Last podcast episode (5) of D20FutureShow plays Solar Echoes!

This last weekend, the D20FutureShow podcast posted the last episode of our Solar Echoes game together! Find out what happens with the team and enjoy some very close calls, dynamic shifts, and interrogation efforts!

D20FutureShow podcast of Solar Echoes game, episode 5

Shattering Expectations while Innovating (part 5)

In my opinion, huge twists have a lot of potential for losing your audience. Once in a while, someone can manage to pull off a mind-shattering twist and have it work. The movie, “The Sixth Sense” is a great example of something unexpected, but in my opinion, the director's work after that movie never recaptured the same effect—it felt like he kept trying too hard to have a big twist in all of his subsequent movies. My point is that we can try too hard to be original. As you write and develop your ideas, don't abandon your work too quickly because you feel it lacks originality or that amazing shocking moment that some stories have. Go back over it and cut away what doesn't belong, rewrite things with variations, and be ready to develop your work over and over again until you feel like you have something that flows together—something where all the pieces fit. Seek feedback from friends, family, and people who don't know you well, and learn from all of them. Being innovative in creative design isn't easy, but there's no reason to make it even harder by expecting a groundbreaking, totally original concept to fall into your lap. If you're waiting for that to happen, beware: writer's block will have you.

Shattering Expectations while Innovating (part 4)

Don't try too hard to be creative or original. If you feel you have a lack of ideas and your attempt to be creative is to do something extreme, keep in mind that extreme or weird doesn't necessarily equal creative. I have seen children do this before in art projects, where they can't come up with anything but desperately don't want to do what everyone else is doing, so they do something that is so odd it ends up being worse than if they had just stuck with the mundane. Creativity can't be forced, and often, it emerges from the ordinary. As an exercise, imagine a scene from a movie or a story you've read, and imagine things playing out differently because of a small variation or problem that occurs. You can try writing your own straightforward situation and then think of an “alternate history” butterfly-effect event that could send things into a totally different direction. Start with small variations, and work from there, instead of throwing a sudden, huge twist into the mix.

Shattering Expectations while Innovating (part 3)

Don't fall into the trap of trying to shock or stand out just because you think that itself will break expectations. What I mean is that sometimes we realize that something we're writing might be predictable, so we throw in an outlandish twist to try and prevent that. This is probably the greatest way to lose your audience. It's called breaking the suspension of disbelief—your audience will go into your story accepting only so much until you've “Jumped the Shark,” which is a reference to the finale of the “Happy Days” TV series. In that last episode, the “cool” character of Fonzie was water skiing in the ocean and when a dangerous shark was spotted, he jumped over the shark on his water skis. This was so preposterous that the event itself has become a phrase assigned to situations where the audience loses their suspension of disbelief—when an audience can no longer remain immersed in the fictional material because it has become too far removed from believability.

Shattering Expectations while Innovating (part 2)

One of the challenges of creating an innovative story is knowing what to keep and what to discard. Sometimes we get very attached to our ideas and lose perspective on what really belongs to the theme and what detracts from it. Make it a regular practice, while writing, to ask yourself if anything feels like it is tacked on or doesn't fit. We often try to make something fit when it doesn't. I remember, when working with another author, a spot where something he had put together bothered me because it felt extraneous. I talked to him about it, and he was resistant at first. After we talked about it a while, he finally decided it didn't fit and wasn't necessary. I distinctly remember him saying, “but I liked that part!” I've gone through the same thing with my own writing (and music composing) many times, and it really is hard to let go of something you've created. I always tell myself, though, that even if it doesn't fit and I have to put it aside, I can always go back to it later and develop it as something entirely separate. If it's good enough, it will flourish and grow on its own into something cohesive. And sometimes, over time, I'll admit to myself it wasn't as great as I initially thought it was.

Shattering Expectations while Innovating (part 1)

It is very difficult to create something original, yet those of us in creative industries need to keep producing something unusual and innovative. Whether it's designing a video game, a tabletop game, a movie, writing a novel or a music composition, originality is often the hallmark of value. Yet it is inevitable that someone will be able to draw a comparison between your work and the work of someone else, whether you were aware of their work during your creative process or not. Don't let that paralyze you while creating, because setting the expectation that your idea has to be totally original will create writer's block. Instead, start writing your ideas down as you have them—there's nothing that says you have to keep them, but you need to get things flowing first. Often, true innovation is discovered along the way, during the journey of creation. You can always go back to your beginning material and rework it once you've found your way.

