Saturday, April 4, 2009

Noir to Hide

The following is a short novella I wrote in the irreverent style of Marcel Boulestin, or perhaps the late Thomas Keller.

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Noir to Hide - Ghostwritten by Orin Bishop

          "That's some office," I mused loudly as I decried the Mesopotamian wallpaper and crocheted egress. I regretted leaving the keys inside.
          That's when I saw, for the first and third time, the dame who would change my life so tangentially. She didn't seem to regard it as an egress, and strode through it with something resembling the character of someone who was once confident, but who lost it all one day to the blind yammerings of lady liberty. She opened her mouth loudly to speak, but I already new what she was going to say.
          "You want me to find the man who killed your husband." I absentmindedly tipped my ashtray out the window to the familiar and comforting screams of the city. She looked at me with surprise, her flawless features diminished somewhat by her sad eyes and dripping gun wound.
          "No, my husband's fine; he's been dead for weeks. I want you to find the man who nearly shot me."
          Apparently I hadn't known what she was going to say.
          "Ma'am, I think he more than nearly shot you." I indicated her charming laceration.
          "This? No, I tripped on the stairs on my way up here. The man who shot at me was..."
          She paused, scanning the room with the air of an ardent quadruped. After several hours, her gaze fell upon the shadowy figure atop my desk.
          "That's him! On your sofa!"
          "It's a desk," I pointed out, with the manner of a tollbooth operator who has just been refused parole... again.
          "I'm not a desk," said Bob.
          "Look," I offered, attempting to lighten the mood by hurling a Molotov cocktail, "perhaps we can discuss all this over some cold jazz and a warm martini."
          "Alright," acquiesced my bleeding client as she loosened her sombrero, "but I must warn you that I like mine practically scalding."
          I took this as a sexual advance, and called the police on speed dial. It seemed I needed an adult.

Thursday, March 26, 2009

ThreadBound Footage

Here's some footage from an iPhone game currently in development by a small team, NeverBored Studios, of which I am the lead designer. I toot my own horn in you're general direction!

Obviously a lot of the art is placeholder, and the audio also has a ways to go, but we are hoping to release it on the apps store in late-April or early-May, and at a limited-time discount. Buy it now! (or rather, then!)

(I'm the one playing, my friend Thomas is the one trying to centre the iPod in front of my laptop's camera. Just pretend this is Blair Witch or something.)

Wednesday, March 25, 2009

Training

I knew I was learning something.

Tuesday, March 17, 2009

Jean Reno?

There's this relatively new series over at the escapist called Unskippable where these two guys make fun of videogame cutscenes MST3K style. I particularly enjoyed their latest one, partly because I thought the humor was really spot on, and partly because I remember that my friend Dan and I thought this cinematic was totally freaking awesome back when we saw it in the Onimusha 3: Demon Seige trailer years ago.

I also remember that we were totally smacked upside the gob when the trailer declared - and this may count as a spoiler if it's possible to spoil a trailer - that Jean Reno was a character in it. I mean, he doesn't just add some voicework, they've got his likeness in there and everything, fighting alongside a ninja in feudal Japan against an army of, uh, demons apparently.

Um - setting aside for a moment the fact that Jean Reno kicks ass - why?
Well, because apparently the demons are invading present-day France as well as Feudal Japan, so we need a French guy. I guess I'm just dissapointed the demons aren't also invading Mars and Krypton so Superman and Marvin can join the fray. Actually I don't see why they couldn't join the fray, but apparently Jean Reno is just a prick who doesn't care about Feudal Japan and only cares when his own Jerry-loving people are in peril.

(It's interesting how in this context, Jerry could refer to either Jerry Lewis or Nazi Germany, and they're conveniently both offensive.)

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Speaking of irreverent mashups, there's a new book called Pride and Prejudice and Zombies which is exactly what the title implies. There is also a similar-sounding movie coming out called Pride and Predator, produced by Elton John. That's like if...
...nah, I got nothing.

