Features – Matchsticks for my Eyes

Shadow Empire interview, with Victor Reijkersz

This entry is part 2 of 4 in the series Shadow Empire

Shadow Empire is one of the most interesting & unique strategy games I’ve played in the last few years. It’s the brainchild of one designer, Victor Reijkersz. Below, I am very pleased to present my interview with Vic. Read on for his thoughts on indie game development, simulation, and what he’s working on:

Hi, Vic, and welcome to the site.

Shadow Empire is a science fiction 4X game, whereas your previous titles were historical wargames. Can you tell us more about the origins of this project? What were some of your inspirations?

In fact that is not completely true. My first game was People’s Tactics and it was followed by two Advanced Tactics game. These games were all procedural hex&counter wargames. In many ways Shadow Empire is a mix between the things I learned (to be fun) in my recent historical Decisive Campaigns series and my earlier Advanced Tactics games. So though not sure on the inspiration question, my aim from the start was really to make a game that feels historical, but is in fact largely procedural in nature.

I took this screenshot in my first ever Shadow Empire game. Rochoyes had a mild climate and plenty of rainfall, so it exported food and water to the rest of my territory.

Shadow Empire is one of the most unique games I’ve ever played. It combines empire building, a wargame logistics system (which is also used to transport resources in the civilian economy), internal politics & personnel management, “hard science fiction” world generation, and more.

I’m really curious about this mix of features. What made you decide to include them, and what were some of the challenges behind getting them in the game?

What made me include all those? A little bit of hubris and a lot of bad planning and way more imagination than time. Yes… I was way too ambitious designing Shadow Empire. In the end I have to say it is a small miracle I managed to finish so much of my original plans. It took years longer to finish the game than planned, almost gave me a burn-out, but in the end I managed to properly interconnect and fine tune the dozens of features and launch a truly unique game.

Scenes from a Shadow Empire succession game. When a gang of slavers made their demands, there was only one reply worth making. They were no match for trained soldiers and rovers bristling with machine guns.

Can you tell us anything about your design process, as the solo developer behind a large, ambitious game?

See Q above.

Congratulations on pulling it together – I really liked the final product.

What would be your advice for other indie developers?

Be very aware of the enormity of the competition! You are not only competing with the other 300 games released each week, but also with the back catalogue of over a 100.000 games already released in the recent past. You must be a good judge of your own strengths and weaknesses. As I see it you have only three options… (1) make sure you’ll be lucky… or (2) be a total genius with design and/or graphics… or (3) find a niche where there is demand but less competition. Option 3 is where I put my money (time). Keep in mind that niche’s are not static things and you can create new niche’s as well.

Shadow Empire goes to a lot of scientific detail, and this affects the player’s strategy — e.g. needing to secure fresh water in drier climates, or not having access to fossil fuels on worlds without a biosphere. Can you tell us more about your approach to science & simulation?

I have always wanted Shadow Empire to at least feel as a simulation. Partly because that way the game world will feel more real to the player (and thus be more immersive) and partly because I just love modelling interesting things as planetary genesis, evolution, history, warfare, etc… I have always felt it is okay if in the end Shadow Empire is of course not really a scientific simulation… The important thing has always been making enough of an effort to move it in that direction.

The start of planetary generation – there are many planet types to choose from.

Yes, I thought Shadow Empire was an example of how to do simulationism “right” – if something makes sense in real life it’s probably a good idea in the game, and vice versa. That helped my learning curve as I could apply real-world logic to game situations (e.g. don’t order infantry to charge machine guns).

One thing that impressed me was how differently the game plays based on different map settings & game options. My first game (on a high-population Siwa world) saw huge armies of tanks and infantry clashing across an entire continent. It was completely different playing a co-op game on a Medusa world with 600,000 people, where the main challenges were the alien wildlife and trying to build an industrial base with a limited population.

Do you have a favourite or recommended set of game options (e.g. best for beginners, most interesting simulation, or just one you like to play)?

My favourite it is the “Unclassified Planet”. Mostly because it is the only method of Planet creation that doesn’t push or force the algorithm in any particular direction. So using this class gives the most realistic results imho. Playing it with full fog of war on it also really drops you in the complete unknown.

The culmination of planetary generation in Shadow Empire.

Do you have a favourite feature of the game, or favourite in-game story you’d like to share with us?

I think the feature I have really enjoyed the most is the “Alien Critter” one. The sheer scope of different Planets you could find yourself on is already large, but the procedural created on-map animal life really brought it further to life imho. There are over 120 different critter graphics used, each in different colorations and sizes. Some lifeforms can even reach a level of civilisation and “minor Regime” status and thus be bargained with.

The border in that succession game. Note the computer’s troops (yellow) holding the line against the wildlife to their north. Those were 5-metre predators – no joke!

Yes, the alien critters are one of the most memorable features of the game. I’ve seen some that needed tanks and anti-tank weaponry to defeat!

Another feature that stood out to me was logistics (and the way it’s used for civilian resource management as well). It’s critical for both the military and the civilian parts of the game. Early on, the need to build infrastructure limits development, and as the player expands, the road/rail network needs to be extended to connect new territory to the rest of the empire.

It also makes frontier wars against minors & alien critters feel very different from wars against another major empire. On the frontier, where infrastructure was limited, I fielded small forces of buggies and motorised infantry, unlike the large conventional armies I deployed along my borders with other empires.

Finally, it’s one of the features that made Shadow Empire feel so unique – I can only think of a handful of other 4X games with comparable civilian logistics (Frog City & SSI’s Imperialism games in the 1990s).

I’m really interested in your thinking behind logistics. What was your design intent, and what gave you the idea to use it in the civilian economy as well? Did it grow out of your previous games? And did you originally intend all the cool ways in which it affects the player’s strategy, or did they emerge during development?

There has been quite some iterative design, especially with the logistics. The Private Economy has been something I planned from the beginning. Primarily it’s there for the same reason as the Militia’s… It allows the player’s empire to grow without doing a thing. The philosophy here was that it would help learning the game if some parts (economy, recruitment) could be optionally neglected by the player.

Buildings in a city in Shadow Empire. The two grey-background ones on the left were public-sector, while the brown ones were built and operated by the NPC private sector.

How have you found the reception of Shadow Empire after it released?

I’ve seen the game spread through word of mouth, reviews, streamers & Youtubers – it looks to have found a fan base amongst the 4X community.

In many ways Shadow Empire is a wargame-turned-4X and I am happy that I have managed to reach a wider audience with it than with my Decisive Campaigns series. That being said it’s also a hell of a lot of work compared to ww2 simulations :)

What are your future plans for Shadow Empire? You’ve previously mentioned oceans being the next major feature planned for the game.

