Civilization V: The Swedish Saga, part 6: The Epic Conclusion

My friends!

My friends! Gather 'round the fire and prepare to hear an epic tale that spans the entirety of human history! I've finally finished chronicling my progress in Civ V's Gods & Kings expansion, as part of an ongoing feature every Wednesday. Last week, the Norse Democratic Union (my socialist republic that grew out of the unification of Sweden and Denmark) trounced Greece, ending a massive world war and setting us on the path to victory.This is the home stretch, but we're not out of the woods until we're literally out of the woods. On a spaceship. Will... we... go... all... the... way? Read on to find out, and learn what game I'll be playing for this column next!

Need to get caught up? Here's Part 1, Part 2, Part 3, Part 4, and Part 5.

Brian Provinciano is probably the only developer on the planet who's planning to release a game for MS

-DOS this year. If he has his way, he'll even be shipping it out on actual floppy disks. "That's what I'm working on now, and that's kind of why it hasn't come out yet," Provinciano told me earlier this week when I phoned him up to ask how in the hell he's porting his 2D topdown open-world driver/shooter Retro City Rampage to MS-DOS in 2015.

How 5 years of burning ambition brought Retro City Rampage to DOS

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to MS-DOS in 2015. "I've got the digital version ready to be released, but I'd like to release it side-by-side with the floppy version."

Provinciano's passion for programming is well-documented, as is his love of retro hardware. Retro City Rampage was famously inspired by the 8-bit "demake" of Grand Theft Auto III that Provinciano coded in 6502 assembly language for his own homebrew NES hardware.

From there, he was inspired to create RCR and port it for a simultaneous multi-platform launchin 2012. He went on to crunch RCR back down into an authentic 8-bit game that could run on NES hardware, seemingly just for fun. Now, after "half a decade" of dreaming about it, he's done the same thing to bring it to DOS.

" It was a real passion project," he told me. "People ask me why I don't make the time to port to Wii U or something like that, and honestly... porting to Wii U is mostly paperwork and certification and platform requirements and error messages and that kind of stuff. It's not the cool, fun puzzle-solving project that this DOS version was. This was really for fun, and for personal enjoyment."

It also afforded him an opportunity to dig into contemporary development for MS-DOS, a challenging and idiosyncratic experience that fellow developers may find intriguing. With that in mind, I've gone ahead and published an edited version of our conversation about the ins and outs of releasing a DOS game in 2015.


So why port Retro City Rampage to MS-DOS? Seems like a big timesink, especially when you say you're also working on a new project.

Right, but this was something I wanted to do years and years ago. It was one of those things where...well, you can't really make money doing it, and not a lot of people will get to play it, and all these other factors make it just not exactly the smartest move to make.

But then after several years of development, once the game was out and had been ported to so many platforms, I decided to take a vacation! ... That vacation turned into porting the game to MS-DOS after all.

So I mostly did the port in January and February, and since then it's just been kind of sitting there. A bunch of things got in the way of putting it out, like doing the PlayStation Vita retail version and stuff like that. But now it's finally going to be coming out soon.

Also, the game itself was pretty much ported to most of the platforms as-is: PS3, Xbox 360, Wii, PC, so on and so forth. Every mission was the same, and so forth. But when I later ported it to 3DS, I did have to really dig in there and optimize the heck out of a lot of things.

As a result, in the end I ended up having a much more optimized version of the game, and that was when the light bulb really went off and I realized I could take it one step further and bring it to MS-DOS. The hilarious thing was, once I actually did the MS-DOS version I had optimized the game even further, and I could back-port those optimizations to 3DS and update the 3DS version so it runs even better on that hardware.


How exactly did you optimize the game for 3DS, then, and in turn for DOS?

So on 3DS, there were a lot of things I had to deal with, both memory- and performance-wise. Doing a new renderer, for example; originally the game was 100 percent software rendering because that's easy to get to do what I want, it's portable, and it runs on anything.

But when it came time to do 3DS, I had to use a bit more of the hardware rendering and rework the memory usage, because on other platforms you just have so much RAM that you can just load everything into memory at once. Load all the sound effects uncompressed, shortcuts like that. But on 3DS I had to really....play Tetris , with a lot of the memory usage, and also rework the game to use a new HUD, use both screens and have a lower resolution. I had to implement all sorts of camera panning and stuff like that, because the screen had to be cropped.

So I guess part of it would be actual memory and CPU performance optimiziation, but the other part was adapting the game to take advantage of both screens. And it took many months to do the 3DS port, but it ended up selling incredibly well on that platform and was worth every minute of work.

When it came to MS-DOS, the big thing there was that I really had to page things in and out. I really couldn't have much loaded at once, like at all. So when you're talking about going to the pause screen to the cutscenes to the main game, I was loading in and out different graphical assets, whereas on other platforms I could just have them all loaded together.

The big thing was, I had to chip away at things to see exactly how low I could get the minimum spec -- how little memory usage can I get, both RAM-wise and in terms of the actual file size. The challenges I had were...I was able to chip away at things pretty well and get things down by chipping away at the big things, you know?

Like saying 'oh this file is inefficient, I can figure out a more efficient way to do that,' and then you chop off like sixty percent of its footprint or whatever. But then I got down to where the game was really close to being 4 megs of RAM, and also where it was really close to fitting on a single floppy disk as an executable installer file.

So that's where I faced the biggest challenges: when you've got to get your game down to 1.38 megabytes to fit it on a floppy, and you've got it down to 1.52, well....let's just say it took a very long time to get rid of that last few hundred kilobytes.


