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October 31, 2009

Halloween Special: 'Game Mag Weaseling': Family Computing For Single Nerds

['Game Mag Weaseling' is a weekly column by Kevin Gifford which documents the history of video game magazines, from their birth in the early '80s to the current day.]

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Still haven't thought up a brilliant enough concept for your Halloween costume? Honey, it's not too late! Just find a box, tape, wire hangers, markers, a pair of pliers, paint, and a coffee can (does ground coffee still come in big aluminum cans?), and you too can dress up like a TRS-80 Model III computer for the big party tonight!

This spread comes to you courtesy the October 1983 issue of Family Computing, one of several consumer-oriented magazines in the early '80s covering 8-bit computers. It was written by Joey Latimer, who contributed a lot of stuff like this to Family Computing during its existence -- cute articles with kid appeal, quick little program demos, and so forth. "The TV screen or monitor can be decorated to look like a computer game, graphics, program listings, or anything imaginable," he writes. "Don't be afraid to invent your own fantasy game."

I'm surprised that I have not mentioned Family Computing in this column yet, especially since our family subscribed to it back in the day, from its 1983 inception all the way to 1988 when it changed subjects and became Home Office Computing. It was published by Scholastic, which launched it nearly simultaneously with a kid-targeted magazine titled Microkids (later K-Power). K-Power lasted until late 1984, after which it was incorporated into Family Computing in its own separate section -- but even before then, Family Computing was definitely written in a kid-friendly tone, differentiating it from the slightly more tech-oriented approach of rivals like COMPUTE!.

A full Family Computing archive has been scanned in by DLH and should still be available via torrent if you're curious. I would not call it an exemplary magazine -- like I said, its coverage was always pretty beginner-oriented and readers like me had a tendency to "graduate" from it quickly -- but it does have one unique selling point: it offered type-in programs and coverage for orphaned systems like the TI-99/4A and Coleco's ADAM long after all official support for them disappeared.

[Kevin Gifford breeds ferrets and runs Magweasel, a really cool weblog about games and Japan and "the industry" and things. In his spare time he does writing and translation for lots and lots of publishers and game companies.]

GameSetSpooky: Halloween Time With Mister Raroo

Halloween Time With Mister Raroo

[In a change of pace from his usual GameSetWatch column, Mister Raroo treats us to a Halloween tale of gaming gone horribly wrong. As an added bonus, the story features guest artwork by death metal vocalist and illustrator Sean McGrath. You should think twice before you head to your favorite game store around Halloween, or you might suffer the same bad fortune as Mister Raroo. But don't worry, Mister Raroo's tale is only fiction. Or at least, we think it is. Now that we think of it, we haven't heard from him in a while. You don't think this chilling tale could be real, do you?!]

A Desperate Warning

Please hear my tale, dear readers, for it is through writing these words that I am attempting to confirm what is left of my sanity. I am still not completely sure that the events which transpired last night actually happened, as the mind is capable of strange and cruel fabrications. If it weren't for one horrible piece of evidence, I would write the whole thing off as nightmare. If only it were that had I ventured too far into the supernatural realms we visit while we sleep!

But no! I fear there is no escape, for even if it were all in my imagination, is there any refuge from the visions that fill our minds? When a moment arrives in which my throughts finally provide me with a brief respite from this terrible affliction, I hear her voice whispering in my ear. What a horrendous punishment! Why has fate chosen me to carry this burden?!

Mister Raroo Writing His Tale

All my life I have had a fascination with the macabre, an attraction that has permeated into my interests and hobbies. My friends and colleagues did their best to warn me that too much attention to grim pursuits would come back to haunt me. I always sloughed off their words, but now it seems their ghastly predictions have come true. It's one thing to enjoy an occasional visit into the shadowy recesses of the world, but the horror that lurks in the darkness is nigh unbearable when there is no escape from it.

It is only now that I am a prisoner that I see the error of my ways. When we lend our minds to the ghoulish world, it can take hold of us and steal our sanity. Dear friends, it is with but a thin thread of reason that I am even able to focus and write these words! So please, hear what I have to say, and take heed of my warning! For if you follow the same path I have tread, you may be the next vicitm of this abnormal, unnatural curse and you will be unable to free yourself from the horror that is this relentelss video game psychosis. Beware!

An Unfortunate Encounter

Last evening I made a venture to my local video game store, The Game Haven. Its rows of shelves overflowing with almost any game imaginable, the establishment truly lives up to its name as a haven for someone as enamored with games as myself. However, oddly enough, I cannot recall how I arrived at The Game Haven, nor can I remember how I returned home. All that stands out in my memory is the unnerving series of events that occurred.

As I walked through the entrance, I thought perhaps I had arrived too late and the store was closed, for all the lights were off and there were no customers in sight. It was so dark inside that I couldn't see but a few feet in front of me. I turned to leave but a faint, weary voice called to me. "Please, come in."

As a frequent patron of The Game Haven, I was familiar with the store's layout, and had little difficulty navigating in the low light. More than the lights being out, however, I felt that something was certainly amiss. The store's shelves were nearly empty and covered with a thick layer of dust, while a musty, thick scent filled the air.

When I finally made my way to the source of the voice, I was surprised to find a shrivled, fragile woman sitting behind the counter. In my many visits to The Game Haven I had never seen her, nor had I heard the store's owner and operator, Howard, make mention of her. As if in response to my thoughts, the woman said, "You were expecting Howard, I'm sure." She paused a moment before her lips curled into a crooked smile as she added, "He won't be able to join us this evening, I'm afraid."

Something about the way the woman formed her words made me feel uncomfortable. She looked me up and down for a moment then finally asked, "What type of game are you interested in? I'm sure we can find something to suit... your fancy." She let out a hollow laugh that echoed into the void of darkness enveloping the store.

An Unfortunate Encounter

Going on appearances, I figured there was little chance the woman knew much about video games. Howard knew my tastes well and was a walking encyclopedia of video game knowledge, always ready to offer up suggestions on what games I should try next. But as for the mysterious woman who sat before me, I had little faith that she would know the difference between Pac-Man and Mega Man. Still, I decided it couldn't hurt to inquire, so I said, "I'm looking for something to play this Halloween. Maybe something along the lines of Luigi's Mansion or Grabbed by the Ghoulies."

The woman's expression suddenly became more serious, and she leaned over the counter toward me, whispering, "Oh, so you're looking for a little scare, are you?" She then let out a loud cackle and closed her eyes, quickly mumbling something to herself in a language that seemed impossible to form with the human tongue. I was so taken aback that I stood frozen for a moment. I finally snapped out of it and tried to respond to let her know that I wasn't necessarily looking for a game to frighten me, but her eyes opened wide and a chilling, deep voice bellowed from her chest. "Your choice has been made!"

It is at this point that all memory of my weird visit to The Game Haven comes to an end, though I will never be able to forget the stare of the old woman, whose eyes seemed to gaze far beyond my own and into the confines of my inner self. It was as if she was able to see further into my being than I even knew existed, and I am afraid that it is in these unreachable corners of my soul that she now resides! How I am even able to write these words for you to read, dear friends, is unknown to me, for I fear she has taken control of my mind and its thoughts! Perhaps she is allowing me to warn you of my fate before you make the same mistake!

The Night of the Demoniac Game

My world drifted from one scene to another, as if I were in a dream. The old woman's voice was still reverberating in my head when I found myself in my living room, sitting in front of my television set with a video game controller in my hands. What I played, my friends, was not any type of video game I have ever seen, nor was it anything I would imagine even the most vile of game developers would have the ability or courage to create. I dare not describe the atrocities that I saw last night, for you still have your innocence. But I will say the scenes that transpired before me were enough to drive even the strongest of minds mad, and I now long for the time before which my eyes witnessed such sights.

There was no sense of time, and as the night progressed it was as if I were no longer holding a controller in my hand, simply playing a video game. Instead, everything melted away into the gloominess surrounding the screen, and the monstrous images that were unfolding before my eyes became the only bit of existence I knew. I was not playing a game, I had became part of it, and I fought with all my might to keep my mind from mercilessly trying to spare me the horror by causing itself to crack.

No matter how many times I tried to turn away from the madness that was enveloping me, I was powerless, as if some invisible force were holding me in place and forcing my eyes open. Perhaps it was for the best, for as the night wore on I felt an increasing dread as some presence crept up around me. There were eerie rustlings and shuffles coming from the darkest parts of the room, and I was certain I was not alone. As my eyes stared straight ahead, the doom that engulfed me increased, and I fear that had I turned to face what unimaginable entity was inching nearer to me, I would have gone mad on the spot!

(Horror) Game Time With Mister Raroo

My body and mind were overcome with an exhaustion the likes of which I never knew was possible, but the night seemed to rage on endlessly and I couldn't escape it. At one point I loudly cursed the old woman, for I knew she was responsible for my torture, but this only worsened the intensity of the game's cruelty, as if in response to my desparation. Finally, at long last the night unexpectedly and mercifully began to melt into dawn, and with it my consciousness faded as well. I felt myself racing toward an infinite blackness. My sense of being was extinguished, and my world ceased to exist.

The Morning After

The soft, faint sounds of bird songs woke me up this Halloween morning, laying in front of my television set with a game controller nearby. I quickly sat up and looked around the room. Everything seemed normal and as I remembered it, though an uneasy silence filled my home. I checked every room of the house, but there was no sign of my family anywhere.

I returned to my living room and pressed eject on the game console to inspect the disc, only to find that the disc drive was empty. Yet the game I was forced to be a part of seemed too real to be only a loathsome dream. Even now my mind's eye cannot see anything but the ghastly scenes from last night, and I beg that you never know the harrowing sights I have witnessed, dear readers!

As I stood in the center of the room, I suddenly felt the breath of a voice whispering in my ear, causing me to exclaim in fear. However, when I turned around to see who was standing beside me, there was no one to be found. I thought it must be my weary mind playing tricks on me, until it happened again, repeating the same phrase over and over. It took me a few moments to make out what the unholy whisper was telling me, and my heart all but stopped when I realized it was the voice of the old woman. "Your choice has been made. Your choice has been made. Your choice has been made!."

It was then, my friends, that my gaze fell upon something that made me rue my affection for the morbid interests I had so often filled my life with. Sitting on the coffee table was a scrap of paper, upon which was scribbled the words that confirmed my worst fears. Should it be I have lost my mind and gone insane it would be a blessing, for it would mean that my night of unthinkable terror had not actually happened.

But no, I now know that the hideous images I watched against my will were not merely the hallucinations of a crazy man. I picked up the paper and saw it was a receipt from The Game Haven. As I read the simple words that were scrawled upon it, I could hear the voice of the abhorrent woman: "Thank You For Your Business. Your Choice Has Been Made!"

Not a Dream!

[Mister Raroo is a happy husband, proud father, full-time public library employee, and active gamer. He currently lives in El Cajon, CA with his family and many pets. If you happen to catch him when he's out trick-or-treating with his family this Halloween night, you'll most likely find him dressed as Sir Topham Hatt. You may reach Mister Raroo at mister.raroo@gmail.com.]

[Sean McGrath is one of the founding members of gore afficionados Impaled and is rumored to have ties to the infamous Creepsylvanian group Ghoul, though any evidence to verify this fact remains inconclusive. He has generated artwork and logos for many bands, including Strung Up, Municipal Waste, and Voetsek. Omake time! You can view larger images of Sean's artwork for this story by clicking here, here, here, here, or here.]

Best Of Indie Games: Saddling Up for an Exploration

[Every week, IndieGames.com: The Weblog editor Tim W. will be summing up some of the top free-to-download and commercial indie games from the last seven days, as well as any notable features on his sister 'state of indie' weblog.]

This week on 'Best Of Indie Games', we take a look at some of the top independent PC Flash/downloadable titles released over this last week.

The delights in this edition include a cave spelunking game with low resolution graphics, a Western-themed shooter with bullet time effects, a 2D platformer focused entirely on the aspect of exploration, a point-and-click adventure with delightful watercolour art, and a fighting game about two bandits out on a search for gold.

Game Pick: 'Excavatorrr' (Arvi Teikari, freeware)
"In Excavatorrr you play as an adventurer who is searching for rare treasures in an unexplored network of caves, equipped with only a pickaxe and some starting items strewn on the floor. Maps are procedurally generated every time you start a new game, and there is also a score submission feature that you can use to upload your high scores online."

Game Pick: 'GunFu Deadlands' (Christiaan Janssen, freeware)
"GunFu Deadlands is a 2D arcade shooter in which you play a cowboy out to prove that he is the quickest sharpshooter in the West. Similar to Max Payne and the recent Call of Juarez series, our hero has the uncanny ability to react faster than everyone else, although he can only use bullet time in short bursts."

Game Pick: 'Gretel and Hansel' (Makopudding, browser)
"Gretel and Hansel is a short point and click adventure loosely based in the world of Hansel and Gretel. Gretel overhears their parents discussing some 'money-saving ideas', and decides to embark on a pebble-collecting mission as per the story. It's definitely worth playing for the watercolour art - every little bit from the backgrounds to the character models was hand painted and scanned in."

Game Pick: 'Small Worlds' (David Shute, browser)
"Small Worlds is an exploration game created by David Shute for JayisGames' latest Casual Gameplay Design Competition. The controls for your character can be a bit frustrating at times but everything else about the effort shines through. Even if you take all the wrong paths, this adventure is still a rather short one that will only take roughly about fifteen minutes of your time to complete."

Game Pick: 'Bullets of a Revolver' (DieFox, freeware)
"Bullets of a Revolver is a fighting game for the most part, but also has dodging, dueling and dancing minigames thrown in from time to time. It tells the story of two bandits on their quest to discover the location of the fabled Golden Cave. There's also an arcade mode if you simply want to get into a fight, or Versus mode for those want to play against a friend on the same keyboard."

October 30, 2009

Homebrew Manic Miner In The Lost Levels Released For DS

Last April, Retro Gamer and writer 'Reverend' Stuart Campbell spent four pages on Matthew Smith's Manic Miner, specifically discussing the classic platformer's non-Spectrum editions and all the extra levels introduced in those ports.

Inspired by the article, the homebrew programmers at Headsoft, who also coded the excellent Warhawk DS, gathered all those stages from the commercial Manic Miner ports and released the collection for free on the Nintendo DS (playable with an emulator or homebrew device).

"The tale of Miner Willy and his incredible adventures in the mines, and then the mansions, of Surbiton is legend. But like all legends, it doesn't tell the whole story. Most people know Willy simply as a digger who got lucky and lived happily ever after in decadent luxury. Far fewer know the secret - suppressed for quarter of a century by the government - of how he also saved Planet Earth from alien invasion.

It wasn't until an eccentric but dedicated historian writing a paper for a renowned academic journal (Retro Gamer issue 63) pieced together the complete saga of Willy's heroic exploits from fragments of scattered evidence - in the form of obscure retellings of the 'Manic Miner' folk fable in ancient languages readable only via long-obsolete machines - that the whole truth was finally revealed."

Manic Miner In The Lost Levels features a total of 50 stages, arranged in three sections. The Lost Levels portion includes 20 levels that were added (or modified) for the Manic Miner versions released on Oric, BBC Micro, Dragon 32, Amstrad CPC, and GBA.

After completing The Lost Levels, players can access Willywood, a standalone 10-level game with original stages designed by Headsoft. They can also unlock 20 bonus stages that are "a mixture of original levels and classic levels from both Manic Miner and other related games" by finding secret areas scattered around Willywood and The Lost Levels.

You can download Manic Miner In The Lost Levels at Headsoft's official site.

Automatically Play Rock Band iPhone? There's A Robot For That

There are already several robots constructed for the sole purpose of playing Guitar Hero and hitting every note using the game's guitar controller (we won't get into why these even exist in the first place), but this latest music game automaton is a different beast; it's built to dominate Rock Band for the iPhone.

Tinkerer Joe Bowers used ambient light sensors to detect the bright colored notes, which send data to an Arduino that tells a series of servos/synthetic fingers to tap the system's touchscreen. It's just a shame the squeaky fingers drown out whatever song happens to be playing.

With some trivial modifications, I'm sure this Rock Band robot could also work on Tap Revenge 3, another popular (and more fun) music game on the App Store.

[Via Hack a Day]

Interview: Nigoro Talks Retro Inspirations, La Mulana For WiiWare

[Notable Japanese indie developer Nigoro (Rose & Camellia) is now called Asterizm, and Brandon Sheffield talks to its principals about philosophies, design concepts, and taking retro 2D platformer La Mulana onto WiiWare.]

Nigoro was an Japanese independent game developer that has released a number of humorous -- and well-regarded -- Flash games over the last few years.

Titles like the slap-fest Rose & Camellia, and the skirt-flipping game Mekuri Bancho put the company on the indie map, but La-Mulana -- described as "a freeware free-roaming platformer game designed to look, sound, and play like a classic MSX game" -- is what really got them into the public eye.

The company has since become Asterizm, a proper (but still indie) corporation based in Japan, and is releasing La-Mulana on the Wii's downloadable WiiWare service, with a graphical upgrade that remains true to the genre.

In this interview, conducted during the Tokyo Game Show, we spoke with Vice president Takumi Naramura, and president Shoji Nakamura about what makes the company tick, the origin of Nigoro, and game influences:

MSX Love

How did the group first come together?

Takumi Naramura: For the most part, it got its start with the people that had come together to help with this game website I created. Three of these people liked to make games, and those three became the core staff in our outfit.

What was the site called?

TN: MSX3. [This site is not around anymore, but it had MSX game strategies, MIDIs, hardware info, and was generally the sort of 8-bit computer retro-tribute site you saw a lot of in the late 90s/early 00s. The site design was also modeled after Hydlide 3's screen layout.]

How has it been moving from an indie outfit to a professional company?

TN: I think it would've been nice if we could continue to make games as a hobby for the rest of our lives, but the fact is that all of us are in our thirties, and I think the staff has some serious talent they've built up. Looking at it that way, it sort of seems like a missed opportunity if we didn't use our skills to go to the next level.

We made the shift because we had built up a reasonable amount of confidence that we could succeed at this. It was sort of a natural process. There's also the fact that the Internet and the idea of downloadable games has spread well enough that even an outfit like ours can sell games, which is important because we don't have the sort of capital you'd need to sell packaged software.

