Game Design

VR for the Game Music Composer: Audio for VR Platforms - by Winifred Phillips

Gamasutra.com Blogs - 13 November 2018 - 7:34am
Game composer Winifred Phillips looks at developments with VR platforms & their SDKs, focusing on audio issues. Included: Soundfield for AR, Spatial Sound for AR/MR, audio improvements in the Vive & Oculus SDKs, & audio for the new untethered platforms.
Categories: Game Theory & Design

In Defense of Game Review Scores - by Michael Heron

Gamasutra.com Blogs - 13 November 2018 - 7:27am
Review scores have become very unfashionable. They've been replaced with badges, recommendation lists, and a whole pile of categorizations. Largely though the problem here isn't with review scores. It's in how people use them.
Categories: Game Theory & Design

Social Media: The Double-Edged Sword of Community Engagement - by Taylor Russo

Gamasutra.com Blogs - 13 November 2018 - 7:19am
It comes as no surprise that the recent insights into the misuse of user data makes us all a little worried about what information we give and what we post. However, what happens when developers need to use social media as a direct line to their audience?
Categories: Game Theory & Design

Tachyon Squadron Review

Gnome Stew - 13 November 2018 - 5:00am

I was extremely young when my family took me to see Star Wars at the drive-in, and there were a lot of details I didn’t remember until years later when I viewed the movie again on HBO–but I remembered Luke flying in his X-Wing. A year later, with slightly better cognitive functions, I was fascinated by Battlestar Galactica and the starfighter combat between the Colonial Vipers and the Cylon Raiders.

 Did I outgrow my love of starfighters when I got older? Not if the hours I spent playing TIE Fighter, Freelancer, or Rogue Squadron are any indication. Even today, my favorite part of Star Wars Battlefront 2 is the starfighter missions.

 Tachyon Squadron is a supplement for Fate Core that focuses on playing military science fiction campaigns that center on a starfighter squadron and the pilots of that squadron. 

Sizing up the Spaceframe

 This review is based both on the PDF version of the product, and the hardcover release. Tachyon Squadron is a 184-page product, with a four-page index, two-page quick reference sheet, a ship sheet, and a character sheet in the back.

The physical book is a digest-sized hardcover, similar to other Evil Hat releases. It is a full-color book, with numerous line art illustrations of pilots, starfighters, and capital ships. Formatting is similar to other Fate releases, with clear headers, call-out boxes, and very easy to digest pages of information.

Tachyon Squadron and Creating a Pilot

There is a brief five-page introduction to explain the style of science fiction that Tachyon Squadron is emulating. It’s a has a strongly military flavored sci-fi feel, and features humans skirmishing with other humans, rather than dealing with alien threats. Adversaries will include pirates and oppressive regimes, and FTL and artificial gravity technology exists without too many details. There is also a quick callout box to explain how the Fate rules are used and modified for the setting.

Creating a pilot delves into some of those ways in which the setting utilizes and modifies the Fate rules. While creating a character will look familiar to anyone that has spent some time with the Fate Core rulebook, there are a few key differences.

  • You don’t just need a name, you need a callsign
  • You don’t have a Trouble aspect, you have a decompression aspect
  • You get two personal stunts and a gear stunt–the gear stunt representing a special piece of equipment you have available to your character

There are example names and callsigns, as well as some archetypical skill assignment arrays. There are sidebars discussing player safety when it comes to exploring decompression aspects, as well as some guidance on how disability isn’t a limiting factor to fighter pilots in the setting.

Unlike a standard game of Fate, in Tachyon Squadron, the Trouble aspect is, instead, replaced with the decompression aspect. This aspect is split between a positive means that the pilot can decompress, and a negative means. The only way a pilot recovers stress is to decompress. If they fail their check to decompress in a positive manner, they can always blow off steam in a less productive manner, which is likely to cause problems for them, now or in the future.

Skills and Stunts

The next section of the book delves into skills available in the setting, example stunts, and new rules for gear stunts that are introduced in this book.

