Wayward Prophet :: Penwork

Games, art, and the relevance of their relationship

2011-12-31T10:10:00.002-05:00

Over the past year, the games as art debate has quieted down to the point where only the most stubborn naysayers and traditionalists remain loyal to their narrow definitions. As the dust settles, it's time to take a hard look back at what truths the heated argument revealed about our medium and its community... And in many cases, those truths are not flattering.

The most common question brought up by gamers in the heat of debate was a deconstruction of the entire argument. "Why do we care if the mainstream media sees games as art?", or "Why do we even want to define games as art?" I've seen defenders of artistry in games labeled "pathetic" within gaming communities for needing to validate their hobby. I've seen respected game critics dismiss the entire debate and wonder why it's so important that the medium be seen as an art form at all.

The ignorance in these views stems from the fact that artistic ideas and innovations are what drive a medium forward. Taking a deeper look at games and the meaningful experiences they hold the potential to provide is going to improve the medium, not hurt it. The folks over at Extra Credits put this idea into words better than anyone else (as they often do).

It's almost as if the core gaming community sees art as some high-brow concept they neither have nor desire any part in, and so they fear its insertion into their precious, private medium... As if the word "art" itself conjures up images of museum galleries and stuffy English gentlemen smoking pipes.

Obviously, art is more than that, and more inclusive than that. Avoiding any conceited attempts at defining it, art typically represents some piece of the human experience—even if the artist intends to transcend them, we are all limited by our experiences as humans. If we are human, we can understand art. And because it can be perceived and analyzed through an infinite number of critical lenses, it's up to us to discern our own meaning from art. Even Ebert admits it comes down to individual opinion... The exclusivity of a piece of art, any piece of art, depends entirely upon whether or not we can view it or interact with it and gather some personal meaning from the experience. This could be a primal, impulsive response, or it could develop slowly over hours of thoughtful reflection.

There isn't a single person, even the hardest cynic in the gaming community, that can honestly claim they haven't felt an emotional response while playing a game. It doesn't have to be a deep, life-changing epiphany—for example, the acclaimed Zelda series was born out of Shigeru Miyamoto's memories of running around the Kyoto countryside as a child. If you played any of the games and experienced even the tiniest shred of excitement at discovering a secret in the woods, or a sense of wonder exploring an open field, or even nostalgia for your own adventurous youth... Guess what? You just gathered personal meaning from a representation of Miyamoto's human experience.

And it was still fun, wasn't it?

If it's all you're looking for, there will always be mindless games that will let you blast the heads off aliens... Just as there will always be mindless popcorn flicks to watch with your friends on a summer night. And there's nothing wrong with that! Escapist entertainment plays an important role in our culture, especially during difficult economic times. These type of games (or films, or books, or music) aren't going anywhere.

But it's not pretentious to analyze games as an art form, to look to the future and consider what sorts of unconventional experiences we can provide through their interactivity. Nor is it pushing the medium in a direction that conflicts with its aim to provide fun gameplay, our sacred staple.

In fact, great games are born when designers take risks and craft experiences that resonate with the player in innovative ways. Consider the consequences of choice in Mass Effect, or the bold, living backdrops in Assassin's Creed, or the sharp dialogue in Portal... All of those design choices were intentionally made to trigger an emotional response in the player. And did they cause the games to be any less fun? Or lose some part of what games should be? If anything, the opposite is true, as those are some of the most critically successful franchises of this generation.

So why is it important to look at games as an art form? Because that viewpoint has given us titles like the ones listed above. Remove the art label and you're invalidating the work of countless developers who sculpted the gorgeous world of Skyrim or scored the atmospheric environments in Red Dead Redemption.

The exciting thing about being indie developers is that we are on the front lines of this fight. We don't have to deal with any red tape or deadlines or annoying producers; we can lead the rest of the industry towards an innovative and artistic future. When an indie game finds success—look at Limbo or Minecraft or even FarmVille—the big publishing companies pay attention and start thinking that a little innovation might just be bankable. The story of how Portal came to be is probably the most inspiring example out there.

Not every game has to be "artsy" like Braid or Flower. But the innovations titles like these make in interactive storytelling are important steps in the advancement of games as a medium, all the way up the line to the biggest blockbuster. If you're sick of seeing the same muddy brown shooters year after year, we need to start seriously analyzing games as an art form and what types of experiences and emotions they truly hold the ability to deliver. The doors will swing open to entire genres that we've never seen before, to puzzle mechanics that will make our jaws drop in their ingenuity, to more complex characters than can be found in any other medium because we're the ones interacting with them.

New forms of artistic expression are never recognized as such, or fully understood, right away. It's unsurprising that games are no different in their infancy. What is surprising is the amount of people inside the gaming community (and even the game developers' community) who don't understand why this battle is an important one.

Innovative ideas are what drive the medium towards its deeply powerful potential, and those ideas are born when designers thoughtfully analyze the experience a game is meant to provide. If, say, Bioware didn't think of games as art, the world would have missed out on some amazing experiences.

Until next time, take care and happy holidays!