What do you think about Flash as a game construction medium? What are the good and bad points of it?

TN: The greatest advantage it has is that anyone can play a Flash game, and -- more important on our end -- nearly anybody can develop a Flash game, too.

The bad part from our perspective is that, no matter what we're trying to make, we run into obstacles with the environment that we constantly need to find workarounds for -- controls, graphics, sound, you name it. It's a limited environment.

What's the engine or codebase did you use for the development of LA-MULANA?

Shoji Nakamura: We're making a new engine for the Wii in C++.

Will that be your engine for future games as well?

TN: Not wholesale, no, but some core aspects of it -- sound effects, game map displays -- will certainly be made general enough for re-use.

Bancho Mayhem

I was playing Mekuri Bancho [a flash game in which a delinquent, or “bancho” runs through a school flipping up girls’ skirts] last night and…

SN: Oh, thank you very much!

Can you explain the recent popularity of bancho games? Like Kenka Bancho and so on.

TN: In Japan, you really don't see anybody like that anymore. You could sort of call them "lost heroes" in the popular mind. (laughs)

SN: We had lots of banchos in our childhood. Well, okay, not lots -- two or so, anyway! (laughs) So it's a childhood thing.

Many of your games have some humor, but I feel that not so many games in Japan use humor very often, or effectively. Why do you think that is?

TN: I think they're afraid they'll go too far with it and people will get angry at them; it'd become a media thing. They don't want to risk that sort of thing, even if they want to include aspects like that.

I think that one of reasons Nigoro has gotten overseas popularity is because of the humor.

TN: (laughs) That's just what we aimed for.

The first time I heard about Nigoro was for Rose & Camellia.

SN: The slapping game!

Have you considered porting some of these Flash games to the iPhone or something? Many of them are gesture-oriented, so...

TN: I'd like to. We don't have the time nor the people right now, but I'd like to.

SN: Probably we will, but not now, anyway.

These kind of small Flash projects -- I think they're quite interesting, because you can focus on one interesting idea and make a small, self-contained game around it that is quite enjoyable. Is that your intention, to make these sorts of games?

TN: We're actually pretty bad at that. Like a lot of developers, we have a tendency to create these huge levels and all kinds of enemies to populate them. But as we've been making Flash games for two years, we've trained ourselves to keep that focus you mentioned, through games like Mekuri Bancho and so forth. So, in that way, it is our intention, yes. If we can keep finding ideas for them, we'll keep on making them.

LA-MULANA

With LA-MULANA, I'm curious to know why you decided to change the art style from 8-bit to 16-bit.

TN: Well, for one, while we all like the graphics and sound you get with old games, but we felt that if we continued to pursue that, we'd just be looking to the past and not challenging ourselves to try anything new.

Another reason is that a pretty large contingent of gamers, especially younger ones, are simply not interested in games that look "old." To them, "old" graphics mean bad graphics. So we felt it important that this be presented as a wholly new title.

The indie-game audience was probably interested in it in the first place because of its graphics. Still, the new graphics don't look “new” in the sense you’re saying.

SN: Yeah.

TN: Perhaps we aren't getting our cues from classic games any longer for the visuals, but I think the taste of the original has remained unchanged. It's 2D graphics Nigoro-style.

SN: We call it "32-bit" graphics. (laughs)

It probably is, yeah. Sorry I said 16-bit. (laughs) It's sort of like Symphony of the Night-level.

TN: The graphics and sound are different, but the gameplay is definitely still rooted around the old style of platformers. That's Nigoro's name ["256" or 8 bits], after all. That's our roots.

That's true, yeah. I was thinking it looks almost 24-bit.
SN: (laughs) Like the Neo-Geo and so on. I love the Neo-Geo.

Me too. Some of the new screenshots remind me of -- you know Top Hunter? (Neo Geo arcade game)

SN: I love that game!

Me too. So, the Flash games that you've done -- the visual influence for those seems different from game to game. It seems to target a different kind of old-style feeling for each. Like, Nazca-type of anime, or Rose & Camellia has the old Japan interpretation of European art. What is your visual inspiration for each type?

TN: Well, starting at the beginning -- Death Village was our first Flash game, and that visual style was inspired by American comics. Since Flash games can be played by anyone worldwide, we wanted to try and attract a foreign audience with that.

With Rose & Camellia, we came up with the idea for the game first, and we argued over what story-based reason there would be for the ladies being polite enough to take turns slapping each other instead of going all-out and having a wrestling match. The shojo-manga (girl’s comics) backstory you see in the game was the very first thing that popped into my mind.

With Mekuri Bancho -- in old Japanese anime, you saw scenes all the time where students would flip up their teacher's skirt and stuff. That would show up in all kinds of shonen manga (boy’s comics), but never these days because of political correctness, so it's sort of a nostalgic thing for people our age.

That's how we came to build a game off it. As you can tell, I get a lot of inspiration from all the games, movies, manga and so forth that I looked through when I was a kid. You can trace pretty much all of my illustration work off one thing or another.

Indie Community

Some time ago I got several indies together in Japan to talk, and they’d never met each other, which was depressing. There should be some kind of forum for you to discuss things, because in my opinion, a big problem with the Japanese game industry is that nobody talks to each other. That's why so many of the big Japanese games are falling behind really fast. I think this is because they are not talking to each other, not sharing their ideas and not having new development practices. So I think the indie community would be a really great place to start doing it.

TN: Well, you have some breakout successes in this field, like Cave Story and our own LA-MULANA, but the fact is that nobody goes into the indie game scene with the idea that their stuff will ever sell. They give up on that from the get-go. I think it'd be great if we could overcome this with LA-MULANA and break through, and if we're able to do that, then maybe at that point we can try to help create a forum like that.

It'd be nice to have, since that'd be a more comfortable place for people to discuss ideas.

TN: Kind of a depressing story, I know, but...

It makes me sad because when I was a kid, games from Japan were the best, period, on console at least. Now that's not true at all.

SN: We'd like to do something about that. But first we have to get bigger. (laughs)

Round-Up: Gamasutra Network Jobs, Week Of October 23

In our latest employment-specific round-up, we highlight some of the notable jobs posted in big sister site Gamasutra's industry-leading game jobs section this week, including positions from 5th Cell, Insomniac and more.

Each position posted by employers will appear on the main Gamasutra job board, and appear in the site's daily and weekly newsletters, reaching our readers directly.

It will also be cross-posted for free across its network of submarket sites, which includes content sites focused on online worlds, cellphone games, 'serious games', independent games and more.

Some of the notable jobs posted this week include:

Gazillion Entertainment: Project Manager
"We are seeking a Project Manager to be a key member of the Game Operations/IT Team. This is a full time permanent position and will report to the Director of Project Management - IT and Gaming Operations. Projects will vary from internal IT back office applications to key portions of a worldwide gaming operations infrastructure."

Insomniac Games: FX Artist
"FBI, ATV, CTU, ATF, SRPA, ETA, HR, TSA, OPEC, MIA, RSVP, RIP, CSI, WTF, WHO, FX, IMO, LOL - these are all acronyms- some real and some made up that everyone knows. Well we are looking for an FX wizard. We’re talking about creating those mind blowing fxs! Insomniac Games is looking for an artist to create effects to work and assist in gameplay, environment, and the cinematics of the game."

2K Games: Senior Publisher Producer
"Develop quality software products, from concept to release, as well as providing and maintaining the creative vision of the products for 2K Games. All candidates should be self-motivated, highly organized, and possess strong leadership and team-building skills. A Producer is a leader, above all else… capable of taking charge of a project (or external team) and unifying the project or group effectively toward a specific set of goals. This role requires the simultaneous management of multiple products."

5th Cell: Senior GUI Designer/Artist
"5TH Cell is about bringing together professional, talented game developers and artists to create award winning products. Our mantra is ‘Advancing Entertainment’ and we truly strive to both innovate, and creatively push the envelope with all our titles. Our team believes in the products we develop, and together with top partners, we are building a track record of successful original IP including Scribblenauts, Drawn to Life and Lock's Quest."

Nexon America: Online Community Specialist
"Be part of a creating and driving the communities around Nexon’s great lineup of games! Nexon needs a Community Specialist who can plan and execute social networking and media initiatives to increase positive player engagement within the Nexon gaming community. The perfect candidate is someone who is professional, goal-oriented, and a born leader. We’re having a ton of fun, and we need someone who can help our community do the same!"

To browse hundreds of similar jobs, and for more information on searching, responding to, or posting game industry-relevant jobs to the top source for jobs in the business, please visit Gamasutra's job board now.

Save A Tree: Roro, Roll!

The first game I thought of after reading Roro, Roll!'s title was Sony's LocoRoco, and while this indie project is nothing like the PSP platformer, it's almost as cute! Developed by a team of four calling themselves Cobbler, Roro, Roll! has you spinning a circle of fuzzy creatures to protect the planet's last sapling from waves of hungry Domo-esque enemies.

Depending on their color, each Roro group serves a different purpose -- red Roro automatically send out shots and can unleash a focused beam; blue Roro can grab enemies and send them wherever you want on the graph paper arena; and yellow Raro look like they can stop time. As your sapling grows into a tree, you can bolster your spinning army with new Raro.

I have no idea when Cobbler hopes to put Roro, Roll! out, but this trailer was created for the upcoming 12th Annual Independent Games Festival. This actually gave me an idea for my own similarly titled project, Mr. Raroo, Roll.

Noby Noby Pumpkin

With Halloween tomorrow, now seems the time to get out the obligatory pumpkin post! Rather than share any pumpkins other video game blogs have already covered, I wanted to feature a couple carvings from my hometown, Cincinnati.

Emily Barrett uploaded this photo of a handsome Boy carving, and while it's more of a daytime design that doesn't hold up when you stick a candle in it, that doesn't make me love it any less. This is much more creative and colorful than the pumpkin I made this year, which basically just has a cat face.

And the other design Barret posted, a Brutal Legend pumpkin boasting two different scenes, one on each side, looks fantastic at night:

GameCity Squared's 15-Pixel Megamix

Remember those 15-pixel interpretations of Noby Noby Boy, Parappa, And Street Fighter created for GameCity Squared? London-based design collective Alaskan Military School created those three "hyper pixel minimalist" clips as a preview of a much larger set, which you can now see complete above!

The Megamix begins with those familiar examples but shows a total of 12 games in its four minutes, like a quick clip of Nintendo's classic Punch-Out, a memorable scene from World of Warcraft, and even the docking sequence from Elite. See if you can name them all (without cheating and reading the Youtube comments)!

GameSetLinks: The Neil Dare Phantom

[GameSetLinks is GameSetWatch's daily link round-up post, culling from hundreds of weblogs and outlets to compile the most interesting longform writing, links, and criticism on the art and culture of video games.]

Continuing to blast out the GameSetLinks as the weekend rapidly approaches, this set includes the continuation of the Phantom of Akihabara fiction, translated by Kevin Gifford from a Japanese game magazine, and another reminder that there is still very little good fiction which includes video games as an integral part of it. I wonder why?

Nonetheless, other things in here include Legend Of Neil worship by Lev Grossman, Robert Ashley interviewed, the local alt.weekly on Tim Schafer's new game, indie interviews, miniature reviews, and more besides.

Go go gone:

Sandeep Parikh (You Know, the Guy Who Does Legend of Neil, With Which I’m Obsessed): The Nerd World Interview - Nerd World - TIME.com
Legend Of Neil seems to be terribly divisive as a game-related web parody series. Lev at Time loves it, though!

Beacon game review | Necessary Games
A nicely nuanced look at the latest Ludum Dare winner.

Mike Darga's Game Design Blog: Designing Your Audience
'Aside from bugs and generally shoddy development, the biggest cause of /ragequits is developers and players not agreeing on what the game is supposed to be.'

“The Phantom of Akihabara,” Chapter 7: “A Well-Adjusted World” @ Magweasel
I am still madly in love with this - it's just beautifully written and translated.

Press Pass: Wasting Time With Robert Ashley of "A Life Well Wasted" > Kyle Orland > 9/24/2009 5:00 PM | Crispy Gamer
'We talk with the former Ziff Davis freelancer about his unique podcast and what it says about the direction of game journalism.'

Intuition Games » Blog Archive » Here’s my problem with Fun.
'Sure reviewers will throw in ratings for graphics and music, but that’s mostly naive. Their response to the game directly hinges on if the total package was entertaining.'

San Francisco Bay Guardian: Brütal odyssey
Schafer gets profiled by the local alt.weekly, always nice to see a different perspective.

Indie Interview – Chris Walley of Escapist Games | indievision
Interesting that he's concentrating on XBLIG - but the Blitz to XNA semi-converter is a great idea.

October 29, 2009

Love In The Time Of Asteroids

Ever since Universal picked up the rights to develop a full-length film based on Asteroids, I've kept an eye out for examples of anyone attaching a plot to the simple, vector-based game, like the hilarious Asteroids radio drama that Kid Stuff recorded in the early 80s.

Nigel Upchurch's music video above, set to The Juan MacLean's "No Time", is a more modern interpretation of of the arcade title, following the adventures of a wandering ship as it searches for a like-minded, triangle-shaped ship, finds its soulmate, and starts a family. It's an Asteroids love story!

I also recently came across this excellent fanmade poster for the hypothetical Asteroids film, designed by Maxellito. The text, "Alone into the ship triangle to cross the universe", doesn't really make sense, but neither does an Asteroids movie!

T-Rexes And Dance Parties: Tomena Sanner

I don't usually pay attention to strange-sounding WiiWare games that I've never heard of, especially when they're mobile ports, but after hearing my friend describe Konami's Tomena Sanner as "like Canabalt but with more dancing", I knew this title required a thorough investigation.

Tomena Sanner's primary parallel to Canabalt is it's a single-button action game in which you guide a running character, businessman Hitoshi Susumu. In addition to controlling his jumps, that button is used for attacks, upending cars, dunking basketballs, bowing toward a jogging group of Shaolin monks, and more.

Susumu races through nine levels, hopping over T-Rexes and swinging around trees while trying to show up on time to "the ultimate dance party". The esoteric game features a four-player versus mode, an endless level mode, a turbo mode, and online rankings.

Konami will release Tomena Sanner stateside in the first quarter of 2010. You can see screenshots and find more information for the quirky title on Konami's official site.

Sound Current: 'The Music in Machinarium - Floex's Organic Audio Artifice'

[Continuing his 'Sound Current' audio interviews series for GameSetWatch, Jeriaska catches up with the musician behind much-awaited IGF-winning Eastern European independent adventure game Machinarium, discussing the creation of the soundtrack to the just-debuted game.]

The Czech musician Tomas Dvorak, who also goes by Floex, is the composer of Amanita Design's new game, Machinarium. Previously he composed for Samorost 2 and used audio from the game in the creation of an award-winning original soundtrack album.

Machinarium is an adventure story surrounding a world of robots. The environments are dusty, organic, analog. The music too mirrors the duality of the art design, composed of elements both acoustic and synthetic, like an upright piano playing as a voice synthesizer belts out the melody of an old fashioned operetta.

In this interview with the composer for the game, Floex tells about his background as a visual artist who has found his way into the world of music for films and games. The discussion offers a glimpse into the surreal and mysterious creations of Amanita Design, and more specifically, serves as a guide to the unedited six track soundtrack preview, which is freely available online.

How did you feel when embarking on Samorost 2, your first game project? The soundtrack has gone on to receive an award a lot of recognition.

Composer Tomas Dvorak: It felt good. I was making small audio loops for the first game, maybe a maximum of one minute. If you have these short loops, they have to be abstract. If they're too concrete, then it becomes boring or annoying after hearing them ten times. Out of these loops I had all this material, so I decided to make a CD soundtrack out of it.

Is the story something that provides direction for your compositions, for instance in the making of Samorost 2?

I would say not so much. The story is rather simple. For me what’s very important is the atmosphere of the scene. I am always surprised by the process of "trying to find right mood for the scene".

Sometimes my approach will feel like too much of a cliché. What I’ve found out is that before I start to do some music, I should wait a bit. I look at the scene and try to get a sense of the atmosphere. Sometimes it’s better not to look at the scene, but to think about it. It can be best not to start immediately making something.

There are many elements which in the end can be inspiring to build the proper atomsphere. It can be the the instrumentation, sound and space design, the melodies and harmonies used, rhytmical structure... and it’s good for me to think about all of these things before I actually start to compose.

Was there anything in particular that you recall contributing to the atmosphere of Samorost 2?

For me, it’s a dreamy, surreal world. In the Czech Republic, everyday there is a small story for making children go to sleep, called "Vecernicek." I think Samorost has a bit of this childlike feeling. I like very much the world of fantasy and an approach that comes from something unconscious. This is something that is very close to my view of art.

I also like crazy Japanese movies, like those of Katuhito Ishii. I don’t know if you know “Funky Forest”? It’s a kind of fantasy which as a European I’m not used to. I’m astonished and surprised. It goes over all the barriers of what is imaginable.

You observe this kind of thing at Amanita?

Yes, there also, although still more in this European sense. They are very playful with what they do. I think that as long as it does not lose this playful approach, it will work.


Amanita design team (composer pictured center)

How did you meet the game creators at Amanita Design?

There are two art schools in Prague. I’m a musician mainly, but I studied at the Academy of Visual Arts. Jakub [Dvorsky] studied at UMPRUM, which is more for graphic design.

The way we met was, I was in an art residence and a friend of mine brought me this game, the first Samorost, saying, “I didn’t know you were involved in this project. It’s really cool!” And I said, “It’s some kind of misunderstanding. I have nothing to do with this.” But there was my name on it.

The thing was, there was a second Tomas Dvorak. There’s a guy with the same name as me, and he was making the sound for Amanita at the time when Jakub was making the first Samorost in school. From that time onward, I got to know Amanita very well, especially because this story was repeated several more times with different people. In a few months, Jakub Dvorsky wrote me with an offer to join their team. It wasn't hard to convince me.

Is it a strange situation, the fact that there are now two Tomas Dvoraks at Amanita?

It makes for a lot of confusion, but it’s also kind of funny. Samorost 2 was a very small team—just four people. But there were two Tomas Dvoraks, and we are both in the same category of sound.

When you first met in person, were you afraid that maybe he would look just like you?

