I’ve been rather remiss in noting this, but I’m currently working on a new book! Called Japansoft: An Oral History, it’s a spiritual follow-up to Britsoft: An Oral History, which means it’s a set of intimate reminiscences by members of the early Japanese game industry.
It’s based on interviews made by John Szczepaniak for his series, The Untold History of Japanese Game Developers, but I’m editing them into the same tight form that made Britsoft such a success, and it’s also being designed by Hugo Timm of Julia, and published by Darren Wall’s Read-Only Memory. It’s the old team back together! Except with the addition of lovely illustrations by Yu Nagaba.
We successfully crowdfunded it at the end of 2018 on Vol.co, Thames & Hudson’s publishing platform, and so now it’s all go!
Honestly, for me it’s a huge and scary project, because I don’t know the Japanese industry like I do the British one, but John really does know it well, and his interviews feature some fantastic insights. And the whole thing is starting to find some form - rather than purely chronological, it’s going to be arranged by company, from Enix to Capcom, T&E Soft to Hudson, because the Japanese scene tended to comprise of such tight circles of people and ideas.
More as it continues to come together, but you can check some sample spreads from the chapter on Enix below.
Later today I’m speaking at the Bath Children’s Literature Festival about writing about Minecraft.
As I put it together I realised that I’ve written about Minecraft in many different ways: creativity-n-biz style features in Edge, practical guides about blocks, entertaining (that was the aim) vignettes about them, designing and explaining builds, fiction-based descriptions of mobs, almost-academic works about Minecraft’s creative culture. And then there’s my work as publishing editor at Mojang, in which I read and edit other people’s writing about Minecraft, from novels to sales blurbs.
So I want to talk about that process for the kids that’ll be there, helping them learn about researching, imagining, and putting words down, and hopefully keeping them actually interested by spicing it with little tips and a quiz.
And that reminds me! At EGX a couple of weeks ago I chaired a panel with Robert Kurvitz and Argo Tuulik, writers of the upcoming, and amazing, RPG Disco Elysium.
If you haven’t come across Disco Elysium, I wrote about it for PC Gamer and got quite excited:
Yes, Disco Elysium hinges on an amnesia-powered plot, but don’t let that put you off, because it’s the freshest and most fascinating RPG I’ve experienced in years, perhaps ever; one which plays right into the best aspects of pen-and-paper roleplaying. The first whisper of its promise came even before my character opened his eyes as several of my skills started discussing the nature of oblivion and my impending consciousness.
So it was an honour to be asked to chair the panel. It was very fun, and it’s up on YouTube now - expect discussion of what communism does for RPG narrative design, and why Dishonored’s art style is half-baked. (Not really, Viktor!)
A couple of quick nods to recent The Mechanic articles. Most recently I talked to Zach Barth about the excellent Exapunks, a puzzle game about coding viruses and using them to hack candy bar recipes and printshop accounts systems so you can publish zines.
What about a puzzle game about writing viruses like Stuxnet, which was designed to attack a very specific kind of industrial controller used in Iranian nuclear centrifuges in order to destroy them? A game about writing programs that unfold, multiply and deploy themselves to make changes to the physical world.
I find Zach Barth’s perspective on designing puzzle games and the way he charts their relationship with the real world absolutely fascinating. He also speaks about a billion words a minute. I thought transcribing our 69-minute interview would never end, but he was so interesting all the way through that I almost didn’t mind.
Also, he introduced to me the concept of Core War and other pure adversarial programming games, and they’re just whaaaaattt. I really want to research that whole field.
And I talked to Ben Esposito about how the tricks he pulls to make the hole in the mega-charming and funny Donut County work.
“The idea was originally that you’d just play as a hole and I thought there’s probably some interesting problems there,” creator Ben Esposito tells me. “I also thought it’d be pretty easy. But I was kind of wrong.” As he found out, making a game about being a hole gives rise to all kinds of trouble, including game physics hijinks, human nature, and the surprisingly complex philosophy of what holes are.
Throughout, Ben was just laughing at the ridiculousness of the hard problems he had to solve in order to get a hole to work in a game about selfish raccoons. I mean, that’s the ideal interview, really.
Tomorrow night is the private view of the V&A’s Videogames: Design/Play/Disrupt, an exhibition on which I was a curator back in 2013/14. I’m incredibly excited to see how it’s all come together.
I was only working on the exhibition in its earliest stages, involved in pitching to the V&A’s board the concept of what videogames might look like in a gallery, in the hopes of unlocking a good budget and a big space. But I found the process fascinating, proof of the rigour that goes into making exhibitions at internationally renowned museums like the V&A.