Holiday season development update

2011-12-20T12:46:00.004-05:00

A lot has happened since the last Penwork post! I won the national Imagine Cup, graduated with a degree in Interactive Media, moved to a different state, landed a marketing job at an amazing science center... oh, and worked like crazy on World's Dawn!

I'm happy to announce that the first official release isn't far off! This will include the entire "spring season" of in-game time, which will provide approximately 5-7 hours of gameplay. I plan to launch the game in the actual spring, with subsequent chapters being released in their own corresponding seasons. This means that by the end of next year, the entire project should be finished and playable! And don't worry—save files will be transferable from season to season.

In other news... I've been hard at work on a complete overhaul of the Wayward Prophet brand, including a redesign of the studio website and social media pages. You'll see evidence of this already (even this blog received a facelift!) and you can expect even more changes in the near future. The idea is to provide a more fitting and consistent experience to anyone interested in my projects.

I promise to not keep you waiting as long for the next post! Until then, you can receive more regular news and media updates by following Wayward Prophet on Facebook or Twitter.

Take care and have a great holiday season!

The myth of games as escapism

2011-05-21T20:27:00.000-04:00

When attempting to drive forward a medium, it's important to understand the trends and viewpoints that are holding it back. I've already likened games to theater and discussed why people have trouble calling them art, but in this post I'm going to dig a little deeper and attempt to disprove one of the troubling myths surrounding our culture and industry.

Many people think playing games is a form of indulgent escapism. Considering role-playing experiences like Dungeons & Dragons or World of Warcraft, it's easy to assume everyone involved is losing themselves so deeply in the game world to escape problems in the real world. They're called "role-playing games" because players take on the role of someone else—a deadly night elf, an interstellar commander, etc. These roles are so appealing because they give us a break from our responsibilities, right?

Wrong. In fact, they pile more responsibilities on us. Games are not a passive medium like film or literature; players don't have the luxury of watching some other hero save the world.

Games are interactive and engaging, and by definition provide obstacles to overcome. Perhaps gamers are escaping into other worlds, but often those worlds have more problems and challenges than our own. Players are accepting a responsibility in that very act of playing, willingly taking it upon themselves to put down a mutant apocalypse, escort a helpless child out of harm's way, or even just pile heaps of experience onto their avatar to hit that elusive next level.

Okay, so that's fine, but if a gamer's network of real-life relationships is in the crapper and bills are piling up at home, vanishing into that other world is still shirking responsibilities, isn't it? On some level, yes. But if players wanted to escape their problems, it doesn't make sense that they would take on even more in their spare time. They would love to be able to tackle those problems; most just don't know how to go about it. Enemies or obstacles in the game world then become manifestations of real-world challenges, ones with tangible goals and a clear (if not simple) path to victory. That's why overcoming them can feel like such an exhilarating accomplishment, even if it's as simple as beating a level of Angry Birds.

People act differently while they're playing games than they do in the real world. It's similar to internet culture in that regard—we feel safely distanced from ourselves and buffered by the blanket of apparent anonymity. You might think this means we're putting on a mask, but it's actually the opposite. The mask is what we wear every day in social situations where to express oneself honestly isn't always an acceptable option. Our masks actually come off when we play games or go online. This has consequences both bad (think YouTube commenters) and good: while society often demands conformity and cynicism from younger generations especially, games give us a venue where we are instead rewarded for expressing our creative selves with fiery pride and passion.

And therein lies our responsibility as developers. Our games must inspire players to take that pride and passion back into the real world and conquer their problems with the same willingness and vigor they displayed in the game world. It's not as daunting as it sounds! The lines between the physical and digital worlds are blurring more and more each day, with advances in smartphones, social media, augmented reality, etc. Be creative and you'll find getting your players to make that step is really pretty easy.

Once we've done that, we'll have broken the myth that gamer culture is entirely made up of lazy, unproductive basement-dwellers and the only use for our wonderfully powerful medium is to escape the trials of the real world—which is to ignore its abilities to inspire, educate, and unite people all around the globe.

Leave a comment if you agree or disagree!

Through to the finals

2011-04-03T14:03:00.002-04:00

As many of you know, I'm getting ready to graduate digital media school this spring, which explains the lack of updates recently. I've been swamped with final projects, portfolio preparation, and assuring that a million little bits of necessary work don't fall through the cracks.

But this post isn't about all that! I am formally introducing Bloom Studios, a team of four passionate design students dedicated to creating engaging and globally relevant games.

Our work on SPERO, a colorful adventure game with environmentally-friendly content, has led us to the national finals of the Microsoft Imagine Cup! The finals will take place in Seattle, Washington on April 9 and will feature twelve of the best teams of game design students in the country. We're going to do all we can to go to Seattle and bring home the number one prize!

If you're a fan of Prophecy, World's Dawn, or you just feel like supporting a member of the indie/RM community, I could use your help! Voting for the "People's Choice Award" is going on now, and you can vote for us with the click of a button on our Facebook support page or by texting BLOOM to 23000 (standard rates apply). We're neck and neck with the second place team, so every vote counts! I truly appreciate it.

Stay tuned here and at the main site for updates about Bloom Studios and the Imagine Cup. Meanwhile, my graduation is creeping nearer and I'm hoping to have more time to work on World's Dawn after that milestone.