All I can say is, I'm gonna feel really jipped if they doen't have the actual Predator in the movie. And zombies in pre-Vctorian literature are awesome. If you have doubts, read Jonathan Strange & Mr Norrell.

To be academicaly honest, I learned about both of these lovely Jane Austen butcheries at Wondermark, one of the very few webcomics I read. This guy David Malki swipes pictures he finds in 19th century periodicles and combines them with word balloons for surreal and often hilarious results. He also has an enlightening and sobering section called The Comic Strip Doctor where he valiently tries to fix the zombie-like abominations that are todays newspaper 'funnies.' This was where I found out about the wonders of the Garfield Randomizer, but that's a post for another day.

Seriously, read Jonathan Strange & Mr Norrell. Jean Reno demands it!

Friday, March 6, 2009

Bugdom 2 isn't good...

I realize that the technical realities of the iPhone are somewhat limiting (being part of a team who are developing for it, I'm learning more about the various constraints all the time), and frankly the graphical aspects of Bugdom 2 are quite impressive. It looks about the same as the original Bugdom on the iBook lo these many years ago. It's just a shame that the game itself is... not good.

First, let me start with a disclaimer. Many studios have been good about fixing the various problems in the games they have released by way of updates, and it is quite possible that many of my criticisms have in one way or another been rectified by now. What I am about to review is the Bugdom 2 that I played. Your mileage may vary.


I will start where the game does, with the bee; the big bully bee which comes down and steals the hobo-stick from our protagonist who is, by the way, one of the dumbest looking videogame characters I have ever seen in my life, but that's just my opinion. Anyway, this stupid bee keeps appearing throughout the game, and often flies right next to you, and yet you can't touch him. Run up and kick him, and he completely ignores you. This wouldn't be so frustrating if he wasn't significantly smaller and less threatening-looking than many of the enemies you defeat on a regular basis.

Anyway, let's move on to some more valid criticism; the controls are awful. Now I respect Pangea for trying something new and different, but tilting the phone to move a character in 3D just doesn't work very well. You have no precision, so trying to complete a simple task like picking up an acorn or hopping onto a box becomes an infuriating chore. You can adjust the sensitivety, but then it becomes impossible to run, so your choice is to either slowly meander everywhere or dash around like a maniac on Ritalin. What this game needs, more than anything else, is a RUN BUTTON!

Anyway, the control scheme is at least interesting; that's sadly more than I can say for the rest of the game. Let's list some of the other crap that is wrong with this game.

Everyone in Bugdom 2 is a jerk. Seriously, everyone you meet either wants to kill you with rusty bottlecaps, or they want you to do some stupid fetch quest so they'll give you a key or a checkpoint. The really dumb thing is that the acorns, which the squirrel always wants you to bring her, are literally everywhere. Often they're within arms-reach of the squirrel. Bringing her an acorn is not so much a fetch quest as a stand-still-for-three-seconds-while-managing-to-face-the-right-direction quest which, believe you me, is harder than it sounds. Oh, and the 'friendly' characters' voices were evidently engineered by the US military to be the most painfully irritating voices possibly. Seriously, these guys could easily be weaponized.

Demon-Squirrel: "If ya brring me an acouorn, I'ul give youou this checkpoient."
Irritated stereotypical-terrorist: "Sweet Allah, reach down and pick one up yourself! They're frigging everywhere!"

Speaking of fetch quests, the entire game feels like one long fetch-quest. All you are ever doing, it seems, is wandering around trying to find some arbitrary McGuffin or another. Sadly, draw distance has been sacrificed for graphics and framerate, so the whole thing starts to feel like groping around in the fog for your contact lens. Navigating the world would be significantly more entertaining if you could hover around everywhere, but sadly you are provided with a 'hover bar' which depletes surprisingly quickly. You can replenish it with blueberries, but this involves tackling hundreds of butterflies (don't even ask). I don't understand why the bar is limited. Sure, hovering everywhere all the time would make some of the enemies less threatening, but surely that could be resolved by changing their behavior. And anyway, I see no reason why the bar couldn't steadily replenish on its own, rather than you having to find blueberries. You know a game is bad when it makes you hate blueberries...

