Showing posts with label video games. Show all posts
Showing posts with label video games. Show all posts

Finding What Works for You

Hey, look! A post!

Let's talk a bit about online presence—how writers and other creatives are told (or expected) to have one whether they like it or not. You gotta be on Twitter and Facebook and Instagram and blogging (well, maybe not blogging anymore, but I will! Sometimes! Screw you, conventional wisdom!).

So the two of you who pay attention know that I've been streaming on Sunday nights for *checks calendar* about a year now. I started because it looked like fun, because I thought it would be a good way to play games I couldn't play around my kids, and because I saw people gathering an audience and I thought, "Hey, maybe I could do that."

Understand, I know how hard it is to build an audience, and I know nothing makes that happen overnight. I never expected to have hundreds of viewers who would all run to buy my books. I figured I'd just build something small—like I did here and on Twitter and Facebook—and maybe, maybe when I had something to sell or to say, that would be another platform for it. And I'd get to play games in the meantime.

Anyway, it turned out not to be as fun as I thought.*

* For me. Other people have fun with it, and that's awesome, but it just wasn't meshing with my schedule or personality.

I am no longer streaming. Could I have built an audience? Sure. But I realized I was no longer looking forward to it, and the idea of not streaming felt like... relief.

And that's my point. When you're looking at ways to build an audience or online presence, you have to HAVE TO evaluate what works for you—what do you enjoy, what comes naturally, what do you look forward to (at least most of the time)? Because otherwise... it just won't work no matter how hard you bang your head on it.

And besides, streaming (and blogging and tweeting and instagraming and... tumbling?) doesn't sell books. Books sell books. And now I have a little bit more time to do that.

So anyway, there's your conventional wisdom for today. Also your general update: I'm still working on stuff for you to enjoy, but I've got nothing finished or announced yet.

I do have a progress chart for the mobile gamebook though (I post updates for this on Twitter and Facebook occasionally). Here's where I am:


I hope to have this thing turned in by early July. We'll see.

So what are you working on?





A Look at 2017 and the Alleged 2018

2017 was . . . an interesting year. Aside from the dumpster fire, I went from four years of reliable, steady work to juggling chainsaws.

Don't misunderstand me. Before Torment, I had no work at all, and our enormous family was slowly hemorrhaging money. Torment was literally (in the literal definition of literally) a Godsend, and although freelancing has been bumpy as hell this year, the connections I've made in the last five years are the only thing that has made any of it possible.

So! Looking back at 2017:

1) Torment was released. Not unlike the first one, sales have been unimpressive (so I hear; it's not like I see any financial reports), but the critics love it as do most of the people who have played it.

If history is any indicator, we can expect its successor to be the next crowd-funded success in another fifteen years.

2) I worked for Nexon . . . and now I don't. I realize now I didn't talk about this much on the blog, but yeah, I was doing game writing (and a little design) for a prototype for Nexon which the high-ups ultimately passed on. They not only passed on the prototype, but also the whole team, which unfortunately included me. But hey, I got paid for several months and had time to write on the side, so I ain't complaining.

3) I became a professional editor. I have begun editing for both private clients as well as the online editing firm Scribendi. The combination of these has made for steady work (private clients aren't always there, but they pay great and are super fun; Scribendi is always there).

When I started, I was somewhat hesitant about my editing abilities. I knew I had great attention to detail and a lot of experience with plotting and world-building, but I felt like there was a lot I didn't know about the editing world. Now, thanks in part to Scribendi's training courses, I super know what I'm doing. I edit. I'm an editor. And I love it.

4) I started streaming. Thanks to the magic of the internet, I've been able to play games I've been meaning to play, hang out with my family, and meet other gamers all at the same time. Streaming is a lot of fun, and I expect to keep doing it for a while. (I wish I could do it more, but making money on streaming is a lot more work than advertised.) If you'd like to join us, I stream most Sundays here or you can catch up on previous streams here.


As wacky as this year has been, I'm pretty happy with the state of my life. Torment was fun and amazing and I regret almost none of it, but I also essentially ignored my family for four years with a single credit to show for it. As a result, I learned important things about freelancing that have resulted in me making more money (or "enough" money, which really is better) with less time.

With that, here's a quick look at what 2018 might look like:

It starts with a lot of work. Like too much. But it's all awesome work, and some of it might lead to more work, and most importantly it means I don't have to worry about money for a while, which is always nice.

Cunning Folk. I've been talking with publishing folks about a book that long-time readers will recognize. I recently read my first draft and . . . yeah, I definitely wrote it a long time ago. There's a lot of dust to blow off it, and a lot of pieces that need a writer more experienced than past-Adam was, but there's also a definite possibility to publish some version of this book. I'm looking forward to that.

Blogging. Perceptive readers will notice that I've posted regularly for six weeks in a row now. Will this return to the glory days continue? Stay tuned to find out!

Streaming with my parents. My parents come to visit us a few weeks every year. This year, I'm going to see about introducing them (and myself) to a little game called Portal, and you can watch the fun.

Sea of Souls? The outline's on the editor's desk. We'll see.

Post-Apoc Ninjas? Also on editors' desks, but keep in mind it's been there for a while.

Gamebook? There are some unknowns here, so I can't say much about it. More news when there is news. (But, man, is it fun to write!)