Thanks for all your support! Until next time...

Favorite games of all time!

2011-01-15T21:53:00.012-05:00

Driven to action by the inevitable heap of end-of-year lists and countdowns, I decided to compile a list of my own favorite video games ever. So what if our industry swings and misses once in a while... with a host of masterpieces like these, few can argue that games are peerless titans in the world of entertainment media.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10. Uncharted 2: Among Thieves (PS3)

The first of three direct sequels on my list, Uncharted 2 doesn't pretend to be anything particularly groundbreaking. What makes it an entirely unforgettable experience is the astounding amount of polish that's gone into every detail. Action-packed story, charismatic performances, enjoyable gameplay, and technical efficiency all come together in a visually stunning package.

9. Pokémon Red / Blue (GB)

No one could have imagined what this humble handheld adventure would go on to become. One mega-popular TV series, several feature-length movies, and oodles of spinoff games later, we're up to 493 (?) pocket monsters and growing fast. Despite all this, nothing compares to those first steps into the world of Pokémon and the distant dream of catching 'em all.

8. Mega Man 2 (NES)

This is the oldest entry on my list, not for any lack of quality on the NES, but because most games don't hold up two decades later. Mega Man 2, based around the simple yet genius mechanic of acquiring powers off fallen enemies, is different. This gem boasts distinctive, themed level designs and the most rocking soundtrack of all time, 8-bit or otherwise.

7. Harvest Moon (Multi)

Before The Sims, Animal Crossing, and Farmville made slogging through mundane chores cool, Harvest Moon gobbled up hours of my life like nobody's business. This series is addicting in the best sense of the word; it truly lulls you into a lazy world of farming, ranching, wooing, fishing... and dozens of other activities you'll find yourself caring about a little too much.

6. The Legend of Zelda: Majora's Mask (N64)

The masses loved Ocarina of Time. So the pressure was on when Nintendo released the next title in the Zelda series just over a year later. Set in an alternate world and lacking many traditional series standbys, Majora's Mask is a daring masterpiece in its own right, introducing unique transformation mechanics and a broad range of compelling characters.

5. Warcraft II: Tides of Darkness (PC)

I am not one of the 12 million who play World of Warcraft, but I too have fought tooth and nail for the fate of Azeroth. This terrific real-time strategy game establishes a deep, lush world, well-balanced units and remarkable sound design. Once the Battle.net expansion was released, players could team up or compete against their friends online (sound familiar?).

4. Red Dead Redemption (PS3 / X360)

Having played and enjoyed the Grand Theft Auto series, I thought I knew what to expect going into Rockstar's latest sandbox adventure. Maybe that's partly why I was blown away by the natural beauty of this open western environment, its atmospheric score and (most of all) the potency of a truly touching story. Red Dead Redemption is a deep and immersive experience like none other.

3. Final Fantasy X (PS2)

Carrying a popular series across generations is not easy, but Final Fantasy X did it with style, never shying from innovation with its endlessly enjoyable strategic battle system and a unique world within its genre. The game weaves a number of twists and turns into its lengthy plot, and shows a great deal of polish through an emotional soundtrack and breathtaking visuals.

2. Shadow of the Colossus (PS2)

I've spoken its praises many times before, because Shadow of the Colossus is an unparalleled experience that can only be described as art. Simultaneously haunting and thrilling from start to finish, the game loves to show rather than tell... It's simplistic storytelling style and fascinatingly empty world encourage you to truly contemplate your quest. Not many games can claim that.

1. The Legend of Zelda: Ocarina of Time (N64)

Sure, I love the Zelda series, and sure, Ocarina of Time stirs up a particularly potent dose of nostalgia... But damn, all bias aside, this is a great game.

If being named "Best Ever" in poll after poll isn't enough, play it for yourself. Gameplay mechanics are varied and fun, combat is truly exhilarating, the targeting and camera systems are fluid, the puzzles and dungeons are among the best the medium has to offer, the story is epic, the world is vast, the characters and races are memorable, the soundtrack is inspiring... There is just a jaw-dropping amount of brilliant content packed into this golden cartridge. Ocarina of Time is a gem, even among such a successful series.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

There you have it! As designers, it's important for us to look at what's out there, to analyze the masterpieces and determine what they got right. Taking inspiration from games that have come before is vital in our quest to push the medium to its limits.

Just for kicks, here are some honorable mentions that didn't quite make my list:

Resident Evil 2
Grand Theft Auto: San Andreas
Okami
Final Fantasy IX
Tenchu: Wrath of Heaven
Halo: Combat Evolved
Super Smash Bros.

I'd love to hear your opinions (either on the games listed or your own favorite titles) so be sure to leave a comment!

Muse interviews... Celianna

2010-12-02T14:56:00.004-05:00

The main function of this blog is to doll out advice to fellow designers on how to deliver enjoyable games. However, I believe it's equally important to recognize, applaud, and (most importantly) listen with open ears to those hard-workers within our community who, simply put, are doing things right.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

This time around I got a chance to interview Celianna, a talented developer and active poster over at the RMVX Community. She's known for her amazing original artwork, which she regularly distributes for public use, and her delightfully innovative game, Tailor Tales. If you haven't heard of the project, click the link and check it out! It's definitely done a lot to inspire my own World's Dawn.