I still have a lot of plans for Shadow Empire and am still slowly coding and designing away on a number of topics. Not at the initial breakneck speed as I have some other titles to develop as well, but I am not planning to stop development. I feel Shadow Empire deserves more polish and even more immersion where possible.

A lot of people have criticised Shadow Empire’s graphics, saying they look like they come straight from the 1990s. Well if this is so the advantage for me is that Shadow Empire will age quite well… because lets be honest does it really matter if the graphics look 25 years old or 30 years old?

At the moment I am indeed working on opening up Ocean Planets to the player. I love these Ocean Planets I am currently seeing generated on my development build. Islands, large seas, more wet climates… it all brings something vibrant to me. Hope I will have something to share on the open beta in at most a few months.

That sounds great – I’m looking forward to playing on an ocean planet.

Do you have any final thoughts for the readers?

Thank you for your time! And have a nice day today!

Shadow Empire is available for PC on Steam, GoG, direct from the publisher, and on other storefronts.

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Stars in Shadow interview, with Sven Olsen and Jim “Arioch” Francis

This entry is part 2 of 2 in the series Stars in Shadow

I am very pleased to present an email interview with Jim “Arioch” Francis and Sven Olsen. Sven and Arioch are the creators of Stars in Shadow — a clever, elegant indie space 4X game. Read on to learn about their design philosophy, what makes good AI, a final tip about the game’s difficulty, and much more.

I’d like to begin by asking you about the origins of Stars in Shadow. What was the genesis of the project, and how long did you work on it?

Arioch: Sven first contacted me around 2008 about doing some concepts for a space game that he had in mind. Over the course of several years, the project continued and became gradually more and more serious. As a former programmer myself, I was dubious about the ability of a single programmer to tackle a project of this scope, but Sven proved my concerns wrong. The project progressed to a point where we got a Steam greenlight, and a publisher showed interest, and we released the game in 2017.

Sven: I played a lot of moo2 back in the 90’s and early 2000’s, and I always knew there were things I really liked about that gameplay experience, but also big areas I thought could be improved. I also started reading Arioch’s Outsider comic around the start of its run in 2002. As a fan of the comic, I quickly concluded that Arioch’s art style would be a perfect fit for the reworked moo2-like experience I wanted to create. I found myself with the time and money to start working seriously on the project in 2010, and fortunately Arioch was willing to help out.

Tactical battle – raining missiles on a luckless marauder base.

I particularly liked three aspects of the game: its design philosophy, AI, and charm. The design’s simplicity and elegance stood out for me — a throwback to Sid Meier’s rule about “a game being a series of interesting decisions”. Can you tell us more about your philosophy?

Arioch: We started working before the recent glut of 4X space strategy games, and I think both Sven and I thought that the releases up to that point didn’t really scratch the same itch that our favorite games in the genre did — Master of Orion and Sword of the Stars. It seemed clear to us where the “fun” factor existed, and it was not in an expanding list of features, but rather in a focus on tactical combat. Once we were far enough into the project that the possibility of release became serious, there was suddenly a glut of new 3X space games. But they all had one thing in common: they completely ignored the tactical combat that we thought was so vital to the genre. Even our own publisher recommended that we discard our focus on tactical combat. Apparently this was the consensus at the time.

Sven: I think Civilization-style strategy games all suffer from an escalating micro-management problem. Choices that are fun and significant in the early game become tedious and needlessly time consuming by the late game. I wanted to try to design the game in such a way that that would be less true — and stripping the planet management component back to something more moo1-like, while keeping the tactical battle component relatively complex, seemed like a sensible route to doing that. Part of the design challenge for me was that I knew I didn’t want to go all the way to a moo1/SotS style highly abstract planet management system. In particular, I really enjoyed the species-specific population management element from moo2, and knew I wanted to build on and expand that idea. Getting a blend of all these elements that felt right took a long time. The initial drafts of the game that beta-testers had access to didn’t even include mines or farms or markets — planets just had factories and labs. Metal and food were relatively late additions to the game, but I felt like they were important ones. And I think we managed to implement them in a way that made planet management more interesting, without triggering as much of a late-game slog as you’d see in a more typical Civilization-style strategy experience.

My favourite games that I played in 2019

This entry is part 7 of 11 in the series Gaming year in review / Game of the Year Awards

What were my favourite games that I played for the first time?

If 2018 was the year in which I bought a Switch and rediscovered the joys of Nintendo games, then 2019 has been a wonderful year for new releases. I played three excellent new games, any one of which would qualify to be Game of the Year: Dragon Quest Builders 2, Total War: Three Kingdoms, and Fire Emblem: Three Houses:

Dragon Quest Builders 2 has been my unexpected hit of the year. I love building towns, rooms, fields, even defensive walls. I love DQB2’s charming, cheerful characters and world. And even after finishing the story months ago, I love tinkering with my island in the postgame: adding spas, barns, irrigation, and a rail network, fleshing out floor plans, and renovating my early projects with everything that I’ve learned since. I am pretty confident this will be my evergreen Switch game for the foreseeable future.

Total War: Three Kingdoms is beautiful, challenging, and immersive — a return to form after the hit-and-miss Rome 2 generation. Whether desperately battling to save my capital from a superior invader; planning elaborate, multi-pronged campaigns; haggling with computer players that finally act believably and in-character; or simply admiring the aesthetic, this was almost everything that I hoped for.

Similarly, Fire Emblem: Three Houses is my favourite in its series. It rewards careful planning — both in battle, and when strategising how to recruit, train, and develop my crew of heroes — with triumphant satisfaction when those plans come together. And its epic narrative, closer to Legend of the Galactic Heroes than to traditional fantasy, has me intrigued. I estimate I’m 70%-80% through my first run, and I look forward to seeing how it will conclude.

Honourable mentions go to three more games: Rule the Waves 2, which challenges players to design, build, and command not the shiniest navy — but the one that’s most appropriate and cost-effective; and Wargroove and Crying Suns, which show what indie strategy games can do with a striking aesthetic and solid gameplay.

Incidentally, this marks a change from the last couple of years. My favourite games of 2018 were mostly Switch titles that had been released in 2017, such as Super Mario Odyssey, Mario + Rabbids: Kingdom Battle, and one of my all-time favourites, Zelda: Breath of the Wild. And my favourite game of 2017 — Shadow Tactics — was likewise released in December 2016.

What are some games that I revisited?