Skills are broken up into the following groups:

  • Spacefaring Skills (Gunnery, Pilot, Tactics, Technology)
  • Action Skills (Athletics, Fight, Notice, Shoot, Sneak)
  • Social Skills (Discipline, Empathy, Investigate, Provoke, Rapport)

Those categories help to summarize the expected scenes that pilot characters will play through in the game, as they fly their ship, participate in ground-based missions, and interact with civilians and military personnel between starfighter missions.

Gear Stunts introduce some new rule interactions into Fate. These stunts represent equipment that a character has available on their missions, but they can allow characters to maximize a die in certain circumstances. Maximizing a die is just taking a die from the dice, after they have been rolled, and setting it to “+.” If multiple pieces of gear would both help, you may get to maximize more than one die, but you can never have more than two maximized on one roll.

While the Gear Stunts introduce ways in which characters can maximize their dice, this is also where the concept of minimizing dice is introduced. In some disadvantageous circumstances, characters may need to set a die from the rolled dice aside and set it to a “-.” Like maximized dice, you never need to minimize more than two dice in a single roll.

Engagements

The turn order in starfighter combat is resolved in a different manner than other Fate conflicts. The next chapter in the book explains how to run engagements, and what the phases look like.

Engagements have the following parts:

  • Detection
  • Maneuver
  • Action
  • End of Round

Detection involves using the technology skill to determine if both sides know how many fighters the other side has, and where those ships are. Maneuvering involves using the tactics skill to determine what order the ships take their actions. The action phase involves performing standard Fate actions using whatever skill is appropriate to the action. The end of round phase degrading the tactics score that was used to determine ship order, as well as being the phase of the engagement where ships that declared their intent to escape leave the scene.

At a brief pass, that all can sound a lot more complicated than a standard Fate conflict, but the maneuver chart included in the book helps to illustrate how the rules work, and the individual phases are very clearly explained.

Undetected ships can’t be attacked and can attack anyone in the fight. Other ships can only attack ships with their own tactics result or lower. A ship that attempts to bug out can be targeted by anyone, but if they make it to the End of Round phase, they escape the fight unscathed. There are undetected and special spots on the maneuver chart, and the special slot goes after everyone else. This is where capital ships take their actions in a fight.

Unlike a standard Fate conflict, in the action phase, players may take actions in Step 1 or Step 2 of the round, with some special actions taking both Step 1 and Step 2 slots. Some actions allow a pilot to reroll their tactics check to move up (or down) the chart, while others may allow a pilot to harass an opposing pilot to change their score and position on the chart. Characters can also do things like making emergency repairs or recovering ejected pilots.

Fighters have specific fighter sheets that show what happens when a given component takes damage. Enemy fighters might use full ship sheets, they may use simple damage rules, or they may be organized as flights (several fighters using simple rules, adding shifts to damage as they act as a unit), or as swarms.

Swarms are one of my favorite rules for adding a ton of fighters to a battle. They act as free invokes for other ships, and the aspect representing the swarm can be removed depending on the actions taken by the PCs on their turn. Nobody in a swarm is wearing a Corellian Bloodstripe.

The Galaxy and Combat Pilots at War

The next two sections detail what the galaxy looks like and what the pilots of Tachyon Squadron do on a day to day basis. There are various example planets and space stations, as well as explanations of the daily duty and routine of fighter pilots, and what various mission profiles look like.

In short, the galaxy was split between two big human empires, who were at war. The war came to an end, but a third group split from one of those empires and is now catching all kinds of heat from the less friendly of the two superpowers. Because the Draconis System is a new player in the galaxy, the fighter pilots of Tachyon Squadron are technically volunteer civilian contractors, waiting for the full-fledged Draconis military to get up and running.

This sets up the player characters as the underdogs in most fights, trying to cause enough hassle to their better funded and backed enemies to get them to back off, rather than trying to conquer or overthrow any empire on their own.

GMing Tachyon Squadron

The next section in the book starts off by presenting consistent, current, impending, and future issues for a typical Tachyon Squadron campaign. Consistent issues are thematically appropriate story beats for the whole campaign, current issues are the “starting” problems that the group will likely be taking on, impending issues are those that are ready to move into the forefront in the near future, and future issues are emerging long-term issues that surface once the PCs have had a chance to play with the setting for a while.