No, he looks different. Sometimes people think I’ve made some things that I didn’t, and that’s not fair to him. That’s the only problem.

When you are working with the other Amanita game designers, does this collaboration take place in the same location or is everything happening online?

I see them online. We’re not all from the same places: Jakub is from Brno, the second largest city in the Czech Republic. Adolph [Lachman], who is drawing, is from Pardubice. The second guy behind Amanita, [Vaclav] Blin, who makes the animations is from Prague. In this meeting three months ago, a lot of us saw each other for the first time.

A soundtrack preview has been released with six of your tracks. How did you go about choosing these songs?

I personally like to make songs that are more melancholy, full of deeper emotions. The music in the last part of the game is probably closest to this mood. It’s also more acoustical, including the piano. For that reason, I put a few songs from that part on the preview. Mostly in the soundtrack there are compositions, which are more playful. These two kinds of songs are on this preview.

“The Bottom” is situated in the narrative context of the very beginning of the game, where you are introduced to the robot. Was this the kind of plot element that you might take into consideration?

Yes. It’s important because you’re starting. It’s an introduction, before the city. The music is very abstract and ambient, including elements of found sounds. The other Tomas Dvorak was sampling sounds a lot, especially the metalic ones... so sometimes I would take stuff from there and used it as musical elements. I also borrowed a analogue synthesizer from my friend (a Roland Sh01) with a sound that’s very dirty and unstable. It doesn’t hold a tune. You can hear it on “Black Cap Brotherhood Theme” and the background of “Glasshouse with the Butterfly.”

The robot falls down to “the bottom,” so for me it could be taken as the real start. The song contains some of my basic ideas about the soundtrack. I am using steel strings, melodical gongs like those from Java. The Oriental feeling of the instruments I don’t see so much ethnically. It’s a feeling that’s not only not European, but out of this planet.

In the most general sense how would you say the process behind the music for Machinarium has differed from the previous Amanita game's score?

This time I could do more what I wanted. I didn’t have to worry about the length of the compositions, and they could be more complex. The project itself was much bigger. It made me think about a different approach to the soundtrack, one that was more musical. I was seeing how far I could go, being strong with the image, before reaching this barrier where it’s too concrete. Maybe after playing you could have more fun by listening to it independently.

The song “Game Boy” is on the soundtrack preview and it has a playful feel to it. Do you remember where it appears in Machinarium?

I was making this one for a scene in the game, but it was maybe the only one which was refused by Jakub. He said it’s too happy and doesn’t fit with the rest, which is actually true, so we put it on a radio in the game. You can tune the radio and listen to a few songs. Originally it was meant for the scene with Mr. Handagote, (this is actually a Japanese word). This is a name for a character that is repairing something in one of the scenes with a melting iron.

The new Handagote theme is also on the soundtrack preview. How did you change your approach to the song so that it would be more appropriate to the world of Machinarium?

I was trying to find out how far I could go with the melodical parts of the soundtrack. There’s always this tension between abstraction and melody. This is one that achieved a balance, so that you can listen to it independently, but also play it more times without it getting annoying. This was one of the hardest tasks on the soundtrack but in the end I think I succeed.

How would you describe "Clockwise Operetta"? Is it based on the genre of musical theater?

I don’t like operetta too much. The irony is there's a robot singing in this song. The sound is made by an old Apple speech synthesizer. Nowadays you have speech synthesizers that sound very clear, but this one is very old. I like it because it really has this robot feeling. I made up some imaginary text and gave it to the speech synthesizer to sing. The tune was then totally re-composed.

Another theme that inspired “Clockwise Operetta” is the sound of ticking clocks in the background. I don’t know if you know the soundtrack to A Clockwork Orange? I wanted it to have a little of that feeling, of not being taken seriously. It’s making fun a bit of classical operetta music. Instead of a real singer, it’s a robot that sings this tune with the piano and clarinet.

Where does “Clockwise Operetta” appear in the game?

There’s a part where there are some bad guys in the central hall of a house, where there are these clocks, and the robot has to deal with them. The scene is not dramatic, on the first look, but something not very good is happening.

The theme appears in different arrangements in some parts of the game. In the room right next to the one where “Clockwise Operetta” appears, there's a remix where I put the track through a Spectral Blurring effect (originally developed by Michael Norris). It’s like you are hearing the music in a dream or from a memory.

Are there these kinds of musical variations for other tracks?

For some of them. It’s an interesting problem in this game, because there are two sorts of arrangements. One is where the music appears later in a different context. For example, it’s connected to some character or development in the game. Second, there are some themes which are connected by location.

However, it doesn’t happen so often. For each of the scenes there are different tunes. Sometimes I would try it, but then the arranged music would not work for the scene. In that case, I would prefer to make something totally different.

The last song on the soundtrack preview is “The Castle.”

It’s also one of my favorites. It’s from the last part of the game and is a little sadder, because it’s in the house of the bad guys. The idea was to make music that would have a little bit of a castle feeling, but as dirty as everything else. You hear a harpsichord, a very typical instrument for this baroque castle music. There is double bass and violoncello, but dirtified and degraded with effects. The feeling is like you would hear it from some old record.

If you would look at my arrangement in Logic, which is software I use to make music, the arrangement does not have so many tracks, maybe five or six. Yet the song has different colors. While it might sound acoustical, it’s actually made from MIDI and the change is being made by different effects applied on the tracks over time.

The song is in two parts. One is more rhythmical, with these concrete instruments (the pizzicato from the string instruments). Later, in the second part, it's collapsed into more ambient stuff, but you can still hear the melody from the original part through the granular effects. It’s derived from the original tune, like maybe if you went to sleep and heard it from a dream. They’re like different faces of the same tune.

I wanted to make music that is a little bit surreal but still fit in with the general idea of this soundtrack. Compositionally this song is minimalistic, because there is a phrase that is repeating, while also developing into different chords. It’s still abstract, because the phrases and chord development is longer, more horizontal - like if the melody would be coded into harmonical progression.

The phrase is exposed in different interpretations through the sound. I like this kind of approach.

Have you had the chance to play the finished version of Machinarium?

Only in parts, mostly to get the idea of what is happening in the game. No one had time to enjoy it, especially during these crazy last few weeks. For me, the craziness ended maybe 14 days ago when I was finishing the mastering of the soundtrack. Now I would like to find some time to have a rest and enjoy playing it.

Are you proud of the way the game has turned out?

For me, it’s very special because the game is unique and visually it’s very close to my feelings. Also, I think Adolf was really important in making the game beautiful images, putting a lot of time into each image. He is able to take his painting experience and apply it to the digital world. Not all people with a painterly eye can use the computer.

I’m very happy with the general feeling of the game because I think it’s quite original in comparison with what is happening elsewhere in this field. For me it’s a little bit different because it’s not only about the gaming experience. As with Samorost, it’s very much about the atmosphere. It’s a bit like an interactive animated movie. You are in this world and you are having emotions and feelings connected with the game. Yeah, I’m happy with the results.

[Images courtesy of Amanita Design.]

Insomniac Gives Out Custom R&C Vinyl Toys To Employees

As a gift to its toiling employees who've just completed and shipped out Ratchet & Clank Future: A Crack in Time for PS3, Insomnia Games commissioned a set of custom Ratchet, Clank, and Qwark vinyl toys. To give you an idea of their sizes, the Qwark figure is a massive 15 inches wide!

Design house CreatureBox concepted and digitally sculpted the toys, while three-dimensional model company Gentle Giant produced the physical figures. Unfortunately, CreatureBox says it's unsure if it will ever release the set to the public. At least we can enjoy these photos (and hope for a greedy Insomniac employee to anonymously auction off the toys on eBay)!

[Via Super Punch]]

Point And Click: Trauma

Designed for a "mature audience", Trauma explores the dreams of a young woman who was injured in a car accident and is recovering in a hospital. Players learn about the woman's identity and how she's dealing with the loss of her parents through her different dreams. The point and click adventure game presents a series of photographs that players can zoom in, pan around, and investigate with different mouse gestures.

Developer Krystian Majewski, currently a student at Köln International School of Design, describes Trauma: "It builds upon this established formula by introducing a gesture-based interface, real-time 3D technology for dynamic level layouts, unique photographic visuals and a level design philosophy that focuses on creating a rich experience rather than an elaborate puzzle challenge."

Majewski hopes to make the Flash game available online for free before the end of 2009. You can read more about Trauma and sign-up for newsletter updates here.

[Via TIGForums]

Zeit²: New Trailer For Time-Traveling Shoot'em Up

Berlin-based developer Brightside Games released a new trailer for its IGF 2009 Student Finalist project Zeit². Billed as a shoot'em up with time travel elements (think Retro/Grade, except not in reverse and without the rhythm elements), Zeit² allows you to speed up your progression through stages or jump back in time to shoot alongside yourself.

Since the IGF 2009 build, Brightside has improved the horizontal shooter's graphics and added a "new special weapons system." The studio also promises six game modes (Arcade, ChapterScore Attack, Survival, Wave, Time, and Tactics), more than a dozen enemy types, and 10 bosses.

You can read more about Zeit² at Brightside's official site.

[Via IndieGames]

GameSetLinks: The Performance Of A Lifetime

[GameSetLinks is GameSetWatch's daily link round-up post, culling from hundreds of weblogs and outlets to compile the most interesting longform writing, links, and criticism on the art and culture of video games.]

What's this back here? Oh, some more links, that'll be it. This time, we start out with Stanford's Cabrinety Collection, which is still rooting around in its awesome game archives and scanning some of the most notable boxes and ephemera, this time settling on Avalon Hill video game nirvana.

Also in this set of links - Kiri Miller on the shared Rock Band experience, an interesting discussion on indie game pricing, the Tale Of Tales folks sit down with AreaCode's Frank Lantz, the people behind the Dingoo handheld chat about it, and more besides.

Duck duck goose:

An Abundance of Avalon-Hill | How They Got Game
'Today's focus is the cover art of Avalon-Hill's Microcomputer Games Division, though I promise the art and games are more intriguing than their publisher's bland name.'

A Day with the Score-Oriented: Rock Band Tournament Play Kiri Miller / Brown University |
'After a while, something about this cacophonous hotel conference room filled with fidgety teens playing plastic instruments began to feel very familiar to me. I realized that it reminded me of my All-State clarinet auditions in junior high and high school.'

The Perma-death interview. « Groping The Elephant
'Australian blogger Ben Abraham has been gaining attention for his decision to partake in an “iron man” play through of Far Cry 2, no reloading when his character dies the game is over.' Interview!

Games Aren't Numberss: A Defense of Indie Prices
'We consider a high price tag on an indie game as overpriced because it is overpriced. It's overpriced on a big budget game as well, but the publishers' marketing departments have ways of making us forget about that.'

'Randomness: Blight or Bane?' - Play This Thing!
Greg Costikyan's excellent GDC Austin talk, in text form.

Interview: Justin Barwick of Dingoo | Bytejacker
It's a bit of an emulation piracy-fest, this handheld, but interesting chat anyhow.

Tale of Tales » Interview with Frank Lantz
'We were pleasantly surprised by Frank Lantz’s brief presentation at the last GDC. Especially because we found ourselves agreeing with somebody who was saying the exact opposite of what we are always going on about.' Hurray!

Defcon :: View topic - PAX 2009
Very old, but just noting it because I mentioned in my Australian talk on indie games recently that Introversion's 'Last Of The Bedroom Programmers' tagline wasn't completely appropriate for them any more, and here they mention that they're retiring it, heh.

October 28, 2009

New Shoot'em Up Released For Atari Lynx

More than twenty years after the handheld was originally launched, the Atari Lynx is receiving a new and original title, Zaku, thanks to publisher Super Fighter Team, the same saints that recently localized and released Beggar Prince and Legend of Wukong for the Genesis/Mega Drive.

Developed by PenguiNet (using an official Lynx development kit), Zaku is an Air Zonk-inspired horizontal-scrolling shoot'em up filled with giant sprites of flying toasters and penguin-piloted crafts for you to blast out of the sky. The game runs at 60 frames per second and features 16 stages, multiple difficulty modes, and more than 20 music tracks.

Super Fighter Team claims that Zaku's game card is the first to be produced in "the authentic manufacturing style used by Atari while the Lynx was on the market" (not counting official game cards, of course). Recent Lynx fan-releases typically come on an exposed circuit board.

Zaku is priced at around $48-52 after shipping and handling, and each order includes the game card, a full-color, 31-page English and French instruction manual, and a cardstock game box with a slot to hold the game card. You can see screenshots of the game and place an order at Zaku's official site.

[Via Digital Press]

Skullpogo Bounces Onto App Store

If you're looking for a simple, cheap, and fun game to get you in the Halloween mood, try out Skullpogo, a new iPhone/iPod Touch release from Chevy Johnston (Beacon) and Justin Smith (Enviro-Bear).

This was actually released as a downloadable PC title last year, but the concept of bouncing off pigs, zombies, and bats was "remade and souped up" for the App Store debut, adding tilt controls, new power-ups and enemies, online high scores, and more.

Johnston describes Skullpogo as "the ultimate coffee-break game":

"It is all about the gameplay, and thus offers no cinematics, no flashy cutscenes, no RPG elements, and no lengthy loading screens. When they've got 100 Apps on their iPhone, I want people to choose Skullpogo because it's: 1) Quick to start up. One-press and you're playing! 2) Fun in premise, easy to play, yet skillful to master. And 3) I can't think of an excuse not to want to battle hordes of the undead with nothing but a pogo stick."

You can grab Skullpogo from the App Store now for $1.99.

Interview: Spore's Chaim Gingold Communes With Earth Dragon

For Chaim Gingold, working closely with renowned game designer Will Wright on the evolutionary god game Spore was just another step in the evolution of his own identity as a game creator.

Gingold was the lead for Spore's integral Creature Creator editor, which allowed users to bring virtual beings to life. But his current project, the independently-developed iPhone game Earth Dragon, is less about creating, and more about destroying, albeit in a fun, cute way.

Here, Gingold tells us how these days, the destructive capacity of big mythical monsters is completely underutilized in video games, what his work on the high-profile Spore taught him about creating an iPhone game virtually on his own, and why he thinks with Earth Dragon, it's best to "make Donkey Kong, not Super Mario Bros:

After you left Spore, what did you end up doing, and why did you decide to start making independent games?

After I left Spore, I traveled around the world for a bit, ate a bunch of Masala Dosas, and then returned to Berkeley to start making games. Why did I decide to go the independent route? If you're at a big publisher the chance that you get to make a game you want to make is basically zero. And even if you are Will Wright, you still have to fight hard.

When I left, there was some discussion of me starting my own project, but I realized two things. First, I don't have Will's Jedi powers of persuasion, so forget it. Whatever I made would probably get thrown way off course. And second, why should I make something for someone else? There are designers that require a large development team to make things, but since I can code, I don't need that. This kind of thinking does have some negative side effects, though...

I spent about a year writing prototypes for a PC game whose working title is PK. Earth Dragon actually began life as a prototype for PK, and I eventually prototyped Earth Dragon, and wrote its level editor, inside of PK. PK generated a ton of interesting ideas and prototypes. The architecture editor I developed, for example, is light years more advanced than Spore's Building Creator.

The iPhone felt like the solution to this problem I had, where after working for over four years on Spore, which was a great education for me, getting to write so many prototypes, design the editors, and work closely with Will Wright, I had no sense of proportion for what kind of PC game I could actually pull off. I got to the point where if I was at a big publisher, you'd start to throw people onto my dev team, and I looked around, and they didn't magically show up.

I turned around, and realized that the cavalry wasn't coming, like it did on Spore, and I took a step back and reminded myself that I'm doing an indie game. I am the cavalry, and I'm not smarter than Ron Carmel and Kyle Gabler put together - what am I doing?

My job now with PK is to figure out which parts of it are most interesting to me, and how I can build a marketable product out of its core ideas and discoveries. That was a difficult realization to make, and I realized that I probably needed to take a creative break and work on some smaller stuff. With the iPhone it's a lot harder to go off the rails in terms of scope because of the platform's constraints, which at the time I thought would be the perfect antidote for me.

Why iPhone? What attracted you to it?

As a player, I've bought and played more iPhone games in the past year than games for all other platforms combined for the past three years. I don't want to spend $50 on a game that takes 40 hours of my life. Sure, at one point I happily did that, but games just don't fit into my life that way anymore. And they feel rather repetitive to me. Part of what's going on here is that what we call casual gaming is basically taking over the world. I will spend $15 on World of Goo for a handful of non-stop hours of fun I've never had before.

I don't want to play Final Fantasy or Legend of Zelda yet again. I'll happily spend $3 on a game that provides an hour or two of novel, fun, experience. And these games, and the whole indie gaming world, are providing far more interesting gaming experiences than I can get anywhere else. iPhone games, and the indie scene, are becoming the creative center of gravity of the gaming world, and I'm excited to be part of it. It feels like a whole new golden era of video games.

The shorter forms and lower price points on the iPhone -- and new distribution channels in general -- are also really interesting -- they fit into my life better, and they also seem to encourage more experimentation on the part of developers. With games we have our epic novels, Lord of the Rings, that sort of thing, but we don't have our short stories, or our New Yorker length fiction pieces. We're starting to see what that might mean. Jason Rohrer's Passage, for example, is like a lovely poem. Adam Saltsman's Canabalt is like a short piece from Heavy Metal. These short forms excite me as a developer and a player.

As an interactive designer, the iPhone is like crack. It's like being a kid, and walking into some otherworld fantasy toy store. The iPhone hardware is a marvelous playground for designers. Ever since seeing Jeff Han's YouTube video of his multitouch setup and the demo software written by a bunch of NYU grad students, and playing with it in person, I've had a burning desire to write multitouch software. I'm a total interface nerd.

And with the iPhone you don't just have multitouch, you have an accelerometer, network capability, location awareness, it's portable, a camera, and a decent GPU. What do you do this thing? I'm really excited about where this medium is going, and the possibilities it presents. With consoles and PC's it's like ok, great, more triangles and CPU, big deal. With the iPhone you get something totally different, plus less triangles and CPU power, which is a creatively refreshing constraint.

