Archive for April, 2017
Hello, everyone. This week’s big news is of course that the original Starcraft is now free, occasioned by the launch of a remastered edition (via Sébastien Delahaye). It’s just the last in a line of classic game revivals this spring, and while rediscovering the classics is good, I wonder what it says about the present of videogames.
Speaking of revivals, I spent a week or so bringing back — for the second time — my turn-based sprite scaling engine, and at long last it seems to be working out. Details to follow soon; for now, here’s a screenshot.
Next, two articles for game designers: a brief one on how to choose content for a roguelike, and the other (via Jay Barnson) on a better way to design dungeons. Short version: just as wordlbuilding in general should serve the purpose of the story you’re trying to tell, a dungeon should be all about its inhabitants. Past or present, I would add.
I’ll end with two write-ups about higher-level issues: one about that point when camp in a game goes from useful shortcut to offensive stereotype — and what that says about our understanding of history — the other (via Taleslinger) about the lack of cultural self-awareness in Duke Nukem 3D, with a diversion into the surreal, imaginative level design enabled by a pseudo-3D engine, and the way it contrasts with the hyper-realism of newer games.
And that’s about it for today, because people have been resting after Easter. See you!
Happy Easter, everyone! I’ll start by reminding you that we’re one week into the Spring Thing interactive fiction festival, and it’s the largest edition ever. Still three weeks to go, too, if you want to vote or something.
The other big news this week is about The CRPG Book Project which, as announced by Indie Retro News is near completion: a free history of computer role-playing games by a largely European team, told in a couple hundred capsule reviews and a thousand colorful screenshots, that gives equal space to famous classics and obscure titles (some never translated into English) that nevertheless had a massive influence on the genre. A labor of love, put together over several years, and amazingly enough released for free.
Still on the subject of videogame genres, the first part in a series of articles on visual novels was just announced on the Lemma Soft forums, and it starts out strong with an analysis of current trends.
Next for a bit of nostalgia: Slashdot points to a look back at 8-bit computing, and it’s pretty damn thoughtful as listicles go. On a slightly different note, someone just came up with a graphic adventure engine for the Pico-8 inspired by LucasArts’ SCUMM, and coming surprisingly close.
To end on a less cheerful note, Play the Past has a feature on death in online virtual worlds. Being part of such a community that was hit repeatedly by the deaths of prominent members, the whole thing struck a chord with me.
But I have more to read and think about, not to mention today to deal with. See you around.
It’s safe to say that I like interactive fiction a lot better than computer role-playing games. Just about the only CRPG that ever piqued my interest was Planescape: Torment. Which, sure enough, may well be the most adventure-like such game ever created, with much more of a focus on storytelling than combat, and with a setting that came alive (literally, within the game’s fiction) in a way few other games managed. You could say it’s a matter of patience, but I spent countless days, weeks at a time, playing strategy games, and also sank plenty of hours in roguelikes — the RPGs’ low-tech, mechanistic cousins. So this isn’t about preferring story over gameplay, either; in fact, some of my all-time favorite games are shooters.
May seem strange, then, that someone like me would be interested in trying out Eamon, an RPG as old-school as they get, and of a flavor that wasn’t all that popular even back in the day.
But inspiration can be found in unlikely places. For one thing, Eamon is a cult classic: released as public domain software in 1982, it was recreated more than once, and the Deluxe edition (easily playable forevermore thanks to DOSBox), was last updated in 2012 — no less than three decades since the original! Apart from the early Ultima games and Infocom’s library, I can’t think of many games the same age that people worked as hard to preserve.
Can’t believe it’s been a month since my article on the use of outliners in games. Between playing Master of Orion and working on a game design inspired by it, my initial idea took a backseat for a while, before coalescing into a specific product. I’m happy to announce Ramus 2, a new system for playing CYOA games written with general-purpose productivity software as opposed to dedicated tools — which, incidentally, allows for authoring on mobile devices without an always-on Internet connection. Much more work is needed, of course, from documentation to utilities for packaging stand-alone games, but the groundwork is laid, and the concept works surprisingly well.
Otherwise, I finally got around to getting a good look at Eamon, a text-based RPG engine from 1982, that was last updated in 2012 (an incredible 30-year run!) if not in the original form. Should probably get around to writing an article about it, because there are lessons to learn.
(Speaking of updates to old games, the original 8-bit Prince of Persia just got a modern level editor. How cool is that?)
In other news, this week Rock, Paper, Shotgun has an article on playing roguelikes when you can’t see, and another on the modders making games more gender-diverse. It’s great that inclusivity is becoming a hot topic in game development. More conventionally, Ars Technica has a history of open-world gaming, and PC Gamer a list of game design sins (both via K.D.). The latter two are actually old, but good enough to include.
We’re not done quite yet. For fans of adventure games, whether graphic or textual, there’s a long and entertaining interview with Tim Schafer, while Emily Short is answering to a letter about the state of Inform 7.
To cap an already long newsletter, I give you these musings on music in games. Something that tends to give me trouble, even more so than sound effects. Turns out, it is a genuinely delicate issue.
Oh well, see you next time.
Hello, everyone. It’s one of those weeks with lots of links, so I’m going to try and keep comments short in compensation. Not that I usually succeed.
On to gaming news. Tides of Numenera barely hit the market, and word surfaced that its spiritual parent Planescape: Torment is also getting an enhanced edition — officially, that is. (Which is bound to be better than fan-driven restoration efforts (in fact it likely incorporates some fan patches), and it’s a signal that game companies are starting to see the value in videogame preservation.) And another classic getting the same treatment is Starcraft. Still in the way of nostalgic comebacks, here’s an in-depth look at Thimbleweed Park.
But it’s not just players who get nostalgic for the old days. Game designers might enjoy reading the design document for Asteroids — a single hand-written page, as it turns out — while for interactive fiction authors there a long interview with the creator of 8-bit authoring system The Quill (both via K.D.).
Why is it important? Because we can learn from the past. We can also learn from tabletop games, as I did, and more designers are learning to as of late. Learning what? The importance of trains in games, for instance (via Michael Cook) — or rather, the importance of suggesting a wider world outside the software-imposed boundaries. A principle just as important in games as in fiction.
But now if you’ll excuse me, I’m trying to help a friend get started roleplaying on a MUCK. See you next week.