"It was this burning ambition that had been on my mind for at least half a decade, that I finally got to scratch."

And the RAM part is complicated as well; DOS machines have the 640 kilobytes of base RAM, and then they've got the extended RAM. So you've got to do separate allocators, so that if you want to take full advantage of all the RAM, you can't just use your normal allocation, because it won't give you access to the bottom 640K. To get access to that bottom 640K of RAM, I had to do some additional, separate allocations work.

It was fun, though. A few things that were neat about it were, unlike the NES, which is something I picked up as a hobby and started teaching myself, I was actually programming DOS stuff in the '90s. It's interesting to now go back to a "retro" platform, but one that I'd actually worked on....well over 15 years ago, I guess? So it was really satisfying to remember how interrupts work, how to do DOS graphics, and all the little tricks I'd learned.

It was funny also because there just isn't a lot of DOS stuff that was well-documented; on current platforms you just look at the developer documentation, and it spells everything out for you with sample code. With DOS, a lot of stuff is just forgotten; you might find some stuff through Google, but not a lot of stuff. I ended up having to go through this old, old book that I'd saved -- I'd thrown away most of my old, obsolete programming books -- and I was actually able to use that to figure out how to do things like trigger interrupts to play sounds on the PC speaker.

The problem again, with fragmented lack of documentation, is that when you don't have a cohesive thing like MSDN for your developer documentation, you don't always know whether the information you've found is accurate. I found that a lot actually, first-hand, that a lot of DOS development information is inaccurate, just random people posting code in random forums that actually doesn't work properly.

So having to kind of second-guess a lot of solutions you find online, and having to read through this old spotty documentation to figure things out, was one of the biggest challenges.


What did you get out of this? There's little to no commercial value here, right?

Right. It's one of the reasons I held off on doing it for so long -- there's no commercial value to it! But then I finally told myself "You know what, I"m going to take some time off" and then sure enough, that time off turned into working more on RCR -- just on a non-commercial aspect of it.

Really for me, I've loved this type of stuff for years. To me, it's kind of like Tetris or Sudoku -- it's really just a puzzle. To me, programming and code is like playing a puzzle game, and so it's really satisfying, especially when you start to get close to a solution or you figure out how to optimize the heck out of something and you're just like 'Wow! I didn't see that!"

One thing that was super-gratifying about it was the fact that I really crunched the game down to fit on 3DS; I did all this crazy optimization work, and when I went to port it to DOS I thought I'd hit the limits of optimization on this game, and then I realized "Wait a minute, I can optimize this and this and...I've barely scratched the surface!"

A shot of the game running in MS-DOS on an emulated 486.

You start to think differently, using a different part of your brain or something, and you crunch the game down way more; that's super-satisfying. I took RCR down from using, I don't know, maybe 128 MB of RAM, to 54 MB of RAM, to like 4 MB of RAM.

Before this I worked at other studios and I did emulation for PSP and stuff, and that was a really fun struggle too. That's always been an interest of mine, and to me it really is just like solving a puzzle.

Also, in the back of my mind, I always have those ambitions that are scratching away at me. "I really bet I can get this down," I think. "I really think I can make it fit, make it run on a Pentium 386 or something." So it was this burning ambition that had been on my mind for at least half a decade, that I finally got to scratch.


Your passion for programming as a puzzle reminds me of the impetus behind Zachtronics games like Infinifactory or TIS-100 .

Yeah, I was just so excited when I heard about TIS-100 . It's one of those things I thought no one would ever make, and the fact that people are loving it and it's found an audience...it's just the most amazing thing. I'm sure they also did it for fun, and less for commercial value; it seems so niche at first glance.


I think this makes you...uniquely qualified to talk about the practical implications of releasing a game for MS-DOS in 2015. What's that like?

For the digital release, I'm planning to release both the flat files that people can run with something like DOSBox, and I'm looking into wrapping the game with DOSBox as well, so people can just double-click the executable and go.

There's also FreeDOS, which you can install as a bootable USB key, and that's the most exciting because it's how I did a lot of testing. You install DOS as a bootable device on a USB stick, copy the game to it, and you can pop it into any new computer (as long as it has "Boot from USB" enabled) and then BOOM -- within seconds, you're in DOS and running the game on the actual hardware without having to modify your machine. That's how I did a lot of testing -- I kept a little netbook on my desk and popped a little USB stick into it to test things.

There were some issues, too -- the game runs 100 percent perfectly on DOSBox, but during development there were a few issues, specifically with timing, where things would work in DOSBox emulation but not on actual hardware. So it was important to me to test the game on actual hardware via FreeDOS.

So yeah, at minimum I'll be releasing the flat DOS files, but I'd really like to do some sort of wrapping as well with either DOSBox or FreeDOS.


Are you gonna find someone to make you an actual floppy disk too?

Yeah, I've actually sourced somewhere that will make actual floppies. The bigger challenge, and what I'd actually like to do, is to release an actual box with the floppy and all that. If it was a matter of just releasing floppies I could get those out pretty quickly, but trying to source a box and everything -- well, each additional piece I try to source makes things a little more complicated. But I think it's worth doing.


Did you have to cut anything from this version of the game?

Yeah, I had to cut some small stuff out. It has all the missions and so on, but I did cut out some of the extra characters you can play as (like Meat Boy) and some of the minigames, like the pseudo-3D minigames.

There were two reasons for that: some things needed more performance optimization and it was good to cut them, but the bigger thing was, because I wanted to get the game to fit onto a single floppy, I ended up cutting some extraneous stuff out that I didn't absolutely have to cut out just to make the game fit on a single floppy.