On to the interview!

Thanks for taking the time to answer my questions! Let's get started...

How did you initially get into game development?

Well, after playing Animal Crossing in which you could draw your own clothes and townspeople would wear it, I wanted to make something that revolved around you making clothing. I didn't know about VX back then. Frustrated because I had no outlet to express this idea, I entered "NaNoWriMo" (National Novel Writing Month) instead, and wrote a story about a character called Joselina who was a tailor and moved into town. After about 7000 words, I realized this wasn't working out and I stopped. Later on someone PM'd me on YouTube saying that instead of using Photoshop to create Pretty Ore (my Harvest Moon animation series), why didn't I use RPG Maker VX instead? This introduced me to VX, and I realized I found the perfect way to express my tailoring idea.

Speaking of Pretty Ore, and also the work you do as a signmaker student... How does creating interactive media differ from these more static forms of artistic expression?

It's a lot more fun. After knowing how to use the program, I could see endless possibilities of gameplay features that I could create, while incorporating static artwork. First I think in pictures; how would this look like? Then the design element comes into play. Once that's done, I just have to make it work in the game, which usually doesn't take long. I either event it, or use scripts to help me. Either way, it's not much different from each other, a lot of work is required for both of them!

Your original artwork, ranging from tilesets to character portraits, is simply stunning. What kind of artistic background do you have?

Uhh ... I'm completely self-taught, but I started to seriously draw when I was 12 years old. I was a big fan of Dragonball Z at the time, and started to make fanart of the characters. I even started to make websites revolving around the characters of Dragonball Z, and since the website needed to look pretty, I started designing as well. Last but not least, I wrote fanfiction about it as well, which laid down the foundation of my creative abilities; drawing, designing and writing! About two years ago I started working on Photography as well, and gotten pretty good at it. Here's a pretty cool time-line of my drawings.

Give us a brief rundown of your current project, Tailor Tales.

Tailor Tales is a romance game similar to Harvest Moon. You play as a girl who is a tailor, and make your own clothes. There's five bachelors in town that you can woo and marry. The whole game is heavily influenced by Harvest Moon, so I try to make the two alike as much as possible (artwork and all). Since it's all custom artwork, it's taking a while for me to even get started on the actual game process. But it's getting there, slowly.

On top of the work you do for your own project, you pour time and effort into providing wisdom and resources to VX users. How important to you is giving back to the community?

Very important! I believe that if you take something from the community, you should give something as well. I've had multiple custom scripts made for me by a bunch of people on RMVX, and I will gladly return the favour for them. I can't do any scripting, but I can make anything that can be saved as a picture! When I see the need for a specific resource, I usually start working on something (faceset generator, more trees, etc). It also helps I really like making them, and enjoy seeing them used.

You're very outspoken when it comes to people asking "stupid questions". What's the right way to go about requesting your help or advice from the community in general?

When I say stupid questions, it usually means that that person would have found the answer already if he had searched for it, read a description, or found a tutorial. I get a lot of ... blunt questions. Because of this, I tend to have VERY detailed descriptions on some of my resources, so that I won't have to keep answering the same question over and over again. I even create tutorials for the people who keep asking me how I do this, how I do that. All because I'd like to avoid having to explain myself multiple times. I could never be a teacher, that's for sure haha. Whenever someone asks me a genuine question, I'll answer gladly.

The right way to ask questions, is to search for it yourself first. Google is your friend, remember that. Also read descriptions of topics (yes, the whole thing) and look at the tutorial section.

You admit you're picky when it comes to the games you play. What titles specifically have inspired you?

Well, Harvest Moon inspired me to make a dating game, but a lot better (their dating sucks). I also get inspired by games with great artwork, such as LoZ: Wind Waker. That's a fantastic looking game. I am pretty picky of games, but this is mostly about MMORPGs. I love playing them, but I have tried about a 100 different ones, and like only about 4. It's mostly because they're all the same and never bring anything new to the table.

Any final tips or advice you'd like to offer aspiring game designers?

Use your common sense before asking a question, go through tutorials to learn the program, and try to give something back when you're using someone else's resource!

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Thanks again to Celianna for her time and helpful insight. When you get a chance, head over to the Tailor Tales website and show her some support. She'd do the same for you!

The dawning of a deep new world

2010-11-26T03:30:00.000-05:00

It's been a long time coming, but the World's Dawn demo has finally arrived! This is the main project Wayward Prophet has been working on for close to a year, and I'm proud to say players can finally experience the game for themselves through this special teaser.

The Guided Demo includes original graphics and gameplay systems that will appear in the final product (scheduled for a 2011 release). I will personally guide you through the demo as "Sagitar" to ensure you get the most out of the contained features... I'll even let you know if you missed anything important upon completion! A single playthrough should take about one hour.

I purposely avoided including any unfinished features or systems in the demo. Houses with incomplete maps will be locked from the outside; characters missing facesets or dialogue are left out completely... So while it's clear this is not a finished product, the demo should show a fair amount of polish. I didn't want players to encounter any strange glitches or vacant locales in Sugar Blossom Village.