And speaking of the enemies, all the battles in this game are super lame. Your only attack (other than launching bees, the non-hobo-stick-stealing kind that is) is this stupid little kick thing that has no range and requires you to be correctly facing your target (which, as I've stated before, is harder than it should be).  This attack does, as you might expect, very little damage, but it does stun the enemy for a while and push them back a little. Therefore, most of the 'battles' in the game degenerate into me repeatedly kicking an enemy who is hunched over in the corner. It looks quite ridiculous, and makes me want to play a different game.


Let me retail to you my experiences with a level that took me 90 minutes to complete. 90 minutes! Keep in mind this game is intended to be played on a phone, and if you were to receive a call during that time, the only thing you'd be able to salvage is a name for your to-kill list. Yes, the last I checked, there was no way to save your game and quit in the middle of a level. Sure there are checkpoints, but a save file only brings you back to the beginning of a level (though as I say, they may have rectified this with patches by now). This game takes commitment; if you start a level, you're in for the long haul. No matter how much the game begs you to hurl it against the wall, you've gotta stick it through 'till the end, or else start over from the beginning of the level. You'll never get the time back, but you'll never have to play that horrible level again (just the next horrible level, and then the next, and so on, until you grow old and die!).

Anyway, somewhere during this well of madness they call level 5, I came across the absolute worst racing section in any game I have ever played. It's not because the controls were broken, it's that, well, all you had to do was tilt the phone forward because the car was on a freaking track! I had to race against another toy car by... tilting my iPod at an angle and waiting until the race was over. It would basically be the equivalent of a quicktime event which required you to hold the A-button down for four minutes. The really sad part? This was by far the most entertaining part of the entire level.

Now don't get me wrong, Bugdom 2 has a few highlights, one of which is rolling around on baseballs. These baseballs were liberally scattered around this particular level, I can only assume as an intended means of slightly quicker transport for its vast corridors, yet some bug (no pun intended) prevented me from riding any of the baseballs, and so I was forced to walk everywhere. This was particularly exasperating because about two-thirds of the level was devoid of anything at all. It almost felt at times like I was playing World of Warcraft, but luckily the combat was much more enjoyable (zing).

The music in the game is decent, but when any song is looped for 90 minutes, it gets rather irritating (with the exception of this one). The game also doesn't let you play your iPod's music during the game unless the sound is turned off, and you need the sound in order to hear the annoying characters tell you want they want you to fetch next.

At a few spots in the level, I was required to push some crates around in order to hop over obstacles (always everyone's favorite part of any game), and I discovered that if you walk about 30 bugfeet away, the crates reset themselves to their original position, forcing you to position them again. Getting the crates in the right spot wouldn't be so hard if the controls weren't such a broken mess!


You know what? I'm done with this game! Life's too short, and I could derive more pleasure from shoving my face into an anthill! I don't recommend you get this game no matter what the price is. I got it for 2 bucks, and I want my time and dignity back! Augh!

Oh, and Nanosaur 2 is pretty good.

Thursday, February 26, 2009

Springtime fo' Fitty

A breaking news flash regarding 50 Cent's new game.
Apparently the game has solid gunplay, sound AI, decent controls, and an entertaining story.
All I can ask is... what the hell went wrong?

They had everything so perfect: A crappy predecessor; a story about a "gangsta[sic]" rapper fighting terrorists in the Middle-East to retrieve a priceless skull-McGuffin (which clearly worked so well for the Indiana Jones franchise). The whole thing was clearly destined for the bargain bin. Yet somehow they managed to screw it up and produce a good game.

I highly suggest Max and Leo get outta town before all the bling-sporting little old ladies come to collect.

Wednesday, February 25, 2009

With Lyrics

I find this song endlessly entertaining. Whether you remember the old Final Fantasy games or not (I'm only old enough to have grown up with VII), I think we can all appreciate poking a little fun at the sadistic nature of the average videogame protagonist. I mean, look at Kirby. He's senselessly devoured countless hapless creatures and stolen their essences. This seems, frankly, kinda evil; and all King Dedede ever did was take his little wand thingy.
But ultimately I guess a protagonist is only as good as his player.