I also wanted to look at what machines were available back then, and if it was really really uncommon to say, have a 486 with 8 MB of RAM or something, it's kind of not 100 percent true to the spirit of the thing to let myself make a DOS game that requires 8 MB of RAM. So that's why I cut some of the extraneous stuff; but I still got like 99 percent of the game in there.

'

Great, thanks for your time! This is a fascinating project.

Sure, yeah. I can actually talk a bit more about some of the optimization stuff, too, if you want. I kind of rambled a bit there.


Okay, sure.

Getting started, I had to figure out a good compiler to use. When I was younger I used mostly the Borland C++ compilers, which I just loved back then. So I started playing with them, but going with Borland....there are challenges. And ideally I didn't want to have to do my coding in DOSBox or something, because some of these are built for Windows 3.1 or whatever, and some of them didn't support templates properly. The biggest problem was filenames, actually; a lot of the older compilers don't support anything beyond the 8.3 filename, so a lot of my files are just long names and they just wouldn't work.

So even just finding the right compiler was a big challenge. Then I ended up finding Watcom's C++ compiler, which is not only free but also works great on new PCs and is open-source. That made it even better, you know? Because even with Borland Turbo C++ 2006, that doesn't work properly on current versions of Windows. Visual Studio 2003 doesn't even install properly on new versions of Windows! So when you're going back that far, you have these basic issues with like, compiler compatibility. So finding a compiler that could do DOS and that I could actually install and use was a huge challenge.

So that was a big win, once I finally got Watcom going. The other strategy I used was to keep, in parallel, a simplified Windows version with the DOS version. So as I stripped the game down for DOS I also maintained a Windows version, and that way I could still use the current version of Visual Studio to do the building, the compilation and the debugging.

Only specific stuff, for the most part, like the PC speaker code and the rendering code and some memory stuff, was DOS-specific. Everything else was pretty much the same. And in the process I also had some fun making a Windows 3.1 version and a Windows 95 version also, though I haven't finished them quite yet.

GDI, the DirectX predecessor, was just really inefficient, you know? So you run the DOS version of RCR and it's great, runs perfect speed. Then you run the Windows 3.1 version and it just chugs, requires a much faster machine to plot those pixels.


How long did this take you, all told?

I'd say about a month and a half of work.


Think you'll port the game to any other platforms after this? Atari, perhaps, or the Turbografx-16? Game Boy?

Not really, there aren't any plans. It was a real passion project. People ask me why I don't take the time to port to Wii U or something like that, and honestly, porting to Wii U is mostly paperwork and certification and platform requirements and error messages and that kind of stuff. It's not the cool, fun puzzle-solving project that this DOS version was. This was really for fun, and for personal enjoyment.


Anything you've learned from this you'd like to share with your fellow developers?

One of the things I'm a big proponent of is maintaining a Windows build, just because the debugger is easy to use and it's such a comfortable environment to work in.

So even way back when I was doing Game Boy Advance programming, I tried to keep a Windows build of games I was working on; most of these other platforms, like DOS, have really poor debuggers. And since a lot of your code won't be DOS-specific, if you debug it using something you're comfortable and familiar with, you'll be much more productive.

So I think the time that it takes to maintain two renderers, two memory managers, and whatever whatever, it balances out by allowing you to use a better compiler and better IDE for your work.

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Indie Intermission – ‘Star Guard’ A Blast From The Past

Hello everyone and welcome to Friday, I’m sure you’re all happy to make it to the weekend and with the weekend comes the final free game of the week, today’s pick is Star Guard from Vacuum Flowers .

Star Guard is a very well created retro shoot em up that has you battling through hell to save the princess in this low-res sci-fi adventure. Although the initial story is quite lacking the game keeps you informed as you move through the levels by projecting text into the back ground filling you in to what has been happening in this far-flung corner of space.

The graphics and sounds really hark back to the early days of video gaming making for a very fun throw back to a simpler time in gaming. Star Guard is a very well put together game that may only suffer from the fact you can die countless times, and it does not even impact on your game progress.

Average play time – 20 minutes

Star Guard is a very interesting little game that manages to encapsulate video games from days gone by so well, showing these style of games still have a place in the modern day graphics heavy market.

Be sure to download Star Guard free now.

If you are a developer with A fun indie game that can be played over a coffee break, we want to hear from you! Private message us on twitter @IndieGameMag or shoot us an email at editors@indiegamemag.com with the subject “Indie Intermission” and you could be our indie intermission pick of the day!

Civilization V: The Swedish Saga, part 3 (1702 A.D. to 1868 A.D.)

My friends!

My friends! Gather 'round the fire and prepare to hear an epic tale that spans the entirety of human history! I'm in the middle of chronicling my progress in Civ V's Gods & Kings expansion, with a new entry every Wednesday. Last week, my Swedish civilization plowed through the Middle Ages and the Renaissance. Now, with my lines of muskets and cannons on the move for Austria, war on a scale not yet seen by my people is set to commence. Read on, as the sound of gunfire echoes across the continent!

Missed the start? Here's Part 1.

Updated: EA confirms "new Battlefield experience" for next year

So, I forgot how financial years work. Because of reasons, Q3 FY 2017 is, in fact, holiday 2016, meaning those two games are one and the same - a new Battlefield game coming next year. That still leaves the question of what a "new Battlefield experience" actually is, so let's pretend that was entirely my point in the first place. ORIGINAL STORY: You may have seen some mention floating around today

Indie Intermission – ‘Diren Teyze’ One Aunt On A Mission

Today I pick yet another game from the GeziJAM , a game jam all about the Turkish protests that have been happening recently.