So how are you all? Highlights from 2017? What are you looking forward to in 2018?



Freelancing (and Mini Work Update)



Based on a true story. (And my apologies to Alex Norris whose schtick I have borrowed.)

If all goes according to plan, I will have a novel, two novellas, and a large RPG rulebook to edit, plus I may have a new part-time game design gig. I realize this is a good problem to have, but I'm looking at where I'm going to fit everything in the next 2–3 months.

I can fit everything. It's just a question of how much my unpaid projects suffer—I suspect quite a lot.

Also, this is exactly the time of year my parents are coming to visit.

Oh no.

I'm grateful though, for real. Among other things, I feel less guilty about taking a week off for the holidays. It's been a long time since I've taken a guilt-free vacation. I'd almost forgotten that was a thing people did.

So! How are your holidays going?



Games I Loved in 2017

Here are a few games I absolutely loved this year. You should check them out.

As with previous posts in this vein, these are just games I played in 2017. I don't have enough time or money to decide the best games published this year. Also note that this list is intentionally skewed toward games you might not have heard of. Mostly.

MAGES OF MYSTRALIA
Image result for mages of mystraliaA Zelda-like action adventure where you play a young mage living in a kingdom where magic has been outlawed. The art style is sweet, and the world and story are lovely (created by Ed Greenwood of Forgotten Realms fame), but what really makes this game awesome is the core mechanic of programming your own spells with the rune system.

I mean, it's not full programming, and there are definitely some runes that are more gimmicky than useful, but there's a lot of depth and exploration to the system, and I never got tired of playing around with it.

OVERCOOKED
Image result for overcookedA fast-paced couch co-op in which you and up to three friends try to serve up as many orders as possible. This game is no good single-player, but it's one of the most fun and chaotic party games I've ever played.

My only complaint is that managing a kitchen full of my own children is indistinguishable from managing them in real life.

ABZU
Image result for abzuThis is what the kids call a walking simulator (swimming simulator, actually). You start the game floating off the shore of a coral reef, uncertain who you are or why you're there. As you swim through the game's levels, you begin to learn about the civilization that fell and your part in it.

There's not a lot of game here other than exploration, but everything about it is gorgeous: the graphics, the world, the visual storytelling, the music. If you play games as a break, and Overcooked sounds stressful, then try Abzu for a super-relaxing, wonderful time.

MR. SHIFTY
Image result for mr shiftyA fast beat-em-up game in which you play a teleporting thief—basically Nightcrawler without the blue skin. You are infiltrating a high security corporate tower that very quickly becomes alerted to your presence. You have no tools except for super strength and the ability to teleport a few feet at a time.

This is one of the most fun, visceral games I've played in a long time. Everything about the game feels awesome, from taking out ten armed men in two seconds to Mr. Shifty's cool, slow walk as he leaves a scene. Even the elevator music between levels somehow serves to make you feel more like a badass.

THE WITNESS
Image result for the witnessThis is the most engrossing, challenging, and satisfying puzzle game I've played since Myst—better than Myst, really. You start the game in a dark tunnel beneath a mysterious island, and for a long time that's literally all the information you get about what's going on. The game teaches you nothing directly, asking you to figure everything out on your own a piece at a time. I spent over 50 hours on this island ferreting out every secret I could, and I enjoyed every minute of it.

Warning: This is not a story game. The Witness is very much about the journey, not the destination. As a direct consequence, you don't want to use a walkthrough on it; you will only disappoint yourself.


So what did you play this year? Anything I just have to try?




Difficulty Curves and Mega Man

Those of you who have been following me on Facebook or Twitter might know that I've been making my way through the Mega Man Legacy Collections.


These games are not easy, and it's made me think about game difficulty curves and why I like Mega Man so much, despite the fact that Mega Man's difficulty curve is super weird.

Before this is going to make any sense, we need to talk about what a difficulty curve is. The standard curve looks like this:


Here's how it works. A game starts out super easy, allowing the player to learn the controls and rules. It gradually gets harder until the first checkpoint, like a boss or increasingly strong monsters before a new experience level. When the player has overcome this obstacle, the game is a little easier for a time while the player learns the rules of the next level or their new abilities. This rise-and-fall continues, growing gradually more difficult overall, until the player reaches the final, most difficult boss/puzzle/whatever and wins the game.

This curve provides a balance between too easy and too hard, giving the player a healthy mix of facing difficult challenges and feeling super awesome about themselves. As such, this difficulty curve is used in most modern games.

Mega Man's weird, though.


Every Mega Man game follows the same basic formula. The player is initially faced with a set of bosses that can be defeated in any order. Upon defeating each boss, the player gains a new weapon, and over time they discover that each boss is weak to a specific weapon of another boss.

After the initial set of bosses, the player must make their way through Dr. Wily's (or sometimes a different Dr.'s) castle. The castle levels are designed knowing that the player has access to every special weapon, meaning the player will be called upon to use most weapons at some point. At the end, the player faces the initial bosses again, all at once, before facing a final boss (spoiler: it's always Dr. Wily).

This means every Mega Man game is difficult from the start, when the player has no special weapons, and gets gradually easier as they defeat each boss. The easiest time in the game is the final boss before the castle, when the player has nearly all the special weapons and can deduce which will defeat the boss. Then the castle levels get increasingly difficult again, leading up to Dr. Wily.

