Now that I have a WordPress blog of my own, it was about time that I came up with a unique icon to fit the “matchsticks for my eyes” theme. So I have retired the Miles Vorkosigan gravatar and with assistance from Matchstick Mum and Matchstick Dad, I present the image now visible on the top right-hand corner of this page. :D
Last week, the Wall Street Journal ran an article entitled, “Authors Feel Pinch In Age of E-Books”. Now, I have seen other bloggers rip the original article full of holes, but for me, the premise of the original article wasn’t really the issue. What did make me sit up was the fact that, according to the WSJ article:
Coffee House Press in Minneapolis, a small independent publisher, now plans to publish the [literary fiction] book, offering Ms. Kaschock an advance of about $3,500..
…established publishers typically paid [US$50,000 to US$100,000 advances] in the past for debut literary fiction…
Now, my frame of reference is the science fiction/fantasy genre, for which Tobias Buckell conducted a survey several years ago. Buckell found that the median advance for first-time authors was $5,000. Yep, one-tenth, or one-twentieth, of the literary fiction advances mentioned above.
Assuming the WSJ piece is correct and literary fiction does, indeed, typically pay advances of US$50K-US$100K , this is an interesting fact. It makes me wonder why the discrepancy is so great: is literary fiction truly that lucrative to publish compared to speculative fiction? And it makes me wonder about the relative pay scales of other genres of writing.
Update: Tobias Buckell points out in the comments section:
… most agents/editors I know are laughing at that ‘lit fic usually gets paid XXX’ assertion. They’re cherry picking and mis remembering. Like everything else, lit fic has a range, from no-pay academic journal publishers, $1000 paying college presses, to authors who get paid big money.
Based on this, then, the $50K – $100K cited in the article does look to be inflated. Thanks, Tobias!
Last week I wrote about Recettear’s sales figures, which, on my assumptions, would have pulled in revenue of ~US$500,000. However, expenses would be pure guesswork. Today’s post serves as a sober counterpoint. According to this PC Gamer article, “AI War and the Hidden Cost of Indie Games”, Arcen Games, developer of RTS AI War and puzzler Tidalis, is having difficulty bringing in enough to pay the bills. Here are some highlights, extracted from Chris Park of Arcen’s email to PC Gamer:
Total income for Arcen during this period was $101,401.38
Total expense for Arcen during this period was $91,314.76, including paying staff and myself, acquiring new licenses and technologies (Unity 3D, and some sound software, etc), legal fees for contract negotiation, payroll taxes, health insurance, site hosting, all that stuff…
- May $19,085.06 income, $12,684.28 expense
- June $17,233.70 income, $26,434.89 expense (a fair chunk of this was taxes)
- July $6,956.48 income, $18,243.52 expense
- August $13,847.02 income, $18,682.68 expense
- September $13,395.42 income, (not full data yet, but expenses looks to be about the same but a little lower than August)
Note the apparent rebound in August is not, in fact, like-for-like: Arcen’s second game, Tidalis, launched in that time, while sales for its first, AI War, softened in July.
However, there is one question lingering in my mind. From the sound of the article, Arcen’s labour costs are highly variable: it pays the staff in royalties rather than wages. So what are the other costs? Arcen mentions a few:
- Licence fees (“Unity 3D, and sound software”);
- Health insurance;
- Site hosting;
- Legal costs involved in striking publisher deals;
- MacOS machines for development;
I wonder how much these various costs ran to, and what the implications for other indie game developers are. (As a localiser rather than a developer, my first impression is that Carpe Fulgur must have a lower cost base than Arcen, but I could well be wrong.)
In any case, I am downloading the demos for AI War and Tidalis as I write this. Check out the demos if they sound interesting to you!
By now I must have played the Civilization games for sixteen or seventeen years, but never did I see an armada to match that in my latest game, over the weekend. Multiple stacks, each consisting of several to half-a-dozen modern warships, destroyers and battleships and carriers, lay massed off my shores. It was a splendid sight.
