Q: Which is harder, game writing with a team or solo-writing novels?

I actually got this question on Twitter, but I thought it deserved more than 140 characters. Although if you're into the tl/dr version then here you go.

So which is harder? Writing a game or a novel? Writing solo or on a team?

Game vs. Novel
First, you should know that I've never written for a non-Torment game, and Torment has lots (and lots and lots) of words. It's entirely possible there are games for which writing is a piece of cake. I wouldn't know what that's like.

What's difficult about game writing is the lack of control. In a novel, the characters do exactly what I tell them to (my characters do, anyway). But in a game, the player can do anything he wants (within the rules of the game). So a character I intended to be major might die before he gets a single line, and the writing has to handle both options equally well. So a dialogue that would be 150 words in a novel becomes an enormous branching, interlocking tree.

Novel writing has its own challenges, of course. For one thing, it's more than just dialogue. A lot more. A Torment game has more descriptive prose than most, but it still doesn't come close to what you need in a novel. The novelist has to let the reader into the protagonist's head, to feel what she's feeling. In a game, that's done for you -- the player's already in their own head -- but in a novel, that connection is a lot of work.

(As an example of how much work... By far, the biggest critique note on my Ninjas novel was, "Not enough description and emotion." It took me two months to revise that critique away, increasing the size of the novel by more than ten percent -- 10,000 new words almost exclusively adding description and emotion!)

Solo vs. Team
The best part of working on a team is that I don't have to write all the words. Torment has several writers working part- and full-time, so most mornings I wake up to finished conversations that I never wrote. It's like having an infestation of word fairies!

The hard part of working on a team is trying to agree on everything. We have strict conventions and pipelines to get everything to an equivalent level of quality with minimum fuss. When I'm in a writing role, I need to follow those conventions and get the approval of (usually) at least two other leads.

Even in my role as a lead, there are sometimes disagreements on how we should handle certain things -- anything from what the jargon of a town should be to the voice of a player companion to whether we should use one dash or two in place of an em-dash. Fortunately, we have a pretty great team, with a high level of professionalism and a low ego average, so even difficult decisions are rarely Difficult.

And really, the decision-making as a team is a lot of the fun. When I'm writing a novel, I have to make my own decisions, second guess myself, and be my harshest critic. My novel has no awesome story meetings with people I enjoy and respect (it's just me). And it is really, really hard to be objective about anything you make yourself.

Which do I like better? I like them both. A LOT. Honestly, if I had to choose only one of them, I'd probably rebel and just keep trying to do everything.

Oh wait, that's what I'm doing.

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Got a question? Ask me anything.

How you can be part of a cybermob and not know it

Cybermobbing is getting ridiculous. I mean the entire spectrum here: public shaming, online bullying, harassment, and the general dickery that goes on all over the internet everyday.

The existence of this crap is not news (well, actually it is, like every single day). But it's often assumed that the people engaging in these activities are sociopaths, sadists, and trolls -- people who get high off wrecking other people, or who just have no conception of empathy at all. To be fair, parts of these mobs are exactly that.

But this post is about you, and how even the most innocent, well-meaning person can get caught up in mobbing someone and wrecking their day, if not their life.

An author recently posted the gif below, saying simply, "I don't claim to know s--t about soccer, but I know this women vs. dudes gif amuses me."

His point -- the point of the gif -- is that women athletes can be just as badass and worthy of celebration as men, if not more. Not really a point worth arguing against (unless you got a thing against badass women, I guess?).

The responses he got, though. Last time I checked, almost 50% of them pointed out that the woman in the gif is a rugby player, not a footballer.

They're not wrong. And that's not harassment nor bullying, and so far as I know the author in question was over it before I even had these thoughts. Most of the people correcting him even went out of their way to support his point (though there were a few who thought the mistake meant his argument was invalid which is... a different point, I guess). Taken individually, none of the comments would be a big deal, but when you get 20 replies like that, it can wear on you, literally.

It seems innocent. Each individual is thinking, "I have an opinion that he should know." But the recipient is thinking, "Dear God, MAKE IT STOP."

My point? Think before you post. You are not the only person to have the thought that you had, and you are likely not the only person to express it. Think, and then think again, and then maybe check to see if anyone has said the same thing before you do.

Too much work? Then don't post. Nothing bad will happen if you don't correct that person. But bad things become more likely each time you do.

"But I'm not correcting them. I'm really upset about what they did!" That's fine. There are things you can do, but being a dick shouldn't be one of them.

Social media is real life, guys. The people on the other end of those data packets are real people, and the words you type hit exactly the same as if you said them to their face.

The internet is a powerful thing. We are the ones who determine whether that's good or bad.

Q: A couple of TTON details vs. Pillars of Eternity

Alessandro Gambino has two questions today:

a couple of questions that arose directly from my playthrough of Pillars of Eternity.

First question:  As far I remember, in Torment we will have separate inventory screens for each character, won't we? And if so, any hope you guys are reconsidering this part of the GUI?

I'm not sure where I might have mentioned separate inventory screens. If I did, it was either very early in design or else a mistake. Our inventory design is based on Pillars of Eternity's -- partially because we had just gotten their codebase at that time (so we could see how they were doing things) and partially because a single inventory screen for the entire party is just a good idea.

Additionally, as you mentioned in the full text of your question, Alessandro, TTON's weapon sets will be representative, so a single weapon can be used in multiple weapon sets. See this update for more info on that.

My second question: in a another KS update you wrote (quote): "For us, a “puzzle” isn’t an attempt to divine the will of the designer, but rather an obstacle with multiple solutions involving various Difficult Tasks and their applicable Effort and skills".