Also, I love how easy it is to playtest with the thing. What motivates me as a designer, and creative person, is the experience of making things -- solving problems, figuring things out -- and creating experiences for other people. I love watching people play not just my software, but play with anything. It's endlessly fascinating to me. I'll even playtest other people's games and software on my unsuspecting friends, to see how they react and why.

Now, as an interactive designer, playtesting is pretty key to my job. Ask anybody who is still playing Spore what they do with the game, and chances are they spend at least half of their time making stuff in the game's creative tools. My team got something like four years to playtest and develop the editors, and I firmly believe that all that playtesting is what got us to such a fluid, easy to pickup, and fun to interact with set of editors. And all that observation and iteration made us smarter designers.

Working alone, it's surprising how hard it is to drag people back to your office to playtest your game, so you can figure out if you're headed in the right direction or not. But the iPhone is a whole different story. You can playtest as often as you have your phone on you -- which is almost always. That is just amazing to me. I can indulge my playtesting addiction as often as I want.

The ease of distribution with the iPhone is also a big plus. Apple really nailed it. And the development tools are easy to get, and super friendly. Coming back to the question of scope, the iPhone also encourages developers to think small, and grow successful ideas, which I thought would be good for me. I had an "a-ha" moment listening to Neil Young talk about Rolando at GDC last year, that this is one of the most profound transformations digital distribution is bringing to games. My mantra while developing Earth Dragon has been "Make Donkey Kong, not Super Mario Bros." Think small! If people like it, you still care, you can pile in the other million ideas you have later.

Tell us about Earth Dragon and why it differentiates itself from other titles. What gameplay mechanisms are you particularly proud of in the game?

I'm really happy with how juicy the game is, and how vivid, funny, and spatter-ful it is. People love it, and they just laugh and laugh. You've got burning cows, exploding people, castles crashing down onto archers -- it's just a riot of playful violence. I'm really happy with the tone of playful intensity Earth Dragon's violence has.

Earth Dragon has the most intense level of cartoon violence Apple allows. And Apple has come back to us and said, fine, but people are going to have to be at least 12 years old to play this game. Basically, Earth Dragon is so intense that you if you're less than 12, forget about it, you should go play a different game. It's a good thing, too, that the iPhone and iPod touch screens are made of glass, because they protect you from the spray of blood and other matter that is generated while playing. The glass shields you from the game's juicyness, and is easy to wipe down after you're done playing. I wouldn't make this kind of game on any other platform -- it would just be too messy and awkward, not to mention unsafe.

I'm really happy with Earth Dragon's touch and feel. I had to get the flying feeling really good on the iPhone, and be easy to learn in play tests, before I committed to continued development. One of the exciting things about designing for this platform is that everyone is basically inventing the platform's game conventions together. It's an evolutionary explosion of design. How you control characters, whether you should even be controlling individual avatars like we do on consoles, how you perform actions, appropriate length and difficulty, the types of games that make sense, and so on.

It's an exciting place to be designing things. In Earth Dragon, I wanted to get a feeling of flapping and flying around -- you flap the phone to flap the dragon's wings and go up, and tilt side to side to glide around, and it feels really nice, and you have this slightly inexact feeling of control, but very satisfying feeling of flying and swooping around the screen. And that leaves touching the screen for smashing things, breathing fire, and diving onto people who probably aren't expecting a dragon to come screaming down from the sky, straight at them. It's a control scheme that just wouldn't be possible on any other platform.

Earth Dragon's theme is pretty unique, not just for the iPhone, but for games as a whole. Earth Dragon is basically Rampage with dragons and castles, but specifically designed for the iPhone. You're a super cute and super powerful dragon who takes on entire castles, and levels them. No survivors. I wish we had more giant monster games - it seems like a totally underrepresented video game genre to me. Being really big and powerful, and smashing your way through cities is really fun, not to mention therapeutic.

Katamari is the most recent game I played that really hits this feeling. Apocalyptic destruction in these types of games requires a certain playful or ironic tone that Katamari, Rampage, and Earth Dragon all have. Otherwise it can just feel kind of sadistic, which is how a lot of violent games can feel to me, like Grand Theft Auto or Gears of War. Games with a lot of graphic violence turn me off.

Make it playful enough and people will enjoy inflicting massive destruction while laughing their heads off. They're laughing at their own violence, thrilled at their own destructive powers, while feeling kind of sorry and silly at the same time. It makes a great demo -- setting people and cows on fire, and then smashing them to bits. You can kidnap the princess, or just set her on fire. Either way, it's funny. It's totally the kind of game you want to show off to your friends.

The castle smashing levels have a compulsive quality to them I'm really proud of. Jane Ng, the artist I collaborated with on this project, told me that she would often get sucked into playing the game while she was trying to test something. I've had to tear away people from the game, including myself, which is a nice feeling. Even though the game is kind of short, I'm super happy with the game's pacing, the rhythm with which things happen and the game unfolds.

If the game is received well enough I'd like to make a procedurally generated infinite play mode, where the levels just kind of regenerate underneath you, kind of like how Pac-Man CE on the Xbox 360 has this endlessly unfolding and compulsive play quality. That kind of pacing can be dangerous -- we might never be able to finish making it! I also want to release the castle editor I made for my Mac, which is a surprising amount of fun, on the iPhone. If the game sells well enough I'll totally be motivated to do that.

Are you worried about standing apart from other titles in the iPhone store, since it's so crowded?

Yes, I am worried about standing out in the super crowded App store. I do have a kind of naive belief that as a designer I bring something unique to the table that other people won't, and hopefully there are enough people out there who want to play with my weird software that I can make a living making the things I want to make. This dovetails nicely with my other naive belief that despite the volume of stuff on the App store, people will tell their friends about software they like, and it will find its way to appreciate, paying customers. I guess I'll find out shortly.

I'm not trying to win the iPhone lottery and get into the top 10 or something -- for me, it's about being able to make a living doing what I love.

What's your longer-term plan? To keep making iPhone games, or try other things?

I have about a gajillion ideas that the iPhone is the perfect platform for, and I'm really digging the shorter games that it makes possible. I have a ton of ideas sitting in my personal prototype vault that I've never been able to figure out what to do with, but I think many of them would work nicely on the iPhone, which is exciting to me. And I'll probably be able to work a lot faster now that I've got my development bearings here.

I do want to return to PK, the bigger PC game I was prototyping - since I'm really in love with a lot of the prototypes and ideas that it generated. I've also realized that one of the things I love about designing in a team environment is the quality of teaching and mentorship it has, and I'd really like to devote time to teaching one day. I'd also like to get some hens, because with hens you can get fresh eggs from your backyard, and they eat your kitchen scraps.

The Week In Game Criticism: Cursed, Pets, Less Than Charted

[GameSetWatch is partnering with game criticism site Critical Distance's Ben Abraham to present a weekly 'This Week In Game Criticism' column, rounding up inspiring writing about the art and design of video games from commentators worldwide. This week: discussions on Cursed Mountain, Neopets, and humorous riffs on Uncharted 2.]

Let's start this week with Michael Clarkson, who talked about a Wii game that no one else seems to have even heard about, let alone given the same level of thoughtful critique. In ‘Touch The Void’ Clarkson discusses Cursed Mountain, saying,

"In its best moments…Cursed Mountain truly inhabits the persona of a man whose entire existence relies on his understanding of space and distance, whose whole world is the howling wind and the biting cold and the lonely rock of a mountain that must be ascended, even if it means brushing up against the realm of the dead."

If there were a “blog of the year” award, I’d be putting forward Robin Burkinshaw’s ‘Alice and Kev’ for it. The story of two homeless Sims in The Sims 3 finished up this week and, while the story on the blog is done, you can download that character of Alice and continue it on for yourself. A fitting way to end and one that embraces the potential multiplicity of stories in video games.

The Experience Points blog posted a sequel to an earlier post about game endings with ‘Dead Ends Part 2’.

Chris Dahlen’s Edge column turned to the topic of Modern Warfare 2’s Capital Wasteland-esque setting, as revealed in one of the more recent videos of the game. Quoth Dahlen; “this summer, small clutches of angry Americans fantasized about shooting up the city for real” and they should have just played Fallout 3 or waited for MW2. Talk like this always reminds me of this song by The Herd. Dahlen also wrote about the Sonic The Hedgehog comic book in a more recent, delightfully-tangential-to-gaming column.

Do you fancy an interview with some of independent gaming’s best composers? This GameSetWatch interview is for you, then.

Lewis Denby talked about ‘How possibly to do good games journalism maybe’, and I read his four part article. Which was good. In it, Denby seems to suggest that games journalists’ opt out of “reviews” for more in-depth features and while it’s not a new suggestion, he certainly makes a better case for it here than I’ve seen elsewhere.

Michael Clarkson talks about the experience of writing the recent Critical Compilation for GTA IV, and goes into some detail about the process. You might not think it, but applying organisation and classification to even something as seemingly straightforward as video game articles is fraught with danger. It’s all too easy to have one’s efforts seen as a colonizing incursion or read as an attempt to form ‘the last word’ on a subject. Clearly, we’re still learning and missteps will be made, but I for one value Clarkson’s efforts in this area regardless, as well as our readers' patience and assistance.

In what is my pick for this week's (or rather, last week's) must read, David Carlton thinks about why games categorize genre according to technical issues such as ‘first person’ or ‘third person’, whereas most other media use a content approach – i.e. sci-fi is often about exploring the themes of technology, humanity, and fear of the unknown. He uses Justin Keverne’s comments in the Brainy Gamer Summer Confab volume 3 as a springboard. The money quote comes when he looks at The Beatles: Rock Band as a non-fiction video game:

"The picture that I’m getting from this is a game that, on a non-mechanics genre level, is profoundly different from the vast majority of video games. At its core, the Beatles game is a non-fiction game in the sense that most video games are fiction games"

I find his suggestion terribly exciting, and the prototype of a whole new way of thinking about games entirely. Like I said, must read.

A good friend of mine is in the middle of a final year university project, and she’s writing about the online game / sim / casual game Neopets. Her thesis is that many people of her generation (that is, roughly 18-25 year olds) got their first experience with online worlds and online gaming via titles like Neopets, and I think she might be right. She talks about the Neopets ‘Battledome’ in an early post, and more recently about “The Gambling Controversy” that erupted in the Australian media in the early 00’s about a certain feature of Neopets. Mary’s a fantastically good writer too, so even if you never played or heard about Neopets, it’s worth a look.

Inspired by this rather insipid article from IGN Australia, Tracey Lien offers some much better tips on how to encourage girls to be more interested in video games. Her biggest and best Pro Tip: “Stop being so patronizing”.

Ian Bogost talked about Kickstarter’s relationship with art as a commodity. It’s a bit tangential, but it’s entertaining and insightful and I’ve wondered since its inception if it will be able to sustain its donation/support model for the long haul. Incidentally, if you’re interested, Borut Pfeifer talks about some of the stats for projects that succeed on Kickstarter. Since we’re on a bit of bender for articles about the website, let’s also mention that Deirdra Kiai has started a project for her new indie game ‘Life Flashes By’ this week.

Next up, Jason Nelson released a new weird art game that looks and plays exactly like all his other weird games the other week. It’s a bit of a pity really, as once is genius, twice is prodigious, but three near-identical works is stretching the bounds. Or that’s how I kind of feel about the new game, anyway.

Elsewhere, Jesper Juul talks about ‘objectionable content’ in games, saying:

"…video games are still being hampered by the strange idea that they, somehow, should be the only clean and non-objectionable art form in existence. This shows up in Apple’s rejections. It shows up in the fact that the platform holders continue to decide what is published. It shows up in the fact that Australia does not have a mature rating for video games.

And yes, I do think it is holding video games back, as an art form."

This is something I’ve tried to raise before in recent columns, but was misunderstood about at the time. I’m just glad that someone has gotten the point out there eventually.

An article by Steven Totilo on Kotaku investigates the Xbox massage toys that are predictable cash-cows of the XBLA Indie Games. It’s like a case study in backlash.

Matthew Kaplan wrote this week about what he sees as Namco’s ’irresponsible marketing‘ of the latest Tekken game.
He says:

"What IS rather dangerous about the ad…is that it places just as much emphasis on those real-life fighters who, with brutal honesty, declare that their draw to fighting has to do with being a “bully” and the pleasures of destroying another human being as they do those who have seemingly honorable intentions…"

Which, having not seen the advertisement in question makes me go, ‘Hmm’.

I have this theory that in a production environment where a team is big enough not to know everyone’s name, the end product will probably only ever be as good as the lowest common denominator. I mention this because a feature on the Lesbian Gamers site picks up on the juvenile depiction of Commander Dare in Halo 3: ODST. Some of the examples they highlight are enough to make me cringe. In summary:

"Commander Dare might as well be Doris Day from pretty much any Doris Day movie. Slap Helfer in a gingham apron, lipstick and have her waiting on her man Buck with dinner and a smile at 6pm. That’s about all the power Dare has in game, so why dress her up in armor and pretend this is anything other than what it is, a ploy and a bad one at that."

Someone linked to this short story on the UK’s The Register website, and I found it highly entertaining. The connection to gaming? Well, it’s in there somewhere.

This week, Lyndon Warren expresses that he thinks “Atton might be gay”. He is talking about Knights Of The Old Republic II, of course, and how a fan-made reconstruction of some of the content omitted from the retail version of the game adds some very real evidence that he may be right.

Lastly, Hardcasual skewers the “Nice guy who murders people” trope in their piece on Uncharted 2. Seriously – why do games still do this?

[Critical Distance (RSS/Twitter) was set up in April 2009 "to serve the burgeoning field of games criticism by highlighting the excellent writing being produced by video game bloggers and journalists".]

Man Blames Psychosis, Silent Hill For Blacking Out Hospital

A 35-year-old man identified only as "Jan H." says he thought he was playing Silent Hill when he shut off the electricity at Sophia Hospital in the Netherlands last April.

Though no one was severely harmed during the 45-minute blackout, elevators were stuck and workers at the hospital had to manually respirate patients in the intensive care unit.

In a court trial that ended last Tuesday and found him not guilty as he had "no idea of the true consequences of his deeds", Jan H. claimed he suffered a psychosis when he infiltrated the hospital's basement.

According to a report from Dutch tabloid De Talagraaf translated by 24 Oranges, he believed he could acquire a toothbrush by pulling the levers and switches that controlled the building's electricity.

As strange as it sounds, this seems in line with Silent Hill's goofy puzzles, like stealing a pair of tongs from a bakery so you can reach an out-of-reach key in another room, then using those keys to get into a book store (Silent Hill 3). And just to get this out there, Konami, if this is some sort of twisted promotion for Silent Hill: Shattered Memories, that is so not cool.

[Via Letselliot]

Takahashi Designing Children's Playground In Nottingham

Two years after Keita Takahashi initially revealed he was commissioned to design a playground, details are finally coming out on the Kamatari Damacy creator's fantasy project. UK gaming event GameCity and the Nottingham City Council announced that Takahashi will design a children's playground for Nottingham City at Woodthorpe Grange Park.

"We're delighted to have Takahashi-san on board and very much looking forward to working with him on this unique collaboration," says Councillor David Trimble (Portfolio Holder for Leisure, Culture & Customers). GameCity and the NCC noted that the park site's "natural rolling hills" could potentially add to the playground's design and enable "interesting and playful landscapes."

To develop ideas for the playground, Takahashi is spending a month in Nottingham consulting with school children, local communities, and the NCC Landscape Architect. Who knows, maybe he'll come across a local gamer that demands a super-long Noby Noby Boy slide.

When asked to describe his ideal playground in May 2006, the Namco Bandai designer commented, "One that's soft, and with lots of big blocky shapes, and a place [kids] can't really get hurt - very colorful - where kids can roll around and be free. But it's probably okay if they occasionally get hurt too."

Metanet Offers 'Coming Soon' Pages For Office Yeti, Robotology

One of the projects I regretfully neglected to mention in yesterday's post about Ontario funding locally developed games was Office Yeti. Metanet Software already announced the title a month ago, but its concept warrants repeating here:

"Office Yeti, which we’ve been prototyping lately, is a single-player action/puzzle/simulation game in which players assume control of a yeti who works in an office.

But, you may be asking, how did HR come to inadvertently hire a yeti? Why a Yeti, and not a Sasquatch? Is this all some sort of hilarious inside joke?

For now these questions will all remain unanswered; the important point is that you’re a tiny little character in a tiny little simulated office building full of even tinier characters and objects, all of which are going about their business more or less oblivious to the fact that you are, to put it bluntly, non-human. Just like in an office in real life!"

The N+ developer recently added a teaser image (above) to Office Yeti's official site, which puts a bright tie on the hairy creature and sends him into the big city. The Yeti seems ready for his office job... But is his office job ready for a Yeti?

The other Metanet project in the works, Robotology (which I brought up a few weeks ago), also received a new teaser image showing the Department of Robotology's coat of arms -- it looks like a group of mechs that attach to form a Voltron-esque robot and fight giant space monsters. I assume the game's nothing like that, but one can dream.

GameSetLinks: Fashionable Petz Rule The Roost

[GameSetLinks is GameSetWatch's daily link round-up post, culling from hundreds of weblogs and outlets to compile the most interesting longform writing, links, and criticism on the art and culture of video games.]

Continuing a month or so's round-up of neat links (and on that front, we're going to have a new weekly column starting tomorrow that'll help defray things when GameSetLinks goes on hiatus at times!), here's some pieces you might have missed, starting with a Petz developer discussing the making of a fashionable franchise addition.

Also in here - a British childhood with a friend's influential dad, TV game oddness, physics-based Flash games, and a number of other esoterically compiled links that may or may not bring you joy. Hopefully the former.

Pen knife apple:

Expertologist » Dogz and Catz Living Together, Mass Hysteria
Wow, one of the creators of Petz Fashion: Dogz and Catz holds forth. And you know what - care goes into a game like this, too.

Elder Game: MMO game development » The Tragic Story of The Cussing NPCs
'The following story is an imagining of what may have led to the sad tale of the cussing NPCs in Champions Online. It is all conjecture based on past experiences with very similar issues.'

A Youth Well Wasted / Chapter Three « Collect
Ah, childhood nirvana: 'My best friend’s Dad was the Vice President of Sega Europe. Thanks to this I was afforded certain perks.'