I also revisited, or kept playing, a number of games that I’d played in previous years. Sometimes, this followed the release of new DLC or updates — as with various PC strategy games. Other times, it was about continuing an existing play-through. Some I particularly enjoyed were:

Continuing to explore Hyrule in Zelda: Breath of the Wild. I’m still not finished, but with Breath of the Wild 2 announced, a brand-new copy of Link’s Awakening awaiting me, and the DLC a tad too hard for me, perhaps I should just move onto the final battle with Ganon.
Playing through the postgame of Super Mario Odyssey;
Exploring alien archaeological sites and building a galactic empire in Stellaris‘ Ancient Relics DLC;
Saving the world from fascism for the umpteenth time in Hearts of Iron IV: Man the Guns – and leading the NCR in the Fallout total conversion mod;
Trying out new civilisations and winning the space race again in Civilization VI: Gathering Storm.
Playing Battletech’s career mode — aka Galactic Mercenary Hand-to-Mouth Simulator — in ironman.

Author Q&A: Django Wexler, author of The Thousand Names and The Forbidden Library

I am pleased to present my first author interview. Django Wexler is the author of the Shadow Campaigns, a “gunpowder fantasy” series where clashing armies echo the French Revolutionary and Napoleonic Wars, while magic-users wage a covert war in the shadows. After reading the first book, The Thousand Names, I was hooked. His other works include The Forbidden Library, a young adult series.

Read on for more:

Hello, and welcome to the site!

I’d like to begin by asking about your journey as a writer. You got started via an interest in table-top RPGs, then wrote a number of novels before bursting onto the scene with The Thousand Names in 2013. How has your writing developed, during and since?

The state of my writing is a very hard thing for me to track from the inside, as it were. The first thing to realize is that I wrote a lot of stuff that never has (or will be) published, so by the time Memories of Empire, my first small-press book, came out, I’d had a lot of practice with trunk novels or fan-fiction. The Thousand Names was another three or four novels later, and close to five years, so it’s quite a jump!

One thing I’ve definitely observed is I’ve lost my taste for grand, over-complicated plots. I had a real yearning all through my gaming years to do something enormously epic in scope, and at one point I actually tried writing it — it was going to be nineteen books long, with huge continental maps and oceans of backstory, and one of those timelines that starts with “0: The Gods Create The World”. Fortunately I was dissuaded after only one novel from going on with it, because it would have been impossible to sell, but the further I come the less I really want to do something like that. I have too many different ideas to spend twenty years on one of them.

However! Nothing is every truly wasted. The whole Shadow Campaigns series actually came from one minor thread that was supposed to be woven into this mega-project, and another thing that I’m working on came from another.

How would you describe your current books? And what can you tell us about the other project that you’re working on?

The Shadow Campaigns is a fantasy loosely based on the Napoleonic Wars. It originally began as a project to do a fantasy retelling of the story of Napoleon Bonaparte, inspired by S.M. Stirling and David Drake’s The General series, which is the story of Belisarius. After I started writing it, though, it changed a lot, so it’s now only very vaguely a historical analogue. I pitched it as “A Song of Ice and Fire with guns” — a military/political fantasy set in the age of muskets and cavalry charges.

As for the next project, I have to remain fairly close-mouthed about it. There are quite a few on the horizon, though! More when I’m allowed to say.

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Arcadian Atlas Q&A, with Taylor Bair

Update: Arcadian Atlas‘ Kickstarter campaign is now live and can be accessed here.

Arcadian Atlas is an upcoming indie tactical RPG inspired by two of the greats – Final Fantasy Tactics and Tactics Ogre. Read on for a Q&A with Taylor Bair, one half of the brother-and-sister team behind the game:

Hello, and welcome to the site! Please introduce us to yourselves and Twin Otter Studios.

I’m Taylor, the one typically found at the computer or walking my dog as I think of story details or gameplay tweaks for the game.

And Becca is the one with her graphic tablet working feverishly on art assets for our game.

We’re brother and sister living in Dallas and Austin, TX respectively, and we make up Twin Otter Studios.

Your current project, Arcadian Atlas, is a tactical RPG inspired by Yasumi Matsuno’s 1990s classics, Final Fantasy Tactics and Tactics Ogre. (The art and narrative themes — ”the choices people make in pursuit of the things they love, and the havoc it wreaks on a kingdom” — give me a particularly strong Tactics Ogre vibe.) What drew you to these titles? Were there any other notable inspirations?

We have a lot of inspirations, probably too many to count, though we definitely played Final Fantasy Tactics like crazy growing up. As kids we were pretty steeped in video games, particularly classic RPGs like Chrono Trigger, Breath of Fire, and Super Mario RPG.

Something about investing in a character is probably what drew us to RPGs most. We love characters, and our story in Arcadian Atlas is very character centered – about how people become saints or monsters because of the choices they make and the ripple effect that has on Arcadia.

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Sherlock Holmes: The Devil’s Daughter Q&A, with Wael Amr

2016 is due to see the release of Sherlock Holmes: The Devil’s Daughter, the next entry in Frogwares’ long-running series of Sherlock Holmes adventure games. As a fan of 2014’s Sherlock Holmes: Crimes & Punishments — which I called an “interesting, ambitious example” of thematic puzzle design — I reached out to Frogwares to find out more. Read on for my interview with Wael Amr, Frogwares CEO, in which we chat about The Devil’s Daughter and the broader adventure genre:

Hello, and welcome to the site!

Frogwares is perhaps best known for its Sherlock Holmes series of adventure games, most recently 2014’s Sherlock Holmes: Crimes and Punishments. How did you come to work on these games, and how has the series evolved?

We started to work on the series in 2001. Our first game was a very traditional adventure game at that time.

Every game we made since was different, in technology, scenarios, control scheme and gameplay.

The versatility of Sherlock Holmes allows to have more than one kind of gameplay or controls scheme.

Our last game, The Devil’s Daughter features probably the wider range of game mechanic we ever created.

The next Sherlock Holmes game will be The Devil’s Daughter, due for release in 2016. What can you tell us about its new features, and which do you consider the most significant?

I would say that the most significant is the rhythm of the game, that is rather dynamic. It is due to new mechanics of course, but not only, the new character controller, the removal of loading, make the overall pace more dynamic and active. Focus tests showed it was a very welcomed change. The heart of the game is cases investigation and it remains so.

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My games (and memorable moments) of 2015

This entry is part 6 of 11 in the series Gaming year in review / Game of the Year Awards

Welcome back to my Games of the Year list. This year, I’ve highlighted notable achievements, as well as favourite moments from games old and new.

Favourite aesthetics: Several games deserve a mention: Apotheon, for sheer uniqueness (below); the vibrant, colourful Tales from the Borderlands; and Nobunaga’s Ambition: Sphere of Influence, with its evocative art. Nobunaga’s Ambition also has great ambient music — I still listen to it on loop.