Diren Teyze is a rather interesting game created by Engin Ünsal and Efe Alaçamlı .

Diren Teyze is a very interesting game that shows the other side to the protest, a side sadly present in all protests and often a side that overshadows the real meaning of the protest.

Diren Teyze (Aunt Resistance) was sitting around watching the TV when she was interrupted by the noise coming from outside. When she looked outside she couldn’t help but notice the provocateurs damaging her apartment along with many others along the street.

So taking to the streets she decided the only reasonable thing to do would be to clean up the streets one person at a time. It is up to you to go out and prevent any more damage occurring by enforcing the law.

Diren Teyze is controlled by you pressing the correct keys on the keyboard that correspond to the letters above the person’s head, very much in a guitar hero style.

Average play time – 2 minutes

Diren Teyze is an interesting little game that highlights some of the more underlying issues with the protest and it manages to do so in a rather fun and non-serious way.

Diren Teyze can be played onlinenow. If you would like to find our more about the GeziJAM head to the official site.

If you are a developer with A fun indie game that can be played over a coffee break, we want to hear from you! Private message us on twitter @IndieGameMag or shoot us an email at editors@indiegamemag.com with the subject “Indie Intermission” and you could be our indie intermission pick of the day!

Is this real life? There's a new GTA 5 photo realism mod and it's incredible

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Children of Morta Offers Rogue-Like Action

Already stirring up the scene with its lovable pixel art style and exciting gameplay concept is Children of Morta , a Rogue-like RPG.

, a Rogue-like RPG. On Mount Morta, a corrupt god in a fit of rage has cursed the creatures of the land, mutating them into frenzied, rabid beings. Players assume the role of the Bergson Family, a group of guardians of the land who set out to fix the problem before it gets worse. Getting to the summit where the god lost his sanity proves difficult of course, and there will be legions of insane creatures to slow them down.

Choosing a member of the family who each has a different specialty or weapon (a little reminiscent of Legacy of the Wizard for the NES, if anyone here remembers that ancient relic), players set out to fight, hack, and slash their way through hordes of enemies lining up to take them down. PC, Mac, and Linux gamers can enjoy dungeon crawling and fighting all while experiencing an involved narrative that moves the story along like a dark cloud overhead. Still early in development, the game already has a defined art style that’s attracted many future players anxiously awaiting its Q3 release in 2015. A Kickstarter campaign is planned for launch next month in January, as the developers prepare more game content through the holidays.

Children of Morta , developed by Dead Mage, can be found on Twitter, their dev Youtube, website, and Tumblr.

Civilization V: The Swedish Saga, part 4 (1868 A.D. to 1951 A.D.)

My friends!

My friends! Gather 'round the fire and prepare to hear an epic tale that spans the entirety of human history! I'm in the middle of chronicling my progress in Civ V's Gods & Kings expansion, with a new entry every Wednesday. Last week, the Industrial Era saw my Swedish Empire and its Grand Army march from sea to shining seain the pursuit of bringing lasting peace to the world. Despite our best efforts, however, it seems that world war is just on the horizon. Read on, as the next 100 years will change the world more than any century that came before!

Need to get caught up? Here's Part 1, Part 2, and Part 3.

Civilization V: The Swedish Saga, part 2 (430 A.D. to 1702 A.D.)

My friends!

My friends! Gather 'round the fire and prepare to hear an epic tale that spans the entirety of human history! I'm in the middle of chronicling my progress in Civ V's Gods & Kings expansion, with a new entry every Wednesday. Last week, I started a new game as Sweden. This week, my Swedish civilization marches into the Middle Ages as the most technologically advanced nation in the world. But threats to the glorious empire wait around every corner... so read on to see legends unfold!

Star Wars Battlefront's Battle of Jakku teaser sets the stage for The Force Awakens

The teaser I'm about to show you isn't technically for Star Wars Episode 7: The Force Awakens, but you're going to want to watch anyway. Because this footage is from Star Wars Battlefront 's free DLC The Battle of Jakku, which can serve as your own personal prequel to Episode 7. Take a look: If you're not familiar, the Battle of Jakku was a large-scale skirmish between the newly re-formed Republic

Why I Make Games

The following is written by Robert Nurse , an indie developer that creates his own no-budget titles at Netherscene Games.

, an indie developer that creates his own no-budget titles at Netherscene Games. In addition to his indie development, Nurse is also a professional performer, and has danced with many Pop groups and in Musical Theater. He recently finished a performance in Andrew Lloyd Webber’s ‘Starlight Express’ in Hong Kong and Singapore, and also works as a personal trainer and dance teacher.

Nurse writes about what inspired him to become an indie developer and the long road he took to get there. You can follow Netherscene Games on Facebookand Twitter, and also check out a full list of their purchasable games on the Amazon Store.

For many years now I’ve had aspirations as a screenwriter. I’ve written the first pages of countless stories, bought all the books, formatting software, planned on index cards and eventually completed two full scripts and a handful of scripts for shorts. I like them. No one else was interested. I decided the best option would be to actually make them myself.

Spurred on by Robert Rodriguez’s “10 minute film school”  and the early exploits of Chris Nolan and Bryan Singer, i delved into the literature of “Lo-to-No budget filmmaking”. I concluded  that it was definitely doable. I could start with one of my shorts, single location, cast of two, practical lighting. I write and record songs too, so i have a decent microphone and a multitrack digital sound recorder. I could shoot on a borrowed digital camcorder and my own digital camera that shoots passable video. Sorted.