There was one slight problem: It wasn’t my fleet.
And I felt rather like the German major from the Longest Day, who, upon seeing the Allied fleet poised to invade Normandy, howls to a disbelieving superior that there must be “five thousand ships out there!”
But the really odd thing isn’t just that fleets that large are a rare sight in Civilization. It’s that fleets that large are so often a moot point in Civilization, where on the map types I play (balanced, continents, Terra), control of the seas is often just not that important. This made me think: How does a strategy game designer ensure that sea power is worthwhile, that it isn’t an oxymoron? And what factors influence this?
Geography is the first and most obvious. If I’m fighting someone on the same continent in Civilization IV, investing in an amphibious landing force, and warships to protect it, has little point when I can just drive my tanks straight across the border. You can contrast, say, Europa Universalis, where the European powers have to invest in navies to protect their overseas colonies from one another.
But there is a second factor: how well does the game represent the importance of sea lanes to trade and communication? My example here is Empire: Total War, which modelled this in two ways. Much of your income comes from trade, and firstly, this often travels along defined sea routes. Put a ship astride your enemy’s route, and you can seriously harm his/her war chest. And second, certain spots on the map allow you to park lucrative “trade ships”. Again, hunt down your rivals’ trade ships (or just interdict their routes), and you will hit them where it hurts.
The third factor I can think of is the ability of navies to project power inland. This is best seen in any game where warships can bombard distant targets: plenty of RTSses, but Total Annihilation is the one that sticks in my mind; Advance Wars; even Civilization V (going by descriptions I’ve heard). When you can flatten wide swathes of territory from the sea, navies become important.
These are factors I’d like to see more strategy games play up. Warships are inherently cool, hence all the documentaries about aircraft carriers. Particularly for a historical or quasi-historical game, they add a lot to the flavour of the period. And they give players one more choice to juggle: do I invest in ships now at the expense of an army and infrastructure? It behoves designers to ensure that choice is an interesting one.
Crest of the Stars and its sequels (Banner of the Stars I – III) are some of my favourite anime of all time. Based on a series of novels (Seikai no Monshou and Seikai no Senki, by Hiroyuki Morioka), they succeed on so many levels. They tell a tale of conflict within the heart, against a backdrop that combines an epic clash of empires with an imaginative exploration of what humanity’s descendants may look like.
There is now a trailer available for the forthcoming PSP remake of Tactics Ogre. Apparently, it’s a translation of a trailer that was showed at TGS. The actual in-game dialogue in the trailer is still in Japanese, so no glimpses, as of yet, of how dialogue will be localised. However, it looks like the PSP remake has done an FFT and renamed the characters; the surnames in particular sound now more Central or Eastern European (Denim Powell -> Denam Pavel, Kachua Powell -> Catiua Pavel).
I’m looking forward to this game when it eventually comes out in the West; Tactics Ogre has a sainted reputation in the TRPG genre and I liked what I’ve played of it, despite its brutal character permadeath. Hopefully the re-release won’t disappoint.
One thing I love about Discworld is that its monstrous races, well, aren’t. They are ordinary people like you or I, and their “inhumanity” comes out mostly in the form of funny quirks.
The werewolves? Prone to that slight problem around the full moon, and to following instructions to “fetch!”, but otherwise not too bad. The vampires? Well, some of them have sworn off human blood – or, as they prefer to call it, “the ‘b’ vord”. The zombies? They have rights, too, and they’ll stand up for them! It’s perhaps the trolls who are the least “human” of the bunch, but that owes more to limited intelligence than anything else. And all of the above have integrated themselves into human, urban society, up to and including keeping the peace as members of the City Watch. Compare that to most other works of fantasy fiction!
So the next time you mow down Smouldering-With-Generic-Rage Skeleton #9345, think of what kind of life he/she/it might have been able to live on the Disc.
