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.
What’s snowballing? In XCOM, if your troops survive the mission, they get stronger, tougher and get more abilities, which makes them more likely to survive future missions and get tougher still. If they die, they’re replaced by vulnerable, weak rookies, who are likely to die and be replaced by vulnerable, weak rookies.
If you’re finding the game easy, it gets easier. If you’re finding the game hard, it gets harder.
That’s bad. And it’s not just theory-crafting, that’s exactly how my XCOM 2 campaign played out: early on we got crushed repeatedly, then a few lucky missions got us off the ground, and after that my people became almost unstoppable for 35 missions straight – even after I upped the game difficulty.
Any game with persistent resources will have some snowbally tendencies: success has to get you something, or failure has to cost you something, otherwise it’s not really persistent. And some parts of XCOM’s snowballing are too good to lose: unlocking cool abilities for my favourite troops is why I play XCOM.
So you can’t scrap that, but what could you do? Here are some ideas. Continued
I took on a ‘Very Difficult’ mission in XCOM 2 earlier, to protect some device from attacking aliens. I was determined to do it because the reward was a Scientist, and they’ve been impossibly rare in my campaign so far. We immediately ran into two groups of very tough enemies, and though we had good position and lots of explosives, some unseen, extremely powerful enemy was attacking the objective every turn while we fought. Once they were mopped up, we had no time to be cautious: my two rangers had to sprint to the petrol station housing the objective just to distract the aliens there, with no moves left to fight them off. Continued
I just read Zach Gage’s post proposing some changes to the IGF. My summary of his problems with the current system would be:
Generally I think b) is fine, but I do agree that over-celebrating single games is needless, and I think the categories themselves are a pretty rigid and inadequate way of capturing what’s worth celebrating in games.
Zach’s suggestion is to change the categories to reflect game length/type, and have developers choose one category to submit for. I’m not wild about this because a) the categories are still rigid and don’t capture gaming’s diversity of form, and b) a developer could screw themselves by miscategorising their game, which is not the skill we are trying to evaluate or award.
I enjoyed it a lot! It sounds like all my bigger-Star-Wars-fan friends did too, which is great. I’ll keep this spoiler-free and then let people who’ve seen it click the spoiler buttons for what I’m specifically talking about.
It alternates a bit between three different ways you could approach making a Star Wars sequel: Continued
Update: Solved! See bottom of post for details.
Hello, more experienced programmers than me! I could use your advice. There’s a code-pattern I’ve been using for a while and I’ve just discovered a problem with it, but I can’t see a great alternative either. I will explain by example: Continued
I just played my first full game of Tales of Arabian Nights, with my friends Chris and Pip. It’s a board game that’s very story driven: each turn you have an ‘encounter’, and choose a vague verb for how to deal with it: aid, pray, rob, follow, avoid, etc. Then another player looks up and reads out a more detailed account of what happened, and how it affects you. These chain together into a journey, and you win by accumulating Story points and Destiny ones. This was my character’s story: Continued
My summary of where we are after the last ship-generation post would be:
Last time I covered how I taught Heat Signature to build ships out of sectors, join those sectors together, lock some of those doors, then place keycards in the right places to ensure they’re all openable. I’d got the algorithm generating layouts like this, which is great: Continued
I haven’t talked about the way I randomly generate spaceships in Heat Signature since this post – before it even had actual art. That’s partly because I’ve barely touched it since then. I showed the game to developer friends and the press in LA and SF a few weeks ago, and got lots of great input and ideas, but the main thing I came away thinking was: the on-board game needs to be more interesting. And I think better ship interiors are the foundation of that. Continued
Deus Ex’s appeal is often boiled down to ‘lots of options’, but obviously that doesn’t quite cover it. Right now I’m looking to redesign the ‘sneaking inside spaceships’ part of Heat Signature, so I need more than a vague line about what’s cool about Deus Ex – I need a practical understanding of specifically why it works, and why similar games don’t. So I’m replaying Deus Ex 1 and 3, to figure out what it is I want to steal. And I think it is options, but it’s not just number. They have to fill a certain set of requirements, and this is my attempt to nail down what those are.
I’ve been mostly playing Human Revolution so far, but I’ll also use some examples for DX1 since there’s so much overlap. Continued
The other day I really wanted something to do that would give my eyes a break from focusing on things right in front of them. So I looked for audiobooks, and remembered that I’d been planning to read The Martian – mostly because of this comic and its hover-text:
This post is part of a series. I mention abilities and tools but no story spoilers.
A lot of the time, MGS V is just a very good stealth game. You have lots of tools to distract, evade or take down your enemies, and they’re all very satisfying to use – just like Deus Ex 3. Its levels are encampments dotted seamlessly around a huge open world – just like Far Cries 2-4. Its layered systems turn failures into new challenges rather than end points – just like Invisible Inc. But none of those things are new, and MGS V sometimes feels like something that is.
Those times, for me, are not during some particularly great mission, or when some unexpected chain of events creates a cool story. They’re after: when the guards lie sleeping or dead, the cargo containers are ballooning skyward, I’m scampering out with the target (too weak to be similarly ballooned) slung over my shoulders. Continued
In maths, ‘natural numbers’ are the ones you might use to count observable, whole things: eg. there are six people here. Anything that doesn’t work in place of ‘six’ there, like 3.4 or -2, is not natural. They’re kind of ‘numbers you can see’.
I’d like to use the term in game design to mean specifically that: numbers you can see. Things that are represented so simply and wholly and countably that you don’t need to display an actual numeric figure to tell the player how much they’re seeing. They can just see. Continued