Never got around to it. I could never find the time. If  I had time, no one else did. The prospect of it taking months, or longer, to shoot a five/ten minute film killed all motivation for the project.Impatient, i know. Previously, to practice editing, I had filmed myself doing a couple of scenes, and contemplated that as a viable solution to the scheduling issue.

However, my songwriting, singing and screenwriting may be o.k., but my acting is dreadful. So for anything other than editing practice, that’s a no-go. I had what I’d consider to be a viable product, but no medium into which I can distribute it.

On the back of a BBC Writersroom competition I wrote a radio script. A short horror  story with lots of nice sound description and a nice twist. No joy for the competition, but again, here was one i could do myself. Never got round to it. It just takes too long.

When I am on a roll, I can write and record a song in a couple of hours. It’s not polished, but i can have drum, bass, keyboard, guitar and vocals down. I can listen to a complete version and build from there. The gap between idea and rough product with film was just too great for my liking. I have lots of ideas. I have notebooks and cassettes and mini-discs full of songs, lyrics,chord progressions,and bits and pieces. Have an idea, get it out.

Although i wasn’t familiar with the term at the time, I was looking for a visual medium/platform with a development process amenable to fast “iteration”. Try it, like it, keep it, don’t like it, change it, try it, repeat. I can identify an idea that will result in a finished product if I can cycle through that process a couple of times, and I can drop things I am not going to finish. If that process takes anymore than a day, then I am wasting the little free time i have available.

I was c hecking the the BBC Writersroom site again one day, and I saw a posting from a production company seeking scripts with the scope to become multimedia productions. Expanding into graphic novels,  games and t.v. as well as film. My first feature script fit the bill perfectly, I thought. I’d already sketched some storyboards for it and had briefly contemplated drawing a graphic novel version myself as a calling card , but I reasoned that it would take far too long. But that got me thinking about an ad i’d seen on Youtube for a game development program called Unity3d. It said it was quick, relatively easy and best of all they’d just made it free ! I decided I had best check it out. So I clicked a link and downloaded it.

At this point i was thinking it would be useful as a kind of pre-visualisation tool. Upon further inspection, i found it was just what i was after. I had a controllable camera, I could throw some blocks into a scene, and have a character  move around and see what was going on. This was perfect.

I studied Unity, studied some javascript, got carried away and forgot all about pre-viz. If someone wants a script to make into a game, why don’t I  just make the game itself?  After all I’ve already got the script. About a month later I had a playable first level of a game based on my own script/story. The script itself is a kind of race against time, an open world adventure, which lends itself to level based gaming. Best of all, Unity was fast. Exactly the quick iteration I was used to when it came to writing or thrashing out some chords on a guitar.

Of course there’s a learning curve, as with anything, and that learning curve finally stalled “Split-City”, as my first game was  called. My code was, and probably still is, awful and messy, but I’d learned to use a powerful new tool. I had a forced break of a couple of months, and when i came back to it I decided  to build something more manageable. No longer thinking about a film tie-in, just build a game. A simple game to help me learn more about Unity. “Balls and Walls”. Ball drops, hits a drag and drop platform or two, hits or misses the goal. Nice little level. Then two, three, eight. I sort of had a whole game. Sound effects, music, everything. And i liked playing it too. Cool. Then i had a break of nearly a year from Unity.

When i finally got back to it I had to re-learn pretty much everything, but I was now  armed with a new Android tablet. So far I’d only played my games in the Unity standalone player on my laptop, now I could progress to the next level and export to an external device. The Android and iOS Unity basic licenses were reduced at this time, so I  bought them, downloaded the Android SDK ,latest Java versions and set to work building my first Android game. It took about a week to get it tweaked and onto my tablet playing nicely, but there it was. A game I’d made up, built and shipped to an Android tablet. Brilliant. Now i started thinking about getting it into the marketplace.

If i was going to actually release “Balls and Walls” it’d need a fair bit of polishing. I’d actually built it in 3d which was completely unnecessary,so i swapped the camera to Orthographic, jiggled it around a bit and it was much easier to play touch-screen. It still looked a bit rough though.

I then discovered “GIMP”, the open source, photoshop-type image editor and started playing with that to create some graphics assets and once again got sidetracked.”Balls and Walls” got left behind and I was onto “Mind the Gap”.

“Mind the Gap” was inspired by a plan I had to write a spec script for the Steven Moffat TV show “Sherlock”. The script was inspired by a logic puzzle I’d devised about the London Underground. I got some nice cover-art done in GIMP and built a simple little boardgame type of game. Roll dice, move, race an AI to targets. Undoubtedly my best-looking game so far and very playable, if simple.But the AI scripting was a nightmare. Again, this was mostly due to my coding, I suspect. There were no algorithms or formulas, just nested “if” statements for each AI turn. Mind-numbing to write and frustrating to debug. I’d planned to add a two-player option to the game, but couldn’t figure it out, and needed to extend the layout/board to expand the gameplay, but couldn’t face the AI.

Another game stalled.

As respite from “Mind the Gap”, I started scribbling ideas for another game. “Killer on the Loose”. A kind of “Cluedo” meets “Battleship.” This was the first time I really planned a game. I was at my girlfriend’s and away from my laptop, so I couldn’t just start building.  Instead, I wrote notes, talked gameplay with her, fine-tuned scoring, devised bonuses/hazards, and we played pen-and-paper versions. I had it pretty much mapped out in a couple of days and when I got home I had it finished in about a week.