Update, 3 January 2010: Recettear sells over 100,000 copies. My latest post here.
Carpe Fulgur, the company which localised EasyGameStation’s Recettear (see my two earlier posts), has announced Recettear has sold over 26,000 copies in the last month. I’d been wondering how well the game had sold after launch (before launch, I remember it was at #4 or #5 on Steam at one point), and I’m really glad to hear it remains successful.
In fact, Carpe Fulgur’s website says Recettear brought in enough money to allow “all of [Carpe Fulgur’s] members to make wages comparable to “proper” jobs in the industry for an entire year”. What does this mean in dollar terms? Out of interest, I crunched a few numbers:
I assume half (13,000) paid the pre-order price of $18, and half paid full price ($20). This produces revenue of (13,000*$18) + ($13,000*20) = $234,000 + $260,000 = $494,000.
I then assume that EasyGameStation and the distributors each take one-third, leaving Carpe Fulgur with gross profit of $494,000 * (1/3) = $164,667.
Now, I have no idea what kind of expenses (other than salaries) would have to be paid out of that revenue. However, I understand that the Carpe Fulgur team members have no office and worked from home, in which case expenses would probably be pretty minimal. Carpe Fulgur’s legal structure is an LLC, which — if I’ve understood the IRS website correctly — means it’s not a taxable entity, so taxes would be paid by the individual members.
Let’s assume, for the sake of argument, that there are no expenses beneath the gross profit line. And as our last assumption, let’s say that Carpe Fulgur splits its profits equally between its three members. That gives us a figure of $54,889 per member of Carpe Fulgur.
That is, in fact, a pretty neat sum (of which I’d say they deserve every penny). This has to bode well for our chances of seeing EasyGameStation’s next project, Territoire, in English!
Terry Pratchett is, I think, pretty much unique amongst fantasy authors in that he is blessed with good cover art for his novels*.
First came the covers drawn by Josh Kirby. Even before I started reading the Discworld novels, I immediately recognised them on the bookstore shelves, courtesy of the glorious, garish pandemonium of the Josh Kirby covers. For example, you can see his cover for Guards! Guards! here. While the characters don’t look much like they do in the text, the cover is true to the book in the most important sense. It hints at the kind of reading experience you will, in fact, have: a bellyful of laughs.
Josh Kirby died in 2001, and in 2002 Paul Kidby took over the cover art with Night Watch. Kidby’s covers don’t have the same manic glee of their predecessors, but they depict the characters very well and retain the comedic touch that the subject matter needs. My favourite Kidby cover is Going Postal, which wonderfully spoofs the “barbarian hero posing atop a mound of bodies” (and I love the gothy Adora Bella Dearhart puffing away on her cigarette). And Kidby’s depiction of Sam Vimes as a Clint Eastwood-lookalike never fails to amuse me.
Truly, I would do both Pratchett and his cover-artists a great service to say I could judge the Discworld novels by their covers.
* At least in the UK and Australia; from what I’ve seen, the US covers aren’t quite so inspired.
As I make my way through season 6 of Stargate: SG-1, I’m glad that the show has addressed my key gripe. Some spoilers in the paragraph below…
A couple of weeks ago I wrote about the demo of a game named Recettear: An Item Shop’s Tale (please see the initial post for the game’s premise). I’ve now spent around ten hours with the demo + full game, and my verdict is, this was a great diversion, albeit with a finite shelf life.
The other Paradox Interactive game I’m looking forward to (once it’s had a good dose of patches and maybe an expansion pack) is Crusader Kings 2.
Now, there’s precious little detail about this one; a quick search turned up nothing more than a few tidbits on Rock, Paper, Shotgun. But I’m looking forward to a continuation of the first Crusader Kings’ unique take on grand strategy: where most strategy games cast you as this kind of amorphous, immortal, omnipresent guiding force behind a company / country / faction, Crusader Kings cast you as a medieval European dynast. So you would follow the lives of your courtiers over time (see this review for an example); dole out offices at court to keep the barons happy; search for brides who would get you into the line of succession for choice territories (I seem to remember there was also an element of heredity in your heir’s stats, which prompted quips about Kwisatz Haderach breeding programs); etc. The expansion pack, which I never played, apparently went even further in facilitating awesome Cersei Lannister-like hijinks.
