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TOM FRANCIS
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Hello! I'm Tom. I designed a game called Gunpoint, about rewiring things and punching people, and now I'm working on a new one called Heat Signature, about sneaking aboard randomly generated spaceships. Here's some more info on all the games I've worked on, here's the podcast I do, here are the videos I make on YouTube, here are some of the articles I wrote for PC Gamer, and here are two short stories I wrote for the Machine of Death collections.

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By me. Uses Adaptive Images by Matt Wilcox.

  • html color: This is the information I am looking for. This article is clear and easy to understand. I’m...
  • Grant: Thanks to the start of this video, I’ve just now noticed that during the static flickers while staring...
  • Ben: Great analysis. During the lab sequence in the Prey intro, you were looking around for tells that Morgan is in a...
  • RoboLeg: this game would be PERFECT for mobile, and I’d happily pay 10 bucks or so for it.
  • Jepp: 1) Please keep critiquing games by building new ones :) 2) The non-hand holding, simple systems integrating...
  • Rewarding Creative Play Styles In Hitman

    Postcards From Far Cry Primal

    Solving XCOM’s Snowball Problem

    Kill Zone And Bladestorm

    An Idea For More Flexible Indie Game Awards

    Teaching Heat Signature’s Ship Generator To Think In Sectors

    What Works And Why: Multiple Routes In Deus Ex

    Natural Numbers In Game Design

    Naming Drugs Honestly In Big Pharma

    Writing vs Programming

    Let Me Show You How To Make A Game

    New Heat Signature Video: Galaxies, Suction And Wrench-Throwing

    What Works And Why: Nonlinear Storytelling In Her Story

    My Idea For An ‘Unconventional Weapon’ Game

    From Gunpoint To Heat Signature: A Narrative Journey

    The Cost Of Simplifying Conversations In Videogames

    What Works And Why: Invisible Inc

    Our Super Game Jam Episode Is Out

    What Works And Why: Sauron’s Army

    Showing Heat Signature At Fantastic Arcade And EGX

    What I’m Working On And What I’ve Done

    The Formula For An Episode Of Murder, She Wrote

    Heat Signature Needs An Artist And A Composer

    Improving Heat Signature’s Randomly Generated Ships, Inside And Out

    Gunpoint Patch: New Engine, Steam Workshop, And More

    Distance: A Visual Short Story For The Space Cowboy Game Jam

    Raising An Army Of Flying Dogs In The Magic Circle

    Floating Point Is Out! And Free! On Steam! Watch A Trailer!

    Drawing With Gravity In Floating Point

    What’s Your Fault?

    The Randomised Tactical Elegance Of Hoplite

    Here I Am Being Interviewed By Steve Gaynor For Tone Control

    Heat Signature: A Game About Sneaking Aboard Randomly Generated Spaceships

    The Grappling Hook Game, Dev Log 6: The Accomplice

    A Story Of Heroism In Alien Swarm

    One Desperate Battle In FTL

    To Hell And Back In Spelunky

    Games Vs Story 2

    Gunpoint Development Breakdown

    Five Things I Learned About Game Criticism In Nine Years At PC Gamer

    My Short Story For The Second Machine Of Death Collection

    Not Being An Asshole In An Argument

    Playing Skyrim With Nothing But Illusion

    How Mainstream Games Butchered Themselves, And Why It’s My Fault

    A Short Script For An Animated 60s Heist Movie

    The Magical Logic Of Dark Messiah’s Boot

    Arguing On The Internet

    Shopstorm, A Spelunky Story

    Why Are Stealth Games Cool?