Does this mean that Torment won't have any puzzle/problem with not-so-obvious solution? Which is to say: Will the puzzle-solving elements of the original game be dropped in favor of the effort management of the new one (please don't do that. If you are not 100% convinced, I can send you my boxed copies of all Quest for Glory games, as a reminder of how you can have puzzles that feel like real puzzles even if they can be solved in multiple ways according to your character skills :D)?

I can see how your concern might arise from my quote. Rest assured that PST is our primary example in terms of how conversations are designed. "Puzzles" in TTON will take many forms. Simple ones might require one of a couple of Difficult Tasks, but many more will require you to talk to people and pay attention to your surroundings (or at the very least, they will be made much easier by doing so).

What we won't do is, for example, require the player to decipher an elaborate and unique sequence of actions to collect an item they don't even know they need. We also don't want the player to get stuck because they missed some foozle or failed the wrong Task. We are trying to emulate a tabletop RPG session more than a graphic adventure, and that means doing the best we can to anticipate what things players will want to try, and implementing what might happen for each one.

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Got a question? Ask me anything.

Q: What's your favorite part of the writing process?

Trevor asks:

What's your favorite part of the writing process?

My favorite part is the part where I make money, followed closely by the part where people tell me how awesome my writing is.

Is that... is that not what you meant?

So, in terms of actually creating the story, I prefer planning, by far. I'm a notorious, obsessive, ridiculously detailed planner (which is perhaps why I make a decent game design lead). I like to outline my stories down to each chapter's beats and cliffhangers, if I can.

I'm also a big fan of revision, but only after I get critiques and after I've recovered from the bone chilling soul-death that comes with them.

Not a fan of the soul-death.

Or drafting. I hate drafting. In fact, given a choice between drafting and soul-death, I'd take soul-death every time. At least it means I'm staring at a finished story instead of that unholy blinking cursor of oblivion, mocking me while it sits there and does nothing...

You know, it's a wonder I like writing at all.

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Got a question? Ask me anything!

Q: How do you have time for everything?

Trevor asks a very pertinent question:

How do you have time for everything? 

Seriously, I see that you have 10 kids, work remotely on an anticipated game, and write, among other daily challenges I'm sure. Was there ever a point when you wanted to let go of any of these passions? Do you ever worry that you can't devote enough time to each of them?

Do I ever worry I can't devote enough time to everything? Constantly. How do I make sure that doesn't happen?

I have no idea.

Well, that's not strictly true. I have some idea of how I pull this off, but I'm so notoriously bad at everything below that it's a miracle I get anything done. For what it's worth, here are the things that help me run my life:

• Priorities. My family comes first, then paying work (98% of which is Torment), then my own writing projects (i.e. those that are currently unpaid but will hopefully be paid later), then boring things like fixing stuff around the house and watching Fast and Furious 7. When one priority threatens the happiness of another, they get cut off in reverse priority order... which is why nothing ever gets fixed around here.
• Knowing my limits. I'm pretty terrible at this one usually, but occasionally I will have bursts of genius, like when I signed on to Torment with a 25-30 hour/week commitment instead of fulltime (although that usually turns into 30-35, and even more during crunches, but commitments! Yay!).
• Schedules. This is easier when the kids are in school (which they're not now, oi). I try to do Torment work from 7-12 in the morning, then lunch, then write for 1-2 hours, then pick up kids from school, then spend time with kids, then usually more Torment work, then spend time with my wife, then pass out. And somewhere in there I get on Twitter and play chess. No, I don't know how that works either.
• Very little TV. We don't have Netflix or Hulu out here, and we try very hard not to pirate anything. That leaves Crunchyroll, Legend of Korra DVDs, and our collection of Friends episodes. (We actually have more than that, but we rarely get to watch anything as it airs, making Twitter a constant spoilerfest).

Have I ever wanted to let go of something? Yes and no. I certainly enjoy the financial freedom InXile has given me (especially when we needed it most), but part of me thinks I'd be okay with having time to focus on just my writing and family again. (Then the other part of me starts shouting, "Hey, remember how hardly anybody paid us for our own writing?!").

Giving up writing is also an option, but I don't know if I could give it up completely. I've been writing my own stories in some form since I was seven. For now, I'm content to just take it slow.

Obviously my family is not on the table. They're what I do everything else for.

I've already given up a lot of things to make this work: blogging regularly, keeping up with Naruto, any kind of serious board game design, most movies and computer games that I can't enjoy with my kids... These are costs I'm willing to pay in exchange for creating cool things and raising awesome children.

And if my other commitments become too much, I'll cut those too. Until then, I'll just keep trying to live three dreams at once (four, if you count sleep... which I do).

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Got a question? Ask me anything!

Q: Will Torment use Unity 5?

Mark asks:

Is Torment going to be / has Torment been developed with Unity 5 in mind?

It turns out this was a more complicated question than one would think. We're planning to move to Unity 5, but we weren't sure about that for a long time (and even now, there's still a fair amount of work to do before the move is official).

Further details from our illustrious wizard/programmer, Steve Dobos:

We started work on Torment before Unity 5’s full feature set was announced.  By the time Unity 5 became a known quantity, we had already done much work on the engine for Unity 4.  So the benefit of a move to Unity 5 will be limited for Torment.  The primary justification for a move to Unity 5 is the new Mecanim system.  We’ve put much effort in to the animation of our characters, and the Mecanim upgrades will help organize our complex animation trees. 