Mega Man is one of the most popular game franchises in history, spawning over 50 games and selling over thirty million copies worldwide. But the originals were freaking hard! My son sat down to play Mega Man 1 for the first time and got his butt kicked. He has yet to beat a single boss.

Why the heck does this work? Because Mega Man knew exactly where it fit in the gaming world. Not only was the original released in a time when difficult video games were the norm, but look at Mega Man's difficulty curve when we put it up against the normal one:


Mega Man's difficulty curve does not exist in isolation. For people new to the run-and-gun genre, Mega Man was rough, but for people who had played games like Contra, Rush'n Attack, Castlevania, and Metroid, Mega Man was just a different point in a curve they were already familiar with.

I suspect this is why ridiculously difficult games like Dark Souls and Cuphead are as popular as they are, too. They aren't targeting the casual gamer; they're targeting people who have traversed the curve so many times that they don't mind jumping ahead to the hard bit (plus bragging rights are pretty cool, too).

Thoughts on this? Reminiscences about how awesome Mega Man was? What other games have weird difficulty curves? To the comments!




Got Me a Jorb

Last month, as you'll recall, I lost my game design gig. For the past several weeks, I've followed every lead I have and pulled together pieces of several jobs. Unfortunately, none of them are big enough (or steady and consistent enough) to serve as a Family-Providing Job.

But that's the past! I am now officially a remote editor on the roster for an online editing and proofreading firm.

Okay, that sounds super boring, but let me tell you why it's exciting IN LIST FORM!
  1. It's a steady job! Game design is super awesome, but it's hard to consistently find contracts for a remote designer/writer/whatever I am.
  2. It's ridiculously flexible! I can stay on the roster as long as I edit a minimum 10,000 words a month, which is like a day of work for me. That means that I can still do game design contracts, freelance editing, and writing gigs as they come up, and this editing firm will still be there when I'm done.
  3. It'll make me a better editor! I get tons of practice, advice from professionals, and even free training, so every job I take for these guys improves my skills for my private clients as well as my skills as a writer.
  4. I set my own hours! Do I need to make extra money one month? I can work crazy hard and do that. Do I need to take a week off suddenly without asking for permission? I can do that too. Nobody cares, so long as I meet my minimum (and feed my family, which my family cares about, I guess).
  5. I work to a task rather than to an arbitrary number of hours! On Torment, I was paid monthly no matter how much I worked -- and I worked a lot. I don't regret the time I put into that game (the opposite, actually; I wish I could have put more time into it), but it wasn't really sustainable. On the other hand, most projects pay me only for the hours I do, which is more fair but gets tricky when they don't have enough for me to do or when there's too much for me to do in the hours they've budgeted for me. I much prefer to get paid for a task and then be left to work at my own speed. I don't have to stress about working too slow (within reason), and if I work fast then I get bonus freetime.
  6. As I said on Twitter a few weeks ago, I freaking love editing! I get to help people! And clean things! And make money doing it!
Reasons #2-6, by the way, apply to freelance editing as well. And freelancing pays better. AND I get to work on awesome projects like novels and RPG rulebooks. But yeah, that Reason #1 is kind of important. Editing resumes and college essays and dissertations might not be a manic dream job, but it's exactly the glue I need to hold all these other job pieces together while still keeping my family alive and junk. (And I do get to edit novels sometimes).

Other theoretically more exciting updates, in no particular order:
  • My Sea of Souls outline is still in the hands of the person who will decide its fate. That's publishing, man.
  • I'm working on a gamebook for a mobile game company. It's no steady job (and no contract has been signed, so I can't say anything concrete), but it's pretty exciting. Gamebooks are basically my prestige class.
  • I'm doing some proofreading and editing for Monte Cook Games and enjoying every minute of it (and not just because I get to read all this awesome stuff before anybody else). I love all my clients, but MCG might be my favorite.
  • On Sunday nights (US time), I'm currently streaming Ori and the Blind Forest, which is one of the prettiest most explory-fun games I've played.
  • I might MIGHT be able to breathe new life into ye olde Cunning Folk (which could be exciting for the two of you who've been reading this blog since forever).
As always, more on these if/when I have it.

In the meantime, how are you doing? What are you playing? Or watching? Or whatever you do for fun?



Update, August 2017

Hey, guys! If you follow me on Twitter or Facebook, then you probably already know this, but for those who don't: my new game design gig (mentioned in the last post) has ended and I am currently looking for new work.

Being unemployed is weird, but I think I'm through the emotional worst of it (he says, just before his family runs out of money entirely and he discovers new meanings of "worst"). I have a few leads, though nothing concrete yet as of this writing. Honestly, I'm excited at the possibilities, but that's easy to say, isn't it? Possibilities are always exciting.

Here are some other things that are going on:

1) I'm still thankful. Remember that gratitude posting I talked about last year? I'm still doing it, day 257 and counting. And I'm really glad I have been. Not even counting the rotting landfill that is American current events, I've had a number of depressive times in my own life this past year. Forcing myself to literally count my blessings has really helped me get through them.

If my notifications are any indicator, it's helped other people as well. So no worries. I'm gonna keep going.