...I'm looking at you, ya sickos.

Monday, February 23, 2009

Office Story

Here's a short story I wrote recently. It doesn't really have anything to do with games, but is that a crime I ask? (That's really a rhetorical question more than anything.)

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Office Story

By Orin Bishop


Jim and Brad crossed the threshold separating the light-rail and the platform as several car alarms went off.

“Did you see that guy back there?” Brad asked, “He had, like, a bun in his hair. Doesn’t that seem weird to you?”

Jim thought about it for a moment.

“It seems okay to me,” he concluded. “ I mean, it’s the 21st century. I think in this day and age we can reevaluate the traditional gender roles we’ve previously seen ourselves cast in, you know?”

Brad looked confused.

“Wh- no. No, I mean like a hotdog bun.”

They were silent for a while as they crossed out to join the downtown crowd on its way to do the morning’s business.

“Maybe he was going to eat it later” Jim finally offered.

“What, his hair?”

“No, the bun, I mean.”

“Mm.”

Brad seemed somewhat satisfied.

They rounded the last corner and pushed their way into the cool lobby of IndustraCorp, pausing for a moment to watch the old woman who seemed to be caught up in the revolving glass doors. Jim briefly contemplated trying to aid her, but she didn’t look to be in any particular distress. He waved hello to the security guard, and Brad did some kind of friendly fist-poundy thing which the fellow seemed to regard as slightly offensive.

“Any hopes for the day,” Brad asked as they made their way to their cubicles.

“Only that Trent doesn’t need me for anything,” replied Jim, “that guy drives me nuts. He’s got that whole fake-o British accent and everything. Gack.”

“He’s British.”

“Well he’s a jerk!”

“Agreed, but, I mean, it’s not really ‘fake-o’ if he’s British, is it?”

“It is when he does it.”

“Hey look, there’s a note here from Stan the overlord.”

Jim pulled off the sticky and read it aloud.

“ ‘Jim, I need you to deliver the Stevenson account. Tube thingy isn’t working today. –Stan’… Well that’s alright then; we don’t hate Stan.”

“No,” said Brad,” we just think he’s clinically insane.”

“Shh, he’ll be listening through the carpet.”

They both had a good laugh until Brad spotted the second note.

“Hey, Stan left you another one below that.”

“ ‘P.S. – the Stevenson account is with Trent.’ Dammit!”

He cursed loudly enough that several people looked up reproachfully from the water coolers.

“And I think he also did this other one with a t-rex fighting a robot,” said Brad.

        

*  *  *

 

Trent was holding a meeting when Jim reluctantly slipped into the room, awkwardly knocking aside the projector which had inexplicably been placed in front of the door. The room was silent so he cautiously spoke.

         “Uh, Trent, can I talk to you for a m-“

         “Epepep,” Trent stammered, looking up irritably, “Jim, we’re in a meeting right now, and we don’t really… like you all that much. Jeffrey, you were reading the minutes.”

         “Eight forty-five, Jim waked in. He was being annoying.”

         Jeffrey emphasized this last bit by pausing to stare balefully at Jim. He looked back at his computer and continued.

         “Eight forty-six, Jim left.”

         Both he and Trent stared balefully at him.

         “Probably in a huff,” Jeffrey concluded, apparently reading off his monitor. Then he gazed at Jim some more, and when this didn’t seem to be working, he began making encouraging circles with his hand.

         “Look, would you stop reading the min-“ began Jim

         “Continue reading the minutes!” screamed Trent.

         Jeffrey glanced briefly at his enraged supervisor, then looked back at Jim and, failing to think of anything else, began moving his hand again.

         “Look, I just need the bloody Stevenson account.”

         “Yes yes,” said Trent, “it’s in your desk. Somebody around here actually reads the notes you get.”

         “What?” Jim said, taken aback, “why do you think I’m in here?”