Unfortunately, all of the cool Deferred Shading tech they released in Unity 5 doesn’t function with an orthographic camera, which Torment uses. So while we're doing some interesting things graphically, largely thanks to the Pillars of Eternity technology, Torment won't really benefit from Unity's graphical enhancements. Sadness.

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Got a question? Ask me anything.

Q: How do we know who wrote what?

Haran asks:

About writing credits in games - in most big games, you can't know which part of dialogue\text was written by whom, just that there is a "lead writer" and other writers. Is there a secret way industry people like you guys use to know this? And for Torment, will you list somewhere who wrote what?

The "secret way" is we ask people what they were responsible for. The answer we get back is rarely simple.

The thing is that most big games are a team effort. Although one person might initially be in charge of an area or a character, by the end of the project so many people have had their fingers in everything that it's often difficult to say who wrote what.

The best we can do (which is what you often see in interviews and the like) are things like: "Well Joe did the high level design on Sagus Cliffs," "Luke was primarily in charge of the Oasis," or "Kate wrote most of the characters in the third act of the game." That's about as specific as we can get.

We could maybe list those vagueries in the credits, but even that might be disingenuous. For example, right now George Ziets is in charge of the Bloom and has written a couple of the conversations. But Colin has written most of them. I've written a few, as has Thomas Beekers and a couple of our other writers. Some of the conversations have been gone over many times by multiple people. I've thoroughly reviewed (and sometimes revised) all of them, and George plans to do the same.

So who wrote what? I could maybe tell you right now, but I'd have to break it down node by node in many cases.

By the end of the project? All I'll be able to tell you is, "Well, George did the high level design on the Bloom...."

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Got a question? Ask me anything.

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.

Q&A: Can you rest anywhere in Torment?

Alessandro from Torment's Italian fan blog says:

You've talked extensively about Effort in many occasions by now, but there's still a piece of the puzzle missing, at least to me. How do you intend to limit rest in the Torment?

I mean, managing Effort is an interesting gameplay mechanic. but only because Effort is a limited resource. If players are able to rest whenever they want, the whole thing explodes.

Now, I know that during Cryses time is a factor, so resting will be either limited or impossible, but what about the "normal gameplay"? Will Players be able to rest freely in exploration mode?

Not usually.

Background: I explained the Numenera concept of Effort, and how we're adapting it for Torment, in our latest update here. Short version: Effort is a limited resource used to make difficult tasks easier. This resource can be replenished with healing or rest.

Alessandro, you are absolutely right (as are others I've seen around the internets who have expressed a similar concern): if healing is freely and easily attainable -- as it would be with a "rest anywhere" mechanic -- then Effort becomes meaningless. You could just use it all up on a task, rest to replenish, then use it all again on the next task.

So obviously the player will not be able to rest anywhere they want for free. You'll have quick rests you can use anywhere, but those are limited and they won't restore all your Stat Pools. Eventually your party will need to sleep. To do that, you'll have to find a place that will let you sleep for a price you can afford. Every Zone will have such a place, of course, but you won't be able to rest wherever and whenever.

Can you just head back to the rest spot in between tasks? Sometimes, sure. Other times you won't be able to get back so easily. Sometimes you'll need to do a few tasks in a row to accomplish something. And sometimes sleeping (which makes time pass) will have other consequences as well.

So sleeping will usually come with a cost. That cost might be trivial or it might be quite high. It will depend on what you want to do, where you are in the game, and what's more important to you at the time.

Torment Novella Fan Art

In case you missed it, I got my first for-real fan art the other day for the Torment novella. From Michael Malkin, this is "Ama, seeker of the Golden Tide."

I like the golden light shining in from the left. That's a nice touch. Thanks, Michael!

Read the entirety of "The Patch Man"

My Pathfinder story, "The Patch Man," has now been published in its entirety. If you're like me, and you don't like reading something that you can't finish, well you can finish it now: chapter one, chapter two, chapter three, and chapter four.

(And if you're better than me, and read things the moment you can read any part of it, know that today you can be complete.)

And oh my gosh, I just realized I never told you how this came to be!

It probably never occurred to you. I mean, I'm the Design Lead of a computer RPG, a thematic successor to a Dungeons and Dragons game, of which Pathfinder itself is a successor. The creator of Numenera (from which we get Torment: Tides of Numenera) wrote a Pathfinder story of his own. Obviously, then this work for hire came about because of my RPG connections.

Except it didn't. It actually came through my dear friend Authoress, who was chatting with me one day and asked if I had any interest writing a story for a game world (which, um, YEAH). Cuz she was chatting with this editor of an anthology that she was published in alongside Paizo's managing editor. And he had said . . .

Yeah, I can't track it all either. The point is I am apparently only capable of finding the most circuitous routes to publishing available. (Like, you know, quitting Black Isle, moving to Thailand, and then getting a game design job through Facebook).

But what do you care? You get to reap the streamlined benefits in fiction form. For free! Go, reap your benefits, find out what happens to Blit!

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?

Copyeditor Bar Jokes

Click to embiggen.

Q: Game quality on a variety of systems?

Taking advantage of asking me anything, Steve says:

If one writes a book, the reader gets exactly what the writer put across. Doesn't matter what format they read it in - it's basically the same experience.

But with video games, everyone’s machines are different, from ancient to cutting edge. With all the variables of OS, RAM, video cards, and everything else thrown in as well. Which have changed since you began the project and will have changed again by the time it comes out.

So my question is, how do you design a product that will have the best quality when played on such a wide spectrum of equipment? Is there some kind of statistical system requirement formula for reaching the greatest number of gamers? Or do you just go for the best game you can design, and hope people’s computers will catch up to it in time?