The chapter then moves into advice on how to structure engagements, with some example opposition for different types of missions of varying difficulty. There is advice on how to handle concessions in starship combat, as well as how to transition missions into “out of cockpit” encounters.

The chapter wraps up with examples of how to structure a campaign, with advice on how to determine the opposition’s objectives, and how many times the PCs can stymie them before they change tactics, and eventually start to turn the tide.

I’ve always been a big fan of games clearly presenting how they are intended to be played, and this chapter has a very clear set of examples not just for individual missions, but for how the beginning, middle, and end of a campaign should look. 

Ships to Fly and People to Meet and Example Player Characters

The next two chapters have statistics for spaceships, modular equipment, and characters that can be found in the setting. The example player characters can serve as examples, pre-generated characters, or NPCs if the players decide to make their own characters.

There are statistics for capital ships and fighters, and the opposition fighters have separate stat blocks for “regular” opposition and aces. The ships have aspects, skill ranks, and stunts, and the more detailed ships have lists of damaged components that can be used in a similar manner to minor consequences, with each damaged component having a special narrative effect, or causing certain rolls to be minimized.

NPCs and sample player characters are very diverse, including characters with various gender identities, sexualities, physical abilities. While I always appreciate an RPG setting that has that degree of diversity, it’s great to see actual examples of that diversity, rather than just seeing it stated in the higher-level descriptions of the setting. The commanding officers, other pilots, and civilian contacts your character runs into will reinforce that element of the setting. 

The Pirates of Kepler Valley and Defense of Arcosolari Kalamos

The next two sections of the book contain sample campaign arcs for the game. One campaign focuses on defending outposts and caravans from pirates while also fighting the Dominion, and the other revolves around a space station hub where the PCs may have to root out spies and Dominion sympathizers as well as flying starship missions.

To reinforce the idea that Tachyon Squadron doesn’t have unlimited resources and is fighting against a bigger, better-supplied force, the campaign setup section lays out what equipment the PCs can expect to have available to them when their own gear conks out, or when they need specialized tech for missions. There are also outlines of specific scenes that may come at pivotal moments in the campaign, and new NPCs and locations.

 If you have ever thrilled at starships shooting lasers at one another while dodging fire from capital ships, the text is going to hold your interest. Share4Tweet1+11Reddit1EmailInspirations and Influences

Inspirations and influences is a section of the book where various media that inspired the game can be found. One thing that interests me is that, the longer the RPG industry is around, the more diverse the inspirations become. In this instance, I’m not just referring to a broad range within certain media, but that influences now include tabletop games (including older RPGs) and video games.

Target Lock

Tachyon Squadron does a remarkable job of explaining exactly what it is trying to do and showing you how to achieve that goal using the rules and structure provided. Minimizing and maximizing dice are tools that may prove useful for modeling other thematic elements in future Fate games. The structure of starfighter engagement creates a procedure that feels like dogfighting without needing to track exact positioning, distance, and orientation. The diverse range of characters reinforces a setting element with substantive content.

Pull Up

One of the book’s strengths could also be a weakness–the procedure for engagements may be just a little bit too structured depending on the flavor of Fate you prefer. While it’s not hard to adapt, Tachyon Squadron defaults to gritty “everybody’s human” military science fiction, so if your love of starfighter combat involves lots of crazy ship types, alien co-pilots, and maybe space wizards, you may need to pull from other Fate sources to fill out your preferences.

Recommended–If the product fits in your broad area of gaming interests, you are likely to be happy with this purchase.

This product is a great example of using existing rules to reinforce the tropes of a genre. If you have ever thrilled at starships shooting lasers at one another while dodging fire from capital ships, the text is going to hold your interest. Even outside of Fate, the structure for creating tactical dogfights without using exact positioning is something you may want to check out.

Have you ever adapted an RPG to model your favorite starfighter video games? Do you have a preference on how to model tactical maneuvering between ships in a sci-fi game? How gritty do you like your military sci-fi? Let us know in the comments below. We’d love to hear from you!

