’t even blink when you tell me to kill folks” routine. I simply realized that I didn’t want to play any more. So I stopped.
And so Nico walked away. Got on a boat, a bus, a plane, and went somewhere else where he didn’t need to kill for money. Nico just stopped.
Passing the Ball Released
My latest game, “Passing the Ball,” has gone live on the GDC Online website. It’s a game about parenting, playing catch, and digital safety for kids.
The good folks behind GDC Online, a professional conference for connected gaming, commissioned me to create a game for Web Wise Kids. Web Wise Kids is a really cool non-profit that provides curriculum materials and classroom video games for parents and teachers that focus on teaching kids to be their own first lines of defense against digital threats. They help prepare kids to avoid online bullying, viruses, and dangerous adults by teaching them how to safely surf the web and use other digital technologies. They use their own games to educate kids and encourage safe behavior without a lot of fear-mongering. You can donate to Web Wise Kids here.
I tried to make this game communicate a concept about how to protect kids by using game mechanics. I’m usually a story-focused person, but game rules are a great way to make a statement about the way the world works. I hope that you’ll play the game until you win, get the message I was trying to convey, and maybe even donate to Web Wise Kids!
Flixel and Tweensy Working Together
Are you using Flixel for Flash development? You should be.
Are you using Tweensy for easy programmatic Flash tweening? You should be.
Did you know that when Flixel loses focus and pauses, Tweensy doesn’t automatically pause? You should. It can cause some weird behavior.
I’ve figured out a simple fix that pauses Tweensy when Flixel doesn’t have focus. I just did it, so be aware that there may be some unexpected consequences of this that I don’t know about.
Put the following in your main class that extends FlxGame:
override protected function onFocus(FlashEvent:Event = null):void
{
super.onFocus(FlashEvent);
Tweensy.resume();
}
override protected function onFocusLost(FlashEvent:Event = null):void
{
super.onFocusLost(FlashEvent);
Tweensy.pause();
}
And that’s that. When Flixel pauses due to lost focus, Tweensy will as well, and when Flixel resumes, so will Tweensy. Just make sure you don’t get the “pause” and “resume” flipped; I did at first, and I couldn’t figure out what the hell was wrong.
Over 150 Games Finished
I just noticed that I’ve got over 150 games on my list of “Games I’ve Finished.” The list isn’t exactly precise. Sometimes I add smaller games (e.g. “All Roads Lead From Home“) but usually I only add games I’ve paid for or games that are big enough to feel like an accomplishment (e.g. Iji). I’ve surely also forgotten a bunch of games from the list.
I also have “Games I’ve Played” (but not finished) and “Games I Probably Won’t Finish” on that page. Looking at them tells a lot about my game preferences. For example, I’m reluctant to stick with very hard or very long games, especially if they’re older console titles (Super Mario Bros.). And I generally don’t care for “real-time strategy” games. I don’t like having to plan and out-think an opponent while also managing low-level real-time play. I’m lousy enough at strategizing as it is; I don’t need added distractions.
This list also feels very short. It seems like there should be many, many more games on it. I’ve certainly left out a lot of games I’ve played emulated (Final Fantasy VI) and many games that I’ve only played demos of (Rocket Jockey, to pick one totally at random). There are a lot of games out there, and I’ve played a lot of them. But still nowhere near a majority.
A Pistol and a Flashlight Piece
B.A. Campbell has written a very detailed look at some of my games over at Innsmouth Free Press, a micro-publisher that deals in horror and dark fiction. The piece is critical and flattering.
If Babies Dream was, alchemically-speaking, a chunk of carbon, Looming is Weir’s lapis noster. Visually, it is perhaps the simplest of his achievements… Oddly enough, the monotony of the presentation, alongside the soundtrack of howling winds and weird, croaking wildlife, helps to evoke exactly the sense of loneliness and isolation that the name of this realm, “Looming,” suggests. And with no fancy textures to distract the eye, Looming’s colossal broken gears and Apatosaurus-sized rib bones can’t help but arouse a fundamental awe… and fear.
I recommend you check it out.
How Fallout 3 Should Have Been
My wife and I have been playing Fallout 3 in parallel recently. We’d each played for a while a year or so ago, but each stopped for one reason or another. I’ve finished the main story, including the DLC that extends the game a bit further. It’s a lot of fun, and it’s a really well-designed game in many respects. Unfortunately, the story and world-building is pretty lacking. Let me tell you how I would have done Fallout 3.
Some backstory on the universe. The bombs fell in 2077, in a world themed around the paleofuture of the 1950s. The original Fallout starts in 2161, 84 years after the War. At this point, the US Southwest is in ruins with most people living in fortified farming, trading, or raiding communities. Fallout 2 takes place in 2241. Most settlements in the US Southwest have been rebuilt from a combination of scraps and new materials. There’s a shiny place called Vault City with trees and clean buildings, a democratic republic in California, and two different organizations with advanced technology.
What Bethesda Did
Fallout 3 takes place across the country in the ruins of Washington, DC in 2277. 200 years after the bombs fell, many DC buildings are still standing. People live in filthy, makeshift towns made entirely of ruins and rusty scrap with litter on the floors of their houses. There are no farms in the game. The only sources of food seem to be some cave fungus, a single experimental hydroponics lab, mutant animal meat, and whatever gets scavenged from the ruins. And yet the ruins are simply full of food. Mashed potatoes, snack cakes, and canned meat sit on shelves and are no more irradiated than the water people drink.
This is hard to believe.
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