Note that this is uniquely a PC problem. Console games also benefit in that if a game works on one XBox, it works on all of them the same (basically).

So it's certainly a trick. Although we do try to keep things optimized as we go, we're generally more focused on getting the game working first, and then getting it working fast.

Most of our developer boxes are semi-high end for this reason. If the developer's build of the game starts slowing down on a computer, it's usually easier to upgrade the computer than to slow down development while we figure out how to optimize whatever's slowing things down.

Though some optimizations do occur as development goes along. If we toss ten NPCs into a scene, and everybody's machines slow down, that's something we need to figure out (especially if we know we're going to need more than ten NPCs in our scenes!).

That only talks around your question though. To answer it more directly:

Step #1: Get the game playable. Period.

Step #2: Figure out what configuration of machine, level, and graphics quality things start to slow down.

Step #3: Figure out what's causing the slowdown and fix those spots. For example, if 10 NPCs is slowing down a scene, is it slowing the scene down because there are too many polygons? Too many light sources and lighting calculations? Too many shadows? Transparency? These things can be fixed globally to improve the game on all systems (for example by creating NPC models with fewer polygons).

Step #4: Identify features that can be scaled based on the user's system specs. For example, maybe there are three levels of NPC models: high, medium, and low. And each level has a different polygon count. These features then go into Game Options for the user to adjust the graphics to the quality/speed balance they are willing to put up with.

Then we run the game on various systems to determine our recommend system specs (which can run the game with all options turned up and no slow down) and our minimum system specs. Large developers have QA departments to do this for them. A small-to-midsize developer like inXile can do some QA, but also benefits hugely from public alpha and beta testing. The more folks we have banging at the game, the better the final product will be.

Of course we aim for the lowest system specs we can, so that as many people as possible can play the game. But there's always a certain threshold at which the work required to optimize the game cannot be justified by the number of customers we gain with those optimizations.

On Torment, we benefit from using Obsidian's technology for Pillars of Eternity, which lets us create high quality backgrounds without requiring more power from the system. That doesn't mean everything can be at a higher quality (NPCs and light sources still require a fair amount of processing power), but it gives us a lot more leeway than if we were making the game entirely in 3D.

Sorry for the hugely long answer, but I'm glad you asked the question. Among other things, this is why we can never give a straight answer when people ask us what our target system specs are going to be. The answer is invariably, "As low as we can make them."

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Got a question? Ask me anything.

The Patch Man is up at Paizo.com

My latest short story, "The Patch Man," is up at paizo.com (at least the first chapter is -- the rest will come soon). It takes place in the world of the Pathfinder RPG which, if you're not familiar with it, is very similar to D&D, but with a lot of its own twists. "The Patch Man" is about a half-fiend named Blit who makes a living cleaning up evidence for the less-reputable guilds in Pathfinder's largest city, until he starts getting in over his head.

This marks the second short story I've sold in *mumbles* years of writing. At this rate, you can expect a published novel from me by 2040. Oh well. In the meantime, I'll just get back to work on the most anticipated RPG of 2015.

Rough, right?

Anyway, enjoy the story. Did I mention it's free?

5 Weird Facts About 2015

These facts are weird to me, at least. Most of these are true this year. All are recently true.

(1) We've lived in Chiang Mai longer than we had lived in San Diego.

San Diego's our home, man. At least it used to be. But we've been living in a place where all TV shows are geo-blocked (and also available down the street for $1/disc), and where Sprite is pronounced "sapai," for more years than any place I've lived in except the place I was born.

(2) We've been attending our current church longer than we had attended our supporting church.
Equally strange. The friends and family who support our foster work have been going to church without us longer than they went to church with us. Heck, most of them don't even go to that church anymore.

Corollary weirdness (but also extremely cool): Our support hasn't dropped off a bit in ten years.

(3) I've been working for inXile longer than I worked for Black Isle.
With the notoriety of Planescape: Torment and the subsequent Kickstarter, one would think I worked at Black Isle for years and years, but really I was only there for about eighteen months. I played Fallout in college, joined up for most of PST's production and the beginnings of TORN, and then I left. Now I'm like a Design Lead or something.

And I live in Thailand. I mean, my commute was pretty bad before, but my current commute is sixteen times worse.

(4) We've been married with kids longer than we've been married without.
This probably shouldn't be weird, but it is. I don't remember what we did without kids. Well, yes I do: we played Settlers and Ticket to Ride and Mario Tennis and SSX Tricky until we remembered that we had to go to work in that nebulous future thing called "tomorrow morning." What I don't remember is how we did that.

(5) I've known my wife longer than I haven't known her.
This also falls under the "extremely cool" category, but it's strange to think that I've known Cindy for most of my life, yet I grew up without her. How is that even possible? Surely I loved her from afar in Junior High, or spent fourth grade staring at the back of her head, or became pretend-engaged to her in Kindergarten. And I definitely walked her home in highschool, stressing about whether I should ask her out or not the whole way. Except I didn't do any of those things. I didn't even meet her until college, but it definitely doesn't feel that way.

Maybe I'll feel better if I photoshop her into some of my school photos, to match what's in my head.

How to Get Schooled by a 4-Year-Old

My daughter Anica is beautiful, ruthless, and ridiculously smart. She embodies every connotation of the word precocious.

In this chapter, she and I play a game called "I'm Thinking of an Animal" -- kind of a kindergarten version of Twenty Questions. (I designed it myself. I'm so very smart.)

Sometimes, Anica gets bored and messes with me.