CHEGheads Blog » POW! – The Original Online Game? - National Center for the History of Electronic Games
Wow, interesting TV game info here... and not the kind of TV game you're thinking about.

You've got to have faith | Dopass.com
'So, for the management teams of our industry, I have a question: How can we prove to you we've learned from our mistakes if you never allow us to be in the position to make those mistakes again?'

Byteside » Blog Archive » Margaret Pomeranz on R18+
Hey, a film critic (a prominent Australian one, apparently) willing to talk about games (and ratings) cogently. How nice, Mr. Ebert. (Via Critical Distance.)

Top 5 Physics-Based Flash Games | Bytejacker
I know, Top 5s, but Bytejacker are smart indie folks (watch their video show!) and I hadn't played most of these neat physics games.

A Tree Falling in the Forest: Apple's Attempt to Reinvent the Game Business: Selling the Razors Edition
'The iPod is a great platform and the technology is great, but when we consider our leverage on the existing platforms relative to where the music business sits today, I think it is an offer we can refuse.'

October 27, 2009

European Innovative Games Award 2009 Nominations Announced

Organizers for the 2009 European Innovative Games Award (EIGA) ceremony -- taking place on November 6th in Frankfurt -- announced its short list of award candidates picked out by the EIGA jury from more than 70 submissions.

EIGA 2009's categories include Innovative Technology, Innovative Games Design, and Innovative Application Methods and Environments, and the event will also give out three sponsorship awards valued at €5,000 each ($7,407).

In the Innovative Technology category, the nominees are the Nintendo DSi system by Nintendo of Europe, the Icon digital playground equipment by Kompan, the CryEngine 3 game engine by Crytek, and the Positive Gaming iDANCE exergaming setup by Positive Gaming AB.

The full list of the nominated games, along with links to find more information about them, follows:

Innovative Games Design

Innovative Application Methods and Environments

Sponsorship Nominees

You can find more information on the 2009 European Innovative Games Award ceremony, including nomination criteria and slated speakers, at the event's official site.

Big Buck Hunter Pro iPhone Game Comes With Arcade Finder

Though Super Happy Fun Fun's iPhone port for Big Buck Hunter Pro doesn't include the green and orange shotguns the hunting series is known for at movie theatre arcade corners across the country, this touchscreen-based adaptation does include a feature that lets you find a nearby machine with those plastic peripherals.

The iPhone game uses the handheld's GPS capabilities to locate nearby Big Buck Hunter Pro Online units, which Arcade Heroes says can potentially lead you to a full-sized coin-op version. You can also track both your iPhone and arcade leaderboard online standings with the app.

Below, you can see gameplay footage of Big Buck Hunter Pro for iPhone, as well as previews of mini-games and the Arcade Game Finder:

COLUMN: Battle Klaxon: Life Found in The Void

VoidTop.jpg['Battle Klaxon' is a bi-weekly GameSetWatch-exclusive column where traveling games journalist Quintin Smith fights to win a bit of glory for the beautiful, brave but overlooked games that people are missing in their lives. This week: fascinating Russian PC survival horror game The Void.]

Czech puzzler Machinarium looks to be the PC's solitary darling for October, which is a crime and a sham and a shame and other such nastiness. Let me tell you about The Void, another Eastern European PC game that's out this week in the UK, a game that's stranger, more interesting and more ambitious.

'How strange?'

Well, you play a mute, incorporeal soul trapped between life and death in a land which looks like a nuclear bomb test site redesigned by a feng shui master, and your only means of interacting with the world is the removal and application of colour from a first person perspective.

'Oh... that's... and is it good?'

Yes it's good! I wouldn't be writing about it in this column if it wasn't good! The Void is just as deserving of a fat slice of your time and money as Machinarium, perhaps even more so if you believe a game which tries to realise the potential of our hobby through ideas is more worth supporting than an exquisite construct of familiar, fading genres.

It's easy to use the word 'familiar' as a snub after playing The Void because of just how comfortably The Void sits in the unknown, which is a reference to more than its life-after-death setting. You can almost see the Russian developers [who also created the acclaimed PC title Pathologic] grinning out from the shadows like a whole squadron of Cheshire Cats, delighting in your discovery of all the bleak imagery and weird ideas they've brought to (the after)life.

At its (unbeating) heart though, The Void is a game about high tension resource management. So let's talk about that first.

Progressing through the grim world of The Void with the aim of finding a means to re-unite yourself with the body and memories you supposedly left behind is a straightforward, if peculiar process. You do it with a currency of colour. Each area of the game contains a somnolent female character known as a Sister, and after you've gifted her with enough colour she'll let you through. There are also a number of horrifically warped men known as Brothers wandering around, beings so ugly they look like someone was playing Pipemania with their body parts in the womb. Badly.

As with real life big brothers, your goal with the Brothers is to do what they say while figuring out how to subvert them. That means following orders, expending colour somewhere in a certain way, until enough you're strong enough to tussle with them, which you do by flinging even more colour in their direction. The final use of colour is in travelling and maintaining your soul's sentience- meaning colour is also your vehicle, your food and your health.

This actually resembles Ice-Pick's previous project Pathologic, where you played a healer in a plague-ridden town. In Pathologic completing the story missions where you researched the plague or prevented anarchy from breaking out was relatively easy. The challenge came from keeping your character fed, watered, liked, protected, healthy, and well-rested while you ran about doing your good work, and inevitably three hours into the game you were controlling a sickly man with bloodshot eyes who sold razorblades to children so he could afford more coffee and maybe repair his galoshes with the change.

Likewise, The Void is a game where resources are all you ever need and the challenge is in learning how to claw them out of the world and in trying and failing to keep your grip on what little you have. So, one of your first lessons in The Void is that those skittish egg-shaped creatures can be lured over if you create a pool of colour, allowing you to snatch colour out of them while they feed.

Soon you find out that colour hidden in the ground can be excavated by brute force, and later you learn to lure it out by song. You also learn that different shades of colour have different effects both when you store them in your body and when you expend them, you learn certain colours are poisonous to certain Sisters, and you learn new ways to use colour that have you returning to old chambers in an almost Metroid stylee.

I guess comparisons with such joyful franchises as Metroid aren't wholly unwarranted. While The Void is fundamentally a difficult and daunting game which so often crosses over from being creepy into being downright scary, it does have the capacity to charm you due to it creating such a tangible space for you to explore and exist in. The idea of charm might seem ridiculous when you first start playing the game and are chewing over such friendly pieces of advice as "Until you have learned the Commandments, and followed and seen the Revelation, you are an enemy," but the subtle emotional attachment does begin, even if it's not always a positive one.

It's largely down to this ecosystem of colour you have to study. Through necessity you learn the movements of predators and how to tend whole gardens of colour, and as you master your surroundings you might never feel comfortable, but you do start to feel at home. You could compare it to living in a dodgy area of town. And while the game's inhabitants never become any less monstrous or stony, a small cast of characters means you do get to know everybody's quirks and mad personalities.

The Brother known as Mantid never stops being appalling- I mean, he's a slim man who moves about like an insect on the spears he's skewered by. But you do get to know him. You get to know all of your enemies, and your undead soul dreams of their destruction. Which is an interesting enough idea in itself- the bosses in the game, The Brothers, who are your ultimate enemies, are the same people giving you your quests and warnings. Quite aside from the neat idea of being able to turn on them at any moment, when you do you it's a more interesting fight simply because these are characters you've gotten to know.

Also of note is how The Void's unique setting affects the role-playing you do. Rich McCormick, who was reviewing it for PC Gamer UK, said to me that "as you're a soul in an alien land rather than an analog of yourself on SCI-FI ISLAND or something, you perhaps play closer to your actual thought processes." Meaning the game forces you to make decisions and form opinions with none of the bias other games would impose on your through your character, or the setting, or the tone of the game. There is simply you, and this new world you must feel out piece by piece.

He went on: "it's at such a disconnect with the typical good/neutral/evil decision making dichotomy in a role-playing game, but it's perhaps the purest role-playing game I've played. You're forced to duck when infinitely more powerful forces float overhead, but you can flip them off when they turn around, or act as their little enforcer, or simply bumble around as you (perhaps) would."

Probably the lesson to take away from The Void is how powerful an experience can become by taking a step back and removing elements of game design which almost seem set in stone now. For example, forcing the player to make moral decisions without a character to pass their sins onto. Making them survive in a world without telling them the rules. Telling them there's a time limit, but not how long it is. Letting them stick their nose into areas long before they're "meant" to.

Through all of this The Void becomes a game about fumbling in the dark with both hands in front of you, with you routinely drawing them back to find one covered in an unidentifiable, damp substance. It's a design ethos that makes for a game which is as harsh and awkward as it is fascinating and worth playing.

I was reading a review of Borderlands this morning where it was discussed how neither the reviewer nor his friends bothered reading any of the quest-giver text, instead relying on nothing but objectives and waypoints. They couldn't see any point in reading this stuff, and certainly didn't get any pleasure from it.

Conversely, The Void is a game where all players will find themselves opening their journal and re-reading what's been said to them in instruction, advice or warning, simply because the game cannot be trusted to guide you or catch you if you fall. This need to read over what's been said strengthens immersion because it's no longer a case of you and the game, it's a case of you and what the characters have said, of you and the world.

Of you and the void. Of you, alone.

The Void -- which is available in Russia, Poland and Germany under names including Turgor and Tension -- is currently retailing for £20 from several fine UK-based retailers. If you're not in the UK, then ordering from the British publisher will get a PC physical version, according to recent forum posts. No confirmation on a digital release just yet.

[Quinns is a freelance journalist who has fun working for Eurogamer,, contributing to Rock Paper Shotgun and reading Action Button. You can currently find him in the damp Irish city of Galway or at gmail dot com.]

Best of FingerGaming: From Rock Band to Earthworm Jim

[We round up the week's top news and reviews from sister iPhone site FingerGaming, as written by editor in chief Danny Cowan and dealing with the most important new titles and happenings for Apple's handheld gaming system and phone.]

This week, FingerGaming covers recent releases like EA's music simulation title Rock Band, the Volkswagen-sponsored Real Racing GTI, and Gameloft's remake of the 16-bit platformer classic Earthworm Jim.

Here are the top stories from the last seven days:

- EA Releases Rock Band for iPhone
"iPhone Rock Band trades in the instrument-shaped peripherals of its console versions for a touch-based interface that allows a solo player to perform the guitar, bass, drums, or vocals portions of each song. The game also includes a four-person multiplayer mode."

- Gameloft’s Remake of Earthworm Jim Premieres in App Store
"Gameloft’s iPhone adaptation of Earthworm Jim features redrawn graphics, remastered sound (including rerecorded voice acting for Jim), and a modified control scheme that uses touch-based controls for the platforming levels and tilt controls for the wormhole bonus stages."

- Top-Grossing Game Apps: Rock Band Takes Top Chart Spot in Premiere Week
"Last week’s chart leader Tap Tap Revenge 3 is down to fifth place this week, with rival rhythm title Rock Band taking the top chart position in its first week of release."

- Capcom Reveals Ghosts ‘N Goblins: Gold Knights for iPhone
"Capcom has unveiled the latest sequel in its Ghosts ‘N Goblins franchise -- and it’s an iPhone exclusive. Ghosts ‘N Goblins: Gold Knights will be the first title in the series to offer two playable characters, and will feature all-new levels and enemies not seen in previous games."

- Soul Trapper Author Inks Three-Book Publishing Deal
"Soul Trapper’s future may remain uncertain on the iPhone, but Publishers Weekly reports that franchise author F.J. Lennon has signed a deal with Simon & Schuster to produce a series of three novels based on the Soul Trapper universe."

- Top Free Game App Downloads for the Week
"The color-matching puzzler Line Up Free finishes as the App Store’s most popular free game download for the second week in a row. Fling Free moves up a spot to finish second, while a free points promotion lands Storm8’s Kingdoms Live at third place."

- Volkswagen Launches New 2010 GTI Through Firemint’s Real Racing
"Firemint’s Real Racing GTI is more than just a free Lite demo of the developer’s popular sim-styled racer Real Racing. Car manufacturer Volkswagen is sponsoring its release, and the app marks the official introduction of the upcoming 2010 GTI automobile brand."

- iPhone Oddities: Friskies’ Wonderland Quest
"The iPhone's library is host to good games, bad games, and a select few oddities that could never be released on any other platform. Example: Wonderland Quest, a hidden-object game published by Friskies. Yes. The cat food brand."

- Top-Selling Paid Game Apps for the Week
"Skee-Ball moves up to take second place in today’s results, while Tap Tap Revenge 3 tops the charts for the second week running. Backbreaker Football also moves up a spot in this week’s chart, leaving Cartoon Wars at fourth place."

- Com2uS Releases Online Multiplayer Sniper Sim Sniper vs. Sniper Online
"Com2uS injects new life into the sniper genre with the release of Sniper vs. Sniper Online, adding a new element of suspense to a standard gameplay formula with an online multiplayer mode and in-game voice chat."

Left 4 Dead 2 Ad Teaches You How To Not Survive A Zombie Attack

Yes, more zombie news you can use! Electronic Arts and Valve are putting that $25 million marketing budget to use, producing a video guide for surviving "the L4D2 virus" outbreak. The lessons are obvious, going over undead identification and useful melee weapons, but who knows, maybe there's someone out there that hasn't already picked up these tips from hundreds of zombie films, shows, games, comics, etc.

The bumbling British actors and fart jokes give the video a Shaun of the Dead feel, but the writing and setup are far less hilarious. You'd think Valve of all developers would have no trouble producing an entertaining promotional clip. If you're looking for a better presented collection of rules for dealing with zombies, you would be better off watching Zombieland or reading Max Brooks' The Zombie Survival Guide.

[Via RPS]

Zombie Crunch: Capy Working On Undead Strategy Game

After receiving favorable reviews for its gorgeous PSN puzzler Critter Crunch and early praise for upcoming DS strategy/puzzle hybrid Might & Magic: Clash of Heroes, indie studio Capy (or Capybara Games) is trying its hand on the popular zombie genre, according to a government funding document dug up by sister site GamerBytes.

The project description doesn't reveal a platform (presumably on a handheld or a digital download service) or an expected release date for Zombie Tactics, but it has some useful details:

"Zombie Tactics brings a mixture of strategy gameplay elements into the horror genre, dropping players into the heart of a devastating zombie apocalypse with nothing but their wits to get them out alive. As players fend for themselves, they will search for other survivors to add to their team, scavenge for weapons and supplies, and fight their way to freedom through an array of city settings."

This document was posted last February, so if Zombie Tactics is still alive (or un-alive, hur hur), Capy has already had a significant chunk of time to work on it. Another interesting interactive game in the same listing of funding recipients: DrinkBox Studios's About A Blob, a game following "an innocent little creature that grows and grows until it defeats mankind and consumes the planet."

Silent Hill, Resident Evil Amigurumi

Definitely not as frightening as the Silent Hill cosplay we featured last May, this "amigurumi" nurse bunny is so cute, you almost forget about the blood-soaked rags wrapped around its face. Fortunately, this crocheted version doesn't have arms, so you won't have to worry about the nurse bunny pulling a scalpel from behind its back.

Craftster Moon Yen also made similar amigurumis design for Pyramid Head (with a removable helm!) and Resident Evil 4's chainsaw-wielding Dr. Salvador, both shown after the break. These three "Moon Bun" creations are part of the 31-piece set the artist created for October, which is filled with other creepy creations like Count Dracula and Resident Evil 2's Licker.

GameSetLinks: Mario And Reset And Luigi And Alice

[GameSetLinks is GameSetWatch's daily link round-up post, culling from hundreds of weblogs and outlets to compile the most interesting longform writing, links, and criticism on the art and culture of video games.]

So, this set of GameSetLinks are actually a combination of about four weeks' worth, so don't be surprised if some of them are a little ancient - but I'm doing this at least partly because almost nobody else does, so hopefully, you haven't seen most of these linked elsewhere.

Some of the neatness includes a great Nintendo localization interview, Spiderweb's Jeff Vogel on DRM, the AV Club's excellent mini alt.game reviews, a good interview with Farbs on (the pictured) Captain Forever, and more besides.

Toot toot:

Action Button Dot Net reviews 'Reset'
Just wanted to point to because it's a neat indie game and a typically avant review, which I quite enjoy.

gedblog » Blog Archive » Losing iReligion
More iPhone Gold Rush participants washing against the rocks, I'm afraid. Interesting updates and comments discussion.

The Bottom Feeder: Some Kind Words About DRM. For Once.
An interesting perspective from Spiderweb's Jeff Vogel: 'I've tried to be ethical in all the ways I want as a consumer. The result? My games get pirated like crazy, and I have to charge a lot to stay in business.'

Braid » Blog Archive » Hiring another programmer.
Full-body motion tracking, eh? Natal-icious! (I guess it could be something else...)

1UP's RPG Blog : Mario & Luigi Interview: Bihldorff's Inside Story
Treehouse is hands down the most under-rated localizers around, because people conflate them with Nintendo's 'magic' somehow.

Kill Screen - A Thank You and an Apology » Updates — Kickstarter
Ah, so Jamin and Chris reveal the full list of KillScreen contributors - looks like a blast, folks.

Sawbuck Gamers, October 12, 2009 | Games | The A.V. Club
By far the most interesting mini-review section in games, thanks to impeccable picking of titles.

We Have a Winner! Captain Forever Creator Farbs Talks to DIY [Interview] | DIYgamer
A nice interview with IGF China winner Farbs about the extremely neat Captain Forever.

October 26, 2009

GDC 2010 Reveals New Social Game, iPhone Summits, Opens Call For Submissions

[Just a note that GDC 2010 has just announced new summits on social gaming and iPhone games, as well as the return of the Indie Games Summit and more, and you can submit now if you have lectures suitable for any of the eligible Summits, neet.]

Game Developers Conference organizers have announced that the call for submissions is open for the 2010 event’s suite of Summits, which take place on the first two days of GDC in San Francisco, March 9th-10th 2010.

This year’s GDC Summit line-up includes two new events in the form of the Social & Online Games Summit and iPhone Games Summit, alongside the GDC Mobile/Handheld, Independent Games, and Serious Games Summits, which are all accepting submissions through November 13th.