    E3’s Violence Overload, Versus Gaming’s Usual Violence Overload

    The Suspicious Developments manifesto

    GDC Talk: How To Explain Your Game To An Asshole

    Listening To Your Sound Effects For Gunpoint

    Understanding Your Brain

    What Makes Games Good

    A Story Of Plane Seats And Class

    Deckard: Blade Runner, Moron

    Avoiding Suspicion At The US Embassy

    An Idea For A Better Open World Game

    A Different Way To Level Up

    How I Would Have Ended BioShock

    My Script For A Team Fortress 2 Short About The Spy

    Team Fortress 2 Unlockable Weapon Ideas

    Don’t Make Me Play Football Manager

    EVE’s Assassins And The Kill That Shocked A Galaxy

    My Galactic Civilizations 2 War Diary

    I Played Through Episode Two Holding A Goddamn Gnome

    My Short Story For The Machine Of Death Collection

    Blood Money And Sex

    A Woman’s Life In Search Queries

    First Night, Second Life

    SWAT 4: The Movie Script

    My ‘Enemies As Weapons’ Game Idea

    The winners of the 48-hour game-making competition Ludum Dare were just announced. It’s a regular thing that awesome indie devs pile onto partly as a test of their skills, partly as a thought experiment, and partly just to jam and share ideas. The theme this time was Enemies as Weapons.

    I didn’t enter, though lots of absolute beginners do, and it’s the sort of thing I love. But while I now feel capable of starting a small project like that, I don’t feel capable of finishing one in any kind of time. I was also pretty goddamn determined to get elevators working in Gunpoint by Monday, because four days on that is just kind of sad.

    But I did have an idea for one. I think I like the competition’s theme because it’s suggests changing the state of enemies in a more interesting way than from alive to dead. Either to make them accidentally destroy things you want destroyed, as in games where you shove them into something or dodge their attacks, or to turn them to your side.

    My game would be called Defect and Serve, and it’d be about bent cops. You’re a criminal who’s just been caught, unarmed, during an elaborate bank job. The arresting officer hints that he’d let you go for a hundred grand, and while he’d like to just take it from you, if you’re dead or caught there’ll be no explanation for the missing money.

    Your only option is to pay up – tossing the money to him in bundles of $50,000 by clicking. Above his head is a meter labelled “Principles:” followed by two blue pips, and each bundle of cash makes one of them explode in a little shower of bills. When they’re both gone, he leaves and heads for the opposite end of the building.

    It’s from a top-down view, and once that cop leaves you’re free to figure out a route to the exit avoiding the other roaming police. Each has a number of Principles pips, usually between 1 and 10. It’s possible to get out without running into anyone else, but if you do, you’re rooted to the spot and must chuck them a $50k bundle for each pip of Principles they have before you can go.

    Once you’re out, the next levels are a series of heists where you start with limited funds, and make your way to vaults and safes to get more. Your objective is to steal more money than you spend bribing, obviously, so you avoid the very Principled cops like the plague.

    A few levels in, you’re told you can also toss some extra cash to a cop after you’ve already turned him. This creates a red Loyalty pip, and if you give him as much Loyalty as he had Principles, you can order him to radio an all clear to the rest of the cops, making your current location safe for a while.

    If you can double a cop’s Principles in Loyalty pips, you can actually click on another cop to order him killed. The turned cop will head for him, but won’t strike until the two of them are on their own. It’s up to you whether to distract or bribe the other guards to help him achieve that, or get on with sneaking through the building and hope he has the chance at some point.

    Eventually you will encounter the odd White Knight cop, who’s impervious to bribes. If he’s guarding your objective, your only option is to have him killed. At this point cops with low principles become essential tools rather than minor threats, and you’ll actively try and run into one on his own so you can turn him to your side. Once you have, it’s worth intentionally alerting the White Knight to lure him away from colleagues, giving your turncoats the chance to take him out without getting caught.

    I’m actually enjoying sticking with Gunpoint, it’s just impossible to resist coming up with a concept for a theme like that. I’ll probably have another Gunpoint progress report soon – I’m close to another milestone involving the AI, and I’ll be in a good position to figure out what kind of challenges are going to be fun in this frame work.

    Even as it rapidly approaches an actual game, it seems to be getting further and further from the story-heavy finished article I had in mind when I started. I pictured it story-heavy because writing is trivial, but I’m starting to realise scripting is not. And it’s a low value type of work, only really good for one play through, and little to do with the medium’s strengths. I’m starting to wonder if there’s another type of content I can use to link a bunch of puzzles, or a more efficient way to convey story without visually depicting a lot of non-interactive events.