Me: "I'm thinking of an animal that's black and white." Anica: "A cow!" Me: "AND it has wings and swims very well." Anica: "A birdcowfish!"
— Adam Heine (@adamheine) May 29, 2014

 

But that's just her playing around. Recently, she got ruthless.

Anica: "I'm thinking of a duck. What is it?" Me: "Um..a duck." Anica: "No. Do you want to know what it is?" Me: "Yes." Anica: "It's a duck."
— Adam Heine (@adamheine) December 12, 2014

Trying to outsmart her is futile.

Anica: "I'm thinking of a panda." Me: "It's a panda." Anica: "Nope." Me: "It's a panda." Anica: "No, it's a duck."
— Adam Heine (@adamheine) December 13, 2014

Even when she takes pity on me.

Anica: "I'm thinking of a cow, which means it's something else." Me: "How do I know?" Anica: "Guess!" Me: "A duck." Anica: "No, it's a dog."
— Adam Heine (@adamheine) December 13, 2014

Even when it's my turn.

Me: "I'm thinking of a snake." Anica: "It's a duck." Me: "No." Anica: "It's a dog." Me: "No." (cont...)
— Adam Heine (@adamheine) December 13, 2014

(...cont) Anica: "It's an eel." Me: "No." Anica: "Yes, because it looks like a snake." Me: "HOW DO I WIN THIS GAME?"
— Adam Heine (@adamheine) December 13, 2014

At least my daughter still has one shred of compassion.

Anica: "I'm thinking of a duck that's an ostrich." Me: "Um... a penguin." Anica: "You got it!" #finally
— Adam Heine (@adamheine) December 13, 2014

My only hope, at this point, is to curry favor for when she rules the world.

Q&A: Gold Novella available anywhere else?

Bester says:

Sigh... Are you planning on selling "From the Depths" on any site at all, separately from other guys?

Not at this time.

So first, the Gold novella was written as a work-for-hire, which means all the rights to it belong to inXile and not to me. So "I" (Adam) will not be selling the novella anywhere because contractually I cannot.

"We" (inXile) do not currently have any plans to sell the Gold novella -- nor the other novellas in the From the Depths compilation -- in any way beyond how you can get them now. That doesn't mean we won't sell them on Amazon or something after Torment ships, it just means there are currently no plans to.

I will say that $15 for seven novellas is a pretty good deal, especially with some of the authors involved. If you're at all interested in Torment or in Numenera, I'd say (biased though I am) that it's well worth it.

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Got a question? Ask me anything.

From the Depths: Gold now available

As part of the Kickstarter campaign for Torment, we offered a series of give novellas called From the Depths. The novella I wrote (the Gold one, with super secret hidden title Gate to the Abyss) has been published and is available now.

This marks the second time I've been published (for anything greater than 25 words, that is). Still no novel, but I'm working my way up there! And look: I have two fans!

The enemy of your enemy can still kill you.

After the destruction of Shuenha, Luthiya and the other survivors take refuge in a dessicated land of churning volcanoes and eternal night—the ruins of Ossiphagan. They endure, but barely. So everyday they search the ruins, hoping to find some powerful artifact that will avenge them against the bloodthirsty Tabaht.

Luthiya discovers the fire wights, an ancient race both beautiful and powerful. She's afraid of them, but when the wights scare off a Tabaht scouting party, the other refugees believe they've found their redemption. But are the wights all they seem? Can they be reasoned with or are they bloodthirsty animals?

More importantly, are they working alone?

If you pledged for a reward level that includes the novellas, you can log into our website and download the novella right now.

At this moment, pledging towards Torment is the only way to get the novella. If you'd like to do that, you can pledge toward any of the reward levels that include the novella compilation (the cheapest being just the novella compilation at $15.00). You can do that on the Torment website as well.

Torment Game Modes?

From the AMA pile, Arumaxx89 says:

As you said, you want neither to encourage nor prohibit save scumming.

So I want to ask you a question: "Will there be different game modes in T:ToN?" (like, for instance, trial of iron in pillars of eternity or ironmode in XCOM)

We haven't finalized our game modes yet by any means, but we are tentatively planning some sort of ironman/permadeath mode. Of course "permadeath" doesn't mean as much to a tough-to-kill castoff of the Changing God, but it would mean something for your companions.

And it would mean your choices and failures were irreversible. By itself, I guess this wouldn't be too bad in Torment, where we are trying to make failure states worth continuing through anyway. But even though most things won't kill the Last Castoff, he's not immortal. There are things that can happen in the Ninth World that can wipe out even a castoff, and some of those things are hunting you...

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Got a question? Ask me anything.

I am not a great writer

(LINK WARNING: The YouTube links in this post are kinda bloody -- accurate metaphors, but bloody.)

Last week I got critiques back on two of my novels. They were great critiques. I mean really great, like editor-from-Tor great. (Don't get excited. They were not from an editor at Tor, nor any other Big 5 publisher; I'm still very much in submission hell.) And this super-editor critique, that I'm extremely grateful for and will probably owe my future career to, well... it totally and utterly crushed my soul.

For two days straight, I was the authorial version of John McClane's feet. I knew I could write in theory -- I mean, people have said so before and even paid me for doing so -- but I couldn't make myself believe it. I didn't feel right reviewing other people's stories or even Torment docs. I felt like I knew nothing about telling a story or stringing words together.

Then I had a revelation, and I want to share it with you because I know all too well how common the soul-crushing critique is. The revelation is this:

I am not a great writer.

But damn can I revise.

Twisting it that way changes everything. If I think I can write, but then I get this critique that rips through my novel like a chain blade through a clan of ninjas, then surely I know nothing. I'm a pretender, a wannabe, and I will never get it right.