The multi-track Social & Online Games Summit is focused around current and new opportunities for games on social networking services such as Facebook and MySpace. The Summit brings together leading thinkers and businesspeople to examine how social games have expanded the audience of gamers to encompass tens of millions of mainstream users, many of whom are not conventional gamers.

It will also cover how online worlds have conquered the children’s gaming market, and how the casual gaming space is also feeding in to the next generation of mass market multiplayer games.

The iPhone Games Summit, first held at Game Developers Conference Austin 2009 to significant acclaim, marks its San Francisco debut at GDC 2010. This Summit will bring together top iPhone and iPod Touch developers from around the world to share key information and discuss the future of Apple’s increasingly important game platform.

The Summit will include a first day dedicated to detailed sessions from some of the iPhone game industry’s top technical architects, with the second day of the iPhone Games Summit focusing on vital business and marketing strategies behind successful game companies in this extremely competitive market.

"GDC is in a constant state of evolution, just like the game industry itself," says Meggan Scavio, event director of the Game Developers Conference. “This year's exciting slate of summits speaks to the rapid growth of online & social network games, and the increasing importance of the iPhone as a gaming platform."

The two new summits represent a notable addition to the already comprehensive selection of GDC 2010 Summits, which take place immediately before the three-day GDC 2010 main program. Other Summits also held at GDC 2010 will include one or two-day events on Artificial Intelligence (AI), Game Localization, and the IGDA Education Summit.

GDC 2010 Summit submissions can be entered at the official submissions page. More information and registration specifics on the 2010 Game Developers Conference can be found at the official GDC 2010 website.

Kongregate Launches Left 4 Dead 2-Sponsored Zombie Meta Game

Leading up to Left 4 Dead 2's Xbox 360 and PC release on November 17th, Electronic Arts has partnered with Kongregate to launch a four-week-long 10/23 - 11/20) meta game on the social Flash gaming portal.

During Infected Fury Month, a portion of Kongregate users is turned into zombies, while another group is designated as survivors. After learning the meta game's basic mechanics on a Left 4 Dead 2 branded section of the site, the zombies can earn points by infecting other players to turn them into the undead, while the survivors pick up points by training others to become survivors.

Infecting/training new players is accomplished through chat or by visiting a player's Kongregate profile page and hitting a Left 4 Dead 2 button. Survivors will have a glowing silver shield displayed on their avatar while the zombies will have their avatar and profile pages grayed out and spattered with blood.

Through the branded Left 4 Dead 2 area, Kongregate members will also be able to read situation updates, track which chat rooms are populated with zombies, and watch the infection spread. They can also switch their avatars into Left 4 Dead 2's four survivor characters or one of the boss infected (e.g. Charger, Wandering Witch).

"Infected Fury Month demonstrates the truly effective benefits of viral branding on Kongregate. We have over six million highly engaged gamers who will love getting involved with other players this way," says Kongregate's chief revenue officer Lee Uniacke.

"As Kongregate players experience yet another fun way to interact within the community, we’re building additional consumer excitement for next month’s launch of Left 4 Dead 2 on Xbox 360 and PC. Users on our site will be deeply enmeshed in the fiction of Left 4 Dead 2 by the time it hits store shelves."

With Valve planning to spend $25 million advertising Left 4 Dead 2's launch, I expect a lot more unusual promotions like this one.

Match Four, Help A Blue Cat With Arkedo Series - 02 Swap!

Arkedo, one of my favorite indie developers since Big Bang Mini and Nervous Brickdown for DS, released 02 Swap! over the weekend, its second Arkedo Series experimental game on Xbox Live Indie Games.

While 01 Jump, the first Arkedo series release, was a simple but very enjoyable retro-styled platformer, 02 Swap is a match-four puzzler similar to Nintendo's Puzzle League series, except it features a blue cat carrying a stick with a gloved hand on it.

According to Arkedo, this is the first of its games to actually feature a story, with the plot consisting of you helping "King Kat" get his castle back. I'm not sure how matching colored tiles accomplishes that goal, but with the game priced at $3 (a free demo is also available), I doubt anyone interested in 02 Swap will mind.

COLUMN: 'Game Mag Weaseling': Mag Roundup 10/24/09

['Game Mag Weaseling' is a weekly column by Kevin Gifford which documents the history of video game magazines, from their birth in the early '80s to the current day.]

Yipes! I take a week off and the mags just pile up on my doorstep! Let's get right to business with my take with this installment of Mag Roundup's biggest event:

Game Informer November 2009

gi-0911.jpg

Cover: Epic Mickey

Heavens be! This is quite a redesign indeed. I talked a bit about Game Informer's new website earlier, and I still like it a lot -- the sort of thing that 1UP was meant to be to Ziff's magazines back when it launched in 2003, something that didn't quite happen due to a lack of urgency and many other reasons.

With that in mind, I want to concentrate my discussion this column on the print mag itself. What I like:

- The general design now takes far more advantage of the wide-body page size than before. Feature content spreads out to the far edges all the time; those edges become a natural place for long sidebars that are interesting but not important enough to interrupt the main text with.

- Things look a lot cleaner, with white the color of choice nearly everywhere except in the main feature.

- There is no back-cover advertisement and instead the front-cover art wraps around. I hope to the heavens that this is permanent. The cover this issue is unequivocally awesome; hopefully devs will be as kind to GI with their art assets in future installments.

- The Skate 3 sub-feature is a lovely piece of clean design, although the ending ("So grab your board, get your friends together, and get ready to hit it") is a bit PR-y. The Epic Mickey piece is designed more in the old GI tradition, but that's not necessarily a bad thing -- the look still fits in with the rest of the mag, and it's killer reading, mainly thanks to Warren Spector's intelligent enthusiasm and the sheer, er, epicness of the project.

- The back-page quiz (which I am guessing was a lot of work to compose and not all that popular with readers) has been replaced with what I hope is a regular procession of "neat game trivia" -- in this month, a graphical examination of the "Nanosuit 2.0" from the upcoming Crysis sequel. This is a vast improvement on what was there before.

What I don't like:

- Connect, the front-page section, seems more disjointed than before. Maybe this is because the design is more unified now, which makes it all seem to blend together to the eyes. You have a hard-nosed multi-page feature about the marriage of Hollywood and games next to a GamePro-style silly top-ten list, across the page from a Maxim-like humor piece, segueing to a couple pages of hard news, moving to another hard-nosed multi-page feature. This is one of the things I don't like about GamePro's front section, too. I'd run the thing to segue a bit more smartly -- changing tones so quickly from one article to the next is a bit jarring.

- The titling in sub-sections of Connect is hard to follow. Some sections have light-gray-on-white titles that are easy to miss; others (like the rumor section, which I thought had been removed until I finally noticed it) have only a small and easily overlooked orange box identifying them.

- GI Spy, the page where Game Informer editors publish pictures of themselves with PR ladies and B-celebs, is still around. However, it's now a quarter-page strip that extends over the bottom of three pages of the letters/reader art section. It's not quite nonexistent like how I want to see it, but at least it seems much less obtrusive than before.

Overall, while I understand that the real revolution lies in GI's reforged bond with its online site, I also think the print mag's new design is a positive step toward making it look more refined, modern and professional. That's important, of course, because GI is the giant of the game-mag business and you could say it needs to act that way. It's not a world-shifting redesign by any means -- the writing style is still the same, and the mag often errs on the side of verbosity too much for my tastes -- but it is doubtlessly the breath of fresh air that both GI and the biz really needed.

PC Zone November 2009

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Cover: StarCraft II: Wings of Liberty

The cover feature is nice, something I don't say too often about PC Zone -- it's a massive amount of neat info and neater art, although I'm sure it's old news to PC gamers by this point.

But the real treat here is "Around the World in 8 Simulations," an absolutely hilarious feature where author Steve Hogarty tries to take a virtual world tour using as many sims as possible, from Flight Simulator X to obscure European truck and train games.

I'm a little loath to spoil the best joke from it, but here it is: He uses Assassin's Creed as a "horse simulator" to travel from Damascus to Jerusalem. "We whip a brown horse hard out of Damascus," Hogarty writes. "Doing this in Assassin's Creed is highly illegal, and we attract the attention of some guards who'd clearly rather chase a man on a horse than guiard the thing they're supposed to be guarding. A few gruesome tramplings later, and with more than a couple of dramatic leaps over fallen palm trees, we arrive at Jerusalem. We find the spot where we reckon they'd build an airport in about 822 years, and wait."

The article goes on to note the seemingly short distance between the two cities in the game (they're really 134 miles apart), and calculates that horses can therefore travel at about 1500 mph, faster than a Concorde. Wow! No wonder they're fighting all the time over there -- transport to the front lines is a breeze.

PC Gamer December 2009

pcgamer-0912.jpg

Cover: WOW: Cataclysm

A remarkably packed issue, although nothing in here is mega-huge. The cover piece, basically a BlizzCon postmortem with the gang at Blizzard, is neat, but way neater is the next feature, unadvertised on the cover -- a peek into the world of Arma 2 online maniacs who play on max realism. It's fascinating stuff -- a look into a world that I'd never get to check out otherwise -- and the sort of thing a print mag is undeniably the best at.

Official Xbox Magazine December 2009

oxmus-0912.jpg

Cover: Assassin's Creed II

A pretty straightforward issue; Assassin II is a play-report from the first three hours and L4D2 is...well, more L4D2, which Future mags have been covering the way CNN covered the balloon boy while I was away last week. (Not that L4D2 should be compared in any other way with that story, of course. I'm not mean.)

Speaking of, not to echo G4 of all things, but yes, the Assassin II print ad is the best game ad ever. Of the past three or four years, anyway. Brilliant outside-the-box thinking.

PlayStation: The Official Magazine December 2009

ptom-0912.jpg

Cover: Call of Duty: Modern Warfare 2

This cover doesn't seem much at first, but I think it's the first time P:TOM (or, really, any mag lately that ain't Tips & Tricks) gave the cover to a strategy guide. A strategy guide for one of 2009's hottest games, and one that is surely going to be the must-have online console title of the year (at the very least), but still, a strategy guide. Who'd-a thunk? It's a nice-looking piece, too, all done up like a dossier and everything.

OXM did just a quick piece on Inversion this month, but P:TOM has a much fuller treatment, a feature that picks up the game's gravity-bending themes and riffs on it by forcing you to turn the mag around in assorted ways to read all of it. Nice job.

Play October 2009

play-0910-1.jpg

Cover: MagnaCarta 2 or Splatterhouse

I got the MagnaCarta 2 version in the mail, which doesn't quite have the force of last month's cover, but wait'll you see the centerfold...er, 2-page spread art that kicks off the review! Yowza! The text is Halverson at his best, of course -- he compares the game to Phantasy Star (the first one)!

In a bit more serious note, I've been waiting for someone to write a status report on Splatterhouse, that famously delayed and tussled project that debuted on the cover of EGM what seems like a decade ago. Doug Perry has the honor of penning it, and the results are in-depth, engaging, and (in a good way) un-Play-like.

I noticed this month that Play has gotten rid of the annoying bullet graphics in the "Parting Shot" review summary boxes, something I complained about since their inception in July '08. Good on 'em.

Retro Gamer Issue 69

retrogamer69.jpg

Cover: Final Fantasy

Not my most favorite issue of RG, chiefly because none of the making-of bits (Die Hard Trilogy and Syndicate) grabbed me and I've read enough Final Fantasy retrospective features over the years to last me several lifetimes. Yes, even if they did interview the designer of Dissidia to wrap this one up (very appropriate choice, there).

Top highlight: the Coin-Op Capers piece on Space Harrier, an arcade game that absolutely deserves this sort of exhaustive treatment. Bravo.

Tips & Tricks November/December 2009

tt-0911.jpg

Cover: Wii Sports Resort

It's already been mentioned on their website, but some surprisingly good news in T&T land: starting next issue, they'll publish eight installments a year instead of six and will throw in a fold-out poster and an extra full-on strategy guide per issue from now on. Reassuring news about a print mag that I never expected to hear reassuring news about. Good job on Chris Bieniek and the rest of the gang, no doubt.

By the way, T&T does not seem to offer subscriptions any longer. Makes sense, I suppose. T&T always lived and died by the newsstand, and pushing heavily-discounted subs is not conducive to high newsstand sales -- especially when said low-cost subs aren't subsidized by advertising, of which T&T has very little of.

Girls of Gaming 7

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Dang it, I spent $12.95 on softcore porn again! I love how I can immediately tell when it's Dave Halverson writing the little blurbs accompanying the sexy girl art -- all of a sudden, they're written in the first person and start including clauses like "industrial strength earplugs drilled into my tympanic membrane."

All kidding aside, there is one piece of art that I really liked, a Mirror's Edge-themed page by Rob Duenas. Unfortunately, it was done in authentic, headache-inducing red/blue-separated 3D. Why?

[Kevin Gifford breeds ferrets and runs Magweasel, a really cool weblog about games and Japan and "the industry" and things. In his spare time he does writing and translation for lots and lots of publishers and game companies.]

Best Of GamerBytes - Nice Muscle!

squarefacedcat.jpg[We round up the top console digital download news of the last week from GamerBytes, including brand-new game announcements and scoops from the world of Xbox Live Arcade, PlayStation Network, WiiWare, PSP Minis and DSiWare.]

This week has been all about the two extremes - the casual and the hardcore. On one hand, you have games like Tower Bloxx Deluxe, Picture Books, and Domo minigames, while on the other you have Panzer Generals, Trine, Lost Winds and the Oddworld series. If you're in either of those camps, you'll be pretty happy with this week's offerings.

This week has also been a fairly big week for Xbox Live Indie Games - a lot of good, quality games have been released. So if you're one of those fellows who never wanders into those waters, we've got a handy guide or two for you to look at.

Here are the highlights for the last seven days:

GamerBytes Originals

Old XBL Indie Games Drop In Price - What You Should Pick Up?
"As of today, the 200MSP price point no longer exists on the Xbox Live Indie Games, so what should you pick up for a single dollar?"

Store Updates

XBLA Update - Tower Bloxx Deluxe, Panzer Generals, Magic TG DLC
NA PSN Store Update - Trine, Oddworld, Lumines Price Cut & DLC, Mahjongg Artifacts And Vempire
EU PSN Store Update - Red Bull X-Fighters, Cheap Everyday Shooter
NA Nintendo Update - Lost Winds 2, Shootanto, Rygar And 5 Domo-Kun DSiWare Titles
EU Nintendo Update - Picture Books, Protöthea, Shinobi, Dragons And A Little Bit of... Dr Kawashima

Microsoft (Xbox Live Arcade, XBL Indie Games)

Indie Watch: The Alpha Secret Base Collection
"We take a look at the 5 games recently released by the Japanese Indie developer."

Indie Watch - The Square Faced Cat Says SWAP!
"Arkedo have released their second Xbox Live Indie Game - SWAP!: a puzzle game with a simple and fun art direction."

Toki To Go Ape Spit On Xbox Live Arcade?
"Golgoth Studios have taken it upon themselves to recreate Toki, a classic 1989 arcade game, and one nobody expected to make a return."

Capsized Coming To Xbox 360
"The two-man team at Alientrap Software have announced their next project, Capsized, will be coming to the Xbox 360 in 2010."

Sony (PlayStation Network, PSP Minis)

First Footage Of Matt Hazard: Blood Bath & Beyond
"On this week's episode of GameTrailers TV, the first footage of Matt Hazard's XBLA and PSN game was revealed."

Calling All Cars Calling It Quits Online
"A new update to Calling All Cars reveals that the online mode will be taken down early next year."

Savage Moon Comes To The PSP
"Fluffy Logic, via the PlayStation Blog, have revealed that their PSN title Savage Moon will be getting its own new campaign on the PSP."

Nintendo (WiiWare, DSiWare)

Muscle March Coming To The West
"The German USK rating system has updated, and it included a welcome surprise - the reveal that Muscle March is coming to the West!"

Demon's Souls As Played By Japanese Comedy Duo

Playing off of Demon's Souls infamous difficulty, Japanese publisher Enterbrain recently put out a DVD of comedy duo America Zarigani (American Crayfish?) attempting to clear the PlayStation 3 game. It's a very Game Center CX-style affair, with the two comedians locking themselves in a room with just a camera, a PS3, a monitor, a copy of the From Software game, and a coffee machine to keep themselves awake while they try to plow through Demon's Souls.

Like many other similar Japanese video game shows, their playthrough is fun to watch even if you don't understand what they're saying. Comparing what's going on in their game with their reactions, I'm sure you can pick out the yells of frustration against their celebratory cheers. If you happen to live in Japan, you can grab a copy of the DVD from Enterbrain's online shop for ¥5,040 ($54.67).

[Via Eastern Mind]

A-Psychonaut-A-Day

Andy Helms' latest video-game-themed set for his Dude-a-Day project gives us six great sketches from Double Fine's Psychonauts, depicting the dark platformer's hero and other Whispering Rock Psychic Summer Camp characters in black and green marker.

Past the break, you'll find more a few more illustrations from the cult favorite game, including conspiracy theorist Boyd Cooper and certified dentist/villain Dr. Caligosto Loboto. And if you haven't seen them yet, treat yourselves to the Helms's previous Dude-a-Day sketches for Castle Crashers and Metal Gear Solid.

Say 'Happy Birthday' With Tetris

These Hallmark Innovations cards have been available for some time now, but I didn't come across them until just recently. This set wishes their lucky recipients "Happy Birthday" with a design from a classic arcade game, an appropriate corny joke (the Galaga one is borderline vulgar!), and a familiar tune from the classic title.

This video recorded by Hot Mess only shows the Tetris, Pac-Man, and Galaga pieces, but there are also cards for Dig Dug, Frogger, Centipede, and Kung Fu, the last of which plays a clip of "Kung Fu Fighting", of course. How long before technology brings us to the point when Hallmark sells us cheap greeting cards with the full playable game embedded inside?

GameSetNetwork: Best Of The Week

It's the end of another week, so it's time to go through the top full-length features of the past week on big sister site Gamasutra, plus some GameCareerGuide features of the week.

There's some pretty neat stuff in here - including interviews with Rocksteady and the Runic Games folks, the latest detailed NPD U.S. game sales analysis, and some nuanced discussion on violent gameplay, as well as the latest Game Career Guide Challenge results (featuring the pictured Edgar Allen Poe!) and a new Challenge.