Favourite characters: Rhys and Fiona, the heroes of Tales from the Borderlands. Fiona is sharp and capable and funny; Rhys is a loveable bumbler, dreaming nebulous dreams of wealth and power. When his ridiculous get-rich-quick scheme collides with Fiona’s, the plot is set in motion. Throughout the game, I did my best to play them as decent people — loyal to their friends and, where possible, respectful of human life — and was rewarded with satisfying, sympathetic leads. They gave me many laughs, several moments that resonated with me, and a triumphant scene where Rhys demonstrates his character growth.

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Kim Q&A, with Jeremy Hogan

Rudyard Kipling’s Kim is one of my favourite classic novels, a picaresque set in nineteenth-century India. When the Secret Games Company launched a Kickstarter for a video game adaptation, I was keen to find out more. Read on for my interview with developer Jeremy Hogan:

Hello, and welcome to the site! Please introduce yourself and The Secret Games Company.

Hi, I’m Jeremy Hogan, I’m a game designer from London, where I’ve worked in the games industry for the last 8 years. I founded The Secret Games Company to release two indie projects, board game Dreaming Spires and video game Rise: Battle Lines. A year ago, I left my job to work on indie projects full-time so I could start the development of our latest game, Kim, which has been Greenlit on Steam and is now on Kickstarter.

Please tell us about your adaptation of Rudyard Kipling’s Kim. Based on the gameplay trailer, it looks like you’re translating Kim’s adventures into an open-world game reminiscent of Sid Meier’s Pirates or Space Rangers 2. Is this a fair reflection of what players can expect?

Yes those are fair comparisons; it’s a mix of genres so get ready for a long description… An RPG with branching dialogues, simple survival mechanics and light combat and stealth action in pause-able real time. I loved reading Kim and learning about colonial India and when I found out that Kipling’s work was in the public domain, I thought it was a unique opportunity to put such great writing into a game. Our gameplay was inspired by Expeditions Conquistador, FTL and Don’t Starve, another game it has a lot in common with is Sunless Sea.

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From the archives: What five games say about violence

I originally wrote this in 2013, contrasting the approach taken by five big-name games towards violence. Arguably, recent years have seen greater awareness of what’s possible for a non-violent game, such as “walking simulators”, a renaissance in adventure games, the growing popularity of creation-focused games such as Kerbal Space Program, and outright subversive titles such as This War of Mine. I look forward to seeing what options are available in another two years.

***

“They may be called the Palace Guard, the City Guard, or the Patrol. Whatever the name, their purpose in any work of heroic fantasy is identical: it is, round about Chapter Three (or ten minutes into the film) to rush into the room, attack the hero one at a time, and be slaughtered. No one ever asks them if they want to.”

– Terry Pratchett

I’ve been thinking lately about violence in entertainment; my response to such; and what creators themselves have to say about it. In the last twelve or so months, I’ve played five games that symbolise different attitudes to violence: three “traditional” shooters in which there is no non-lethal option (BioShock Infinite, Tomb Raider, and Spec Ops: The Line), and two stealth/action games (Deus Ex: Human Revolution, Dishonored) that permit a gentler approach. Below, I table their key differences.

violence-games-table-v2 Read more here.

Crisis of the Confederation Q&A, with Gregory Hayes

This entry is part 4 of 5 in the series Crusader Kings II

I am pleased to present an interview with Gregory “Galle” Hayes, project lead for Crisis of the Confederation – the “Crusader Kings II in space” mod I recently covered. Below, we discuss COTC‘s inspirations, the interplay between game mechanics and a space-feudal theme, where new players should begin, and more. Enjoy!

Development of the mod

Peter Sahui: Hello, and welcome to the site!

Crisis of the Confederation is one of the most interesting mods I’ve encountered, a homage to science fiction classics such as Dune and Foundation. What made you decide to translate those influences into a total conversion for Crusader Kings II?

Gregory Hayes: I happen to like applying game mechanics to new story concepts in general, and I’m a firm believer that everything is better in space, but COTC specifically actually had its origins in a game mechanic idea that I was never able to implement. Way back when I was working on A Game of Thrones, I was struck by the idea of using the Investiture mechanics to represent martial law versus civilian law. That created the need for a setting in which the spread of martial law made sense, which inspired the civil war backstory, which in turn led to me to think back to the great science-fiction cliche of the rebellious space colonies.

Another factor that probably influenced my decision was that I was replaying Emperor of the Fading Suns at the time. EotFS is a lot like CK1 – a broken mess of a game that is nevertheless fun because of how great its central ideas are. COTC isn’t really that much like EotFS in gameplay, but the desire for a good space feudalism game was definitely a big influence.

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Oriental Empires Q&A, with Bob Smith

This entry is part 2 of 2 in the series Oriental Empires

Oriental Empires is an upcoming 4X strategy game that will cover most of Chinese history, from 1500 BC to 1500 AD. My interest piqued, I conducted an email Q&A with developer Bob Smith. Read on:

About the developers

1. Hello, and welcome to the site! Please tell us a bit about yourselves.

Development of Oriental Empires is being led by R.T. Smith and John Carline, two veteran strategy game developers with more than 30 years’ experience between them. Previously they worked together on the Total War series of games, in roles including Project Director and Lead Artist, and have credits on many other AAA titles from studios including Crystal Dynamics, Pandemic, Frontier Developments, and Slightly Mad Studios.

2. Your best-known previous work was Total War. What lessons have you learned from your experience with those games?

That you can’t please everyone, that you’ll never ship the perfect product, and that the bigger your team, the more features you’ll have that don’t quite join up.

About Oriental Empires

3. At first glance, Oriental Empires looks like a cross between Civilization V, Endless Legend, and Romance of the Three Kingdoms XI. What are your influences and how have they shaped the game?

The initial inspiration was to create a civilization building game based on Eastern civilization, and having an interesting combat system. Superficially this is similar to Civ, but I don’t think the games feel alike to play. The battles obviously have some similarity to Total War games, but again, the resemblance is superficial as you don’t directly control them. History, reality, space 4X games, and miniature and board games are also influences.

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Guns of Icarus Online: Adventure Mode Follow-Up Q&A

This entry is part 3 of 3 in the series Guns of Icarus Online

Guns of Icarus Online is one of the most unique games I’ve played – a team-based dieselpunk airship game, in which rival crews try to shoot each other out of the sky. When it launched in 2012, it was strictly PvP. The following year, developer Muse Games launched a Kickstarter campaign to add PvE (“Adventure mode”), and it seems to be coming along nicely.

Read on for my follow-up email interview with Howard Tsao, CEO of Muse Games, about Adventure mode:

Peter Sahui: Hello, and welcome to the site!