Solar Echoes VideoGame? (part 2)

I'm not just thinking about another RPG videogame, either—I'd like a Solar Echoes video game to involve single-player and online multiplayer of course, where gamers would get together like a traditional tabletop group and one person would play as the GM while the others would play their characters. Or, all players could jump into pre-designed missions and go through them together. For single-player, you could jump in and design your own team, then jump around between each character and try to manage the entire group. I'd also love to see this game have a VR component, where players could choose 1st-person view and actually see through the eyes of their characters. It would be incredible to play as a mighty Archaeloid or a gelatinous Omul, seeing through their eyes. Playing the game online with friends from a 1st-person view would be hilarious fun, and they'd be right down there in the action. I have many more ideas for this, and am hoping someday to find the right people to move forward with it all!

Solar Echoes VideoGame?

I wish. I know, sorry to get some of you excited with the title--it's not happening yet--but it is a long-term goal of mine. Before it's even possible, I'd need to find some talented programmers, artists, etc. and also a lot of $ to make it all happen. Or, maybe I'll attract the interest of an already established videogame developer who would want to work with me to bring this goal to life. But I've got ideas—lots of them—about how to make this fun tabletop RPG into an awesome video game. Why would I want to see Solar Echoes become a video game? Because videogames are far more accessible than tabletop games. You can sit down and play it whenever you'd like, rather than have to organize your schedule and the schedules of your friends to drive out and meet somewhere for a large chunk of time to play. Dedicated tabletop gamers do make regular time to play, but that leaves out a ton of us that are unable to because of jobs, family commitments, locations, etc. Plus, most of the younger generation are not even familiar with the concept of sitting down to play a tabletop game, and I keep getting asked by young kids I meet if Solar Echoes is a video game they can download. Somehow, I'd like to make that happen!

Solar Echoes Youtube Channel

To post the Solar Echoes Video Comic, I had to update my Youtube Channel. I'd like to post more content, but I need subscribers. Would you consider joining my channel?

https://www.youtube.com/channel/UCLD82vJyRPc1IuBWMqREnog

What kind of video content would you like to see? This video comic was quite an endeavor and took months to complete, but I would like to do similar (probably smaller) projects in the future. Do you have any ideas about other things you'd like to see? Please share your ideas, either through comments or messaging me directly. A few possible ideas: short video comics, videos of actual Solar Echoes gameplay with different groups of players, videos of discussions about RPG Game Design, or discussions about elements of the Solar Echoes universe. Maybe even short videos showing the art design process? What would you like to see?

UK Podcast airs Episode 4 of Solar Echoes game!

It was an exciting weekend, because not only did the Solar Echoes Video Comic release, but so did the latest episode of D20FutureShow's podcast. Last year around this time, I Skyped a game of Solar Echoes with the guys at D20FutureShow in the UK, and we both set up our maps and figures so our cameras could see what we were both doing. The podcast host, Richard Kirke, has done a fantastic job of editing our game and putting together a fun podcast to listen to. The latest episode, Episode 4, released on Saturday, and it involves more of the battle scene in the warehouse. It's exciting to hear what each of the players do and how they try to handle the gang that has come into possession of powerful semi-automatic assault rifles. It's an action-packed episode, so you might enjoy listening to it like I do—through my phone while sitting in traffic on the way to work. Thanks for putting this together, Richard, and I can't wait to hear what happens next! (since it's been a full year, I honestly forgot and most of the events feel new to me) Great fun! Check it out either at soundcloud or itunes:

 

D20 Future Show Plays Solar Echoes Episode 04

https://soundcloud.com/d20future-show

For episode four on itunes, pick the first one listed with the release date of 4/14/18:

https://itunes.apple.com/us/podcast/the-d20-future-show/id1165803632?mt=2&ign-itsct=1165803632-1165803632&ign-itscg=0176&ign-mpt=uo%3D4

Solar Echoes Video Comic is on Youtube!