Click the image below to download the demo! (If you need to find this link in the future, it's located on World's Dawn site as well as a number of project threads around the RM community). Once you play, do me a favor and leave your comments. Feedback is always welcome, and player input is vital in helping the game grow.

A hearty thanks goes out to everyone who has offered their resources, wisdom, and support throughout this year-long process.

Enjoy the demo!

Experience beyond the story

2010-11-18T11:51:00.000-05:00

A few posts back I talked about the idea of games as art and whether or not the medium is there yet. This debate is tough to swallow... the mere fact that it is still a debate means we have a long way to go, regardless of your personal opinion on the matter.

When people think about the artistic value of something like film, it is intricately tied to the story the piece works to tell. Not just through dialogue or action... pacing, color, lighting, framing, and a million other little touches can tell a story and establish the overall film as art. But this idea that art and story are so closely related is one of the biggest reasons games are struggling to find their place.

There are people who think that the interactive nature of games makes them a poor storytelling medium. After all, if the player can make his own way through the story (running down the wrong hallway, or turning the camera to face any specific area over another), the designer loses the essential powers of pacing, placement, even cinematography... which, as mentioned before, all work to build a story and create art.

Video games are not a poor storytelling medium... just an unconventional, misunderstood one.

Stories in games are not told by the developer, but the combination of the developer and the player. Digest that idea. Developers can spend all the time in the world crafting an intricate saga, but the truth is that they will never be able to convey that saga as effectively as a director or novelist through their non-interactive mediums. (Sure, books and film are interactive to some extent, but in a completely different way than games).

Consider the New York Times' review of Rockstar's western masterpiece, Red Dead Redemption.

In noninteractive entertainment — be it a play, film or television program — the director controls exactly what the audience sees at every single moment. That is why it makes sense to build sets that are nothing more than plywood facades: if the audience can’t see it, it has no reason to exist.

By contrast, a great western game allows players to roam the frontier as they please. See that outcropping over there in the distance? You can climb it if you like, or just keep riding. When you come into one of the many towns and villages there may be dozens of buildings to explore, and they are all populated with folks going about their daily lives, even if you never visit.

If you want to tell your story, if you don't want to allow your audience any wiggle room, write a book. Direct a movie. If you want to work with your audience and forge an even more powerful experience for it, make a game.

So how do we (as independent developers) accomplish this? By placing heavy focus on WORLD rather than STORY. Instead of telling people how to play, give them the tools and toys to go out into your world and play on their own. Give them colorful characters to interact with, enchanting environments to explore, interesting equipment to utilize... But when it comes to telling your own complex story, just take a step back.

This is not to say games with intricate, predetermined stories are by any means bad. Final Fantasy, Metal Gear, and God of War are a few examples of fantastic and wildly successful franchises that follow this formula. But I'm going to take a bold stand and say they're all missing something. They're not flexing the medium to it's fullest potential. It's when that blend of player and developer hits a perfect balance that true art in games is born.

To name a few games I consider to be incredible examples of artistic expression because of these very reasons... The previously mentioned Red Dead Redemption showcases the most beautifully realized environment you'll ever have the pleasure of exploring. Shadow of the Colossus, which I touched upon in the prequel post, presents a haunting world where even riding your horse across the empty landscape is a somehow moving experience. On the lighter side of things sits the terrific Zelda series, which has never allowed a convoluted story to get in the way of the charm of its world and characters.

One more time. Games are unique in that their stories are not just told by the designer, but by the player as well. Because of this, it's far more effective to create a compelling world and let the player make their way through it than to attempt to weave an complex, linear plot.

Good luck with those projects, as always. Oh, and pay attention for some Wayward Prophet updates in the near future! Big things are on the horizon.

I'd love to hear your opinions on the topic, so be sure to leave a comment!

Muse interviews... StormriderAngel

2010-10-09T17:12:00.000-04:00

A short while before Wayward Prophet came around I managed a blog called RPG Maker Muse, which 1) offered tips and advice to fellow designers and 2) was planned to feature in-depth interviews with talented members of the community.

The first (read: only) of these interviews that came to fruition was posted back in early February. Because hardly anyone visits that blog these days, and because the interviewee's name has been popping up again lately, I've decided to re-post the interview for everyone to see. I plan to continue this feature in the near future, so stay tuned.

Here is the full interview with StormriderAngel...

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

I am pleased to announce our first interview features StormriderAngel, a terrific creative and artistic talent, an active poster throughout the wider RM community, and a good friend. The project thread alone for his forthcoming title, the hotly-anticipated Adela Isra, has been making waves practically everywhere. If this title somehow slipped by you, go look it up now, and pay better attention next time!

Let's get to it...

Thanks for agreeing to this interview! First thing's first... When and how did the initial concept for Adela Isra come about?

I started work on Adela Isra around mid September of 2009 with one goal in mind. Follow through with and finally complete a game. Any one who has seen the earliest screenshots of the game can tell that it was originally not supposed to be as big as it has become. I wanted it to be something that was quick, easy, and something I can finish... Things haven't gone as initially planned (I ended up liking the story and characters way to much to make it a half-hearted project). The way my stories always come about is that I have certain plot points in the game, and I always manage to fill the pieces in the exact right order to make an interesting plot...maybe it's dumb luck?