But if I consider myself a reviser, then a critique like that is expected -- desired even. It's just more ammunition to do what I'm really good at. Everything I write is going to get critiqued that hard, so it's a damn good thing that I can revise anything.

Don't get me wrong, the critique still hurts, and it's going to take a lot of work for me be happy with it again, but thinking of it that way gave me back the motivation I needed to tackle it. This is something I can do.

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.

Numenera Creatures: Burden or Opportunity?

JJL asks:

So I lately got Numenera corerulebook and bestiary and read them through, fascinating stuff, but It makes me wonder about the video game.

I mean, Numenera seems to be really hard setting to make stuff for since like, one of things book states is that all animals from modern world are extinct so if someone talks about scorpion, it might not be scorpion in same way we today understand what that word means. That and the fact that bestiary is weiiiiird(in cool way) makes me wonder how that affects the game design

I mean, when you are doing normal fantasy game setting, you can just include vampires and skeletons and whatever without thinking about it too deeply, but in numenera straight up magic doesn't even exist, everything is caused by really advanced science and bestiary doesn't contain any monsters from traditional fantasy setting. Heck, book even recommends against using words like dragon or griffon or such to describe creatures. So yeah, does that make job much harder for you guys or do you guys consider it more of opportunity to do interesting things? 

(I'm assuming you guys aren't ignoring the setting described by rulebook completely xP I mean, for all I know, if you guys want to include undead and straight up dragons, you guys will do that)

We're professional world-builders working on a brand that intentionally steers away from normal fantasy at every opportunity. So yeah: huge, HUGE opportunity. This is why we chose the setting in the first place.

(And yes, there will probably be zero vampires, skeletons, or dragons. We do have one creature called a wight,* but it's not what you think.)

* See the novella compilation in Update #7.

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Got a question? Ask me anything.

Wait, wait, wait: One BILLION Years?

AstroBull has a question about the Numenera setting:

I have a question about the TTON time scale. In a previous AMA response, you mention "the setting of Numenera and Torment is Earth one billion years in the future, known as the Ninth World. A billion years is as far removed from us as we are removed from being single-celled organisms." This brings up questions regarding biological evolution. As far as I am aware, many/most characters in TTON will be recognizably human, though I'm sure with changes both genetic and technological in origin. Still, it would take quite the suspension of disbelief for me to believe that Homo sapiens as we know it would exist in this future, rather than some potentially un-recognizable descendent.

Couldn't the premise of ages of civilizations with vastly advanced tech followed by a dark age work for, say, 20 million years? Will there be some explanation as to why humans still exist in the unfathomable distant future?

You are absolutely right. In one billion years, humans and everything else will have evolved, the continents will have come back together and split apart again, and none of it will matter because the sun will have expanded to the point where life on Earth will be impossible.

Assuming nobody does anything about it.

That's the thing, though. In those billion years, at least eight ultra-powerful civilizations have arisen (or arrived) and then disappeared, each one advanced to incredible power far (FAR FAR) beyond what we are currently capable of. And each one messed with the Earth in substantial ways.

At least one of them had mastered planetary engineering and stellar lifting. At least one could fiddle with the laws of physics the way we play with Legos. At least one explored parallel universes and alternate dimensions. And more than one wasn't human.

So why are there humans at all, or anything even remotely close? The Ninth Worlders don't know the answer to that. Their recorded history only goes back about 900 years, before which humans lived in barbaric tribes and isolated farming villages. No one knows how long it's been since the previous civilization disappeared, nor where Ninth Worlders came from. They have a sense that Earth was once theirs, and then it wasn't, and now it is again, but they have no idea how this could be.

Will there be some explanation for you, the player? Not in Torment, and maybe not in Numenera at all. It's not critical to Torment's story, but more than that, it's part of the mystery of the setting. And mystery is critical to making this setting work.

As for why a billion, instead of some other large-but-sufficient number, Monte Cook has a better answer than I could give.

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About What We Do

From the AMA bag of holding, Surface asks:

Not to only ask about Torment - Im genuinely curious about your involvement with that orphanage.

How did it happen, really - and so far away from home? Im imagining you were probably on a vacation and just happened to run into it and then just... felt the call? Am i correct?

And how do you finance it? Seems like an impossible task just for one guy and his wife.

Is it you who is keeping it all together or are you helping or... how does it all work really?

This might be the first question for which my new readers need the backstory. Or just the story, I guess.

Like it says next to my picture over there, my wife and I foster a bunch of kids in Thailand. We're not an orphanage (though we used to work at one). We don't even really like the term "children's home" (though that has more to do with certain connotations that has out here -- technically, we are a children's home). We prefer the term family, because that's what we try to be in every way.

We take in kids that have nowhere to go. We try as hard as we can to treat them like they were our biological children (we have 2 of those as well, which gives a good point of comparison). We currently have 10 kids -- 9 at home and 1 in college -- from all kinds of backgrounds: orphans, refugees, abused, abandoned, Thai, Burmese, Lisu, Karen. Our only real criteria is that we are their last stop. These kids have had it hard enough; the more stability we can give them, the better they will be able to heal.

So our "children's home" is just our house and our family. We're the parents. We have no employees except a house helper (who is, herself, more family than employee). We almost never both leave at the same time because (1) it's hard on the kids and (2) it's hard on us!

How did this happen? The simple answer is what you said: God called us. The run-on sentence is that Cindy's had a heart for orphans since she was young, so when we felt called to come here (it was a more gradual thing, culminating in a very strange moment at a pastor's conference where we both *knew* God was asking us to go), we had a vague idea of running an orphanage/planting a church in whatever country we ended up in. About a year after we got here, we had something of a reclarification, in which we realized we didn't want to manage an orphanage. We wanted to parent a family.