This is probably as close as we’ll get to a Westeros political simulator – yes, I am aware of the actual forthcoming Westeros adaptation (A Game of Thrones: Genesis), but judging from the press release on the official website, it sounds as though they’re aiming for something more like Total War. And for that reason, I look forward to seeing what Paradox will do for Crusader Kings 2.
Yesterday, I forgot to mention another game I’m looking forward to: Divine Wind, the forthcoming expansion pack for Paradox Interactive’s historical grand-strategy game, Europa Universalis III.
The EU games model world history between, roughly, 1400 until 1800; the key word here is “model”. Other games place you in charge of an entire nation in a historical timeframe, such as the Total War and Civilization series, but they tend to use history as a veneer for conquer-the-world / build-a-utopia / etc fantasies. EU, in contrast, actually attempts to simulate real life: the turmoil of the Protestant Reformation; the resistance of society to governments’ attempts to impose change from the top down (as described in this article by Rob Zacny at Gamasutra); the possibility for empires to overstretch themselves and fall apart, as happened to a monster Ming China in one of my games (at its peak, it spanned the world from Manchuria to Sumatra… then China proper fell into civil war between competing dynasties, and the subjugated nations broke free).
However, as its name implies, the series is also rather Western-centric. This is where the Asian-centric Divine Wind comes in, with features (per the press release) including:
- Play as one of four major daimyo’s in Japan vying for influence over the Emperor and control over the Shogunate
- Enhanced diplomacy with more options for alliances and peace negotiations
- Dozens of new culture-specific building types allowing greater control over the development of provinces
- More realistic development of trade
- Manage the internal factions within China to keep the Mandate of Heaven
The first two designer diaries don’t contain much information, but I am interested in hearing more about trade, in particular. While I know little about Asian history, what I have read indicates that you can’t do justice to European/Asian interaction in this period without an in-depth examination of trade. I look forward to hearing more about this expansion pack.
(By the way, if EU3 interests you and you’d like to learn more, there is a demo available for the previous expansion pack, and this Greg Costikyan piece offers a more detailed writeup of the game’s mechanics.)
With Civilization V newly released in the US and about to launch in Australia, this seems like an opportune time to ask: which games, books, etc am I looking forward to? There are a few entries on this list, and for each, I’ll note just long I plan to wait before actually plonking down my cash:
- Civilization V: This one I’ll be holding off on. Part of it is the highway-robbery pricing: Americans pay US$50 on Steam, I pay US$80. And part of it is the fact that a number of reviewers have complained about the game’s AI (most visible in Tom Chick’s 1up review, but even the reviewers who liked the game all seem to have noted the AI flaws), which is as obviously vital to a satisfying single-player experience as it is often lacklustre. I love the Civilization games, I grew up playing them, but I can afford to wait for the AI to be fixed up.
- Fallout: New Vegas: This might just be a Day 1 purchase, seeing as it’s not outrageously priced on Steam and it comes on the heels of Fallout 3, one of the most impressive games I’ve played. As we draw closer to New Vegas’ release date in October, I intend to finish playing Fallout 3, and then write a series of posts about why I love that game’s storytelling so much.
- The Last Guardian: The sequel to the sublime Ico and Shadow of the Colossus, and a reason why I went for a PS3 instead of an Xbox 360. Another possible Day 1 purchase for me.
- Shogun: Total War 2: One of my “wait a year or two for the patches, mods, and expansion pack(s)” games. I have no faith in Creative Assembly’s ability to deliver a bug-free game with a competent AI at launch, but I’m sure that when the game is patched up, I will love the experience of playing war-leader, and the spectacle of seeing vast armies clash.