When I last spoke to Muse Games in 2013, you were running a Kickstarter campaign for “Adventure mode” — a large expansion pack that would add PvE and co-op to the game. How is that coming along?

Howard Tsao: It’s been a long journey, with the scope of the expansion arguably larger than the original game, but we’re constantly making progress. Right now, in addition to iterating on some of the game modes and honing AI director as well as AI enemy movement and behaviour, we’re also doing work on player, faction, and world progressions. A lot of the in mission or in match feedback and progression are being designed and worked on as well. We’re creating factional airships, boss ships, and wardrobe as well, and we’ll soon move into designing more maps and game modes as well.

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Let’s reunify Japan in Total War: Shogun 2! Part 3 (Final): Ride Forth Victoriously

This entry is part 10 of 10 in the series Total War: Shogun 2

Welcome to the final instalment of my Let’s Play of Shogun 2.

Previously, I stood on the verge of Shogun 2’s endgame — “realm divide”, in which most of Japan joins forces to stop the player. My armies were ready. My treasury was bursting. And so, I resumed the offensive after a long period of peace. Here is the situation, shortly before the end of Part 2:

In the east, my armies had just won their first victory against the Hatekayama clan (green). In the west, I was at peace; I shared my border with an allied clan, the Imagawa (grey), and a former ally, the Jinbo (light blue). Further west, past the Jinbo and Imagawa, was the single largest computer player: the Otomo clan (blue, also my ally).

Once I resume the game, Takeda Shingen and his son Nobushige lead my eastern armies against the Hatekeyama’s remaining force.

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Let’s reunify Japan in Total War: Shogun 2! Part 2: Patience and Preparation

This entry is part 9 of 10 in the series Total War: Shogun 2

Welcome back to my Let’s Play of Shogun 2.

When we left off, my Takeda clan controlled a modest slice of Japan, to the north and west of modern Tokyo. To the east were my enemies: the Satake and Satomi clans. Further north were my old foes, the Uesugi clan; an uneasy peace prevailed between us, ever since I crushed their last invasion attempt.

My previous victory against the Satomi in Part 1 gave me a window of opportunity. and so, my first order of business is to march east. Takeda Shingen, lord of the clan, is off on another frontier. Command falls to his two brothers: Takeda Nobushige in the north, leading his army out of North Shinano province, and Takeda Nobukado in the south, crossing the river from Musashi.

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Let’s reunify Japan in Total War: Shogun 2! Part 1: Awakening the Tiger

This entry is part 8 of 10 in the series Total War: Shogun 2

Introduction

Hello, and welcome to my Let’s Play of Total War: Shogun 2.

Shogun 2 casts players as a daimyo, one of the regional warlords of sixteenth-century Japan. The ultimate goal is to march on Kyoto, at the centre of the map, and enthrone oneself as shogun. Along the way, the player must manage a realm, raise armies, and command them in battle. The game triumphs on every level — as an exercise in strategic decision-making; as an epic come to life; and as an aesthetic treat. It is my favourite strategy game of all time.

For this run, I have opted to play as the Takeda clan, led by one of the most renowned warlords of the period — Takeda Shingen. This is, in fact, my second Takeda attempt — I abandoned the first after painting myself into a corner. I turn the game’s difficulty up to “Hard”, which affects both the strategic map and the tactical battles. My intent is to turn down the battles to “Normal” — the computer cheats on higher battle difficulties. Instead, I forget. As a result, the game so far has been entirely played on Hard.

I’ve chosen the Takeda for two reasons. First, their location in central Japan will make for a nice change — I won my last Shogun 2 campaign (using the Fall of the Samurai expansion pack) as an outlying island clan. Second, I’ve been meaning to make more extensive use of cavalry in Total War games, a job for which the Takeda are well-suited — all their horsemen receive a bonus.

Here is the opening cinematic for the Takeda:

And here is the situation at the beginning of the game:

The Takeda start in Kai province, a landlocked mountain pass that runs north/south. All cavalry trained in Kai will receive a bonus, courtesy of the province’s superior horse pastures; this stacks with the innate Takeda bonus to cavalry.

To the north of Kai is North Shinano, also landlocked. It is home to the Murakami clan, who begin at war with me — you can see a small Murakami army near the border. To the south are Musashi province, home to modern-day Tokyo, and Suruga province, home to the allied Imagawa clan.

To win the game, I have to hold 25 provinces, including Kai, Kyoto, North Shinano, and three other provinces all to the north of Shinano. Before then, I must face one of Shogun 2’s most distinctive challenges — realm divide. When I draw close to victory, most of the remaining computer players will declare war on me; I’ll need to build my empire around surviving that final difficulty spike.

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My Games of 2014

This entry is part 5 of 11 in the series Gaming year in review / Game of the Year Awards

Welcome back to another Game of the Year list. This year, I’ve tweaked the format again — many of the games I played in 2014 were released in previous years. Sometimes, I played the old game “as is”; sometimes, I played a new port or an expanded version of the old game. So I’ve broken this post down into two parts. First, I review the accomplishments of 2014. And second, I take a look back at the notable games I played, whether or not they were originally released that year.

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The Qing in the North: Reflections on Europa Universalis IV: Art of War

This entry is part 10 of 12 in the series Europa Universalis IV

The Manchu conquest of Ming China, in which a much smaller, younger state managed to overthrow the greatest empire in the world, is one of those episodes in history that seems tailor-made for a grand strategy game. After recent versions of Europa Universalis IV (the Art of War expansion, the accompanying 1.8 patch, and the subsequent 1.9 patch) fleshed out East Asia and Siberia, I was eager to give the Manchu a spin.

Here are the Jianzhou Jurchens at the start of the game. Historically, their leaders forged a new “Manchu” state and went on to establish China’s final imperial dynasty, the Qing:

It took me three attempts¹ to successfully follow in their footsteps. Similar to my pre-Art of War Ayutthaya game, there was a nice progression:

1. Building a power base to the north of Ming China. I began by subjugating the other Manchu tribes, Siberia, and chunks of Korea, and by the 1510s, I was strong enough to fight off a Ming invasion attempt. My counterattack took the northern tip of China, around Beijing. I took the screenshot below shortly before my war with Ming:

2. Pushing into China proper, and Westernising. As early as the 1560s, I was planting outposts on the west coast of North America while simultaneously fighting the Russians to a standstill. Decades later, the Ming were still a paper tiger: after a second war, I briefly held all of coastal China down to the wealthy Yangtze delta. A vicious burst of revolts in occupied China was only a temporary setback: by 1630 I had picked up Western technology (courtesy of my American colonies). The screenshot below depicts the situation a couple of decades later, by which point it was simply a matter of…

3. Mopping up. Once I controlled a decent chunk of China, my manpower, wealth, and technological edge allowed me to snowball through the rest. I spent the rest of the 1600s and 1700s absorbing the remainder of China, fighting the odd war against Europeans, and bullying nearby minnows.