Categories: Game Theory & Design

Create better game settings options (handy checklist) - by Kevin Giguere

Gamasutra.com Blogs - 12 November 2018 - 7:51am
Because our games don't always get the in-depth testing we require, menus and settings often don't get a proper review. This handy checklist should help you ensure that your menu covers all the basics.
Categories: Game Theory & Design

D&D&Me: Does Dungeons & Dragons Have a Future in eSports? - by Andrew Heikkila

Gamasutra.com Blogs - 12 November 2018 - 7:50am
Liveplay RPGs and competitive eSports have always been on two opposite ends of the spectrum, but online streaming has tied them together in a fundamental way. Some are deciding to explore that connection further via competitive D&D.
Categories: Game Theory & Design

Adaptive Music with Elias – Tutorial Series – Part 1 - by Dale Crowley

Gamasutra.com Blogs - 12 November 2018 - 7:49am
Adaptive music has come a long way in the past several years with custom middleware solutions like Elias. This article provides a step by step guide to re-creating an adaptive music project in Elias Studio.
Categories: Game Theory & Design

The Narrative Struggle - by Gregory Pellechi

Gamasutra.com Blogs - 12 November 2018 - 7:48am
Writing and Narrative Design are about more than telling stories, they're a question of what should be lost in compression that is creating a video game. It's not an easy choice, that's why we explore it on the latest episode of The Writing Game.
Categories: Game Theory & Design

Swift vs Objective-C. Which iOS Language To Choose - by Aleksandra Bessalitskykh

Gamasutra.com Blogs - 12 November 2018 - 7:41am
Wondering what the difference is between Swift and Objective-C? Which language better suits your project? Check out the detailed Swift vs Objective-C comparison further to make the best choice.
Categories: Game Theory & Design

[Post Mortem - 1 year later]: I managed to ship 6000 copies to stay in business - by Constantin Bacioiu

Gamasutra.com Blogs - 12 November 2018 - 7:37am
One year ago I failed to ship 700 units to stay in business. Now I'm working on my next game after releasing a major update to the original one. A failure post-mortem one year after. Sales, lucky strikes, community support and a heartfelt thank you update
Categories: Game Theory & Design

Getting Started on the DMs Guild – Part 1: Your First Product

Gnome Stew - 12 November 2018 - 7:04am

In early 2016, Wizards of the Coast and OneBookshelf launched the Dungeon Masters Guild, a site with a new kind of license that allows fans of D&D to publish and sell their own D&D content. I began publishing on the Guild in October of the same year, and in the last two years, I’ve made a lot of mistakes. Do you want to publish on the Guild? Because I’m here to share what I’ve learned and what I’ve gleaned from others so that you don’t have to make the same mistakes as we have.

The Initial Bubble-Bursting

Do you have an idea you want to work on? Something to write, to publish, to share with other passionate D&D fans? Awesome. Let me get the less-good stuff out of the way now, then, before you start writing.

There are some things you cannot publish on the DMs Guild at all. Here’s a quick rundown:

  • Your own homebrew settings – the only settings licensed for publication through the Guild are the Forgotten Realms, Ravenloft, and Eberron. I’m sure more are in the works behind the scenes, but this is what we have access to for now. You can also publish things that are “setting neutral” or “setting agnostic” meaning that they don’t have a specific world that they’re linked to.
  • Any editions other than 5th – the current edition is the only one eligible for the Guild. WotC is selling PDFs of older edition books through the Guild, but previous editions are off-limits for us regular publishers.
  • Work that contains intellectual property for Critical Role or The Adventure Zone or your other favorite D&D show – the licenses for these shows aren’t owned by Wizards of the Coast. ‘Nuff said.
    • Vecna – yes, this includes anything mentioning or pertaining to the lich god Vecna, who is technically from the world of Greyhawk and thus not eligible for the Guild. I’m specifically calling that out because I’ve seen more than one product pulled from the shelf for including an Eye or Hand of Vecna.
    • Any other intellectual property – this should be fairly self-explanatory by now.

dmsguild.com

DMs Guild Licensing and the SRD

The DMs Guild uses a slightly different licensing system than things published elsewhere using the SRD, or System Reference Document. For example, you can write an adventure in which the player characters fight Xanathar, the renowned Waterdhavian beholder, not that I’d ever recommend going toe-to-eyestalk with him. That could be published through the Guild, because the license gives publishers access to exclusive WotC intellectual property, like beholders, mind flayers, specific places and NPCs, etc.