Blasting caps:

Working by Torchlight
"Runic Games' Travis Baldree and Max Schaefer talk to Gamasutra about next week's debut of PC action RPG Torchlight, plans for an MMO incarnation, launching into 2009's PC market, community empowerment, and essential design concepts for the action-RPG genre."

Kill Polygon, Kill: Violence, Psychology, and Video Games
"It's true, many video games have violent elements in them. But what does that mean? We talk to Silent Hill producers, abstract indie game creators and the Grand Theft Childhood book co-writer to look at the pluses and minuses of violence as a tool for expression in games."

NPD: Behind the Numbers, September 2009
"Gamasutra's latest comprehensive NPD analysis looks at the U.S. console retail figures for September 2009, with spotlights on the music game genre, hardware price cuts, Wii, console DLC and more."

Beyond The Button Press
"What opportunities are there for games that innovate using audio? LucasArts' Jesse Harlin takes a look at what new audio control possibilities technology has brought us, in this article originally published in Game Developer magazine recently."

Rocksteady's Sefton Hill Unmasks Batman: Arkham Asylum
"Director Sefton Hill of Rocksteady explains how his studio stayed true to Batman's "strict rules" when creating Batman: Arkham Asylum new immersive world."

Sponsored Feature: Who Moved the Goal Posts? The Rapidly Changing World of CPUs
"In this Sponsored Feature, part of Intel's Visual Computing microsite, Shrout and Davies examine the 'shift in processor architecture and design over the last few years' that has changed once simple rules regarding CPUs and computer chips in general into a 'much more complicated scenario'."

GCG: Results from Game Design Challenge: Literary Inspirations
"Delivering a game based on a book is tricky, but that's just what we've asked GameCareerGuide readers to do in this latest challenge; see the results now!"

GCG: Is Modding Useful?
"Our latest feature discusses the relevance modding experience has to landing a job as a working developer -- checking in with developers with a modding background for their opinions."

GCG: Game Design Challenge: Photographic Interpretation
"In our latest challenge, we ask you to take a look at an interesting photo and turn it into a completely original game concept of your own choosing."

October 25, 2009

Note: Indie Game Trends/Sales - Autumn 2009 Update

Just a quick note about some slides (and a taped lecture) related to independent game trends and stats that I [Simon Carless, Independent Games Festival chairman and Gamasutra publisher] presented in recent weeks in Asia and Australia, and are now available to everyone thanks to the magic of the Interwebs and file/videosharing devices.

As some of you may know, earlier this year I presented a lecture called 'Independent Games & Sales: Stats 101' at the Independent Games Summit at GDC 2009 in San Francisco. I made info on it available via my Gamasutra Expert Blog. Rather pleasingly, the full IGS 2009 lecture slides, hosted on Slideshare.net, have now had more than 10,000 views, and it seems to be one of the few comprehensive overviews of the space.

The lecture was fairly well-received at GDC, especially in terms of its content, though I rather overstuffed things for a 30-minute talk, especially in terms of calculation minutiae. So when I was invited to speak at the Digital Distribution Summit in Melbourne, Australia (at the pictured BMW Edge conference hall) in September, followed by GDC China in Shanghai in October, I decided to simplify and update the metrics, while adding a section on trends/routes to success.

I've now put versions of two slide decks online. Firstly, there's 'Indie Game Metrics - October 2009' [Slideshare.net link.] This updates my March 2009 estimates for markets like Xbox Live Arcade, PlayStation Network, WiiWare, iPhone, and PC digital download, and ends with a couple of slides on important trends in the indie market - and it's fairly easy to understand without hearing the accompanying narration.

Obviously, this area is tremendously difficult to be accurate in, since there's no universal tracking system for digital game downloads, and little motivation for many of the stakeholders to hand out specifics. But as previously, I carefully cite real numbers revealed by developers or Leaderboards, and then give overall - and quite approximate - ranges for each market.

(If you believe I'm off base on any of these estimates, or have concrete examples to share - on or off the record - please contact me and we can talk about it. Overall, I really think that sharing data like this will help indies grow and flourish from a business - as well as creative - perspective.)

Secondly, I also made available 'Western Indie Game Trends' [Slideshare link]. This starts off as a basic introduction to the space for any Asian attendees of GDC China (the lecture was simultaneously translated). It then turns into a more detailed look at seven 'rules' for digital distribution success, as I see them - from defining your developer through being community-friendly, doing outreach, connecting with your peers, and more.

Much of the second slide deck, followed by the first slide deck, can be seen in video form, since the nice folks at Film Victoria recorded my Digital Distribution Summit talk and placed it on Vimeo for free streaming. Since this was the first time I'd given this talk, I'm a little bit scattershot for the first few minutes, but if you'd like to see 90 minutes worth of these slides with some extra explanation, go check it out. (I also recommend the other Digital Distribution Summit talks, particularly consultant and ex-XBLA strategist David Edery's excellent keynote, which is a really charismatic look at the market and much more overarching trends within it.)

Finally, it's also worth noting that I uploaded a couple of interesting GDC Austin slide decks to my Slideshare space, with the permission of their creators, including the talk from 2D Boy's Ron Carmel (on 'After The Finish Line' of shipping your game) and from Wolfire's John Graham (on effective indie game marketing). These should also be up on our GDC Vault archive sometime soon.

COLUMN: @Play: Item Design, Part 1: Potions and Scrolls

Roguelike column thumbnail ['@ Play' is a monthly column by John Harris which discusses the history, present and future of the Roguelike dungeon exploring genre. This time -- a look at the art of item design in Roguelikes.]

It has been a little while.... This column is an in-depth examination of some of the most popular items within the two most-common categories: potions and scrolls, both of which we might term "one use" items for the fact that utilizing them consumes them.

Exploring a monster-filled dungeon is not what we might consider a healthy activity. If the game were just about looking around, mapping territory, and killing monsters until the player's inevitable demise, the game might be interesting in an simplistic kind of way, but it wouldn't have that roguelike spark. No, the player must get something out of the exploration. That something is treasure.

Treasure is the carrot held in front of the player's face, leading him on into ever-more dangerous situations. The majority of treasure in most roguelikes is found laying around the dungeon. Some of the treasure is food, and the need to find more is what prevents the player from building levels indefinitely on the easier levels, but the good stuff is what pushes him downward. Unlike the trend in most RPGs these days, equipment is often a larger component of player power than experience level in roguelikes, and it is randomly generated.

The justification for treasure

Why is it so satisfying to find treasure? It cannot be denied that, without it, many roguelikes would be a lot less interesting. I suggest the reason that the expectation that players will find treasure, or other things and opportunities of value, in those dangerous places they explore is related to the exploration urge evolved out of humankind's tribal pre-history. But I digress.

The randon treasure generation is the biggest scrambling factor in a roguelike. Monsters are random, but still appear in the same proportions on each level. Dungeons are random, but even with traps most of the time the maps are not themselves very interesting. But a single item of treasure, in a good roguelike, can have the power to change the game significantly, and the variety of powers they grant, intersecting with each other and the monsters and dungeons, is what allows different plays of a single roguelike to seem different from each other.

The biggest problem with giving players lots of treasure to find is in determining how powerful it should be. If it's not powerful enough players may consider, why bother? If it's too powerful then it's unbalancing, and it is more the treasure that is the reason for success than the the player's skill. It might be useful to examine the basis for treasure in the source from which RPGs arose: fantasy literature. Bilbo's ring, for instance, enables him to overcome many of the dangers in the latter half of The Hobbit. Setting aside the ultimate identity of that ring revealed in The Lord of the Rings, a lot of the characters in that book kind of equate the ring's powers with Bilbo himself. They say that there is something more to him than meets the eye. That thing is, literally, the ring. But he found the ring through his own wit and guile, so it does make a kind of sense to say that. And even with the ring, Bilbo is in danger and must use it wisely to escape from dungeons, dragons and wars. In other words, Bilbo's possession of the ring is a manifestation of his ingenuity. So the treasure found in a roguelike, since it is gained by the player's own wit and guile, is a manifestation of it, and it is the job of the designer, as creator and custodian of that world, to have it be fitting.

We've already given an overview of the primary types of roguelike treasure in a general article some time back. It is interesting that, although Rogue is over twenty years old now, the major item types provided by that game remain the major types used in nearly all roguelikes. This is the first of a number of columns that examines the primary types in detail. In this first column, we look at one-use items, which are used a single time and are then gone.

Disposable Magic: One-Use Items

The primary one-use item types, other than food (usually a simple case) are potions and scrolls. Some games also provide for random food items like berries and mushrooms. Shiren provides herbs, which are good for a small amount of food value when eaten, but generally function more like potions. This can be seen in the way that a good number of herbs provide special effects when thrown. ADOM has herbs which are unique in that their functions are not randomly scrambled, but are the same from game to game. (ADOM's herbs have other unique and interesting properties however. They are one of my favorite things about that game, but they are a special case that doesn't fit in with the general roguelike categories.)

Scrambled one-use items are among the more difficult to identify items in a standard roguelike. The biggest problem with identifying one-use items is that, once the item is gone, it isn't there anymore. You only get once use with which to discover its purpose. And a few of these items are situationally useful, to the degree that the player may be helped considerably by using the item effectively, at the proper time or with specific preparation. And a few one-use items can cause a great deal of trouble; Rogue's potion of blindness can be a game-ender if used at an inopportune moment.

Many games auto-ID potions and scrolls upon use, but Rogue and the Hacks do not. These games require that the item's visible effect be detectable by the player, and are obviously the purpose of the item, before they'll auto-identify. Some items have effects that are so obscure that they never auto-ID this way, forcing the player to either name it themselves from experience or expend an Identify scroll on it. Others only identify sometimes (like detection scrolls when there is something to detect), and some will prompt the player for a temporary name in some situations.

The one-use-only property of potions is one area where roguelikes differ from classic Dungeons & Dragons. By-the-book OD&D and 1st edition AD&D state that found magic items are unknown, but potions may be tasted and thus given a chance of identification without consuming the thing. In those games some potions have multiple uses, and others have functions that require the liquid not be drunk at all, but instead applied to an object or the skin, or in some cases the bottle merely unstoppered. The classic roguelike play style is directly inspired by these versions of D&D, and both Rogue and the Hack-like games provide for item uses beyond the basic "quaff." In Rogue and Nethack throwing potions at monsters is an option for getting effective use even out of "bad" items. In Rogue, this may cause the item to affect the monster; in Nethack, a thrown potion breaks and may subject nearly creatures to a reduced "vapor effect." Nethack also allows for dipping items into potions, and even mixing them together, each option of some strategic worth. Both games, also, contain Scrolls of Scare Monster, which are wasted when read. Their true value appears only while they're resting on the floor. But even so, most potions are still meant to be drank.

potion.pngThere are usually many one-use items to discover in the game, and unlike random wearables (such as rings and amulets) the player usually will get a fairly substantial hint for what it does upon use, so, scrolls of identify are generally best used for other things. Significantly, identify scrolls themselves are random one-use items in most games. In many games, before any items can be identified by using them, the player must trial-and-error to discover them. Games that support selling items to shops often provide identification hints by offering items to shopkeepers, a tactic I refer to as "price ID." The usefulness of this strategy ranges from slightly unbalanced in Nethack to nearly essential in Shiren's Final Puzzle dungeon. Because this trick provides one of the few ways to narrow down object functions that doesn't use the thing up or require knowledge of Identify scrolls, it is particularly useful when applied to one-use items.

What is the functional difference between the two classes?

  • Potions are much more likely to have an effect when thrown. The only roguelike (or roguelike series) I know that provides thrown item effects for scrolls is Shiren the Wanderer.
  • Potions are, basically, chemicals, and this avenues for useful non-magical potions are much greater than scrolls. For some games this is a significant difference: should a potion of magic detection locate a flask of oil? In Nethack, the most useful and potion is water. It is similarly useful in ADOM.
  • Potions may also be more versatile in their uses than scrolls. In addition to being thrown, it may be possible to dip items into them, or to mix then together. Nethack uses hard-coded potion mix results according to type. The Color Alchemy patch randomizes potion results, making them mix according to potion color and subtractive color mixing. ADOM puts a lot of work into its alchemy system, defining a number of mixture "recipes" randomly at the start of the game, and granting the player knowledge of them as he advances in the Alchemy skill.
  • While scrolls may have many varied effects, potions usually work on the subject's physical form. Note, however, that this is not always the case; some detection effects may be implemented as scrolls, and others potions, in the same game. (D&D did this too sometimes; there is a line of potions for controlling various types of creatures. These potions work by the user drinking them; their influence then extends outward from the drinker, apparently.)
  • If the effect requires any further input from the player, particularly selecting an item to work on, the item will almost certainly be a scroll.

Here's a list of some of the most notable items in the class, from various games, and their interesting properties.

Potions

... of Healing (and Extra/Full Healing, Cure Light/Moderate/Serious Wounds, and so on)

Other than weapons, potions of healing may be the most common item among all roguelike games. While most roguelike characters heal quickly (usually returning to maximum hit points after at most a hundred turns of rest), the danger presented from facing multiple opponents at once, or surviving an encounter with a single powerful monster, sometimes necessitates a way to restore hits rapidly.

One of the most interesting gameplay choices in these games is the traditional max-HP-boosting trick of healing potions. If you drink one when you're at full health, many games will let the player push against the ceiling, giving him a tiny, permanent maximum HP increase. This seems like the better use of these potions at first, since the main method of gaining maximum hits in most games is gaining an experience level and those are rather harder to achieve, but the best move depends on your situation. Weaker healing potions are probably best quaffed for max health, especially later in the game, but the stronger ones can be so effective that they may come in handy when escaping from a superior foe, which the restrictive vision rules of Rogue make essential. Another obscure use of these potions is to instantly alleviate status effects like confusion and poisoning. Stronger types generally cure more types of these ailments. This use is of great importance in Nethack when facing certain rare, but very dangerous, Demogorgons situations.

One thing about healing potions is that giving the player an abundance of them can be less damaging to the design than you'd think. They require a turn to use, and a foe that really outclasses the player will probably put him right into trouble again with the next hit. Shiren the Wanderer has an item, the Chiropractic Jar, that instantly heals the player completely and restores most status ailments. These items have multiple charges and are not usually rare, and yet the game still has a reputation for lethality. This happens because the player must have both time to use the item, and the presence of mind to use it, and also because for their commonness they are still a limited resource, so the player tries to conserve uses. This often proves to be deadly.

... of Restore Ability
The only one of D&D's six attributes to make it into Rogue is strength, which influences bonus damage done to monsters. The game begins players with a score of 16, and it also tracks "maximum strength," which also starts at 16. There are monsters, traps and items in the game that can lower strength. All of these effects leave maximum strength alone. But unlike hit points, strength does not regenerate naturally over time. In Rogue, only the potion of restore ability, which resets strength to its maximum score, can undo damage done to it.

Like the danger of losing armor value, the danger of strength loss is mostly specific to a limited region of the dungeon, that which plays host to rattlesnakes, which by far cause most of its attribute damage. One consequence of Rogue's sight rules (only one space around the player is visible in corridors and dark rooms) is that there are certain times when it is impossible to avoid taking a hit from a monster, which means sometimes strength loss is unavoidable. This makes restore ability potions fairly important.

When I say "maximum" strength, what I mean is the player's current maximum capacity for it, which is considered to be its value when all attribute damage has been restored. Most other roguelikes provide more stats, with different functions, but they usually expand Rogue's ability restoration potions to work on all of them.


map.png... of Gain Strength (and other stats, and Ability)
In Rogue, a potion of gain strength increases the player's strength score by one. If it was already equal to maximum, then both strength and maximum strength increase by a point. If the player has taken some strength damage though, then the result is that only one point is restored.

This means, if strength is later lowered, that drinking a restore ability potion will return strength to the new maximum. Having high strength is a subtle, yet significant, advantage, so it's fairly important to save these for when the player is at max strength.

The trick to these two items lies in the inescapably of strength loss. Most characters will take at least a point of strength damage during the game, and often more. Both types of potions are generated randomly; it is possible that none of one type will appear in the game. If your strength starts getting dangerously low and you haven't found a restore ability potion yet, is it a good idea to increase your damage done by one point by drinking a gain strength potion, or is it better to continue waiting, hoping to find a restorer to drink first? Keep in mind that the player doesn't even know which potion is which at first, and often one potion type, poison, will drain strength. At their best, roguelike games are full of these kinds of choices.

ADOM has probably the best-developed statistic system of the major roguelikes. Whereas most games satisfy themselves with, or something like, D&D's six stat system, ADOM has nine, and provides individual potions for improving all of them... and potions for temporarily boosting them, and potions solely for raising their maximum. (It also has the diabolical Potion of Exchange, that swaps them around. This can easily ruin your game if drank carelessly.) Additionally it has potions of Gain Attributes, which are more general but do not raise maximums. Of particularly awesome note: ADOM's system has no hard limit on how high stats can rise, although it becomes much tougher to increase them as they go up. Interested readers are directed to the Stats chapter of the ADOM Guidebook.


... of Gain Level
Another example of a difficult choice is deciding just when to drink a potion of gain level.

As is normal for role-playing games, each experience level requires a rapidly-increasing number of experience points to earn in order to achieve it. Some games, following from old-school D&D, even use a doubling progression. Harder monsters are worth more experience points, it is true, but in many roguelikes they don't quite keep pace with the higher point totals needed, meaning levels games come more and more slowly. Rogue, particularly, is infamous for monsters that generally get harder faster than the player gains ability. Rogue characters thus get put into ever increasing amounts of danger as they delve down, and every experience level counts.

As a consequence, the longer the player waits before drinking a potion of gain level, the more value he'll get from it. If it's used early, the experience points gained will be dwarfed by the amount received for killing even one monster. On the other hand, the longer you wait the less the portion of the game you'll have made use of it, and if you get killed the advantage is lost.


... of Poison (and Sickness)
This is an example of a bad item, one that has no good primary purpose. Nearly all roguelike items have a good secondary purpose; bad potions can be thrown at enemies for example. Even the worst item can be useful if a nymph happens to steal it instead of something better. But the "usual" method of using potions, drinking them, will cause you grief if you try it with poison.