Your character and concept artwork for the project is fantastic. What kind of artistic background do you have?

Thank you very much! I started out pretty much like any fan of anime and that kind of art style, which is with those how to draw manga books you find everywhere...Eventually I moved on the real life oriented studies and now I'm currently studying the abstract stuff. I've only very recently started to profit from my artwork. But for the most part I never went to classes or anything like that so I'm mostly self taught.

Again in terms of art, the RM community recognizes your mapping as some of the best around. Describe the process you follow when creating maps for the project.

Wow are you really asking me that?...Well here goes nothing... Make new map, plot out grass and dirt, then plants and trees, then butterflies and other animals, take a screenshot, take that into Photoshop, place pictures and big trees and foliage on top, erase to match and fit behind other trees, edit the brightness, contrast, and tone to match the rest of the map, save the image and load it as a fog on whatever map it belongs to, set the lighting, take a screenshot, post it online, get told all the problems, go back and edit and tweak for another three hours, and done.
1 map down, 300 more to go!

Ouch, that sounds rough! As a designer, what would you say you focus most heavily on - aesthetics, gameplay, or story?

Oh! Don't make me pick! That's like making me pick my favorite child! For Adela Isra, the game went in this order, Gameplay > Story > Aesthetics. I think all should be on equal terms to make a great and balanced game... but sword to my throat, I'd have to say even in an RPG game, gameplay NEEDS to be good and come first. I mean the Pokemon games are still some of the best RPG's on the market despite its lack... or pretty much no story.

Within those categories, what is your least favorite part of the design process, and why?

Unlike a lot of people out there, I actually really really like doing the database part of the game, I really find coming up with skills and stats a lot of fun...but what I loathe with every fiber of my being is doing the animations. It's tedious, a pain, very VERY unforgiving if you make a mistake, and almost never comes out the way I want... it's just the worst for me.

Are you currently working on other notable projects besides Adela Isra? If so, can you reveal anything specific?

Shhhhh...maybe...perhaps? Yes, I sorta already mentioned it in my game thread but I am working on a small side project to Adela Isra which will remain top secret until it's ready to be test played. All I can say about it is different from Adela Isra in almost every way... except being turn based.

Intriguing... What titles (RM or not) have inspired your personal style as a designer?

RM : Legion Saga, Prophecy:TDK of course, The Cartographer, Prelude/Crescendo of Identity, and Legionwood in many ways.

Non RM : Chrono Cross, FF9, Earthbound (even more with mother 3), and most important the Shin Megami Tensei games (more specifically the Digital Devil Saga series).

Lastly, share any advice you might have for other RPG Maker users and developers around the community.

Indeed I do, now listen up because I don't wanna be repeatin' myself now.

1) Less is More: This is more for mapping but I think it applies in many other areas as well. Big open fields and huge treacherous mountains may work in 3D games (and barely most of time) but on a 2D map, it's empty, lifeless, and a snooze to traverse. Scale things down, and focus on making each area detailed and memorable rather than vast and "epic". Always look at it from the players point of view and then ask yourself this question "would I ever want to come back to this area just and be happy to do so?" If the answer is no, then you may want to look into changing some things.

2) To all aspiring artists out there...don't trust the "How to Draw Manga" books. Trust me, there's going to be a point when you find yourself reaching a plateau in which you can no longer improve. As dead boring and stupid as it may sound, focus on real human anatomy as soon as you can. Even if you don't want to do realistic drawings, the knowledge you gain from those studies will bring you 10 times farther than any "How To" book ever could.

3) Last but not least, always know what you're capable of before you start a project, because hiring a team of 8 different people can only get you so far. Always practice, study, and try to improve upon your previous attempts and learn from your mistakes!

OH, one last thing... as hard as it may seem (even for me)... don't even take criticism personally. No matter how tactless or blunt it may be, use those emotions and go back to making the best game you can!

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Thanks again to StormriderAngel for the terrific interview, and everyone be sure to pick up Adela Isra as soon as it's available for download!

A developer's update (#1)

2010-09-14T03:04:00.000-04:00

I'll continue with my discussion of games as art in the next one or two posts (everyone is waiting with baited breath, I know) but for now I thought I would offer a few updates on the status of Wayward Prophet's current projects.

World's Dawn, our ambitious upcoming farming/adventure title, is still the main project in development. The game contains a massive number of original tools and features, but we've reached the point where much of the remaining work is simply adding content to preexisting systems. Filling in the blanks, basically. This stage of development can be tedious and time-consuming, but there is definitely a positive side to it... It's a great time for playtesting. World's Dawn is very close to its first demo, which will give interested players a solid handle on the intended experience.

Also in development is a smaller side-project currently titled EvenTide. This dark adventure will feature a plot packed with mystery, branching paths and alternate endings, and detailed, dreamlike environments. Expect more news in the near future, but for the moment I won't be releasing any more information on the project. It shouldn't affect development on World's Dawn overly much, don't worry about that!

A new semester started this week, so I will soon be wrapped up in at least one school-related project on top of Wayward Prophet's original properties. I'm heading up a talented art team going into this semester, and I'm very excited to see what kind of game we can come up with as a unit. I will certainly share the details as they come.