Here are my borders at the end of the game (note that Siberia was a client state of mine). Had I wanted to, I could have pushed much further — I had a standing army of over 180,000 men, manpower reserves of another 300,000, maximum technology, and the most provinces of any nation in the world:

Overall, I had great fun, perhaps more so in the first half of the campaign. I think the second half was held back by a common genre problem — EU4’s mechanics don’t scale well to large empires. Otherwise, I am very pleased with the current version of the game, which addresses one of my longest-running complaints with the series. Even with its late-game problems, I think EU4 is a very good strategy game; and I particularly appreciate that the developers have fleshed out my favourite aspect — the world beyond Europe. If you haven’t played EU4, or if you played back at launch, this would be a great time to jump in.

I’ve divided the rest of this post into several sections. Below, I elaborate on EU4‘s design (and the state of the game). If you’d like to try forming the Qing, skip to the mini-guide at the end of this post.

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For all three attempts, I played in Ironman mode, which prevents save/reload, gives selected European AI countries a “lucky nations” bonus, and enables Steam achievements. Perhaps Paradox could consider making AI Jianzhou a lucky nation. They fit the description as well as any of the others – France, England, etc. ↩

Offworld Trading Company interview with Soren Johnson

Offworld Trading Company is an upcoming RTS where, to quote developer Mohawk Games, “money, not firepower, is the player’s weapon”. Its stated inspirations include board games, Railroad Tycoon, and conventional real-time strategy.

Below, I am very pleased to present an email interview with Soren Johnson, the lead designer of OTC. Soren has previously been co-lead designer of Civilization III, lead designer of Civilization IV, a senior designer and programmer of Spore, and lead designer of Dragon Age: Legends.

Peter Sahui: Hello, Soren – welcome to the site!

Offworld Trading Company is one of the most unique strategy games I’ve encountered. Even after finishing the tutorial and playing several rounds against the AI, it still feels unfamiliar.

Does that affect your work as a designer? Has OTC’s novelty posed any particular challenges?

Soren Johnson: We are purposely making a game unlike any other. As a small studio, our games will never be able to compete with established strategy franchises from big publishers, so we have to be different to stand out. Offworld is an RTS game that uses tycoon game mechanics, instead of combat mechanics, to create conflict between players. The only well-known video games somewhat similar are M.U.L.E. or Railroad Tycoon, which are both quite old and also not really competitive RTS’s. What makes Offworld unique will hopefully get the game attention, but we are aware that it could also put off people who are unsure what they would be buying. Thus, as a designer, I am trying to ground Offworld as much in the conventions of RTS games as possible – from game length (30 minutes) to number of players (2 to 8) to game options (multiplayer matchmaking, single-player skirmishes, dynamic campaigns, etc). We are hoping to develop some type of cooperative mode for team play or just fighting the AI. We want people to understand that it is still a competitive RTS at the core – just one without guns.

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Ayutthaya Universalis: Building an Empire in Southeast Asia

This entry is part 9 of 12 in the series Europa Universalis IV

Ayutthaya (dark green) at the start of the game.

The Kingdom of Ayutthaya was the major power in Southeast Asia in the 14th and 15th centuries. Based in the capital of Ayutthaya on the Chao Phraya River, this decentralized Thai kingdom managed to exercise hegemony over the area for many years. Trade rivalry with Malacca and constant wars with neighboring Burmese and Khmer kingdoms typified the history.

— EU4 developer diary 38

At the start of Europa Universalis IV, Ayutthaya is a big fish in a small pond. As the largest and strongest state in Southeast Asia, it is still a minnow compared to Ming China and the eventual European invaders. Over the 350 years of the game, I set out to change this. With patience, luck, and the odd save/reload, I succeeded:

My journey took me from Southeast Asian minor to Asian power; from an Asian power to the Asian power; and from Asian hegemon to one of the world’s Great Powers. This was one occasion when EU4 shone as an “empire-building game”, and I’ve given some thought as to why.

The starting point lies in EU4’s (and, by extension, the entire Europa Universalis series’s) choice of subject. Every Paradox game is about the struggle for power: Crusader Kings is about the struggle between individuals, Victoria is about struggle between states and struggle within states, and Hearts of Iron and Europa Universalis are almost entirely about the struggle between states. The player’s tools in EU4 reflect that focus: you fight wars, colonise territory, befriend (or antagonise) other states, send out explorers, merchants, and trade fleets, and unlock bonuses via technology or National Ideas. Other aspects of the period are abstracted or, in the case of the emerging gap between European and non-European powers, taken for granted.

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The Beginner’s Guide to Wargame

This entry is part 12 of 12 in the series Wargame: European Escalation/AirLand Battle/Red Dragon

Wargame is one of my favourite RTS series. It can also be daunting — I know several readers have picked it up on sale, only to bounce off. I hope the following guide will help.

Introduction to Wargame

Wargame is a series of real-time military tactics games (European Escalation, AirLand Battle, and Red Dragon) set during the Cold War. Like Total War or a real-time Panzer General, Wargame bridges the gap between dedicated simulations and traditional real-time strategy games such as Company of Heroes. It’s also really, really good.

If you don’t own any of the games, I don’t recommend the original game, European Escalation, which has been superseded by its sequels. Instead, I recommend starting with the middle game, AirLand Battle. First, AirLand is much cheaper than the latest game, Red Dragon. At the time of writing AirLand regularly goes on sale for <$10, while Red Dragon, even on sale, is seldom cheaper than the mid-$20s. Second, AirLand introduced many of the series’ best and most distinctive mechanics — the jump to Red Dragon is more modest. If you plan to play a lot of competitive multiplayer, you may wish to start with Red Dragon, where the multiplayer community has migrated. Otherwise, start with ALB, and if you enjoy it, upgrade to Red Dragon later.

The rest of this guide assumes you are playing either AirLand Battle or Red Dragon. The guide is current as at v564 (DLC 1) of Red Dragon.

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From the archives: A game that could have been: Emperor of the Fading Suns

Emperor of the Fading Suns was a mid-1990s PC strategy game from the days before the space 4X genre calcified into Master of Orion 2 wannabes. It was ambitious, sprawling, buggy, flawed — yet I remember it fondly. In 2011, I set out to explain why.