On the other hand, if you were to publish elsewhere using just the SRD, you couldn’t include Xanathar or Waterdeep or any beholder at all. The trade-off here is that if you were to publish directly through DriveThruRPG, you keep a higher percentage of the royalties as a content creator than you do through the DMs Guild.

 …they’re more likely to turn to the DMs Guild than DriveThruRPG. Share1Tweet1+11Reddit1Email

It’s also key to mention here that anything published on the DMs Guild is then considered the property of Wizards of the Coast and cannot be published elsewhere. Even if you take it down from the Guild, making it no longer available there, it is still not “eligible” for publication elsewhere.

What I’ve found to be the main benefit of the Guild is that it has a much larger audience of D&D fans specifically than DriveThruRPG. When people want a new, unique monster or magic items to include in their games, or they want a pre-written one shot so they don’t have to prep much for game that night, I find they’re more likely to turn to the DMs Guild than DriveThruRPG.

dmsguild.com

Writing and Playtesting

So, now that we’ve gotten all that out of the way, let’s get down to business writing that neat idea of yours! My biggest advice here is to look at how information is presented in the three core D&D rulebooks. For example, if you want to publish a bunch of new magic items, take note of how the magic items in the Dungeon Master’s Guide are shown. The name of the item, the type and rarity, if it requires attunement, and then any other description text. Your readers will already be familiar with that format, and anything you can do to make using your product easier for them is a good thing.

For adventures, look to the published adventure modules – Storm King’s Thunder is my favorite example because I feel it’s the best organized of the current storylines. A description of a location might be the first thing under a new header, followed by events that happen while the players are there under a “Developments” header, and then all that good loot under a “Treasure” header. Sticking to the familiar layouts wherever possible is going to help you, in part because it makes your work look more professional.

 Sticking to the familiar layouts wherever possible is going to help you… Share1Tweet1+11Reddit1Email

When it comes to playtesting, I’ll be the first to tell you that while playtesting is good and important, it’s not the be-all, end-all of your product. My bigger suggestion would be to run your work by other players and DMs (both experienced and new ones if you can) and ask them what they think. Ask a DM if they would run your adventure and if anything glaring is missing. Ask players if they’d be interested in your magic items if they happened to appear in a hoard. Don’t try to make your product perfect. Perfect is the enemy of done.

dmsguild.com

Art, Covers, and Formatting

Speaking of looking professional… you don’t want to just upload a plain word document, do you? Of course not. You want a spiffy PDF, complete with the nice D&D fonts. If you intend to publish anything on the Guild, your next download needs to be the “DMs Guild Creator Resource – Adventure Template”. It’s a free resource provided by WotC and OneBookshelf to help you make your products look clean, professional, and uniform with the rest of the D&D brand. Use their official fonts, headers, stat block templates, etc. and you will save yourself a headache later wondering if your document is legible.

As for art and fancy covers… opinions vary, to say the least. Some people will say that a beautiful, full-art, full-color cover is the only way to sell a product, to hook a potential buyer. Other people will say that the plain-text cover with the big bold title and the DMs Guild logo is good enough for the Adventurer’s League (see above), so it’s good enough for them. There’s pros and cons to both: art can be an expensive upfront cost for a new creator, and a badly-designed cover is worse than no cover at all. Use your best judgment, and if you find that you’re getting really stressed out about the cover, don’t bother with fancy design. Make sure the title is legible and let everything else go. The same goes for interior art. I personally consider it nice-to-have, but not need-to-have.

 As for art and fancy covers… opinions vary, to say the least. Share1Tweet1+11Reddit1Email

If a budget is all that’s holding you back from including art, there is quite a lot of free or low-cost art available. Many artists sell bundles of images through DriveThruRPG and only ask that you provide proper attribution in your final product. Other times, you can find public domain and historical art that is able to be used for free (but should still be credited to the creator – come on, guys). I like to use illustrations from old books of fairy tales and folklore, which bring a classic look and feel while still having an element of the fantastical. You don’t have to commission full, unique pieces with exclusive commercial rights. I downright would advise against it, just because you will never see a full return on investment for that.