For more information on any of these projects (and a few others), make sure to head over to the Wayward Prophet website.

I appreciate any support you can give, there's nothing like constructive feedback to inspire and motivate. See you all next time!

..............

Use this World's Dawn userbar to share the experience on personal blogs, websites or forums!

The sketchy prospect of games as art

2010-08-27T01:29:00.000-04:00

Those of us who appreciate games encounter the uncomfortable realities of the medium around every turn. Even in their current generation, video games are commonly perceived as a childish hobby... a shallow pastime with a long, rocky road ahead on the way to being considered a legitimate art form and a mature, effective means of expression.

The gaming world was abuzz earlier this year when film critic Roger Ebert restated his long-held opinion that games could never be art. Though offending anyone wasn't his intention (and he regrets ever bringing it up in the first place), it's difficult for players and -- more so -- designers like myself to remain unperturbed by Ebert's comments.

Some might logically dismiss the claim as one of a film critic who has professed to never playing games, but that's sort of missing the point. Ebert holds widespread influence (he is "the most powerful pundit in America", after all)... When he makes a strong statement like that, a whole lot of people listen. Sure, he's not going to sway the entire general public one way or the other on the topic of games, but every little bit counts in the fight to be taken seriously.

"Games can never be art."

And perhaps the most difficult part about hearing those words, especially from such a respected critic, is that they force us to take a good hard look at our medium. It's one thing to disagree with his statement in principal, but how how many games can we proudly point out as examples of timeless artistic merit? Plenty, you say, and maybe so... but when held up against the number of games that shamelessly pander to the pocketbook, it doesn't seem like plenty.

The industry is growing up... we're at that awkward stage where we're defining the sort of medium we're going to be from here on out. And we have to be very, very careful about the ideas we're putting out there if our hope is to be taken seriously and, perhaps more importantly, be widely accepted as a new and exciting artistic medium (even in the eyes of people outside the gaming world, which is where we're struggling now).

We're moving in the right direction. That's the good news. Recent games such as Portal, Limbo and Flower were clearly designed to stir powerful pathos within the player (isn't that art right there...?). Even within the realm of big-budget AAA titles, it's easy to find current generation games that strive to provide worthwhile emotional experiences... Mass Effect, Fable 2, and Heavy Rain all pose questions about morality and consequence, questions that resonate with players even after switching off the power.

The most powerful emotions gaming has ever provided me came a few years ago with Shadow of the Colossus, a beautifully sculpted adventure wherein you must destroy sixteen majestic colossi in order to bring a loved one back from the dead. It is a lonely and dreadful task, and as you traverse the vast and empty landscape, it's impossible to shake off a chilling sense of guilt at your actions. And all the while the dreadful question lingers... how far would you go to save someone you love?

This question is so potent because it is not being asked of a character in a movie, or the protagonist of a book. It's being asked of you, in your own life and your own experience. You are the one who decides how far your onscreen avatar will stray from the light in order to bring his loved one back into it. Some players set the controller down and refused to go forward. Steven Poole was one of these players, and he writes about his experience with SotC...

"My enchantment at the kinetic challenge and haunting beauty of the game was quickly replaced by a sense of waste and guilt at my serial murdering of these dumb giants... For me, the aesthetic pleasures weren’t enough to outweigh the powerful regret the game so astonishingly succeeded in engendering. If a game of violence is so effective in its message of anti-violence that you actually stop playing, does that mean it was a success or a failure?"

Games can cause such powerful feelings in a way no other medium can, because of the one feature that makes them fundamentally unique: the direct interactions between the player and the experience. Without getting into the sticky areas of what makes something "art", that they harbor the ability to stir unparalleled empathy leads me to believe that games can be (and in some cases already are) fantastic examples of artistic expression.

Unfortunately, it seems games like Shadow of the Colossus are few and far between. I'll take a closer look at the reasons why in my next post, but for now I'll leave my fellow independent developers with a simple plea.

Take some risks! Push the boundaries of what games can be. If you're striving to make an emotional impact on your players, think about the visuals, the sounds, the actual gameplay... and how you can instill particular feelings in someone who might pick up your game. Especially independent developers. We're not restricted by production pipelines or shipping dates and should be the ones leading the charge towards a bright, positive reputation for the gaming industry.

Prove to the doubting public that games can be art. That they are art.

Thanks for sticking with it...
If you're interested, this topic will be continued in my next post. 'Til then!

Theater and illusion in games

2010-07-27T17:44:00.000-04:00

A recent conversation with someone who's put on countless theater productions got me thinking about the similarities between stage shows and game design. Yes, they are strikingly different mediums of entertainment and storytelling, but at the core of each can be found the same fundamental, over-arching rule:

"Do not break the illusion."

Theater is all about tricking an audience into believing something is happening in front of them when it's truly not. The actors, costumes, set design, scene progression... everything works towards that singular purpose of weaving an elaborate illusion. Some suspension of disbelief is expected from the theater-goers, as they have come to the show wanting to be immersed in the experience. However, if there is even a subtle perception that the tiniest element is out of place (ie. actors stumbling over their lines, poorly painted backdrops) the illusion is "broken" and the entire production suffers. The audience is no longer watching a dramatic exchange between forbidden lovers, but actors in silly costumes, moving around in choreographed patterns on a stage.