2) Sea of Souls. Last time, I mentioned a Middle Grade novel tentatively titled Sea of Souls. This novel has been outlined and the outline sent to the person who requested it. We'll see what they think. Me? I'm excited. This novel feels important to me, more so than most things I've written, and I'm anxious to see what comes of it.

3) I'm streaming on Twitch. What's streaming, you ask? Basically, you get to watch me play a game while you and other fun folk chat at me (my family, in particular, is pretty fun to chat with). I've been playing games like Thimbleweed Park, Black the Fall, and Old Man's Journey -- mostly games with strong narratives because that's the kind of thing I enjoy. If you'd like to watch, head over here on US Sunday nights: https://www.twitch.tv/adamheine_th, or you can catch up on old streams at YouTube here: https://www.youtube.com/user/AdamHeine.

(Yes, I realize I stream the same time as Game of Thrones. Whatever.)


I've got some other things going on, but I can't talk about them yet as they're all just possibilities at this point. None of them are guaranteed provision for my family, but they're exciting possibilities with the potential to provide. I'll tell you more when I can.

How are you guys doing? Tell me in the comments.



Current Status

For a long time, not a lot had changed, hence the lack of updates. But here's what's going on in my life right now that you may (or may not) be interested in:

1) Torment is out. You probably already know this, but if you don't let me say it again: TORMENT IS OUT FOR PS4, XBOX, PC, MAC, AND LINUX. It's also getting some pretty great reviews, with a metascore of 83 on Metacritic. I don't think I could be happier with all of our work.

2) I have a new game design gig. I am not (currently) working for inXile and instead am doing narrative design for Nexon. I do very much hope I get to work with the fine folks at inXile again in the future, but I'm also pretty excited about what we're doing at Nexon. Such is the life of a freelancer.

3) I'm currently drafting "Secret Middle Grade Fantasy Project." I want to tell you more, but I can't. Suffice to say I'm excited about this project.

4) I'm also writing another Middle Grade novel. This one tentatively called Sea of Souls. It's very different from anything I've written, which makes me both scared and excited. I think it could be pretty great, but we'll see!

5) I'm considering starting a Twitch stream. Because obviously I have all this free time. If you don't know what Twitch is, don't worry about it yet (I'll explain more if/when I do). Right now, I'm just trying things out and deciding what I want to do with it (and why). Any thoughts you have on the topic are welcome.

6) I'm finishing up Rurouni Kenshin. Thinking about what to watch next. Probably Iron Fist (since I'm fully invested in the Netflix Marvel universe), but there are so. Many. Shows.

7) I'm (finally) playing Banner Saga 2. And discovering I really suck at it, but also discovering how not to suck at it, which is fun.


As for other things you might be interested in -- like Izanami's Choice, some kind of sequel to Izanami's Choice, Post-Apoc Ninjas, etc -- I have no new news on these things (hence the long periods of silence). But that doesn't mean they have disappeared. As always, I'll let you know when I have something to share!

So that's what's going on with me. What have you been doing lately?




The States of Things

Torment:


New part-time project:


Izanami's Choice:


Currently playing:

SpeedRunners
Ultimate Chicken Horse
Shadowrun: Dragonfall - Director's Cut

Current mood:

Currently answering questions in the comments:





Super Late PAX Post

PAX Prime was over a month ago, but I know several of you guys want to know what it was like. I have more time than I did in September, but I'm still short on it, so I'll do what I can.

As I've said before, I had never been on a panel, or even seen a panel, or even been to a convention before. I knew about PAX, of course -- even when I was separated from all things games, I still read my beloved Penny Arcade and witnessed the birth of their Gamer's Mecca -- but I had no idea what to expect.

But a Gamer's Mecca is pretty much what it is. Hundreds of thousands of geeks pile into Seattle for the weekend. Cosplayers are everywhere. Nearly every Uber to and from the convention is a Mad Max vehicle. Some weird tentacley thing is bursting out of the convention hall annex. Even miles away from the convention center, you might be going to dinner at a nice sit-down place and see Harley Quinn or Fire Emblem's Mia walk out.

It's pretty amazing.

And because everyone's there for a shared love of games (and many of them are introverts too), everyone's super nice. I played games and even had conversations (gasp!) with total strangers while waiting in line for other things. I spent the weekend with my brother and his friends -- also game developers -- and we talked RPGs, industry chat, card game design, and a thousand other topics that I never get to talk about at home.
Other highlights and comments:
  • The difference between AAA exhibitions and indie games is staggering. Watching Bethesda's animatronic Fallout robot or the Dark Souls fountain made me realize just how much more money these guys have than we on Torment do.
  • I discovered I'm much more attracted to the styles and innovations of indie games than the flash of AAA (not that I dislike the flash, mind you, I just found myself hanging in the Indie Exhibition Hall a lot more). Here was one of my favorites: Ultimate Chicken Horse.
  • I got to hang out with (and in many cases meet for the first time) a bunch of awesome game devs, including but not limited to Chris Avellone, Brian Mitsoda, Adam Brennecke, Monte Cook, Shanna Germain, and all the folks on my panel.