I’d planned to have some in-app payments for extra levels in there, but couldn’t get my head round the Apis. The online leaderboards and achievements went the same way. Ultimately, it’s a single player game with no online functionality. There is a lot of gameplay in there, but no external challenge or means of comparison or bragging. It was hardly going to set the world on fire. But, it was my game and I should at least give people the option of playing it.

The best way to learn to do something is to do it. I didn’t know how to get a game into the Android Marketplace and onto Google Play, so I found out and did it. As i said, I’d planned to do in-app purchase as a monetization strategy, but couldn’t, so I went for ads instead. Unfortunately I couldn’t get them to work in “Killer on the Loose”. So my first game was out. Released. In the marketplace. Ready for download. Unsurprisingly no one noticed. I suppose it’s quite a rarity these days. A mobile game that’s free, with no ads, no in-app purchase and no network requirements. What it’s also got is practically no one playing it.

But that isn’t the point. The point is there’s a handful of people in America, Singapore, India and Europe who are playing a game I created from scratch. That one and the three, so far, that followed it. They’re playing for free, but, I made them for free. Four games finished and released in just over a month. That month has taught me an awful lot. And that will stand me in good stead for the next lot of games.

I’m currently rebuilding “Killer on the Loose” as an online multiplayer. Barring any mishaps i’m aiming to turn that into a mini franchise and finally incorporate some proper monetization. Then it’ll be time to finish “Mind the Gap”, now that I’m getting the hang of networking and can bin the AI.

And t hat’s why i make games.

It’s fun. It’s free. It’s creative. And it’s great to think someone on the other side of the world, who’s never heard of you, can stumble across your game and enjoy it.

Civilization V: The Swedish Saga, part 1 (4000 B.C. to 430 A.D.)

My friends!

My friends! Gather 'round the fire and prepare to hear an epic tale that spans the entirety of human history. I've been posting weekly chronicles of my progress in Civ V's Gods & Kings expansion, and this week begins a totally new game with a totally new civ -- a follow-up to my previous Celtic Chronicle ( Part 1, Part 2, Part 3). Read on to see legends unfold, world powers rise and fall... and maybe I'll even win this time! Let the Saga begin.

Game Design Deep Dive: The Functions of Transistor

Game Design Deep Dive is an ongoing Gamasutra series with the goal of shedding light on specific design features or mechanics within a video game, in order to show how seemingly simple, fundamental design decisions aren't really that simple at all.

Check out earlier installments on the tutorial systemin Rogue Legacy and the rhythm mechanics at work in Crypt of the NecroDancer .

Also don't miss these developer-minded looks at the movement systemin Road Not Taken and Amnesia 's "sanity meter" from earlier in our ever-growing Deep Dive archive.


Who: Amir Rao, Studio Director at Supergiant Games

Hi, I'm Amir Rao, studio director of Supergiant Games, the team behind Bastion and Transistor . Here I wanted to tell you about how we developed Transistor 's function system, one of the more involved features in the game, and something we kept under wraps through most of development – mostly since we weren't sure how it was going to turn out!

Transistor was our second game, released in May of last year. Supergiant started in the living room of my dad's house in 2009. We recently celebrated our five-year anniversary and are now eleven people working out of an office in San Francisco, CA.

Prior to Supergiant, I was a level designer on Command & Conquer 3 and Red Alert 3 at Electronic Arts where I met Supergiant's co-founder Gavin Simon and our Creative Director Greg Kasavin. The game design process described below represents a close collaboration between Gavin, Greg, and me with input from the entire team.


What: The Function System

Transistor is an action RPG in which you can unlock 16 different abilities (called "functions" in the game) that can be combined in different ways to create thousands of unique combinations. Experimenting with different function combinations to find the ones that speak to you as a player is at the heart of Transistor 's systems design. And, it all came in a sort-of-roundabout way from one place: Our love of collectible card games.

Before we wanted to design an ability system about encouraging experimentation, we were more fervent in pursuing the opposite: We wanted a system that prevented players from forming early or rigid attachments to particular abilities. Rather than 'encouraging experimentation', we intended to make it not possible to go through the game using the same skills over and over from encounter to encounter.

Our favorite model of how this could work was from Magic: The Gathering, where typically you know all the cards in your deck but you're not sure how they will be drawn and in what combinations.  You have a mental model of the perfect cards to play, and the pleasure is in the anticipation and progress towards that over time, as well as the improvisation around having to make do when the luck of the draw doesn't go exactly as you hoped.

A lot of our early experimentations focused on randomness. Imagine a game where you have a 'deck' of various abilities, upgrades, and passive improvements that are drawn over the course of a game level. Over time you add new and powerful options to this deck. When you get to a new game level, you shuffle your deck and put yourself back together again, drawing out your options in a different sequence that creates new possibilities and gives you new ideas of how they might work together. This loop of localized power curves with an ever-expanding set of options was one of the original inspirations behind Transistor 's system design.

The card-game angle was so promising to us that we were obsessed with pursuing a model that combined randomness and accumulation. However, the critical design problem with every version of what we tried was shuffling. In a game of Magic, there's a context for why you re-shuffle: You've started a new game. But in a relatively linear narrative experience, finding a natural-feeling reason that your skills reset over and over proved difficult to justify.

It also was really counter-intuitive to tune, as the difficulty of the game had to reset every time the player shuffled. Our idea of these highly localized power curves where you'd draw up, get powerful, and then lose everything clashed with the kind of game we found ourselves making where the stakes were supposed to be getting higher as you progressed.