Financing our home has mostly come from friends and family who support our vision, as well as from our own savings. Over the last few years, our family has grown beyond our income from supporters, and our savings have been gradually exhausted. It was almost exactly two years ago when we were considering fundraising (blech), but then I got this job you might have heard of.

So yeah, your Kickstarter dollars help support orphans in Thailand. That's how awesome you are. Seriously.

You can't believe how grateful I am -- to you the backers, to Colin and Kevin and Brian, to God. I never, ever, ever, ever thought I'd get to be in game design again without quitting everything we do out here (which isn't going to happen). The fact that I get to work on this amazing game, without taking any time away from my amazing kids, has been blowing my mind for two years straight now.

Thank you for the question, too. I appreciate the opportunity to share my family a little bit.

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Got a question? Ask me anything.

About Torment's Crisis System

Two related questions from the AMA desk today.

Baudolino05 (aka Alessandro, from our wonderful fan-run Italian tumblr) asks:

What can you tell me about the quest design in T:ToN? I mean: only part of the quests will be handle through Crises, right? As for the remaining part, can we expect complex/interrelated quest-lines? Will they feature puzzle-solving/exploration elements like in the original Torment? No combat at all, right?

Along similar lines, Surface Rfl says:

One additional question more about Crises themselves, since you mention their apparent duration as one reason why saving in TB would be possibly, or most likely, allowed.

Im wondering about their general structure.

Does your answer mean that all of a Crises will be done in TB mode and so be all combat related?  I thought there will be other things to do inside Crises. And usually, for things other then combat, we go back to normal real time gameplay in games like these.

Torment's Crisis system (which we introduced in ridiculous detail here) might best be thought of as our "more than combat" system. Or better yet, think of it as a tabletop encounter, where combat is certainly one way to handle things, but where players have many, many more options available to them as well.

Yes, Crises are all turn-based. But no, they are not necessarily all combat. We use the Crisis system whenever there's some kind of time-based pressure the player must deal with. For example, it would be a Crisis to sneak out of a prison or to try and rescue people from a rampaging horror. In the first case, the pressure comes from the guards who are patrolling or responding to alarms. In the second, of course, it's the horror itself that provides the pressure. In both cases, while combat is a possibility, it's not the ideal solution to the problem.

So the "other things" you can do depend on the individual Crises themselves. You might be repairing (or disabling) ancient devices, persuading people that you're on their side, creating distractions to temporarily stop the horror, etc. We wouldn't be able to do this kind of thing well in a massive dungeon crawl game, but since we're focusing on quality over quantity -- on a dozen or so handcrafted scenarios, woven tightly with the narrative and environment -- we can afford to make each one really interesting.

As for quests, certainly there will be some that result in a Crisis, but just like PST there will be many quests (maybe most quests) that you can solve with just conversation and exploration. We're excited about the Crisis system, but this is still a Torment game, after all, and that means that conversation and narrative are king.

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Got a question? Ask me anything.

Great Artists Steal

Thomas Hennessey says:

I've always figured the best way to be a good writer is to be a great reader first. Is the same true of game design? Have you come across a game that made you think, woah that's cool, I gotta use that somehow.

I think that's absolutely true, of game design, of writing, of any kind of art.

Because you have to know what's out there. More than anything else, people enjoy novelty. You can't be novel if you don't know what others have already done.

(I guess if you're not selling anything -- you're just making "art for art's sake" -- this is less important. But personally, I don't even understand what the heck "art's sake" is. I make art because I want people to enjoy it (and if they pay me on top of that, enabling me to make more art, well awesome).)

Because consuming and copying art is how you learn to be a better artist. This sounds contradictory to the first, but it's a secret I learned much later than I wish I had: IT IS OKAY TO COPY GREAT ART.

Because this is how you learn. Because there's nothing truly original anyway. And because what makes something original is not that you thought of something nobody's ever thought of before (you didn't), but it's how you execute that idea with your own personal spin and style.

(Note that it's not okay to copy great art exactly and then claim it's your own. That's plagiarism. That's not what I'm talking about.)

I'm talking about copying things you love, figuring out how they work, mixing them with other things and with your own style to create something that's new, something that's yours. It's a secret because we are told that copying others is not creative, but the truth is that -- unless you're ridiculously lucky -- you can't make something good if you don't know what good is.

(To answer the last question, I have most certainly seen things in games that make me want to include them. All the time, in fact. Here's a recent example.)

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Have a question? Ask me anything.

What is the numenera?

From the AMA pile, Surface rfl says:

In a recent interview, among lots of superb stuff (great companions concepts! can we call the ball of goo... Ballte? Goolte? no? ..damn...), - ive noticed this line:

- "Magic" in Numenera is performed by tapping into the ubiquitous numenera around you--even in the air and the dirt--and using it to reshape the world. -

I know thats most likely a convenient background lore explanation explanation and i dont expect "magic" to be realistically explained, but im curious when it comes to the setting... what exactly does this "ubiquitous numenera" mean?
Did you refer to various technological remnants of previous epochs like cyphers, artifacts and other actual numenera that the player will find, or maybe some kind of more microscopic nano machines saturation... or is it something else?
Im asking because so far ive gotten use to thinking about numenera as small objects basically, and any still functioning or malfunctioning rogue nano machines as something exactly specified, like the Iron Wind, for example.

-?

Yes to all of the above.