Game designers face a similar challenge, and videogame successes (and failures) of the past reinforce how important it is to maintain that illusion for the player. As games become more realistic, unfortunate but accepted staples of the past such as clipping or invisible walls now very much break the illusion of the story or world. Every element of the game must be delicately crafted and shaped toward keeping players immersed, and that can be a daunting task for designers.

Luckily, there are a number of tricks that we (specifically RM / independent / amateur developers) can utilize to great effect to accomplish this feat.

Most importantly, make sure every individual element of your game follows a theme. Having a consistent theme is a great way to keep players in the experience. If your story revolves around pirates, make sure that everything (everything!) works to strengthen the idea of "pirates" in your players' minds. Think about the following suggestions...

Style all the menus and user interface after an old treasure map
Use a cannonball firing off instead of the basic "confirm" sound effect
Give all towns, ships, and characters traditional pirate names (even the minor ones!)

These are very simple touches that would go a long way towards establishing a consistent theme and an immersive experience. Every designer should sit down and come up with a whole list of them to work into their project.

Remember, even the slightest misstep could send your player right out of the experience! All your hard work on the strong elements of the game can be spoiled with one seemingly harmless mistake. It's just like theater at that point -- players will cease to care about the dramatic story elements unfolding and instead get caught up on the ugly inner-workings of the game.

Here are a few deadly mistakes you might not consider a big deal, but could potentially lead to players shutting down and abandoning your intended experience...

GRAMMAR MISTAKES (if this is a weak point for you, or English is not your first language, have someone edit your dialogue!)
Breaking the fourth wall (even in a satirical or parody game, be very cautious with this)
Too many easter eggs / cameos (only use in moderation, if at all)
"Fluff" titles (if the title of your game doesn't fit the content, players will exit the experience to question it)
Feature creep (at a certain point, it's better to level off and stop adding new features or scripts)

So take a little bit of time and give it some thought... Our medium can be a powerful one for entertainment and storytelling, but so many amateur games in particular go nowhere due to simple oddities that break the player's experience. Make sure every little thing you do as a designer is intended to strengthen the theme of the game, and like a skilled actor onstage, weave an elaborate, convincing illusion for your audience.

Until next time, good luck with your projects!

Strolling through Sugar Blossom

2010-07-04T16:15:00.000-04:00

When I began work on my current project (the initial concept came around towards the end of last year) I didn't know what to expect from the development process. World's Dawn is a nonlinear adventure wherein players forge their own paths through the "plot", choosing among a variety of possible chores and activities to pass the time and all the while creating a unique experience for themselves.

Of course, a project like this presents all kinds of problems for the designer. How do I ensure players reach certain milestones in the game? How do I maintain the flow of the narrative when players set their own pace through it? And (most importantly) how do I know players will enjoy a game that lacks so many of the traditional RPG standbys?

These questions still crop up as I continue to move forward with the design process... I still worry that World's Dawn simply won't be "fun" enough. But these questions are good, as they force me to look at the project from different angles and implement features I had never previously considered.

I suppose this post is just an update on World's Dawn progress, to muse about the nature of the upcoming title. I have been working on the game every day (almost!) for months now, and I couldn't be happier with the direction of the project. Focus has shifted slightly from gameplay elements to a predetermined narrative that players can navigate at their own tempo. Vague, I know, but it will likely remain that way until the game's release... Mainly because many aspects of the game are better seen than explained.

For now, stay tuned to the official site for updates on the project and know that a demo is on its way. Thanks as always for your support and remember that feedback is always appreciated!

Oh, and sorry for the rambling post...

A world's dawn stretched 'cross the threads

2010-05-15T22:25:00.001-04:00

Designing games is tough.

The task of creating an engaging interactive experience through digital technology calls for extensive patience, technical knowledge, and creative passion. It's rare to find these three qualities in the same body.

That I fit such a rare profile is perhaps the reason I've always had trouble labeling myself. I write but don't strive towards becoming an actual "writer"... I love art but have never been the "artsy" type... I play games but don't quite fit in with "gamer" culture... and I have a knack for technology but have never let it define me as a "computer person". I've always been just outside of each these groups, tiptoeing in every so often but never really committing to any of them.

So it is with proud joy (and a fair bit of relief) that I can now proclaim myself a game designer... Today marks the official launch of Wayward Prophet Productions, my brand new development studio!

I'm thrilled at the prospect of staking my claim within the growing world of game-making. It is what I was always meant to do -- the perfect fit for my unusual personality -- even if I had to struggle to discover that. Wayward Prophet represents a long-awaited opportunity to blend all my skills, quirks, and interests into one exciting form of creative expression.

Check out the studio's official website for project details, contact info, that sort of thing:
www.waywardprophet.com

I imagine this blog will go on to contain relevant thoughts and ramblings, as well as developmental updates and other studio news... If you're planning to follow along, 1) thanks so much for your interest and 2) feel free to drop any suggestions or feedback in the comments!