DMs Guild Logo

Dotting Your i’s and Crossing Your T’s

A few finishing touches are all it takes to make your product ready for publication. Make sure you have all of the below. Then double check. Maybe triple check, too.

  • Legal boilerplate text – a chunk of legal boilerplate is available in the FAQ under the “Content Guidelines” section. Read it and then copy-paste it at the end of your product, tweaking the year if need be. This is to cover you, to cover WotC, and to cover OneBookshelf. No one wants a lawsuit over this.
  • DMs Guild logo on the cover – it has to be there, no ifs, ands, or buts. You also cannot include any personal logos on the cover. You can put those inside, but not on the cover. There is a high-resolution image of the DMs Guild logo on that same “Content Guidelines” page (and above!).
  • Proper attribution and credits – if you used art, credit the artist. If you had playtesters, list their names. If an editor revised your project, list their name. This isn’t technically part of the DMs Guild Content Guidelines, but if you don’t do it, you’re a jerk.
  • Save it all as a PDF, but keep a separate Word doc version to incorporate later edits – yes, you may likely find your product will need edits or revisions later on.

And voila, just like that, you’re ready to publish! If that’s got you a little intimidated, never fear- in Part 2, we’ll talk about publication, marketing, and sales.

Let us know in the comments what you’re working on for the Guild!

Categories: Game Theory & Design

Fuzzy Thinking: Stein By Me

RPGNet - 12 November 2018 - 12:00am
Fuzzy clerics
Categories: Game Theory & Design

Video Game Deep Cuts: A Quiet Man, With Trivial Credits

Social/Online Games - Gamasutra - 11 November 2018 - 7:36pm

This week's highlights include a look at the baffling The Quiet Man, a piece on HQ Trivia's struggles to continue its success, and a look at how credits in video games still aren't going quite right. ...

Categories: Game Theory & Design

Video Game Deep Cuts: A Quiet Man, With Trivial Credits - by Simon Carless

Gamasutra.com Blogs - 11 November 2018 - 7:27am
This week's highlights include a look at the baffling The Quiet Man, a piece on HQ Trivia's struggles to continue its success, and a look at how credits in video games still aren't going quite right.
Categories: Game Theory & Design

Obsidian, inXile acquired by Microsoft Studios

Social/Online Games - Gamasutra - 10 November 2018 - 3:41pm

Microsoft has announced the acquisition of RPG-centric studios Obsidian and inXile Entertainment, as part of a host of announcements at its X08 event in Mexico. ...

Categories: Game Theory & Design

Lord of the Rings Online returns to its 2007 roots with official 'Legendary Server'

Social/Online Games - Gamasutra - 9 November 2018 - 11:51am

Lord of the Rings Online has opened up a 'Legendary Server' that rolls the modern version of the game back (in some ways) to match the world offered way back in 2007 when the game first launched. ...

Categories: Game Theory & Design

Nintendo is ending video streaming support on the Wii

Social/Online Games - Gamasutra - 9 November 2018 - 11:11am

The change sees support for all video streaming applications, including Netflix, cut from Nintendo†™s 2006 console.  ...

Categories: Game Theory & Design

Le Flambeau: A successful recipe to stir up our local game developer community - by Guillaume Boucher-Vidal

Gamasutra.com Blogs - 9 November 2018 - 9:59am
It can be difficult to invigorate a local community of game developers, but the benefits to a dynamic and tight-knit community are too numerous to pass on. Le Flambeau is a low effort solution that helped bring together game developers in our city.
Categories: Game Theory & Design

Space Frontier 2: Game Design in Depth - by Olin Olmstead

Gamasutra.com Blogs - 9 November 2018 - 9:47am
A detailed look at the game mechanics underlying Space Frontier 2
Categories: Game Theory & Design

Kliuless? #11: Diablo Fans Feel Blizz-Conned - by Kenneth Liu

Gamasutra.com Blogs - 9 November 2018 - 9:45am
Each week I compile a gaming industry insights newsletter that I share with other Rioters, including Riot’s senior leadership. This edition is the public version that I publish broadly every week as well. Opinions are mine.
Categories: Game Theory & Design

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