If I had a penny for every game set in outer space, I’d be writing this post from somewhere sunnier and sandier. How many first-person shooters have cast us as Angry McShootsalot, the space marine? And how many RPGs and 4X games have treated us to “classic space opera” universes, the sort familiar to anyone who’s seen Star Trek or Star Wars, or read a Larry Niven novel? This extends to gameplay conventions. If you’ve played Master of Orion, Sword of the Stars, Galactic Civilizations, or Space Empires, you know the formula – players start with a single world at the dawn of the age of interstellar travel, then colonise virgin territory until eventually the whole galaxy is claimed. Technology progresses in a smooth upward line. The real fighting is all done in space; ground combat is abstracted to ‘bring troop transports and roll the dice’. Everything is clean and crisp and futuristic.

If I had a penny for every game set in an original version of outer space… well, at least I’d have one cent, courtesy of Emperor of the Fading Suns (EFS), the 1996 turn-based strategy game from Holistic Design, Inc (HDI). Set in the same universe as Fading Suns, HDI’s pen-and-paper RPG, EFS falls into the broad 4X genre defined by classics such as Civilization and the games I listed above, but carved out a space all its own. In EFS, the main conflict was human against human, though there was an alien menace in the background. And there was nothing crisp or clean or futuristic about its universe, filled with princes, priests, psionics and peasants in what’s usually described as “a cross between Dune and Warhammer 40,000”.

From the archives: Conquest, Plunder and Tyranny: Explaining Dubious Morality in Strategy Games

I originally wrote this post around the time Civilization V came out, and it’s interesting to look back in light of subsequent releases such as Crusader Kings 2 and Europa Universalis IV. One of my arguments was that 4X games depersonalise victims, but that doesn’t seem to have stopped players from being just as vicious in Crusader Kings 2! On the other hand, I tried to play EU4 in as “enlightened” a manner as possible – abolishing slavery, instituting a constitutional monarchy, etc. No developer encouraged me to do that; that was just my self-imposed goal. In any case, enjoy!

Why do we play strategy games in ways that, in real life, would land us in the dock for crimes against humanity?

Three Moves Ahead, Troy Goodfellow’s strategy game podcast, recently discussed the ethics of wargames, but to me, wargames have a largely innocuous focus on how to manoeuvre troops within an already-existing war. However, the question remains for the broader strategy game genre – in particular, 4X games in which you decide whether and why to go to war, and how to govern your nation: Civilization, Alpha Centauri, Master of Orion, Master of Magic, Galactic Civilizations, Space Empires, etc. Indeed, the very name of the sub-genre makes it clear that there’s an issue: “4X” is short for “eXplore, eXpand, eXploit and eXterminate”.

There is, of course, the historical/human nature explanation. I do not think any empire through history – regardless of religion, skin colour, or geographic origin – ever arose except through conquest. Why should a game that casts you as an emperor be any different? When I send out my Roman legions in Civilization to claim the land of the fellow unlucky enough to start the game next to me, I’m just doing what Caesar and his countrymen did in real life. This explains why brutality makes thematic sense, but we have to look at other factors to explain why it pays off and why it doesn’t repel players in the first place. I can think of three such reasons: the zoomed-out, distant scale of most strategy (including 4X) games; the zero-sum nature of most games; and the economic model used by most 4X games.

From the archives: Storytelling in Star Control II: Playing space detective

Star Control 2 is a classic of the early 1990s, with a great sense of humour, robust gameplay, and unique, non-linear story progression — the player had to gather clues and do his or her own footwork in order to work out where to go next. That last was the subject of this piece, which I wrote back in December 2010. It became the site’s first hit article, with almost 7,000 views in one month, and I’m quite pleased with how it turned out. Enjoy!

If you were a hero, tasked with saving the world from an overwhelming menace, how would you go about it? You would gather information about your foe. You would arm yourself with the best weapons possible. You would recruit allies to your banner. And while you might wish for these things on a platter, in order to find them, you would have to explore the world. You would seek out clues and piece them together, one hint leading you to the next, until you found what you were searching for.

No game captures this experience as well as Star Control II (SC2), the 1994 game from Toys for Bob (rereleased for free as The Ur-Quan Masters). SC2 cast you as a starship captain from a long-lost settlement, given command of a rediscovered ancient wonder weapon. As far as you know at the start of the game, your objective is simple: journey to Earth with your starship, rejoin the fleet, and help defend humanity against the alien Ur-Quan. And after one of the best opening plot hooks I have seen in a game, the stage is set for you to explore the galaxy in pursuit of that goal. Along the way, expect a fantastic storytelling experience, delivered through a combination of (a) top-notch writing and (b) gameplay mechanics that place the responsibility for uncovering that story in your hands.

Read on…

The Last Story: not the least

If the necromancer hits me with one more fireball, I’m toast.

He’s the toughest boss I’ve faced so far, and the good news is, I’ve whittled him down to his last chunk of health. The bad news is, I’m on my last life, my AI teammates aren’t doing much better, and the next fireball that hits will probably finish me off. If I can close in with my sword, before the necromancer’s spell timer counts down, the battle will be over. The trick is lasting that long.

There he is! The necromancer has spent the fight teleporting around the room, but I see him now. I fumble with my bow, spray a few Wizard Slayer arrows his way. If I hit, I’ll interrupt his spell, buying myself a few precious seconds. And I hit. The timer disappears. I charge in, ignore the skeleton bodyguards, raise my sword…

… and the screen erupts in flame.

But this fireball comes from the party sorcerer, controlled by the AI, and it could not have come at a better time. The fireball took the necromancer to his last sliver of health. One last slash, and it’s over. I’ve won. More accurately, to give full credit to my AI-controlled teammates: we’ve won.

Welcome to The Last Story, a 2012 Wii action-RPG from Japanese developer Mistwalker (1). TLS never managed to replicate fellow Wii RPG Xenoblade’s jump to cult classic – but if you ask me, TLS is both the better of the two, and one of the most underrated games in years.

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Ni no Kuni: a tale of Mite and magic

NNK - Mar Mite — Oliver is the ostensible protagonist of Ni no Kuni, but his familiars are the game’s heart and soul.

Ostensibly, PS3 RPG Ni no Kuni: Wrath of the White Witch is about the adventures of Oliver (pictured, right), an ordinary boy who becomes the wizard-saviour of another world. But it’s not, not really. Meet one of Ni no Kuni’s real heroes (on the left): Mar Mite, melee fighter, bane of enemies from the Winter Isles in the west to Teeheeti in the east, and utterly adorable. Together, Mar Mite and friends represent what is best about Ni no Kuni – and what is worst.

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Hearts of Iron IV Q&A, with Dan Lind

This entry is part 2 of 3 in the series Hearts of Iron

I am a long-time fan of Hearts of Iron, a grand strategy series in which players control all aspects of a World War II nation, from armies and fleets to research, production, and diplomacy. So when developer Paradox Development Studio took the wraps off the upcoming Hearts of Iron IV, I was eager to find out more. Read on for my email Q&A with project lead Dan Lind, in which I ask about his vision for the project and how it will fit into the series:

Peter Sahui: Hello Dan — welcome to the site!

