Game Design

Demystifying the Design & Dev Consultant - by Mike Ellis

Gamasutra.com Blogs - 15 November 2018 - 8:39am
There can be a lot of questions, misunderstanding, and misconceptions about working with a Design & Dev Consultant. Find out how working with a consultant should work and what a good consultant can bring to the table.
Categories: Game Theory & Design

Discord's digital storefront now supports early access games

Social/Online Games - Gamasutra - 15 November 2018 - 8:28am

The community chat app Discord is bringing an early access program to its recently-launched digital game storefront. ...

Categories: Game Theory & Design

Curtis Campion, Newfound Courage: Diversity and Inclusion in Games - by Jessica Paek

Gamasutra.com Blogs - 15 November 2018 - 8:25am
This week, we sat down with Curtis Campion, who is making Newfound Courage, to talk about telling relatable stories and the importance of inclusion in gaming.
Categories: Game Theory & Design

@Play 87: Interview With Josh Ge, Creator of Cogmind - by John Harris

Gamasutra.com Blogs - 15 November 2018 - 8:13am
Interview with Josh Ge, Creator of the sci-fi, robot-focused roguelike Cogmind, about it and many things about its design and creation.
Categories: Game Theory & Design

Gnomecast #53 – Thankful for RPGs

Gnome Stew - 15 November 2018 - 5:58am

Join a whole stewpot full of gnomes ready to share their Thanksgiving messages with you. We at Gnome Stew and Misdirected Mark would like to thank you, all our podcast listeners and blog readers, for making this the best year in gaming yet!

Download: Gnomecast #53 – Thankful for RPGs

Keep up with all the gnomes by visiting gnomestew.com, following @gnomestew on Twitter, or visiting the Gnome Stew Facebook Page. Check out Gnome Stew Merch, and support Gnome Stew on Patreon!

Follow Ang at @orikes13 on Twitter and find her in the Misdirected Mark Google+ Community.

Find Troy at his blog The Dungeon Delver.

Follow J.T. at @jtevans on Twitter, J.T. Evans on Facebook and at his website jtevans.net.

Follow Jared at @KnightErrant_JR on Twitter and his blog What Do I Know?.

Follow Phil at @DNAphil on Twitter and see what he’s working on at Encoded Designs.

Follow Camdon at @camdon on Twitter and camdon.com.

Follow Matt around if you can find him.

Follow Tracy at @TheOtherTracy on Twitter and at his website theothertracy.com.

Follow John at @johnarcadian on Twitter and his website johnarcadian.com.

 

Categories: Game Theory & Design

Get a job: Choices dev Pixelberry Studios is hiring a Senior Software Engineer

Social/Online Games - Gamasutra - 14 November 2018 - 12:48pm

The Pixelberry Studios team in Mountain View, California is looking for an experienced Software Engineer to play a part in architecting new features, troubleshooting issues, and more. ...

Categories: Game Theory & Design

China's ongoing game license freeze prompts decline in market forecast

Social/Online Games - Gamasutra - 14 November 2018 - 11:21am

The market analysis firm Niko Partners has adjusted its 2018 forecast for PC and mobile game revenue in China, dropping those predictions by 3.8 percent and 2.4 percent respectively. ...

Categories: Game Theory & Design

Making a Game Into a Book – Editing

Gnome Stew - 14 November 2018 - 8:00am

I’ve worked on the publishing side of tabletop RPGs for almost seven years, now. One part of that process which is newer to me is one that I think is the most vital: editing. A good editor will help a game designer take make sure their words shine. And that means doing a lot of different things.

Today I’m going to talk about those things in brief. Truth be told, there’s an entire article series that could be devoted to just editing. To do that, I’m going to use a project I’m working on right now: Turn, by Brie Sheldon (live on Kickstarter now.)

What Does Your Writer Need?

To start with, I set up a call with Brie to discuss how I would approach the edit, what my philosophy is, and to find out what his expectations were. This is so important. Everyone who edits text is going to approach things differently and I wanted to make sure we were on the same page.

My single biggest goal when approaching this game is to make sure of two things:

  • That Brie’s voice as a writer is maintained and enhanced
  • That someone who isn’t Brie will be able to run Turn without Brie at the table, just by reading the book

Those two things are the core of editing for me. Every game is different, as every writer is different. As well, every game should be able to help someone re-create the experience of being at the table with the creator, or to get as close as they can. That process takes a few distinct steps.

As a sidenote: if you’re writing a game, working to keep your own tone in mind and writing to ensure the game doesn’t need you at the table are important, too. Those things from the writer make the editor’s job much easier.