After some internal staff changes and as I found my role at Hello Games gaining weight, I kinda peeled off the project, but I’ve continued to advise and help out now and then. It’s been great to see it evolve and flower under its excellent curation team, Marie Foulston and Kristian Volsing. They’ve performed wonders to create it and make it all happen.
I have, however, contributed a chapter to its catalogue, which was beautifully designed by my friend Darren Wall, who founded the publisher Read-Only Memory. I looked at several major player-made projects in Minecraft, from a recreation of Game of Thrones’ Westeros to a redstone CPU, The Dropper to Survival Games.
I busted right through the wordcount I was given, partly because I felt that the spectrum of player creativity in Minecraft is such a good illustration of the spirit of design and craft that the V&A represents. And luckily they liked it enough that they expanded its space to fit it.
The screenshots are by Duncan ‘DeadEndThrills’ Harris, and they include a shot of the 16-bit ALU build which actually gets across how its structure works, as well as stunning images of other major Minecraft creations.
”StarCraft 2 modding as a source of income has not been financially viable for me,” [Daniel ‘Pirate’ Altman] says. “My attempts at marketing the game so far have been pretty unsuccessful. While I approached development like making a standalone indie game, I don’t think the community sees it like this. Lack of visibility is compounded by having to download a 28GB client to play the game, leaving ARK Star in a pretty tough spot.”
I talked to four modders who are making money from their work about how they run their practice, and what challenges they face.
But [Roshpit Champions maker Ryan Racioppo is] at the mercy of Dota 2’s popularity. While we talk, he checks its player count, noting that it’s down 12% since the same time last year. “If I was going to rely on this as my only income, you never know, Valve could just shut down modding, maybe, if it’s stopping them developing the engine or something. I’m completely dependent on their whims.”
JulioNIB’s Hulk mod
I was struck by how precarious their lives are, and also by the dedication they put in. When you start making money from your work, it doesn’t just become about what you make but also managing the community that springs up around it.
“Some people say they’re only still playing GTA 5 because of my mods, others say they bought the game just to use my mods,” [says GTA modder Julio Schwab]. “Suing me because I’m creating my own scripts without stealing anything from the game, only bringing more into the game and more interest from users, wouldn’t be an intelligent idea. But if they do, I will still mod while I can.”
Release day for an indie developer sounds like it’d be a celebration. Years of work have finally reached a successful conclusion. They can sit back, relax, and wait for the adulation and money to roll in. But it’s not really like that. “I heard a lot of people speculate what this would feel like and I was never really sure what would happen when we finally hit launch,” says Simon Stafsnes Andersen, head of Owlboy maker D-Pad Studio. “The reality was … conflicting.”
The truth is that launch is not an end. It’s the start of something else, and with that fresh start come many struggles that are born in the intensity of game development. This is true for almost all modern game developers, but it’s especially dramatic for indies who have spent half a decade or more quietly working on their dream project. After you’ve put all of yourself into a game, what comes next?
For PC Gamer I talked to Simon Stafsnes Andersen, who led development of Owlboy for nine years, Eric Barone, who made Stardew Valley for four and a half years, Ben Porter (Moonquest, six years), Joakim ‘Konjak’ Sandberg about Iconoclasts (eight years) and Jens Andersson about Yoku’s Island Express (five years). I was honoured to get some tender and candid insights into what it meant for these developers to let their games go out into the world.
It seemed to strike a nerve among developers, which was good (albeit maybe a bit bittersweet) to see, but my main concern was actually to send a message to gamer readers about how releasing games is hard, and that developers are people. There was some criticism that I’d focused on these successful games, and while I agree that it’s not good (but maybe unavoidable) that we tend only to hear the stories of the winners, the point here was that success doesn’t dull these experiences.
Anyway, I was pretty pleased with it, and you can read it here.
I have completely rebuilt my website. This is it, here. The idea is that it looks much like my old one, with the same colours and fonts so you probably haven’t noticed, but under the hood it’s completely different.
I think I’ve used Wordpress for the past 15 years or so. I started with it because it was the only way to self-host one of them new-fangled blogs, when comments were exciting and good and the world was innocent. I always kinda liked it, even during periods when hackers got in and I had to completely rebuild the database and every file. I even liked it while smashing my ignorance of CSS and php into making my own themes.
So here’s to you, Old Website. I still love the way you look.
But it’s time to change. I stopped using comments years ago and I don’t post much, so all of Wordpress’ high-use-frequency conveniences are kind of useless to me. It just sits on my server, liable to go wrong and requiring updating and backing up and under the constant threat of more hacks. My security plugin recorded 38 hack attempts last week and has automatically blocked 151 IPs.
So hello, New Website. Here’s to the next few years.
I guess a couple of things have been niggling me for a while with The Last Mech, but they hadn’t been coming into focus. But after last night’s playtest with Tom, they kinda did. The big change I’m making - or at least testing for - is a simple one, but it could be huge and mess everything up. Or it could make for a more dynamic game.