- A Dance With Dragons, by George R R Martin: Okay, I’m not expecting this any time in the next twelve months, maybe even not the next 18 or 24 months. I wasn’t even the world’s biggest fan of A Feast for Crows, which had me mentally screaming, “Bridging book! Bridging book!” throughout. But as the next instalment in my favourite fantasy series of all time, Dance will most definitely see me at my local bookstore, forking out for a hardcover; even Martin’s bridging novels are better than 90% of the other fantasy fiction out there.
EDIT: I knew I’d forgotten something… Europa Universalis 3: Divine Wind and Crusader Kings 2, forthcoming game releases from Paradox. These two probably deserve a post of their own, so stay tuned for tomorrow’s update!
How does a strategy game provide a satisfying late-game experience?
This, I think, is a two-pronged problem. Part 1 is avoiding the things that actively drag on the endgame: micromanagement (see my previous post) and the snowball problem, when someone – usually the human player in a single-player game – runs away with the game early on, turning the endgame into a tedious exercise in mopping up. In this post, though, I’ll focus on Part 2, which is the reverse: designing the game so that it builds to a tense climax, much like the traditional three-act plot.
Here, I think the highly open-ended nature of Paradox games works against them. In contrast, I can think of at least three games that set the player a clear victory condition that could only be triggered during the endgame: the Civilization series, Emperor of the Fading Suns, and Rome: Total War (if you played a Roman faction):
Grindy late-game micromanagement is an endemic issue with strategy games, especially 4X and TBS games. Normally, this is “simply” a matter of having to look after too many cities, provinces, and/or units. If I never have to spend another hour scripting dozens of mages in Dominions 3, it will be too soon.
But several games throw additional busywork at you. Pollution, in the earlier Civilization games, was a great example of this – populous, industrialised cities would emit pollution from time to time, which you then had to detail workers to clean up. As your cities grew richer and richer, and in turn, filthier and filthier, so did your workload multiply. I am not sorry to see the back of that mechanic – I much prefer Civilization IV’s “health” metric, which is simply a city malus that doesn’t need to be constantly babysat.
However, I think the prize for my least favourite exercise in micromanagement has to come from Paradox games (Europa Universalis, Victoria, etc). You see, when citizens are angry in these games, they form an armed rebellion that appears in one or more provinces. Individual uprisings usually aren’t dangerous, but they do require your time and attention to swat. But when you control dozens of unhappy provinces – say, because the Protestant Reformation is sweeping Europe, or you conquered a large empire – the game turns into a relentless exercise of whack-a-mole. Move the army to crush a rebellion in Kent! Move it back north to crush a rebellion in Edinburgh! Oh no, the people of Kent are rising up again! It’s enough to, in these games, make me play small countries and create puppet states rather than embarking on massive land grabs – the sheer hassle of constantly suppressing uprisings is just more trouble than it’s worth.
(Note: I’m in the midst of listening to this episode of strategy game podcast Three Moves Ahead, on which Chris King, the lead designer of Paradox’s Victoria 2, is a guest. Hopefully they’ll bring up my issue of concern!)
EDIT: Well, I listened to the podcast, and Chris did talk about making rebellions rarer, but stronger and nastier when they do occur. That makes sense, and it calls to mind Sid Meier’s definition of a game as a “series of interesting decisions”: “how to deal with a once-in-several-decades civil war” being a much more interesting decision than “march them up to Edinburgh, march them down to Kent…” The other idea I’ve seen, and I think it was on the Quarter to Three forums (link to the right), was to use economic/production maluses to represent lower-level unrest, similar to the Civ IV example I mentioned above. I suspect it’s way too late to implement such a feature in the present generation of Paradox games — such as the upcoming EU3: Divine Wind — but it’s one I would like to see in future games. Maluses are less work than spawning enemies!