So a brief recap for those unfamiliar: the setting of Numenera and Torment is Earth one billion years in the future, known as the Ninth World. A billion years is as far removed from us as we are removed from being single-celled organisms. In those epochs, a number of great civilizations have risen and then disappeared into obscurity, each one orders of magnitude more advanced than all but the wackiest science fiction could even imagine.

The people of the Ninth World, however, are at approximately medieval technology levels, but they live among the debris and leftovers of a billion years of civilizations. Of course there are no books or other degradable things still lying around, but there are massive monuments made of metals nobody recognizes, giant crystals floating in the sky, mutated descendants of bioengineered creatures, automated military constructs following orders that don't make sense anymore, and other weirder things that have withstood time.

The Ninth Worlders don't understand how to make any of this stuff, but they know enough to cobble together useful artifacts from what they find.

To (finally) get to the question, "this stuff" is the numenera, but it doesn't just mean sci-fi devices you find lying around (you actually don't find sci-fi devices lying around much, but have to cobble your own). It also means the invisible forces still in the air. It means the datasphere that some civilization built around the planet -- the one that can be accessed if you know what you're doing (not that you'll understand what you find) and beams the occasional strange vision (known as glimmers) into people's heads at random. It means the creatures that look like they stepped out of a horror film. It means the dirt itself, which has been worked, refined, manufactured, or grown and then ground back into soil by time.

Although we do frequently use "numenera" to refer to the items and devices you will find in Torment, it really is ubiquitous and can be used by the clever or knowledgeable in infinite ways.

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Got a question? Ask me anything.

Why are we drawn to magic?

From the AMA pile, Nameless One (though not the Nameless One . . . I don't think) asks:

Why are we so drawn to the theme of magic?

When viewing cravings, be it one for air, food, sex and something else...they are all based on things that we can observe and acquire, so why do we crave works of fiction that involve magical themes as strongly as we do?

Well, I can't tell you why you are drawn to the theme of magic. I can tell you that there are people who aren't drawn to the theme of magic, who feel fantasy fiction is ludicrous and a waste of time (and I really can't tell you why they feel that way).

But I can tell you why I am drawn to themes of magic: because I want to believe there is more to this world than what we think we know.

I want to believe there are powers we don't understand, worlds we've never visited and can't imagine, wonders that we could accomplish -- right now, even -- if we only knew how.

This sounds superstitious and silly (okay, I guess I can understand why those people feel that way about fantasy), but it's not. Gravity is a power I can calculate but don't fully understand, and I understand black holes and the strong nuclear force even less. The universe is filled with worlds we've never visited and can only imagine by pointing really powerful telescopes at distant stars and measuring how they twinkle.

And we are surrounded by wonders that, whether we can explain them or not, are no less wonderful for that. Cancer survivors are magic. Forests that regrow after a raging wildfire are miraculous. Everything at the bottom of the ocean is a fricking horror marvel.

Shoot, man, my kids are magic. They are people, with thoughts and ideas of their own, who will one day do things that no one has done before. And yet twenty-five years ago, NOT A SINGLE ONE OF THEM EXISTED.

So I don't know about you, but I'm drawn to themes of magic because my world is filled with it and nobody seems to notice. I want to notice. I don't want to think that, just because I can explain or reproduce a thing, it means that thing is now mundane. And I want to believe -- I do believe -- that there are greater marvels out there that we know nothing about yet, or perhaps that we've dismissed because they don't fit our schema of what the world should be like. There's got to be more than this world seems to offer. We just gotta find it.

I don't know, guys. Why are you drawn to themes of magic?

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Got a question. Ask me anything.

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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Got a question? Ask me anything.

So What Are You Working On Now?

Oh, you know, a couple of things...

 

But inevitably:

AMA: Torment Companion, "The Toy"

Garrett / Claive says:

I am fascinated with the idea of the "Toy" companion.  How much "growth" will there be from when you first encounter this creature to when it is finished with you?  How much influence will we as the player have on that growth?  Will that "directed growth" be predictable, variable, random, feed it fire seeds and pray?

Background: Early during our Kickstarter, we announced the following stretch goal: "Our initial plans for Torment included four possible companions for the player and at this Stretch Goal, we will be adding a fifth, which we’ve nicknamed “The Toy.” (That’s not its in-game name. ;) ) The Toy is a changing ball of goo: Is it a pet, an abandoned toy, a dangerous weapon? Whatever it is, it responds to the way you treat it by changing its appearance and abilities to reflect what it perceives as your desires. Its ultimate secrets are... well, you'll have to find out."

The Toy is part of the numenera, some leftover creature from a prior world, or maybe a byproduct of some ancient technological process. Who knows? What it is now is an extremely strange and loyal pet.

I can't tell you in detail how much growth it'll have from start to finish, but it'll be equivalent to the growth your other companions go through over the course of the game. The main difference is the Toy's development will affect its form as well as its abilities.

As it's master (if you choose to be so), you'll have a decent amount of influence over it, but you won't always know what you're doing. The Toy will learn from you, from what you praise or punish it for, from what you ask of it, and from what you yourself choose to do. If you encourage it towards violence, it might get better at that and become a killing machine. If you encourage it to be quiet, it might take that to the extreme, even to the point of becoming invisible.

Or it might not. We know what we want the Toy to do, but there's a lot of design and implementation left before we know what this specific character will do.

And like all the numenera, the Toy will occasionally do things you don't understand and don't expect. Nothing about the numenera is entirely predictable, and the Toy is a major example of this. Especially if it can't make sense of your desires (or maybe even if it can), it may occasionally swallow your enemies or burp a black hole or... who knows? You just can't tell with this thing.