  • I had lunch with Pat Rothfuss. Our e-mails crossed paths, so we had only good intentions, but no actual plans to meet. But when my brother and I were in line for PA's live D&D show, I saw a notable bearded man walk past and -- in a truly non-introverted moment -- ran up to him, introduced myself, and made plans for lunch. I know. I'm super proud of myself, too.
The panel itself was both terrifying and really, really fun. Honestly, I would have loved to just sit and talk RPGs with Annie, Mitch, Swen, and Josh without all those people watching. Sounds like an awesome afternoon to me. We talked for an hour about RPGs and the difference between old-school and modern RPGs (and why we tend to like the former), as well as answering some very good questions from the audience.

In case you missed it, the audio for that panel is here.

I would love to go to PAX again, though honestly I don't know what I would have done if I didn't have my brother to hang out with. He and his friends were a huge part of what made PAX awesome for me (heck, half the stuff I said on the panel was stuff that I had said to them in our own conversations).

But who knows? Maybe one day I will.


Fix All The Things!

I know some of you want to hear what my time at PAX was like. I intend to write that post, but you'll have to wait a little longer. I have a crapload of work to do, including but not limited to:
  • Write Torment conversations
  • Design Torment conversations for others to write
  • Review Torment conversations others have written
  • Fix a number of problems created by the most recent round of Torment cuts
  • Finish a novella by October
  • Write a newsletter by October
  • Give the Thai government a bunch of documents they asked for while I was in the US (timing, man, seriously)
  • Fix everything that broke around the house while I was gone
  • Parent several children...
  • ...while my wife takes her own trip to the US
So my already ridiculously over-tasked life got turned to 11 for a few weeks. I will tell you about PAX, but not yet (fair warning: I fail at pictures).

However, you can hear me at my panel, wherein I and several awesome designers talk about what makes a classic RPG. There is no video recording, but the audio is here:

What I've been doing since 1999

On Friday, the Torment team released the first Alpha Systems Test, a look at the opening scene of the game and its most essential systems (conversation, mostly).

Shortly after I tweeted that out, some folks wondered what I've been doing, game design-wise, since 1999 (other folks wondered what happened in 1999 which, you know, that's fair).

Here's a very brief look at what happened since:
  • 1999 -- Planescape: Torment was released to high critical acclaim (and low sales).
  • 2000 -- I got married and left my awesome-but-crunch-timey game dev job for what I commonly refer to as my Office Space job.
  • While I was at work (sometimes literally), I designed D&D campaigns and board games, drew crappy comic strips, wrote stories, and programmed games based on those stories.
  • 2003 -- I decided I wanted to actually finish something I started, so I put my other projects aside (fourth question down) and focused on writing a novel.
  • 2005 -- My wife and I moved to Thailand. I kept writing, but I could no longer pay attention to the game industry (among other things) as much as I used to.
  • 2006 -- We took in our first child, and over the next several years would increase our family to include ten children, both foster and natural. Meanwhile, I kept designing RPGs and board games (that never got played outside my house).
  • 2008 -- I sent my first novel to agents (and also started this blog).
  • 2010 -- I wrote a story that somebody actually paid me for.
  • 2011 -- I got an agent and began the search for a publisher (that search is still ongoing, though we've updated the novel it is going on for).
  • 2012 -- I started working for inXile and "researched" what the game industry had been up to since I left (read: I played games again and wrote them off for tax purposes).
  • 2013-2015 -- I wrote hundreds of thousands of words for game dialogue and systems design. I also wrote a novella, a Pathfinder story, and a number of other things I hope you'll get to read some day.

So there you go. That's what I've been doing instead of (or in addition to) designing games for the last 15 years. Hopefully that also explains why my tastes in games tend to skew oldschool.


Classic RPGs Panel at PAX

Hey, all! If you're going to PAX Prime next month, I'll be on a panel there.

The panel is "CLASSIC RPGs FOREVER!" (yes, in all caps, apparently), and it'll be on Sunday, August 30th at 11 AM in the Sasquatch Theater.

We'll be talking about resurrecting subgenres of classic RPGs that were once thought dead. I'll be joining veteran game developers Annie Mitsoda, Josh Sawyer, Mitch Gitelman, and Swen Vincke, with Penny Arcade's Jeff Kalles moderating.

I'm super excited and super terrified. This will be the first time I've ever been on a panel (or even seen a panel, or gone to PAX, or gone to any convention of any kind). It'll be awesome to talk games with a bunch of developers I admire, but yeah, combine a thousand unknowns with enormous crowds with nigh-clinical introversion and you get something that's even scarier than what I already do all day.

But hey, I'll manage. I always do.

So if you're going to be at PAX, let me know! It's possible I might be able to do something about that information without crawling under my bed in terror.*

* That's a joke. My bed is a mattress on the floor. I can't crawl under there without straining something.**

** Unless I crawl under the bed at my hotel. Hm, there's an idea....

Q: What kind of writing samples do you want for game work?

Gunther Winters is looking for a writing position in the gaming industry. He says:
...all those ads [that interest me] require the submission of "samples" of one's own work, and I suspect that those that don't clearly require it just take it for understood. ...what is adequate for "submitting"? How many "pieces"? How long? Of what  kind? Most ads mention no details whatsoever...

Any other advice for an aspirant "writer" who is trying to approach the gaming industry?

I can't tell you specifically what other people are looking for, but I'll tell you what we look for. Since Torment is looking for a number of words on the order of 2-3 George R. R. Martin novels, I hope my advice will be applicable (if not over-applicable) to other positions as well.