         “Out!” yelled Trent, “and put that projector back the way it was.”

         “I don’t think both of those tasks are physically possible, sir,” said Jim.

         “And that is why you are not management material, Chris.”

         “It’s Jim, actually,” he said, mostly to himself, as he awkwardly closed the door while positioning the projector by its cord and gratefully headed off down the hall. “It was in the minutes.”

The meeting resumed its silence.

 

*  *  *

 

Jim returned to his cubicle in a less than jovial mood, but the Stevenson account was in his desk just as Trent had promised, along with several fliers advertising some sort of Lithuanian cruise. It seemed Trent wanted him to leave the country.

He hurried out through the lobby past the revolving doors in which several more elderly ladies appeared to have congregated. The Stevenson account felt inordinately heavy under his arm, and though he was unsure of the contents of the bulging manila envelope, he had a peculiar feeling that his task held great importance. Spotting the InnovaTech building (with which the package was addressed), he hurriedly bustled his way through the downtown crowd, and collided with something short and loud.

“Blaaa!” said the old gentlemen he had just knocked over.

“I’m terribly sorry!” said Jim as he helped the man back onto his little stool. “Er, why are you sitting on a stool in the middle of the road?”

“Because you kindly helped me back up, young man,” said the fellow in a voice that reminded Jim of pemmican. “Otherwise I would be lying beside my stool.”

Jim couldn’t really argue with this conclusion. He was about to bid the fellow a good day and take his leave when the man spotted the envelope tucked under his arm.

“Could I see that?” asked the old man.

Jim felt rather bad about knocking the man off his stool and embarrassing him (though in truth no one in the surrounding crowd seemed to be paying them any attention), so he reluctantly ceded the package. The fellow tilted it this way and that, held it up to his ear and shook it, and then began trying to wrap it about his knee.

“Er, could I have that back now,” said Jim, “I need to-“

“It’s a good envelope,” interrupted the gentleman, “I’ll give ya that,”

He looked thoughtful for a moment and then said “I’ll give ye four magic beans for it.”

Jim was taken aback. “It’s not for- uh, beans, did you say?”

“Fine, five beans, but you drive a hard bargain, son.”

“Look,” explained Jim carefully, “I can’t just go around selling important documents. I’d be fired from my job, and… uh, magic beans?”

“Well they ain’t Tijuana beans,” said the man, taking five lima-bean-esque objects out of his coat pocket and holding them out for Jim to examine.

“Er, how do I know they’re magic?” asked Jim.

“Are you kidding?” said the man, “these are the most magical beans I’ve ever owned, and they’re guaranteed to make your dreams come true.”

“Ah,” said Jim, “and I suppose that’s why you’re sitting on a stool in the middle of mainstreet?”

“Exactly,” smiled the man softly, an enigmatic glint in his eye.

“Uh huh…” said Jim, “well okay then.”

He handed over the Stevenson account and took the beans.

 

*  *  *

 

Jim experienced the first pangs of buyer’s remorse about half way to InnovaTech. Then he stopped walking.

“Why did I sell the Stevenson account for beans?” he said out loud to himself, taking them out of his breast pocket to examine.

‘And why am I still walking this way?’ he thought. ‘Am I going to deliver these beans instead?’

He half considered it, just to get the accursed things out of his possession, but then he realized that perhaps the old man would let him trade back. After all, what use would a bunch of papers be to him anyway? Unless he were some sort of corporate spy… with beans.

Jostling his way through the crowd, he came to the place he thought the man had been, but there was no trace of him or the stool. Maybe he had imagined the whole thing. He looked down at the beans in his hand and discarded this theory. Beginning to panic a little, Jim frantically wandered around for a while, and then gave up and decided to go back to his office. Perhaps Brad would have a suggestion. He dashed into the lobby past the revolving doors. The old ladies were gone now, but they had left behind a surprising amount of graffiti.

“You gotta help me,” Jim pleaded when he reached Brad’s cubicle. “I traded the Stevenson report to an old guy for some beans!”