There is a lot of good, free fiction (and games, and other media) on the Internet, and from time to time, I’ll highlight something that I particularly enjoyed.
Our first freebie is “Firstborn“, a piece of short fiction by Brandon Sanderson (author of novels such as Elantris and the Mistborn series, and the guy who’s completing the Wheel of Time series after Robert Jordan’s death). We’re used to galactic empire space operas, and we’re used to the swaggering, invincible heroes who normally populate the genre. In this story, Sanderson very neatly subverts the formula, and does so in a way that has a little bit of personal resonance for me. Check it out!
When we play games, we use the same brain that controls all our other behaviour. So it’s not really surprising that a bunch of my real-world quirks carry over to the way I play games. To name just two examples:
1. I have a horrible sense of direction in real life, and as far back as the original Doom, I remember becoming hopelessly lost in a maze of crates. So while others gripe about mini-maps, objective arrows, etc “making games too easy”, I thank my lucky stars.
2. I’m happier about hoarding items, whether they be dated computer peripherals or old reports, than I am about throwing them out again. Guess what my inventory in RPGs looks like?
How about you?
Civilization V’s release is imminent, which means turn-based strategy gaming is probably headed for its biggest launch in years. Firaxis has just released the manual, if you’d like to study the rules for yourself. And early impressions are positive.
If you’re reading this, you probably know about the changes, such as the new combat/stacking system, the inclusion of city-states in addition to fully-fledged civilisations, the fact that each resource tile can now only support a limited number of units, the new use of gold to purchase tilesone at a time, even the ability of ground troops to embark directly onto sea tiles (so you don’t need to build separate transport ships). The two that stand out most vividly for me are combat, which I think most people would agree with me is a big change… but also, oddly enough, also the city-states. I’ve always liked minor civilisations in games such as Galactic Civilizations II and Space Empires IV and I’m glad to see they’ll be in Civ 5, for several reasons.
First, they add to the possibilities in the diplomatic game. Reading the manual, it looks as though you’ll be encouraged to pull city-states into your sphere of influence or even fight wars to keep them out of the hands of rival Great Powers. If you don’t want to shed the blood of your own troops, you’ll be able to transfer units directly to the city-states, which raises the possibility of using a city-state to fight a proxy war. Of course, I’m not sure how well competing for the affections of city-states would work against an AI — anything involving diplomacy would work much better with other human players — but it does throw up some interesting possibilities for multiplayer.
But they also add to the feel of the world, much like the cops in X-Com: Apocalypse or the nameless background bystanders in an RPG. There have always been smaller tribes, kingdoms, and nation-states nestled in between large empires; why should Civ be any exception?
Remember the classic LucasArts SCUMM adventure games, such as Indiana Jones and the Fate of Atlantis, Monkey Island and Manic Mansion? This entry in the Star Wars Uncut project (fifteen-second fan enactments of individual scenes from Star Wars) is an awesome homage.
Lately, I’ve resumed watching Tytania, a space opera anime about the conflict between the four dukes of the Tytania clan on the one hand, and happy-go-lucky, Irresponsible Captain Tylor-esque rebel Fan Hyulick on the other. The two sides are parallel protagonists rather than protagonist/antagonist; each gets its own point of view and plenty of screentime. Tytania’s distant forebear, Legend of the Galactic Heroes, follows a similar structure: on one hand, ambitious young Imperial nobleman Reinhard von Lohengramm; on the other, Yang Wen-li, champion of democracy and arch-slacker extraordinaire.
Normally, I love what a talented storyteller can do with multiple points of view. But in the case of both Tytania and LOGH, I wish they’d stuck to only showing us the respective Imperial side in each anime. In the case of LOGH, this is pretty simple: I find the Imperial characters, and their story arcs, far more interesting than their foes. In the case of Tytania, though, that’s only part of it.