Mostly we want to get the sense that you can do the work we need you for. Length of the samples is not very important, so long as it's a couple of pages' worth. Quantity of samples can be useful to get a sense of a writer's breadth, but again is not critical.

The type of sample matters more. For us, we like to see game and fiction writing (and because Torment is a bit more literary* than most games, we slightly prefer fiction writing to get a sense of a writer's skill). If an applicant sent us links to his Twitter feed or blog posts, it wouldn't tell us much about whether they could write character dialogue.

* Read: more wordy.

In general, it's a good idea to send exactly what is asked for. If they don't ask for samples, or you think you might have too many, then include a link to more samples in case they're interested. If they think you look promising, they can always ask for more.

Lastly, although the requirements of every game writing position is different, being technical enough to structure branching dialogue is usually a good skill to have. Fortunately, there are many game design and modding tools that can help you learn this sort of thing.

As to other advice, I've written on that before. Short version: learn to do something related, and do it very well.

Gunther adds:
Last, if the choice is between getting Torment released and replying to me, by all means please just work on the game and release it already. I'm dying here [insert pun about my "torment" here].
Heh. Fortunately for you, my brain needed a break and your question provided it. But I appreciate your anticipation!


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Got a question? Ask me anything.


Favorite Games of 2014

It's still January. I'm not late.

Well, except for the part where these are games I played in 2014, as opposed to games that may have come out in 2014. Whatever.

BANNER SAGA
I've talked about this one. It looks pretty. It sounds lovely. It asks me to make hard choices and then question them, and for some reason I love it all the more because of this. I'm thinking of playing through it again on Hard.

I will probably fail. I don't actually care.

THE LONGEST JOURNEY
Adventure games are kind of my thing. I was birthed on Colossal Cave and Adventureland, raised on Space Quest IV and Fate of Atlantis, and sent into the world alongside Curse of Monkey Island and Grim Fandango. Adventure games aren't my jam. They are the eternal soundtrack of my existence.

So yeah, I kinda liked the Longest Journey. It's not as funny as Sierra or LucasArts fare, but it's good enough, and it has a story deeper and more moving than all of the above. When I finished, I immediately launched into Dreamfall and Dreamfall Chapters, which are equally beautiful and moving, though the first in the series remains my favorite in terms of gameplay (so far -- there's more in Dreamfall to come, and I can't wait to play it).

BROKEN AGE, ACT 1
If adventure games are my soundtrack, then Tim Schafer is my composer. All my favorite adventure games? Yeah, they're his. I missed the Kickstarter, but honestly I'm happy to give Tim full price for what is essentially my childhood in precious-gem form.

Broken Age doesn't quite trump Curse of Monkey Island as my favorite adventure game of all time, but it stands alongside my favorites. It also currently holds the award for blowing my mind and the minds of my children with its story secrets. I love it when a story does that.

PHOENOTOPIA
It is very strange to me that a free flash game has earned a place among my favorite games of the year. But it has.

Phoenotopia is essentially a platformer RPG, like innumerable classics I played on NES and SNES. It has clever puzzles, superb exploration, and challenging boss battles. It even has a couple of mechanics I don't think I ever saw back in the day, but that I really enjoyed. It surprised me. The fact that it's free makes it that much better.


A quick Google search will find you these games. If your tastes at all align with mine, you should try them.

What have you played lately? What's your favorite?


Gaming, Women, and Missing the Point

There is a murderer on the loose. Some of the victims are men, but the overwhelming majority are women. Yet for some reason, instead of doing something about it, this conversation is happening all over the internet right now:
A: "Help! There's a murderer on the loose!"
B: "No there isn't. You're just making up that murderer nonsense to get attention."
A: "What? But... dead bodies. Murder. Facts."
B: "Fabricated. I mean, look how obviously these pictures have been photoshopped."
A: "These pictures are from the NY Times. One of the bodies is right over there. Someone is murdering women."
B: "Now you're blowing everything out of proportion. They're not murdering women. They're murdering men, too. But you don't see me complaining about it."
A: "Complaining? I... Look, I'm not saying men haven't been murdered. I'm saying the killer is primarily stalking and killing women. Even most of the men he's murdered were because he accused them of being women. Why are you arguing about this?"
B: "Oh, so now you're blaming me? I didn't murder anybody! You need to get your facts straight. There are a lot worse things than being murdered, you know."
C: "Hey, I heard you're trying to raise this issue about women getting murdered again. I thought you were a rational person, but I guess I was wrong."
D: "Woah! Stop blaming us for the murders! I interact with women all the time without murdering them!"
E: "Oh my God! You're not talking about this 'murderer' again, are you? Shut the f*** up!"
Of course I'm not actually talking about a murderer. It would be so much simpler if I were. I'm referring to online harassment, stalking, threats, and severe sexism -- particularly toward women, particularly in and around gaming culture. A recent public example being Anita Sarkeesian, who was stalked and driven from her home by abuse for bringing up the objectification of women in several mainstream games. I wish it were the only example -- if it were, maybe then we could talk about whether it actually happened -- but it's not even close.

The most horrible part about this conversation is that there are now two problems. There's the "murderer" who is actively killing people (Oh no! Facts! Don't look directly at them!), and there is this small but ridiculously vocal group of people shouting down everyone who tries to do something about it.