The first niggle has been that many players just aren’t using their Shields. They instead put most of their energy into attacking. I completely understand because I do this too! It feels better to be attacking than passively soaking up damage because it helps you reach your goal. But the Shield should be useful and should be providing more interesting decisions than it appears to be at present.
The second niggle is that players usually spend all their Energy cards each turn. And usually on Weapons and moving. But I want them to be making some plans, stockpiling, feeling they can put cards into their Shield. There are also a few weapons that trade on having a hand filled with cards, from Fist’s extra damage to Taser doing extra damage to a defender who’s carrying a lot of cards. But at the moment they’re not proving very useful.
So. Here’s the plan: I’m putting the number of energy cards you pick up per turn from two to three.
My hope is that the extra Energy players will have will make using the Shield more attractive, while also helping them to have more cards in their hand when they want to.
I want to maintain the current speed at which HP is lost, and I think it largely will stay the same because you can only fire Weapons once per turn and they’re managed by range restrictions. Plus, if players have more Energy, they’ll be putting it into Shield to mitigate more damage, right? Let’s see!
If this change is a bit of a sledgehammer to the game’s delicate sensibilities, I’m going to see if allowing players to fit an extra Augment works. Perhaps let them be stacked on Components, too. But first things first.
One other very minor change: I’m making the Sniper’s Charge cost one extra Energy (five), cos getting two free Energy cards for spending one extra Energy was far too cheap.
These changes mark the point where I’m almost comfortable with making The Last Mech semi-public. So I am. I think there’s enough richness in the systems to make a game of push-and-pull with reasons to fight and to run, with a new system adding extra strategy. And I think that feels good.
Here are the tweaks that have led to here!
- Added ability to change weapons If you pick up a fourth Weapon, you can switch out an installed Weapon for it. This led to quite a big question, and to a big change: if you can swap Weapons, does damage apply to the Weapon or to the slot on the Mech it was attached to? I thought, hey, maybe damage is applied to Weapons? This can lead to a system whereby Mechs can be repaired by switching in fresh Weapons - something that’d further emphasise Scanning, which playtesters have said is FUN, and also help players experience more Weapons and generally not get locked into a build they don’t like. But I added the proviso that once a Weapon is completely destroyed, the slot can no longer be used. Big change! Also, it means that now damage hitting unoccupied Components no longer applies. This will slow down damage accrual at the start of the game and on Mechs which aren’t armed to the teeth.
- Shield may longer be Augmented I thought I’d come up with a nice way of Augmenting the Shield: providing +1, but only when the Shield was powered. However, it didn’t really work. It made the priority with which damage was applied to Shield complex and unintuitive, and it messed up the tactical value of ordering cards in it. It also messed up Shield Reflect, because the Augment would usually take the hit and allow a Reflect. So it’s nixed for now, but I’d like to revisit the topic, because because it feels a bit artificial that Shield is the only thing you can’t Augment.
- Revised Aegis For the same reason as the Augment, since it performed much the same job. It now drops a temporary Obstruction in an adjacent hex.
- Clarified rules for effects of Charge attacks on shielded targets Because I basically hadn’t thought about any of it until now.
- Minor Reworded Harpoon Charge attack text and indicated that when the Energy cards are exhausted the discard pile is shuffled and turned over.
I’ve written another book about Minecraft! It’s called Minecraft Mobestiary, and it’s a natural history of all the mobs in the game. And it’s out TODAY!
I was inspired by medieval bestiaries and Victorian journals, and I wrote it from the perspective of a fusty old academic called The Naturalist who has decided to impart all their knowledge about the world. It was a lot of fun to write, painting a picture of this creepy crawly-hating old grouch through the descriptions of the mobs.
But the best things about it, I reckon, are the illustrations by Anton Stenvall. They’re so perfect, tying together the weird blocky gaminess of the mobs with the naturalistic way I’ve written about them as if they’re real creatures in a real world.
It was tough to write, because I didn’t want it to be a dry book which simply lists all the mobs’ characteristics. You can get all that in places like the Minecraft Wiki. Instead, I wanted the mobs to feel strange and exciting, and for readers to start to imagine their places in the world. My kids are forever dreaming up the reasons why creepers explode or why witches are evil; I wanted to work with that imagination and even help to fuel it with a little mystery and by posing questions. Why do evokers turn blue sheep red?
But I also wanted the book to be bursting with practical information, and never to leave anything unclear. It was a tight balancing act, but I’m really pleased with the result.
Oh, and I also recommend taking off the dust jacket in order to caress the blocky texture on the front cover. Thanks to everyone who helped work on this book and make it happen!
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