Tytania, you see, features a lot of in-fighting between nominal allies. For the four dukes, defeating the rebel is as much about winning glory as it is about neutralising a threat. So they backstab and sabotage one another, in between more prosaic squabbles about whose idiot brother punched whom first. That is a subject matter I’d like to see much more of, in anime, games (I would love to try the board game Republic of Rome sometime), and other media. I can always find plenty of stories about rebels and evil empires; stories about competition within the imperial elite are a rarer beast. And that is why I wish Tytania had focused more on the latter and less on the former.
Famitsu magazine has confirmed we’ll see a Valkyria Chronicles 3, apparently for the PSP. On the one hand, I’m glad: the world can always use more TRPGs, and I love the hands-on unit control that is the selling point of the VC series. Running a soldier out of harm’s way or lining up a shot with the joystick adds so much to the experience, compared to the “click on square to move, click on rifle, click on target” of other games in the genre.
But on the other hand, I do wonder if they’ll address two of the glaring gameplay issues with the original game. (Note: I have not played VC2 beyond the demo, so I only have word of mouth to rely on with regard to that game, and I can’t testify as to whether these issues have already been fixed.) First are the balance issues, :an overpowered class, scouts, and such as overpowered unit buffs. Second, and linked to the first, is the game’s scoring system, which is dominated by the speed taken to finish a level. The combined effect of the two is that, while the first game gave us so many tactical tools to play with – five classes, two tanks that could be customised, support weapons ranging from flamethrowers to rifle-grenades – it rewarded a madcap dash by your scouts for the other side’s flag.
Now, this was not a game-breaker for me. I really enjoyed VC nonetheless; I could regularly post decent (if unspectacular) scores by playing a methodical, combined-arms game; and I treated the speed-driven scoring system as a fun way to challenge myself when I replayed levels in skirmish mode. But a flaw is a flaw, and anecdotally there were people who were bothered far more than I.
However, the interesting thing is the development team’s rationale for focusing on speed. You can see it on page 3 of this Gamasutra interview. My interpretation is, the developers wanted you to take a ruthless, damn-the-casualties approach to promptly achieving your objectives. This is a good, or at least an interesting, idea on paper. In practice, it falls flat for the reasons discussed above.
But there’s one more design feature which obviates the need to even be ruthless in the first place. Similarly to Final Fantasy Tactics, VC gives you a three-turn grace period to call in a medic for a fallen party member before he or she is killed off for good. Story characters escape even more lightly – they’re simply immune to perma-death. There are exceptions – if an enemy soldier reaches your fallen squaddie first, that will also lead to perma-death*. But by and large, this is no X-Com, a game where horrific casualty rates were the price that had to be paid for defending Earth against a technologically superior, vastly powerful foe. And while I certainly appreciate the fact that VC is a pretty forgiving game, it does undermine what appears to have been a goal of the designers.
* Which gives me the rather chilling mental image of enemy soldiers finishing off wounded PCs with a bullet to the head…
If you know the phenomenon of characters in RPGs taking all their gear with them when they leave the party, you’ll get the joke in this issue of the webcomic Stolen Pixels.
Now that HBO has released a new teaser, a behind-the-scenes video and a “making of” subsite for A Game of Thrones, and since I had my copy of AGOT autographed by George R R Martin today, this seems an opportune time to ask: is A Song of Ice and Fire really as grim as it’s made out to be?
I know — this seems like a crazy question at first blush. ASOIAF is one of the defining series of modern, gritty low fantasy. Its signature shtick is that characters who would have escaped the consequences of their own stupidity in any other work, by virtue of protagonist plot armour, here pay the price. GRRM has gone on record as saying that he set out to avoid the “roller coaster” feel of novels that create the illusion that their characters are in danger, but where you know the heroes will ultimately be all right.
But stopping there would overlook one vital point. In the novels, trying to do the right thing can get you killed – but when a characters does choose to take a stand, it is held up and celebrated all the same. Characters do change for the better. Life in Westeros is filled with tears – but also moments of joy and triumph. And GRRM has declared his goal of a bittersweet ending, not a horrific one. Compare this with, say, Richard K Morgan’s rage against the world, or Joe Abercrombie’s unrelentingly cynical view of human nature. Who is the bleaker?