(There may be some overlap between the two -- I would not be surprised at all if there was -- but for now, let's give them the benefit of the doubt and say they are separate groups.)

Look, I can understand if you don't see the problem. Twenty years ago, I didn't see the problem either, and it was another decade after that before I saw just how prevalent the problem really was. By its very nature, the problem is invisible to us.

But you have to understand that when you argue with the victims, it makes you a part of the problem whether you see it or not.

This is not a blame game, though (making it such is also a part of the problem). It isn't about you at all. We're probably all sexist at some level, but it's not about labels either. It's about this: what will you do when confronted with people who are hurting? Will you argue that, hey, it's not all men? Will you throw up your hands because that's life and there's nothing you can do? Will you cuss out the person who dared to accuse you of the systemic discrimination that influences every single person on the planet?

Or will you own up to the problem, see it for what it is, and try to minimize it in yourself? Will you try to help and try to do better?

That's what this is for me. The point of this post is not to argue whether or not this crap happens (please don't, it makes you look dumb), but for the people who are where I was, who aren't aware of the problem and its extent, who don't realize that they are part of the problem but that there is something they can do about it.

Because it is a problem. This murderer makes gaming a toxic environment for many, and several times worse for women than for men.

And the second problem: a group who, while perhaps not murderers themselves, make it very difficult for anyone (though again, especially women) to try to talk about this problem. Discussion and awareness are key to any kind of progress, and while the harassers are extremely good at raising awareness (nice work, guys), they are less good about rational discussion.

What can we do? Talk about it. Read about it (you've got 9 good links right up there, most of which link to more good links). Post about it. Call it out when you see it, and don't play with people who do this sort of thing.

God, that last bit is the kind of thing I say to my 7-year-olds. But you know what? When we do or allow this sort of thing, that's exactly what we're acting like. It's way past time we grew up.

How to Become a Video Game Writer

From the AMA pile, Anonymous asks:
If someone wants to become a writer for video games, what would your advice be?

My super short advice is to do these in any order: (1) get a video game job and (2) learn to write well.

More in-depth (and hopefully useful) advice follows.

If you have a video game job, you need to learn to write well and squeeze yourself into positions where you have opportunity to write. You can learn to write anywhere: books, blogs, school, reading, but most importantly by actually writing and getting critiques from other writers.

I suspect, however, that the other order (learn to write, get game job) is the one most of you will be interested in. Here are some options:
  1. Get known for your writing and make your interest in gaming publicly known.
  2. Watch for game developer job openings. For example: inXile, Obsidian, Bioware.
  3. Make friends with other game developers. Note that I said "friends," not "acquaintances who can help me get what I really want." Remember: self-serving has a smell.
  4. Learn skills related to the game industry but that you also enjoy and/or excel at. For example: 3D art, 2D art, programming, web development, game design, etc.
  5. Find similar-minded friends and make quality games (or mods of existing games) on your own time.
  6. Become a game tester.
None of these are mutually exclusive. In fact, the more you do, the greater your chances of getting what you really want.

I know game writers who have followed all of these paths. The goal is to get noticed any way you can, so when someone asks a friend of yours, "Do you know any good game writers who might be available for this?" your friend can go, "[Your name here] might be interested, and his [type of work you do] is always good and on time. Want me to ask him?"

Incidentally, my path is here. It's a stranger path than most, but I did #2 and #3 for my first job, and a combination of #1, #3, and #4 for my current one. So my advice applies to at least one person? I guess?

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AMA: If You Could Make Any Game...

The aftermath of my trip to California has kept me ridiculously busy, but I've finally snuck a little time to answer another question. And it's a good one.

Samuel asks:
You are currently the project lead for Torment: Tides of Numenera for InXile Entertainment. With that in mind, if you could be the "boss"/project lead for any type of Compute role-playing game, and decide everything about it's setting and design, what would you make?
 
(Clarification: I am not Torment's Project Lead. That distinction belongs to Kevin Saunders. I'm not even sure it's a job I'd want. I am Torment's Design Lead, in charge of gameplay systems and Numenera adaptation. And sometimes Colin and Kevin even let me write stuff.)

With that clarified, I'd make the game that I started 11 years ago: a space trader game set in my own Air Pirates world. If you know what both of those are, you can skip to the end. Otherwise...

A space trader game is an open-world (or at least pseudo-open world) space simulator in which the player is the pilot of a relatively small, outdated starship and must work his way up to some awesome, customized super star destroyer of his own design, by trading goods, accepting missions, and taking risks.

Often the game world has a number of factions the player can take missions for, gaining the goodwill or ire of each, and unlocking special missions, ships, weapons, etc. Many such games also have a story you can follow (or ignore). My favorite space trader games, in reverse chronological order, have been: Wing Commander: Privateer, Escape Velocity, and the BBS text version of Trade Wars.

Air Pirates is the world in which my single published story "Pawn's Gambit" is set, as well as the novel that got me my agent.

Air Pirates is not set in space, and it has almost nothing to do with space. It's really all about the airships and the pirates (hence the name). So that's the first thing I would change from the space trader formula: it would be set in a world and not in space.