There is probably a game structure that better holds our original concepts – we just weren't interested in changing the kind of journey we wanted Transistor to be for the sake of a particular systems obsession. If you're curious how we find ourselves in these kinds of places, feel free to reference our year-long preoccupation with integrating gardening into Bastion .


Why did we move away from randomness?

Two key things radically transformed our systems design. The first was finding a shuffling mechanic that actually felt natural to us. In Transistor , every time your health runs out, you lose access to your highest-value function and end up having to proceed without it at least for the remainder of the encounter before it becomes available again. If ever you lose every function in your action bar (which can be up to four in total), you reload at the last checkpoint.

This 'slow death' might seem like a devious slippery slope, and perhaps it was for some players, but we found that it caused many players to try new function combinations as the ones they were relying on became unavailable for a short time. Better yet, they would often stick with these new combinations even after regaining access to their preferred combinations from before.

This system also gave players three chances to complete encounters without having to reset and retry the whole thing again. We liked how, by reducing the player's options for the remainder of an encounter, it tended to induce a more methodical playstyle.

The second key change that evolved the game was collapsing our 'deck' of functions down to a total of 16 by combining powers, upgrades, and passive improvements into one concept. Now, every function could be an upgrade to another function if you installed it onto the other. Or, you could install your function into one of your valuable 'passive' slots to improve your character. This meant we could create 16 strong concepts that one might see in action RPGs (like 'stun' or 'charm' or 'long range') and let players combine them in ways that felt empowering and creative ("I can create a powerful long-range attack that stuns and charms enemies in the blast radius!").


The Result

Previously, I said we were trying to discourage players from sitting on the same powers all game long and denying themselves a deeper and more varied experience. That sentiment came from a very 'eat your vegetables' school of game design that I think many developers can be prone to. You see a relatively natural path-of-least-resistance sort of behavior in your players that you want to discourage, so you try to design all the ways in which it will be thwarted.

Instead, we became more accepting of the idea that many players will be inclined towards familiarity, and instead tried to make a system with enough richness that those more-experimentally-inclined might spend time to figure out what combinations worked for them...and maybe it could convert some less-experimentally-inclined players along the way.

To further enhance this, we layered in a system that reveals more backstory about Transistor 's world and characters every time you use a function in a new combination. It helped reciprocate on player investment in both the systems and the story, without punishing those players who wanted to stick with what they knew.

You'll notice that while Transistor 's function system might let creative players come up with lots of combinations, it completely lacks 'investment' in the traditional sense of most RPGs, meaning you can't take your favorite function and make it level two or three or 99. In Bastion , you could dump all your currency into your favorite weapon to express your affection for it and make it even stronger.

In Transistor , if you love a certain function, you can combine it with other functions you're fond of, but you can't power-level it. We ended up with a system that concerns itself with pairs and trios and the relationship between them, which harmonized nicely with the rest of what we were trying to do in Transistor .

CITADEL VR Heads to Kickstarter

Winged Mind Studios is working on a VR genre that hasn’t yet seen many games released – first-person shooter – with Citadel VR , a scifi game that takes place on the space station CSS CITADEL.

The station had been holding prisoners of war, who escaped, and are now fighting for control of the Citadel. This riot has trapped the player and other members of the station’s crew, and so their job becomes surviving and, eventually, escaping. Being a virtual reality game, everything is controlled by the spatial controller – Oculus Rift’s “Oculus Touch,” or that of the HTC Vive, for example – and so most of the interactions in the game are achieved by player’s moving their hands in an approximation of what their actual hands might be doing in that situation. To unholster a gun, for example, the player would reach down and grab it off their in-game hip, and do the same for the magazine, which they would then manually slot into the weapon.

Citadel VR screenshot

Winged Mind Studios is seeking €32,500 (about $36,577 USD) in order to continue working on Citadel VR, and have a variety of reward tiers. The pledge rewards include everything from a thank you in the credits (for €5), all the way up to an all-expenses paid trip to the WMS offices, which will set one lucky backer back a paltry €7,000.

Those interested can back the game over on the Kickstarter page, and find out more about the game there, from the developer’s website, or by watching the video at the top of the page, which shows a demonstration of the game’s basics.

Civlization V: Gods and Kings gets a demo

Civilization V was a divisive game amongst fans.

Civilization V was a divisive game amongst fans. Some felt that the focus on combat had come at the expensive of other classic Civ features like Religion and Espionage. Two years on Gods and Kings, the first expansion for the game, is aiming to re-introduce them. Will it appease the fans? Well now you can find out, because Blue'sNewshas spotted a demo available on the Steam store.

Have any of you tried it out yet? What did you think? Does it live up to past glories? Our review will be with you soon.

Screenshot Weekly – The Night Space Badgers Stole Our Deadly Props

Welcome back to Screenshot Weekly !

! Every Tuesday, IGM brings you exclusive looks at upcoming games in various stages of development. The featured image introducing each game will always be original, and made especially for IGM, so you’ll see them for the first time right here (make sure to click the pics to see them in their full screen glory)! Without further ado, let’s take a look at this week’s screenshots:

Cosmic Badger

Cosmic Badger sounds like an awesome 90s cartoon that we’d still be begging for just one more episode of, decades after it was off the air. (Please, Darkwing Duck , come back to me…) Alas, the title is instead being used by solo developer James to create a game for iOS and Android. When asked for a brief synopsis of the game, James stated that, “in this auto-runner/platformer game, Cosmic Badger has a bomb attached to his back and must avoid blowing up by teleporting around obstacles. The game is set across 21 unique levels with over 7 different themed stages of increasing difficulty. Players can earn higher scores based on the distance traveled and number of coins collected.” I don’t usually cover runners all that often, primarily because they don’t often provide any innovation on the formula, and I’m not a fan of clones. But Cosmic Badger earns points for creating a diverse set of backgrounds. And for having an awesome name. A name that makes me miss Drake Mallard and his caped crusades. Just one more episode, please.