I’ve seen the first five seasons of Stargate: SG-1, and so far, I quite like it. The pilot episode was as close as we’ll ever come to a TV adaptation of UFO: Enemy Unknown/X-Com: UFO Defense, and although the following filler episodes were a big step down in quality, the series eventually regained its stride. It’s moved past Pre-Industrial Society / Monster / Mysterious Alien Plague Of The Week and now, it seems to be striving for epic space opera. That it does well, and intelligently.
The secret, I think, is how many things – some little, some large – make the world feel believable. The show avoids familiar howlers such as the “Always Chaotic Evil” alien species (admittedly, it is guilty of a few of its own). The characters are generally pretty intelligent when it comes to solving problems – and sometimes, this backfires, when they do something that makes in-character sense but turns out to be wrong, because they don’t know the full story.
And most importantly, the show has a sense of continuity, most obvious in its overarching story arc. But it operates in so many smaller, yet vital, ways as well. Real people remember what happened to them a week ago, or two, or three, or ten. They gripe if it was bad, crow if it was good. So do the characters of SG-1. Real people remember how they previously solved problems, and make preparations if they think they’ll encounter the same issue again later. So do the characters of SG-1. When the show needs minor characters – an ally has come with vital information; the heroes are saved because “the enemy of their enemy” has provided a distraction; a red-shirt to accompany the heroes – it draws on the world it’s already established instead of creating a wholly new disposable character.
And yet, it only takes this so far. Earth itself is locked in stasis; SG-1 never recovers any artifacts that would dramatically shake things up; alien technology never leaks out into the wider world; society remains unchanged. For all I know, this was intentional and the creators weren’t interested in telling a story about how contact with alien societies/advances/species, even in a gradual trickle, might change the modern world. But it disappoints me all the same.
Cyclic history – and specifically, the notion that empires will inevitably rise to galaxy-spanning heights, then decline not to mediocrity or middling-power status but to utter oblivion – is deeply embedded in the DNA of science fiction. Asimov did it in the Foundation series, of course, but you see it everywhere in space opera: the backstory of Niven & Pournelle’s The Mote In God’s Eye, Poul Anderson’s Flandry series, any number of David Weber novels, the Traveller tabletop RPG, the Tough Guide to the Known Galaxy (http://www.rocketpunk-observatory.com/spaceguideF-L.htm)…
Yet, to the best of my knowledge, it has nothing like the same prominence in fantasy. Why’s that?
This webcomic strip is specifically about Fallout 3, but it should be familiar to anyone who’s ever dealt with trash random encounters in an RPG.
Have you played RPGs? Then you know how it feels to be gouged when you come into town to buy potions or stimpaks or shotgun shells. You know how it feels when you can barely scrape by selling hard-won rats’ tails, wolves’ pelts and +2 Vendors’ Trash. And most of all, you know that, “But I’m on a quest to save the world!” cuts no ice at the local item shop.
Recettear: An Item Shop’s Tale puts the shoe on the other foot. As town shopkeeper Recette, you buy low, sell high in an effort to meet loan repayments (game over if you can’t pay on schedule!), and in a second, action-RPG mode, hire heroes to go dungeon-crawling in search of rare merchandise. You can only take a certain number of actions per day, and the challenge seems to be how to manage your finite time to amass the most money before the next loan instalment comes due. I’ve played the demo and found it charming enough to pre-order the full version (which you can do through Steam, Gamersgate or Impulse), notwithstanding I lasted about twenty seconds in the dungeon mode.
Check out the demo, and have fun!
The title of this piece in the WSJ says it all: Only in Japan, Real Men Go to a Hotel With Virtual Girlfriends.
Over one week after it first ran, it’s still one of the most widely read posts on the WSJ home page.