In case you missed it on Friday, I finally completed putting together the Solar Echoes video comic! There were a lot of unexpected challenges along the way, but I created many of them for myself as I learned what I could and couldn’t do with the programs I had available to me and worked within the limits of my own capabilities. Originally, I did not intend on having any actual animation—I planned only to change the expressions on the characters depending on their dialogue and the circumstances they were in. But, a happy accident helped me to learn that I could dissolve between frames at a fast rate and achieve semi-stop-motion animation. I tried to use it sparingly, reserving most of the animation for a few actions and for battle scenes (it takes a LONG time to put together). The focus remained on the characters, their interaction, and their approach as a team to their mission. The video comic is based on the free Solar Echoes demo, Operation Flash Strike, so the mission is the same and the characters are based on the pre-generated characters that are included with the demo. I wrote the script based on what I’ve seen different groups of players do in the many demo’s I’ve run at conventions. Every single time, I’ve seen players handle the mission with different tactics and unique decisions. This is just one of many possible scenarios. I hope you enjoy the characters and the video comic! A huge thanks goes out to all the voice-actors who contributed their voices and acting skills to this project! And another huge thanks goes out to John Fell, who was not only the voice actor for Elsor the Omul, but is also the artist behind all of the amazing character art I used! Thanks John!

https://www.youtube.com/edit?o=U&video_id=Y29Hjfkm39g

Tips to Game Developers (part 3)

Developers put their games through various beta tests, but sometimes they only do so internally with the people that designed the game and know it best. When a game has unmeasured challenges with uneven difficulty spikes, it can cause enough frustration for a gamer to give up and move on to something else. Gamers are extremely determined and welcome challenge, but challenges that feel “cheap” or unconsidered will build dislike for the game. Gamers know when developers have artificially tried to make their games hard, too—one chance at a boss fight with failure putting you back at the beginning of a level is often a big deterrent. Though rogue-likes are a genre that does that and those types of challenges are expected in the genre, if you haven’t stated your game is a rogue-like, then harshly punishing players for failure on the first try doesn’t win respect for your game. I don’t mind trying a boss fight over and over until I can figure out how to win, but that’s if I can start over right at the boss if I fail. If I have to start all over from the beginning, that’s not only frustrating, it’s my time. Making the game difficult artificially is like those teachers who refuse to give A’s in their class because they seem to believe it makes them a good teacher if no one is acing the class. Just because your game is insanely difficult doesn’t mean it’s a good game.

Tips to Game Developers (part 2)

With incredible improvements in technology over the last few decades, games have become so impressive visually that some of them are almost indistinguishable from movies. Developers should remember, though, that realism doesn’t equal fun. Just like movie directors got caught up in the use of the boost in CG special effects in the 90’s, game developers can also get caught up in what they are able to include in a game. Some developers lose sight of what makes a game fun and instead focus on making it look incredible with astounding amounts of detail, realistic physics, and full-motion acting. There are some games where player involvement is minimal and simple, with button-timed events and possibly a few choices available to make along the way. A game needs to empower the player to feel like he/she is making a difference in the game world each step of the way, rather than having a small vote during a mostly passive experience. Other problems can occur when developers add in things that detract from the overall fun. For instance, it’s seldom fun when a game character has to interrupt normal gameplay and search for food so his steadily draining health doesn’t reach zero, just because he needs to eat at regular intervals.

Tips to Game Developers (part 1)

Last week I talked about some of the struggles game developers have in the gaming industry. What is the answer for game developers? It sounds simple: Make great games! But this is much easier said than done, and many who try will fail. However, I think there are a few essential elements that are necessary for a game to have a chance, and though some games have done well without a few of these, the chances of success are notably increased if they are present. Many gamers have full-time jobs, families, or are busy in school, so they might not be able to sit down with the same game day after day. They might play several different games before they get back to your game. Games that don't allow save-anywhere but require large chunks of time investment to get to a “save point” are less likely to appeal to busy people. If your game doesn't include solid save options and quest logs to point a forgetful player in the right direction when they get back to your game, it will likely be abandoned. Those of us who have spent money on a game and faced this now scout reviews for indications of these features in your games. It can be a deal-breaker.

The Tides of the Video Game Industry (part 5)

What can a game developer do? Gamers look beyond the game itself, considering not just the genre/type of game or how it looks, but also how it stacks up against other games being released, how many hours of content it boasts, how large of a file size it is, and of course, price. As a consumer, I end up mentally assigning a price to a game I'm looking at based on how it appears to compare with other games I've seen and/or played. Even if the game is something I'm interested in, if my mental price-tag says the game is only worth X-amount of $, I'm not going to consider buying it until it hits that price or lower. The crazy thing about this is, sometimes we're only talking about a $5 game! It's ridiculous that someone wouldn't be willing to shell out $5 to try something new, but because there are so many other options available, and because this stuff adds up, gamers exert a self-discipline that emerges from the judgment of what they think the game is really worth, and they won't budge until it hits that price.