“Why?” asked Brad.

“The guy said they were magic!”

“Are they?”

“I severely doubt it!” Jim leaned in close. “Look, you gotta help me. What should I do?”

         “Well, my wife sometimes makes a nice stew, and we-“

Jim shook him by the collar,“I’m not asking you what I should do with the beans!”

 “What’s all this then?” demanded Trent as he rounded the corner with Stan. “Did you manage to deliver the Stevenson account?”

“Who do you think would win in a fight?” interrupted Stan, “A t-rex or a robot?”

“Err,” responded Jim, “I suppose it would depend on what sort of robot.”

“Hmm,” said Stan pensively, “I hadn’t thought about it like that.”

“The account!” Trent cried exasperatedly.

“Ah yes,” said Stan, “did you deliver it?”

Jim looked awkwardly at the floor, and Brad looked awkwardly down his own shirt. Finally Jim decided to come clean.

“I was going to deliver the Stevenson account,” he began, “but...”

“But what?” demanded Trent, “You instead spontaneously decided to wallow in your own incompetence as usual? Is that it?

“I sold it to a man on the street.”

Trent said nothing. He looked as though he had been slapped with a wet fish. Finally he turned to Stan.

“I assure you, I did not tell him to do that. I gave him specific instructions-“

“So the Stevenson account is currently in the hands of some random fellow you met in the street?” Stan asked slowly.

“Yes,” said Jim ashamedly.

“And you don’t suppose this fellow has any intention of delivering it himself?”

“No, sir. I’m very sorry, sir.” Jim looked away.

For a moment, no one said anything. Then Stan gave a huge sigh of relief.

“Thank god. I’ve been terribly worried. I realized there were all sorts of errors and typos in that report just after you left, and I had feared the worst.”

“What kinds of typos?” asked Brad.

“I accidentally called the CEO’s son a persimmon,” said Stan.

“What did you mean to say?” asked Jim, feeling greatly relieved.

“I meant to call his son a terrorist,” said Stan, laughing at his own ineptitude.

Trent was reeling. He said nothing, and looked ready to vomit.

“You did well, my boy,” said Stan, clapping Jim on the shoulder. “Now if I could just find something to eat around here, everything would be perfect.”

“I think Jim has some beans,” said Brad.

“Shut up!” said Jim.

“Yes,” said Stan, “it’s impolite to offer another man’s beans, when that man might want them for himself later on.”

Trent looked as though he were in a strange fantasyland and couldn’t understand the local dialect.

Jim took the beans from his pocket and presented them to Stan. “I just have these five here. If you want them, please feel free, sir.”

“Excellent job, my boy. You save me from both embarrassment and hunger in a single day, and all before ten-o’-clock in the morning. I’m promoting you to manager.” And with that, Stan took the beans and strode off.

Trent fainted. Behind him, Jim spotted the old man waving to him from outside the window. Jim regarded this as odd since they were currently on the 32nd floor.

Sunday, February 15, 2009

Your Ammo Upgrade is in Another Castle...

So I just watched The Good The Bad and The Ugly for the first time (I know I know, I'm an uncultured plebeian). It's a near-perfect film, with one of the best musical scores of all time, and it got me thinking about storylines and suspense. At the confrontation at the end of the film, it isn't clear exactly which men are going to walk away from the gunfight. With the level of formula that we have come to expect, a film has to go a long way to achieve this level of uncertainty, where anything might happen.

With games, we have this uncertainty in abundance, and yet we squander it. Sure, I may or may not survive this level, but if I don't, I'm just going to try again until I do. The plot is still going to end the same way. Sure, some games go for multiple endings, and I think this is a step in the right direction, but it always feels a little tacked on. Games like The Sims have plenty of emergence and unpredictability, but they don't feel, to me anyway, like they have much of a plot. When games do have a plot, it always feels separate from the actually gameplay mechanics because I'm almost never concerned with the same things as the protagonist. He's bent on trying to find the princess or save the world, and I'm trying to get that ammo upgrade or make sure I don't run out of lives.