    LudumDare18.007roBurky’s game, I think untitled, lets you convert enemies to your side or blow them up in a chain reaction.

    Alien Abduction Of AliensAlien Abduction of Aliens, a simple grab-and-throw game that’s beautifully drawn, and even more beautifully named.

    FibSophie Houlden’s excellent Fib, in which saying “Basil said John is ass balls” is a valid puzzle solution. You lie to people to trick them into killing themselves, so that you can safely walk on their corpses.

    Fail DeadlyThe end game of the competition’s winner, Fail Deadly. It’s a smart and immediately fun subversion of an RTS where you build both side’s bases in an attempt to keep them evenly matched long enough for nuclear war to break out, killing everyone.

    More

    Lack 26: Would a randomly generated story be possible? Wait, don't punch me into the ground for being a big silly just yet.

    The story is split into separate events, each event can then lead to several other types of events, sort of like a flow-chart. Eventually you'd be able to cycle through to a new case beginning if you solve the case, or, if a character got killed then that would disable certain outcomes and options in a case or you may open up new options by making a mole/snout/acquaintance/ally/girl-friend/enemy (all given a humourous random name, of course).

    It would require a fair bit of writing, but if you keep the story light and not particularly word heavy then you could probably get away with writing just a couple of case archetypes and then working on the options within a case.

    That's the basis of the idea anyway.

    LeSwordfish: I wouldnt particularly like that, if the writings good, as, you know, taken as read, i'd really dislike the idea that i'd be missing out on some of it.

    Tom Francis: The backend is feasible, but the tricky part is the specifics of how you depict the generated story. If you write and script a number of predefined events, players will notice when they come up again and switch off. If you make them very abstract, like The Sims' pictoral thought bubbles, it's hard to care and sometimes hard to even understand.

    I do want some elements to be systematic like that, though. If there are major characters, I want to decide how they'll treat you if they hate you, and how they'll treat you if they like you, then just let your behaviour determine which state they end up in.

    I think there's mileage, and game potential, in the idea that secret agent missions tend to revolve around an important object or event with at least two interested parties. A VIP to be killed or protected, data to be stolen or destroyed, etc. If I can account for both eventualities, I can both let you choose who to work for, and let you fail your mission without requiring a restart.

    Bret: Sounds interesting.

    Man. Game's changed a lot in the making. But it has more facepunching now, so all to the good.

    Jaz: "I’m starting to wonder if there’s another type of content I can use to link a bunch of puzzles, or a more efficient way to convey story without visually depicting a lot of non-interactive events."

    Full. Motion. Videooooooooo.

    Brodie: I know the game (Fib) was written in 48 hours, but would it have really taken that long to make it do something besides sit there forever upon player death?

    Tom Francis: Don't you respawn? I respawned. The most easily fixable problem I had with it was that you hit spikes a fraction of a second after the next screen loads, if you're still holding the movement key. It's the one time in gaming I longed for a low wall to block my progress.

    DanPryce: Valve probably asked themselves the same question with Portal - weave the story within those puzzles. Granted, a lot of that was GLaDOS subtley expositing, but there are visual ways you can get story across. Like the bits behind the walls in Portal, with the 'there is no cake' scribblings; audiences pick up on environmental clues like that and they build their understanding of the story. Plus, a newspaper clipping never goes amiss.

    Tom Francis: They talk a bit about this in the interview that's going up later today. The trouble is that art is the most expensive thing for me to produce by myself, and I seem to be particularly bad at environmental art.

    A persistent voice in your ear like GLaDOS would definitely give me some scope for explaining things I can't effectively depict. But I'd need a twist on it. GLaDOS works because her motives aren't clear, but the usual Female Voice In Your Earpiece cliche is getting super old now.

    Narration is one idea I've been toying with. I'm going to need tutorial messages, and it'd be a fun challenge to work those into a brooding noir narration. The main problem is that currently, the plan is not to force too much of the hero's character on you. I want you to decide whether the guy's laconic, surly or friendly. Harder to do if I write a bunch of your innermost thoughts for you - but not impossible.

    Brodie: I didn't respawn!