As a game developer myself, I know the difficulty of pricing, because to remain profitable--or at least recoup the money originally invested in making the game--the product sometimes needs to be priced out of range of what others might ascribe as “fair.” The gaming community usually doesn't think about the difference between small, independently produced games and games produced by huge companies. For that matter, the gaming community also doesn't consider the difference between crowd-funded games (and the quality boost crowd-funded games enjoy) and those that are independently funded. They bring their judgments of a “fair price” from their total game purchasing experience, which includes all of the above. Surviving in this industry is a precarious and volatile existence. Next week, though, I'll talk about a few things that are likely to give game developers a boost in their chances!

The Tides of the Video Game Industry (part 4)

One trick that indie-game companies use is a stealth fake-out approach. They don't let anyone review their game before-hand. They are very secretive about their game--you may have never even heard of it until you see it available on release day--and they use flashy advertising with amazing-looking art or even feature an attractive woman somewhere in the game art or in a screen-shot of the game. This approach relies on impulse buys, where gamers see that the game isn't too expensive, the art catches their attention, the description sounds cool, and maybe it looked good from a few screenshots or limited videos of gameplay that were strategically released online. Thankfully, most online stores have rating systems that buyers can use to rate the game they bought, and most gamers will come back and rate a bad game with low marks to warn others away. But often, it's too late—the developers have made the sales they needed on that first day before the reviews came out, and if you're not wary, you might end up buying another bad game someday by the same developer if you forget your first experience with them!

The Tides of the Video Game Industry (part 3)

You may have a gamer friend that you've tried to convince to get a game you like, and your friend responded with something like, “I've already got a huge backlog of games I bought that I haven't played yet.” I remember a few weeks ago there was a sale online and I bought 3 different games for a total of $11 for all three. These three games used to be priced at $60, $30, and $20. I haven't solved any of them, but I do put a little time in on one or the other once in a while at the end of a work day, if I'm in the mood. Two of these games were indie-games, and they were released less than a year ago, so seeing such a huge price drop made me think about indie-developers and how they survive. Like the big game companies, the indie companies rely heavily on the sales of the initial release week. Unlike the big game companies, though, they don't have huge marketing campaigns with tons of money to hype their game. Sometimes, they'll be lucky if they're even noticed among the 10 to 20 other indie games being released that same week, and they'd better hope they're not going up against a major game title put out by a large developer!

The Tides of the Video Game Industry (part 2)

One thing that major developers are doing to avoid being lost in the crowd is something they've always done—push their product with huge marketing campaigns. Developers know that the first week of release is the most important, because within a week there are other new game releases that might distract potential buyers away from a purchase. Reviews also come out lightning-fast these days, so quick that often a review can be found online the day before (or even earlier) a game is released. Some of this is because companies send advanced copies out to reviewers hoping to increase their chances of good sales on release with positive reviews. Of course, there are always a few reviewers that put out positive reviews because they're being paid to do so, but for the most part, you can find a good selection of reviews on a big title around the release date. Another thing big companies are doing to avoid losing their initial release sales is the offer of pre-order bonuses. If you pay for the game before it hits the shelves (or online stores), you get extra in-game items and sometimes things like artbooks, plastic figures, CD's with soundtracks, and other physical swag. All of this is being done to ensure stellar sales at release, because gamers are easily distracted by the wide array of new products that are available, and the lower prices of indie games can easily lure people away from full-priced releases by major developers.

The Tides of the Video Game Industry (part 1)

The video gaming market is a lot different than it was a few decades ago, though that goes without saying. However, beyond the obvious changes that advances in technology have afforded developers, there is a new factor that has become much more prominent and continues to grow with each passing year. We now have access to such a vast selection of games for quick download that it isn't uncommon for a gamer to have a library of hundreds of games, many which have been played for an hour or two and then quickly forgotten. With games available as digital downloads, some even find themselves deleting unfinished games to make room on their hard-drives for something newer they'd like to try out. The “shelf life” of a game these days is extremely short, and it's rather common to see even major game titles going on sale only a few months after release. How are gaming companies handling all this, and how has the consumer influenced marketing approaches?