The second thing I would tweak is I'd focus it on story and reactivity. I wouldn't remove the open-world aspect of it entirely, but for me that would be a side game. The story and the characters would be what was important, along with giving the player multiple really interesting ways to get through the game the way they want to.

Will I ever get to make that game? Probably not. But you asked, Samuel, and it's fun to dream.



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AMA on the Road

I am currently in Incheon Airport in Korea, awaiting the end of my 8-hour layover so I can finish another journey to Newport Beach and another week of design meetings, pizza, more design meetings, Greek food, brainstorming meetings (you know, where we brainstorm design), Mexican food, and the beach. Except for the part where I leave my family for 10 days (and, you know, kill 8 hours in an airport), I'm pretty excited about it.

But I do have some questions to answer! So let's get to these.

All these questions are from Surface Rlf:
If the player it to be forewarned about possible failure, or chances for that failure - shouldn't that be dependent on level of his skill for that specific task?
So, a low level, beginner thief would not be able to know how dangerous some trap or lock is with any greater precision (this lock looks challenging, duh), while a master thief would be able to evaluate the dangers with more exact precision, presumably knowing the exact type and maker and specific of the lock or trap.
Or at least be able to deduce the potential risks with more precision?
- instead of some global knowledge available to everyone - of that class?
These are cool ideas, and if we had more resources to devote to implementing and debugging this kind of gameplay, I'd put it in Torment.  (I know it doesn't seem all that complicated, but even a small thing like this can increase balancing and debugging time exponentially.) At the moment, pending prototyping and iteration of our exploration gameplay, we're allowing the player to choose how much of the task difficulties they see (actual numbers vs. abstracted numbers (default) vs. none), primarily focusing our resources toward conversations, Crises, and reactivity instead.

Save scumming in usual gameplay may be fine, but what about saving during TB combat?
It's likely this will be possible in Torment (our Crises are planned to be longish, in-depth affairs), so I stand by my statement in this interview. Namely, we are taking care in our design so as not to encourage nor require savescumming, even in TB combat. But for some folks, that's how they want to play, so we're not going to expend tons of resources to prohibit it.

- have you played Age of Decadence?
Sadly, no.

As for [random number generation (a topic dealt with in the same interview)]... isnt that what gives RPG mechanics a very valuable sense of authenticity and believability? Lets look at... Sergei Bubka, at his prime. World recorder and master champion of his sport with no one equal or even close in skill at the time. Did he succeed in every single jump? Furthermore... shouldn't RNG lessen the more skilled a character is and be greater the lower level of skill is? (but never be completely removed?) Seems reasonable and believable to me.
I agree (though as I said in the interview, deterministic can be fun too). Sounds like you'll enjoy Torment's design :-)

Oh, i guess the fact that the player has the option of switching between all those Foci will be excused through narrative - of player being a castoff.
Something like that, yeah :-)



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AMA: 7 Quick Answers

The lovely Authoress asks:
Why aren't you writing a novel right now?   :)

Brian Fargo (my boss's boss) has been quoted as saying that we have generated 800 pages of design documents, and I'm personally responsible for about 150,000 words of those documents. (That's an excuse, I know. I am writing a novel, but much more slowly than before.)


Sandra asks:
What will you look for in an intern? What are some basic skills the intern must have? What kind of attitude should s/he have if they want to apply at a company? (Given that, ofcourse, the company you work for, accepts interns)

I, personally, do not look for interns. There are more than enough people in my house who require me to teach them everything I know for next to no pay, such that I don't need any more. I don't know if inXile takes interns, but I'm sure you can find out.


The even lovelier Cindy Heine asks:
What's the next gift you're going to give your wife? 

Either something from the States, something from an airport, or a hug. Maybe all three.


Ali Martinez asks:
Are you guys going to make the [Torment] combat system like Planescape/Baldur with the pausable real-time mode?. Because right now there are WAY too many "turn based combat games" like Banner Saga , Blackguards , ShadowRun, Wasteland, Divinity Original Sin ETC. And I really think that many people want that old school RPG complex combat system, so it would be great if you guys go with the real time paused system :) 

Torment's combat will be turn-based, which we've talked about (and there were "many people" on both sides of that decision).

(Also, real-time w/ pause = old school? Am I that old?).


Hiver asks:
How come the Changing God doesnt get that his discarded shells are continuing to live? He seems as a rather smart guy and he makes them himself. - Does every shell survive or just some? How come?

I can't answer too much without spoiling, but he does get it (at some point).


David asks:
Can I play T:ToN without having to learn the massive lore beforehand? Can I as a layman play the game and learn about the world and rules through playing the game rather than having to study beforehand?
I ask because whenever I see an interview or an update, I've got the strong sense I'm missing a vast amount of knowledge.

I backed both Project Eternity and Torment Tides of Numenera, but my attention had been focused mostly on following Project Eternity. I now have this idea that starting T:ToN I might be well out of my depth. I hope not, because so far, I like everything I've read. And as a fairly critical person, that's rare.

You will absolutely be able to play Torment without knowing anything beforehand. If you come in having read every post and novella, you'll notice cool things here and there, but we are explicitly assuming the player has no background knowledge coming in.


Hugo Chavez asks:
You're pretty cool. What's your shtick?

Clean living, Jesus, and a barrel of children who won't let my head get big for even a second.



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