It’s been five years since Hearts of Iron III launched, and in your first developer diary, you talk about lessons learned from Crusader Kings 2, Europa Universalis 4, and HOI3. What inspiration have you drawn from other sources — other games, books, etc.?

Dan Lind, Project Lead: As you know, Hearts of Iron is, like most Paradox Development Studio titles, a grand strategy game in an open sandbox and victory is determined by the goals you set up for yourself during the WWII time-span. The Hearts of Iron series is all about taking control of your nation in the years around World War II and leading it to victory – a wargame where you have to look at the entire war and take decisions in a multiple of aspects to reach victory. So Hearts of Iron IV is at its core is not a pure old-fashioned wargame.

Therefore, to be frank, there are not a lot of other grand strategy wargames to look at unfortunately. But I’m personally fan of World of Tanks as well as War Thunder and I hope we can bring in more of their flavor and attention to detail. My team also really liked Unity of Command when we tried it since it is a pretty different game that shows how you can make a fun historical strategy game and still keep things easy to understand. When it comes to books, we have tried to have both a top-down and bottom-up approach. So we take a lot of inspiration from Winston Churchill’s books on WWII as well as writings by Otto Carius (a famous German tank commander) as well as memoirs of Russian artillerymen.

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The Banner Saga: Turn-based tactics with a twist

This entry is part 1 of 2 in the series The Banner Saga

“The gods are dead.”

So opens Stoic Studio’s The Banner Saga, a low-fantasy tactical RPG with a cool and unique combat system. It’s so different as to be divisive; but the more I play it, the more I like it.

By way of overview, Banner Saga follows two separate groups as they trek across a land ravaged by shadowy, armoured monsters called dredge (second from the right). Between battles, the current group’s caravan rolls through the countryside (see below), banner streaming behind, and gameplay consists of text events: how do you respond to stubborn villagers, or a troublemaking drunk, or a fire in the distance? These choices affect caravan morale and hence stats in combat, but more importantly, party members can join, leave, or permanently die in these events. And clearly, the developers meant decisions to have consequences, a la XCOM ironman – there is only one quicksave slot, and save ‘checkpoints’ are widely spaced. This is perhaps too effective: I’ve started looking up guides after discovering that I neither enjoy character loss, nor have the time or patience to reload. The actual writing is clunky at first (why are quasi-Vikings saying “OK”?), but picks up steam. As at the 60% mark, I find the story interesting, albeit not the main draw.

The Banner Saga's lovely overworld. — The Banner Saga’s lovely overworld.

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Games of the Year: 2013

This entry is part 4 of 11 in the series Gaming year in review / Game of the Year Awards

As promised, here is my list! As with last year, I’ve highlighted noteworthy achievements, as opposed to trying to single out favourites (so you will see some that I thought were more interesting than fun). I’ll kick off with what I thought were the year’s overarching themes:

Theme of the year I: march of the small games. Every year has its notable short and/or cheap indie games, such as FTL in 2012, and in 2013 these included Skulls of the Shogun, Brothers: A Tale of Two Sons, Papers: Please, and Gone Home. However, the year also saw a large publisher, Ubisoft, throw its hat into the ring with Call of Juarez: Gunslinger and Far Cry 3: Blood Dragon. Ubisoft is set to continue this trend with Child of Light, and it’ll be interesting to see the extent to which other publishers follow – especially after Tomb Raider missed Square Enix’s expectations, sparking the latest bout of soul-searching about the future of AAA games.

Theme of the year II: iteration. In 2012, my favourite games (XCOM, Wargame: European Escalation, Analogue: A Hate Story), as well as other notable titles (FTL, Journey) were all quite novel. Even XCOM, while thematically faithful to the 1994 original, was mechanically unique. 2013, though, was more like 2011 in its preponderance of evolutionary rather than revolutionary games, from the big end of town (Assassin’s Creed IV) to the little guys (Dominions 4), plus expansion packs (Civilization V: Brave New World, XCOM: Enemy Within). That said, we’ll see exceptions below.

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I played, I thought, I wrote: a design analysis of Rome II, the Total War series, and what makes a good 4X game

This is not a review of Creative Assembly’s Total War: Rome II, but if it were, my opinion would be, “Worth a look… but wait for the <$10 Steam sale.” I’m around 30 hours into Rome II, spread across two campaigns and multiple stand-alone battles. I’ve had enjoyable times, and some spectacular moments. I’ve thundered elephants through the flank of a distracted foe, raised last-ditch armies, and marched from the Tiber to the English Channel, but the whole of my experience has been less than the sum of its parts. And the really interesting question is why.

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Dominions 4 Q&A, with Johan Karlsson and Kristoffer Osterman

This entry is part 2 of 4 in the series Dominions 4

Dom4 Virtue — Dominions depicts clashes between pretender gods, such as the Virtue seen above.

Johan Karlsson and Kristoffer Osterman of Illwinter Game Design are the creators of indie masterpiece Dominions 3, a strategy game of near-unrivalled imagination, depth, and player choice. With Dominions 4 about to launch (and following my July preview), I am very pleased to present my email interview with Johan and Kristoffer, in which we talk about Illwinter’s history, its inspirations, the future of Dominions, and more. Did you know that Illwinter even considered adding real-time battles and a 3D map? Read on:

Peter Sahui: Hello, and welcome to the site!

I’d like you to start by telling us about Illwinter Game Design. How did you get started developing games?

Johan: My first game was a long time ago just before I moved out to go and study computer science. My favorite old game was Chaos, a game for Spectrum 48 where up to 8 wizards battled it out in a very simple fashion. I got my Atari ST computer after that and felt that you could make a much better Chaos game on that computer. So my first attempt at a game was to create a Chaos clone for the Atari ST, written completely in basic. It got to a playable state and was better than the original in many ways, monsters had hit points and there were more of them as well. But it was not good enough to be sold, so it never got played by other than me and my friends.

When I started my Computer Science education I began to create a more sophisticated game that was called Conquest of Elysium. That’s also when I met Kristoffer who joined in and took over the graphics part. Being 2 people helped a lot I think and we managed to finish the game and sell it as shareware. Shareware was the thing back then and I remember that it was really bothersome and crappy compared to how it works today with Desura etc.

Illwinter Game Design had started to exist now and we continued to create a new game every few years until we had 3 CoE and now 4 Dominions as well.

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What were my favourite games that I played for the first time?

What are some games that I revisited?

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About the developers

About Oriental Empires

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Introduction

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Introduction to Wargame

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