I feel that if a game is going to have a storyline, it needs to match up more closely with the game's mechanics. Players are sad in a very personal way if they permanently lose a good item, so why not make that item a person? Instead, the people in games usually seem totally irrelevant, and are only important when we have to keep their stupid butt alive in an insipid escort mission. If we fail in our task, that should be that. The character is dead. We shouldn't have to play it again because we didn't conform to the plot that the game had in mind. Can you imagine if, in a game of D&D, the DM said "I'm sorry, but you weren't supposed to let that character die. We're going to have to start over from the staircase again. Jim, erase that battle-ax you picked up, you haven't found that yet."

[upcoming spoiler for anyone who knows nothing about Final Fantasy VII yet intends to play it in future; all three of you may wish to leave the room now.]

Many gamers were deeply affected by the death of Aeris in Final Fantasy VII, and I think this is largely due to the fact that she was a good healer. She healed you party. And then she was dead. I don't mean to sound callous here. I just think people are particularly sad about things that are gone if they once contributed to our happiness in some way. I mean, sure it's sad when a random person in Peru is hit by a bus (unless, perhaps, they were a supervillain?), but we are sadder when the person who died personally contributed something to our lives which is now missing, whether it be companionship, snappy dialogue, or in the case of Aeris, nice healing. It would be nice to miss someone for their love, compassion and strength of character, but there's only so much that you can do to make someone care about a 2-inch tall, 32-bit sprite with a bad hairdo.

If a game is going to have a plot that we are supposed to care about, that plot needs to be part of the game and not just something running parallel to it, like a television in another room that someone has neglected to turn off.

We also have the potential to create things which could be virtually spoiler-proof. I can tell you about some awesome thing that happened to me in FarCry (it involved some dangerous serum and a lack of familiarity with the controls), and it doesn't ruin your experience of the game one bit. It's true that we cannot design a branching storyline to accommodate everything that a player might do, which is why we need to work towards making more of the storyline emergent and procedurally generated like the gameplay. You may say that this can't be done, but all I really ask is that the game's plot and dialogue acknowledge its gameplay in some way.

For example, in his recent review of Thief: The Dark Project, Yahtzee expresses how impressed he was when, after hopping back into the shadows after being spotted by a guard, the guard yelled "Don't think you can just hop back into the shadows, boy!" This sort of thing shows that the game is acknowledge you as the protagonist and not merely as the audience. If I'm playing a first-person-shooter and decide to search the level for machine gun ammo before facing the boss because I'm running low, I want one of the characters to say "maybe we should find some more machine gun ammo before we go in there." This makes what I'm doing feel like part of the storyline and not just part of the gameplay.

If we as designers and developers can tap into this power of uncertainty and agency, we can redefine the whole concept of a hero's journey, and potentially reinvent the story. "Are games art?" Psshaw.

(I do believe that games could one day make spoilers obsolete, but to be fair gaming does open up the potential for a whole new type of spoilers, namely "strategy" spoilers, but we'll talk about that one another day.)

Tuesday, February 3, 2009

"A Beautiful Animal..."

Wow, it's been a while.
I haven't posted for a bit as over the non-denominational holiday season I was frantically attempting to finish designing, playtesting and prototyping a new game, which I did actually manage to do about an hour before I had to leave and catch the plane back to Ontario.
It's a cardgame. With zombies. Pretty much sells itself I think.

Anyway I don't really have anything to say gamewise at the moment, but I stumbled upon a couple of comic gems in this malignant cesspool we call the internet (some people call it the blogosphere, but those people are stupid).

The first is a fabulous show that everyone should watch. It's called SPACED, and involves most of the Shaun of the Dead and Hot Fuzz crew before they did those slices of fried gold. Contrary to the title, it is not in fact Sci-Fi, but it is definitely for geeks. I just watched it on YouTube but you should all go out and buy the DVD box set ya cheap bastards.

The second thing is this. It must be watched to be fathomed. Er, ... I'll get back to you.
(Disclaimer: some profanity and a whole lot of peculiarity.)