The Big Steps

This is an oversimplification because some of these steps happen concurrently, and there are lots of different terms people use. However, editing a game can be broken up into a few distinct types of editing:

  • Developmental Editing
  • Copy Editing
  • Proofreading

Developmental Editing is the most in-depth. It take a sort of birds-eye view of the text and make sure that all of the information that needs to be present, is present. It can mean moving chunks of text, rearranging entire sections, suggesting re-writes, additions, subtractions, or even telling a writer that they need to go back and think through their entire work again.

Copy Editing looks at the grammar and style. This is where you figure out which terms are going to be capitalized, if something is bolded the first time it appears only, or every time, and you generally concentrate on polishing the text itself. This is making sure that the words the writer used are the right words to get everything across.

Proofreading is all of the fine detail of spelling, grammar, and punctuation. This is often the last step before the game text is declared final and sent to layout.

With Turn, at this point, I’ve gone through the first part of the developmental edit. That means I’ve read through the entire game, I’ve broken it down into chapters, I’ve rearranged sections to ensure the content flows logically, and I’ve given Brie a bunch of edits to accept (or reject, as is the writer’s prerogative), and comments where I think more work might be needed.

As a game writer, I can tell you that this is the most difficult part of having a game edited. In my world, anyway. I’ve never been great at editing my own work. I long to be done with what I’m writing as soon as I’ve finished the first draft and, for a goodly while, the thought of going back and making revisions was anathema to me. I’ve since learned better, but it’s still difficult to receive edits on my work and see that I have so many changes to make.

Like a Refining Fire

That’s the thing about having an editor on your project, though: editors make games better. Editors help you take your text and turn it from a set of notes you can use to run a game into a book other people can use. That’s some alchemy, there. It’s a difficult process, for certain, but it’s absolutely worthwhile.

Being on this side of the edits is different and I like it. Having had my work edited before means that, at nearly every turn (har), I’ve tried to make sure that Brie knows that I love what I’m reading and that my changes are just to make his great game into a great book. I think great editors need to actively be cheerleaders for the book because getting it there is hard. Knowing your editor wants you to succeed is so, s important.

Lastly, I’m going to give a huge shout-out to Bob Everson, the Unsung Gnome. If you don’t know his name, it’s because Bob is the editor for all of our posts here at Gnome Stew. He’s also my editor for Iron Edda: Accelerated. Bob’s fingerprints are on every post you see here, even when the writing isn’t happening until the day the post is due (hi, Bob!)

What d’you Think?

What are your experiences with being edited? How open are you to having other eyes and hands on your work?

Categories: Game Theory & Design

Wase Qazi, Megastorm Games: Community Building Through Twitch - by Jessica Paek

Gamasutra.com Blogs - 14 November 2018 - 7:01am
We’re kicking off our collaborative article series, where we sit down with game developers and help tell their stories. The first installment comes from Wase Qazi, developer of Skyhook and Shotgun Farmers.
Categories: Game Theory & Design

The Ingredients for Developing a Digital Wargame - by Vincenzo Pirrottina

Gamasutra.com Blogs - 14 November 2018 - 6:58am
The first and most important step to create an interesting and playable digital wargame is to choose the right ingredients.
Categories: Game Theory & Design

Oversharing About Overriding - by Zulu OneZero

Gamasutra.com Blogs - 14 November 2018 - 6:56am
The why and how of using the overriding directive in game programming
Categories: Game Theory & Design

The Risks of Making Safe Games - by Josh Bycer

Gamasutra.com Blogs - 14 November 2018 - 6:56am
Today's post looks at how the bar continues to be raised for design and aesthetics, and what that means for working on the next "big hit."
Categories: Game Theory & Design

Restless – Making A New Conversation UI - by Florencia Minuzzi

Gamasutra.com Blogs - 14 November 2018 - 6:50am
An analysis of the UI and text effects in Restless. Explores factors to be considered when creating new UI – from button shapes to speech bubble layout – as well as ways to create a positive reading experience using text effects.
Categories: Game Theory & Design

Balancing challenge and collaboration in Final Fantasy XIV's raid battles

Social/Online Games - Gamasutra - 13 November 2018 - 1:18pm

Combat Designer Yoshito Nabeshima explores the process of designing (and later overhauling) a Final Fantasy XIV raid boss. ...

Categories: Game Theory & Design

God of War, Red Dead Redemption 2 lead nominees for The Game Awards

Social/Online Games - Gamasutra - 13 November 2018 - 11:12am

The Game Awards has listed the games nominated for honors in the event's coming 2018 award show, with both God of War and Red Dead Redemption leading the pack with a total of 8 nominations each. ...

Categories: Game Theory & 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

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