Take note, poison is not, in itself, fatal. That is a no-no in games where the player is expected to identify things through use. If the player must rely on using unknown things, then none of those things can be immediately deadly! This doesn't mean using the item cannot be deadly if the player's state is bad (low on strength when drinking a potion of poison), or if used in a non-standard way (zapping one's self with a wand of death), or if a member of a very limited class of items (wearing Nethack's amulet of strangulation, and even that can often be survived if the player prays.) Items also cannot make the game as good as lost. Rogue's worst one-use item is the Potion of Blindness, a long-lasting potion that removes even the game's slight one-space vision range, but it does wear off after a few hundred turns at most.


... of (something) Detection
While not obviously useful to new players, detection means are potentially one of the most useful objects in roguelikes. Monster detection allows you to choose your fights, item detection enables you to direct your exploration, and map detection points out useful escape routes. Note that detection items are in a gray area between potions and scrolls; different games allocate this power to these classes differently. Rogue has types of both! Food detection is a scroll, while magic and monster detection are potions.


... of Confusion, Blindness, Paralysis
These items are bad when drank, but sometimes good if thrown at monsters. Saying "bad" is relative to the situation; in Rogue, a potion of blindness can be useful when entering the Medusa floors.

They primarily exist as an identification foil, to add danger to identifying things by use and to make random potion drinking in moments of danger an inviable strategy. One-use items are fairly easy to identify


... of Thirst Quenching (and Water, Holy Water and Unholy Water)
Each of Rogue's item classes has a do-nothing item, to throw off people who think all items must have some function. For scrolls it's blank paper, and for potions it's thirst quenching. The others are the wand of nothing and the ring of adornment. It is notable that Nethack still has all of these items, but with special uses for three of them.


Scrolls

... of Identify

The scroll of identify is, after healing, the most common of roguelike items. In many games they are also the most-often generated item.

Here is something I find very interesting. Scrolls of Identify are very common, but I am aware of no roguelike game that will purposely misidentify something. Nethack's cursed scrolls of Identify identify fewer items, not lie to the player about what things are. D&D has dangerous objects that purposely resemble useful things, and the diabolical potion of delusion that, depending on a group's play style, could cause the DM to lie to the player about what is happening to his character. Roguelike games, while tricky in the knowledge games they play, do not tend to go that far.


... of Enchant Weapon/Armor
These items are the scroll versions of the potion of Gain Strength. That potion increases the player's damage-dealing abillity by increasing his physical attack bonus. The scrolls increase weapon attack bonus and decrease enemy hitting chances, while the player is using a specific piece of equipment.

All of these items improve the player's state indefinitely. They do not expire naturally, but must be undone by enemy attack, unfortunate item use, or trap. That makes these items extremely useful. Although a single point of bonus is a rather subtle effect in a single encounter, over time the benefits are profound. If the player is lucky enough to find several of these the game will become much easier, maybe even too easy. Most games guard against this possibility by limiting how high strength can be raised, or how far an item can be enchanted. It is kind of a cheap way around the problem, since it means a whole class of item suddenly becomes useless just because the game designer thinks the player is getting too powerful, but it is frequently used.

A particular note... in Rogue, scrolls of Enchant Weapon are unusual in that they increase one of a weapons two pluses. That game distinguishes between pluses to-hit and to-damage, and the scroll decides randomly which of the two values is increased. Some Rogue variants split Enchant Weapon into two separate items. And some go the other way, and combine the Weapon and Armor scrolls into a single "Enchantment" scroll, which asks the player which item will be subject to the item's power upon reading.

In most roguelikes, these scrolls function immediately on a relevant item in use at the time. If no weapon or armor is in use, the scroll's effect is wasted. Nethack uses this as the basis of a subtle trap; one of its bad scrolls is that of Destroy Armor. If you're reading unknown scrolls, you might want to wear armor in order to take advantage of an unknown Enchant Armor scroll. But what if that scroll should be Destroy Armor instead? Another possible trap, used by other games, is the scroll that asks you for an item to operate on, but that doesn't tell you what for.

As an extra ability, these scrolls also lift curses from the item they operate on.


... of Vorpalize Weapon
What does it mean, to "vorpalize" something? No matter what one might have gleaned from its use in video gaming, vorpal is actually a nonsense word. It can be traced back to Lewis Carroll's Jabberwocky, where it is applied to a sword and can be assumed by context to mean powerful. Role-playing games have adopted it. although there is no consensus about what it should mean.

Rogue contains a scroll called Vorpalize Weapon. When read, it makes the player's weapon flash violently for a moment. It applies a pretty good enchantment to the weapon, and additionally chooses one of the monsters in the game to be the weapon's target foe. The next monster the player attacks of that type will die instantly. There is a drawback however. If the player tries to use a second Vorpalize Weapon scroll on the same weapon, it is destroyed!

The ideas here is to punish the player for being too greedy. Of course, the player doesn't know how greedy is too greedy until he loses his weapon. In practice, this becomes another of those little things players must learn as they play, another fact that must be acquired in order to eventually win. If this seems rather a harsh way of teaching the lesson... well, Rogue really isn't that long a game.

Nethack will destroy a weapon or a piece of armor if it is over-enchanted. When a weapon is enchanted beyond its safe limit, it vibrates warningly. A further enchantment has a very high (but not for certain) chance of destroying the weapon.


... of Confuse Monster
To a new player, this is one of the more enigmatic items in Rogue. Upon reading the only immediate effect is that the player's hands begin to glow red. This causes the next monster the player strikes to become confused for a short while. That is all. In principle this is a powerful item, although reading it in advance of combat usually creates a risk of it being wasted on a weak monster.


... of Scare Monster
One of the most mysterious items in the game if the player doesn't know its secret. It is also the only one that can be identified without picking it up. In fact, especially in Rogue, it is best not to pick it up until you've gotten at least some use out of it.


... of Genocide
The scroll of Genocide, often thought of as a Hack item, got its start in one of the later versions of Rogue. When read, it wipes out one entire type of monster from the game.

Items that powerful, in a good roguelike, will have a tradeoff, and in Rogue it is that other types of monsters become more common, to fill the generation hole left by the eliminated species. Plus, according to the Rogue Vede-Mecum at least, there is only one of these generated in a game, preventing the player from wiping out too many monsters.


... of Maintain Armor
This scroll, which prevents armor pluses from being reduced, is one of the most useful items in the game. Seriously, it is almost overpowered! It is a late addition to Rogue's item list, appearing in V5, and it is one of the rarest items. There is a good reason that many later roguelikes do not include it.

Armor can be harmed both from enemy attack (by Rust Monsters or Aquators, depending on the version of Rogue) and from traps. One of the many little devious facts about Rogue is that even permanent advantages can usually be undone due to unwise play, or even bad luck. Getting your strength up can be undone from a single unlucky encounter with a Rattlesnake, for example. The balance between the possibility of the player getting super strong armor, from finding a suit of plate mail and a number of Enchant Armor scrolls, is that Aquators will easily weaken armor, and rust traps become progressively more common in the deeper dungeon.

These armor ruiners can be overcome by working on building an emergency set of armor (which is balanced due to the fact that it costs two turns to switch to it, and the possibility of putting in cursed armor which cannot be removed easily), by using unrustable leather armor (balanced by its being the weakest in the game), putting on a ring of Maintain Armor (balanced by increased food consumption), and reading a scroll of Maintain Armor, which... has no drawbacks.

It has no drawbacks! Except perhaps due to it only affecting a single suit, which is nowhere near as bad a drawback as the other things. If you put this on plate mail, you have just made one of the few unequivicably good decisions you can make in Rogue.

Nethack's analogue for this is reading a scroll of Enchant Armor while confused, which provides rustproofing, and is similarly powerful (although possible to remove in rare cases). Shiren has Plating scrolls, the effect of which can be removed by a certain monster (which nearly never happens). Both are, in my opinion, subtle failures of design.

Thanks to Keith Burgun for the artwork!

Interview: The Odd Gentlemen On Winterbottom Inspiration, Indie Moves

[The Odd Gentlemen, the developers of time-twistin' XBLA platformer The Misadventures of P.B. Winterbottom, talk to Game Developer and Gamasutra's Brandon Sheffield on inspiration, the increasing artistic and commercial success of indie games, and just who their audience might really be.]

Next year, The Odd Gentlemen will release its debut game, The Misadventures of P.B. Winterbottom, on Xbox Live Arcade. To be published by 2K Games, it's an indie title that has its roots in the same University of Southern California interactive media program that birthed thatgamecompany, developers of flOw and Flower.

The pie-collecting puzzler's mechanics hinge significantly on a twist: players may record moves and then set a clone to consistently repeat that action, a new take on time-bending gameplay in a climate very favorable to it.

Here, co-founders Paul Bellezza (producer) and Matt Korba (creative director and lead designer) talk to us about inspiration, the increasing artistic and commercial success of indie games, and just who their audience might really be -- among other topics.

Why do you think there's been so much interest and use of time mechanics recently?

PB: I think there's just a time zeitgeist going on in the indie community. When we started this game, there was really nothing out. There was Prince of Persia and there's Blinx. And over the last few years, we've seen this other stuff come out and try different things in their own different way.

I think there are just cycles that everyone goes through. People realize, "Oh, we have the technology now to record these things and play them off in different way, and it's not too complex," so everyone plays with that. And I think with a lot of people working in Flash and stuff like that, it's pretty easy to sort of grab a concept, prototype it out, and put it on the web.

I think there's going to be whatever the next big thing is, and once people realize that's popular, everyone's going to want to try to jump in there and shape it their own way, too. It's been an interesting road watching all these time games come out and looking at our game and being like, "Okay, well I still think this is very different and moving in a different way." So, overall, it's been a good thing. But yeah, it's kind of crazy.

With this kind of time mechanic, how well can you actually control the experience and what people are going to do?

MK: It's extremely hard. If you imagine trying to design a level where not only can the user clone themselves as many times as they want and go wherever they want, it's very hard to think about things seven steps in advance. Most players only think of things one step ahead.

We thought about it like chess. Most players, they can think one step ahead, so we designed the game to be like that, but you can do eight steps ahead and all that stuff.

We got really good about thinking like, "Well, if someone does this, then this happens, then this happens, then this happens..."

It's extremely challenging to make it feel challenging and rewarding when the player has all these options and can do all these things, then still try to rein that in and make it a playground experience -- but still a challenging sort of puzzle. Our biggest breakthrough was when we came up with the ideas of the puzzles that didn't have a really set solution. That was the coolest part for us, seeing all these people do it in a different way.

Did you find yourself trying to or trying not to create puzzles that required eight steps?

MK: No. There are no puzzles in the game that should require more than one step. If you can think more than one step ahead, that only helps you out, but if you can't, we very much designed it to give the player a feeling that they are doing things eight steps ahead or whatever -- when really you would only have to take a step ahead.

Flash has been evolving into 3D and in other ways. Do you see that in any way necessary or particularly interesting? It's been a really good prototyping tool in 2D, but I don't know if 3D has quite the same capability.

MK: It really depends on how accessible the 3D is. I think a lot of the reason you see these cool innovative games in a 2D form is not necessarily -- although in some cases it might be -- because people wanted to make a platformer. It's just if you don't have an engineering team, the easiest thing to do is take a really cool idea and mechanic and put it on a platformer.

We started out with Winterbottom like that, but then we ended up staying like that because there were just a lot of things that just wouldn't work in 3D. There were a lot of concepts about actually watching things loop and remember what they do, and in 3D space, it's a lot harder to even recognize your motion anymore.

More indie games are coming out in the commercial sphere and making an impression. Why do you think that is -- both from the creation side and also from the consumer acceptance side?

MK: I think people are sick of space marines. I think that we've had a long time of this whole like -- and it's still happening -- "Let's get to photoreal. Let's push the photoreal thing." Starting with the PlayStation 1, we've had this huge move away from the cooler Genesis, small-man teams, "Let's do all this crazy stuff", to "Let's make real. People are paying for technology."

I think people are just ready for a change. From the consumer point, I think that they've played a lot of shooters recently, a lot of action games. They're really just ready for something new. I think the IGF two years ago... you started seeing these crazy things coming out, and getting a lot of press, and getting all this attention. I think it's just the right time for a lot of this stuff to happen.

From a developer's side, I think people just have ideas, and we can pull them off now. Because of Xbox Live, because of these channels, they're not a huge risk. We can create these things and make a living and play around with the stuff that we, as artists, want to play around with. I think also from the publisher's standpoint, now with these channels, it's commercially viable.

You can test out an IP there, right? You can grow it into that big tech monster $30 million game, but if it doesn't work on the small scale, it won't work on a big scale. Maybe that's how they're looking at it -- I don't know. I think that the beauty of online distribution is you don't have to pay all the costs of goods anymore. You don’t have to pay to print all these CDs. It really just helps us all out. The stars are sort of aligned, I think.

MK: I think really because of digital distribution and just because of better tools that are available... Like, a lot of people make a lot of games in Game Maker now. Before, there weren't any engines... Especially [developers] like the TIGSource community. Kids couldn't just make a game. Now, there are a lot of tools that let people do that, so people can get really creative. I think over the past couple of years, you see these developers in the online space, just teaching themselves how to code and putting as much shit out there.

Of course, in doing that, the only way you're going to get better at something is doing it over and over again. People have been able to actually take ideas and actually execute them and make something. Because of that and digital distribution, you're going to see a lot more crazy shit. People want it. We all want it. We're all bored as shit with all the major games for the most part. So, it's a great time right now.

I recently spoke to Spelunky creator Derek Yu about game vignettes that are being made now that are just going for a certain emotional tone. If you've got one thing to say, you can actually say it in a five to ten minute game.

MK: That's the other thing that I'm sort of just remembering now. People are tired of 80-hour games. The people like us, like Paul, myself, and everybody else, we grew up playing games but we don't have time to play 80-hour games anymore. So, I think the other thing about these indie experiences and these vignettes is you get something that's really good and really satisfying in a short amount of time. That's really all we have time for.

If we play like the 80-hour epic game, maybe we get a few levels into it or a few hours into it, and then we're done. But these shorter games or these little experiences, that's great. I can sit down, play one in a night, and then be done with it and still be thinking about it the next day or whatever.

PB: It's like they get really impactful in 10 seconds, whereas you might play a Final Fantasy game, and you don't give a shit until the eighth hour mark. That's when it really connects to you. Who needs that? Exactly like you said, you can make a poignant, small experience that gets to the core of what you want to feel and experience it. It's wonderful.

Before, it's like you were willing to give that investment because there weren't other places to go where you could get that kind of stuff. Every game was like that. "Oh, it takes about three or four hours to get into it. You get through the tutorial, and you're fine." Fuck that. You can get the games that hit you in the head with it the minute you turn it on. That's awesome.

It's been interesting watching people actually play your game because it's attracting such a diverse audience. With these kinds of distribution platforms, you can actually introduce new people to your ideas.

MK: That's the thing, too. I think a lot of these people would really love these games and like these games. They just need to be exposed to them. We have all these stereotypes like, "Oh, fraternity brothers. Madden. Guitar Hero. That's all they care about." But really, is that all they care about or is that all they've been exposed to?

I know when I was teaching a game design course to high school kids from around the country at USC, and this was maybe two or three years ago, those kids hadn't even heard about Kotaku yet. And we do a lot of assuming that all these people get their news like we do, that they go online and read this thing, but I think there are a lot of kids that still just go to Wal-Mart and pick out their games. So, it's like, "Are they really like the stereotype or do they just need to be exposed to something different?"

How was the transition from student game to getting to where you can sell it as a commercial product?

MK: We got pretty lucky. We had the game at IGF and did very well. We went on to do all the festivals, Indiecade, Wired's NextFest, Tokyo Game Show. Basically, if there was a festival that year, we submitted and got in. We ended up with a lot of eyeballs on us.

We got a lot of pitches from a lot of different publishers. We went around and pretty much met with everybody. Everybody loved the game and had their own plans for what they wanted to do with it, but we ended up going with 2K because they really seemed like they got it. It was like, "Yeah, we need to just set these guys up and leave them alone." They knew that the best work would come out of "seeing if they were just able to do the stuff that they care about the most".

For someone to understand that on the publisher side was a big deal. So, we worked out something with them. We got our company started. Basically, right after graduating, we had a little bit of time, and then we went from graduating and working on the game in the basement to having our own company and working with employees. That was...

PB: [laughs] A good interesting learning experience together. We had to set that all up. It was pretty fucking stressful.

MK: There was a lot of stuff that transfers from "Hey, we made this game" as students, to "Hey, we want to keep that closer." There a lot of stuff that's just totally different. It's not cool anymore to work on the game at three in the morning and sleep until the next day and wake up whenever you want.

When you have people that you have to work with on a schedule, you all need to communicate and have set hours. It was a huge adjustment period, taking the stuff that worked really well in a student environment and realizing, "Hey, that's not really valid anymore. This is another beast altogether."

What did you do about a business guy?

MK: Paul and I had to learn.

PB: Yeah, basically a lot of Wikipedia. A lot of talking to people who started their own business. A lot of advice and a lot of winging it.

MK: Meetings with [thatgamecompany's] Kellee [Santiago].

PB: Yeah, we met with Kellee a lot. Actually, she was really a good sounding board for us.

MK: Pretty much anybody that we could talk to, we would talk to. The thing is it's kind of a weird thing because there's not that many people in the same situation going from school... There are a handful of people. We definitely talked to those people that were in the same boat.

We tried to just get advice from as many people as we could. We did a lot of reading. We made a lot of mistakes. The best way to learn is just to do it. So, we were just doing it, and we were constantly making mistakes and trying to fix them. And frantically trying to get everything together for our opening day of the company was really just... Just simple things like trying to open a company bank account. You just don't think about what the means exactly. And insurance, and all that kind of stuff.

Does it take time away from doing the things that are more creative?

PB: Always. You have no free time because when you're not doing your critical path and working on the game, it's juggling all the other stuff. I'll come in and 7:30, and I'll spend an hour and a half doing just basic business shit, like making sure payroll [is sorted out] and make sure the budget is actually balanced, to make sure we survive.

If I don't spend that time doing it, it gets lost behind and it gets super, super stressful. I had to get really disciplined, just making it happen. If it gets neglected, it's really hurtful, so it just has to be done.



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