Mor[T]ality

Not just a silly way to stylize ‘Mortality’, the dark and sinister themes in Mor[T]ality play into the way the name is spelled. As a bit of a forewarning, the narrative does get pretty unsettling (it involves Jack the Ripper). I don’t think it merits a trigger warning , but in this day and age, everything merits a trigger warning. Okay, so according to the solo developer at psyCODE Interactive, “the story revolves around a psychopath and a serial killer – Jack the Ripper. He was given an artifact that stopped his aging process, but made him forget who he was before. If he gets rid of it, he will die immediately.” The developer notes that while “he enjoys making others suffer and killing them, forgetting what he’s done before triggered in him some kind of moral response.” The ol’ Wheel of Morality, eh? “In terms of gameplay – there are randomly generated firearm and melee weapons that can additionally contain special effects. You can also persuade depressed NPCs to suicide and kill animals by hunting them.” Check out TigSourceand Twitterfor more details.

PropMaster

I’ll admit, when I first heard the title of Nathan Burke’s game, I thought it might be a reference to some obscure Batman villain I’d never heard of. But unlike the Cluemaster (who really needs his own movie. Heck, team him up with the Riddler.), PropMaster is actually a game which takes inspiration from a Hide and Seek mod. Burke explained that “ PropMaster is a standalone indie title based off the popular mod, ‘ PropHunt .’ The title is intended to keep most of the same principles of PropHunt , but add new gameplay innovations to make the game more fresh and enjoyable.” When pressed for some more details about what those innovations might entail, I was told to “expect various types of classes, sub classes and characters that utilize different speed, health statistics, weapon physics, and special prop abilities to help with tight situations.” PropMaster is going to be released on consoles, specifically the Xbox One, at some point within the next 14 months. More information can be found by visiting the game’s Twitteraccount.

That’s it for this week’s Screenshot Weekly . Be sure to come back next week to see more exclusive looks of the latest indie games in development! Let us know in the comments section what upcoming indie games you’d like to see featured in a future installment. As for any indie developers who would like to see their screenshots featured in an upcoming segment, feel free to send an email to IGM at editors@indiegamemag.com with the Subject Line: “Screenshot Weekly”. Or, if you’d like to be part of our Magazine’s Screenshot Monthly segment, include that in the email as well!

Civilization V: The Celtic Chronicle, part 3 (520 A.D. to 1450 A.D.)

Gather 'round the fire of time and prepare to hear an epic tale that spans the entirety of human history!

Gather 'round the fire of time and prepare to hear an epic tale that spans the entirety of human history! Well, a millennium of it. Every Wednesday, I've been chronicling the progress of my Celtic civilization in Civ 5's new Gods & Kings expansion. In Part 2, the Celtic Republic was formed, and brought holy war to the lands of England in the name of PC Elitism. Now, with the Celts and the English united under the growing religion, the Middle Ages dawn in a rare state: peace.

Missed Part 1? Read how it all began.

What happened to PlayStation's first indie dev community?

Sleek, black, and mysterious, the Net Yaroze was the shadow-twin of the original PlayStation console.

Sleek, black, and mysterious, the Net Yaroze was the shadow-twin of the original PlayStation console. This trimmed-down dev kit allowed neophyte developers to write PlayStation games using tools similar to the ones used by professionals.

The developers on the Net Yaroze were the vanguard of console indie development as we recognize it today. Whilst every platform up till this point had some form of associated homebrew scene, the Net Yaroze marked the dawn of something bigger: a commitment from the world’s largest console developer to foster future talent by way of building a thriving indie scene.

Nowadays, there’s nothing particularly remarkable about a publicly available, consumer-oriented devkit. But in 1997, it was a revelation. The original PlayStation sold over 100 million units, and ushered console gaming into the cultural mainstream.  Seven years before the debut of XNA, Yaroze offered indie developers the dream of creating something for that kind of massive global audience.

When the Yaroze was released for $750 USD, a close-knit online community of hobbyists banded together  to cut their teeth on console game making. Many of them have since moved on to triple-A development, and some have even founded their own studios. I interviewed several of them recently to get a picture of what this early online dev community looked like.


THE ORIGINAL INDIE CONSOLE DEV COMMUNITY

“There was lots of banter and camaraderie,” says James Shaughnessy, creator of Gravitation . “People would always take the time to help you if you asked how you might go about implementing something, or for help with bugs or with graphics or audio, and give feedback on the games you made.”


"Funnily enough, it was the limitations of the hardware that appealed to me."

“It was all very vibrant and bristling with enthusiasm,” Chris Chadwick, who made the award-winning Blitter Boy , told me. “It really did feel like a close-knit community of like-minded folk, all feeding off each other’s energy and passion for what we were doing.”

Owners of a Yaroze were given access to an exclusive members-only website run by Sony. They were allowed to set up their own individual pages, which people would use either as blogs or simply to share their games (over agonizingly slow modem connections, naturally).

According to Shaughnessy, the private forums “helped to keep the trolls out.” Communication between devs was vital, because the Net Yaroze was no dumbed-down, user-friendly starter kit. Games had to be coded from scratch in C. though the users had access to certain Yaroze-specific libraries. Still, this meant that the sharing of tools and knowledge was pivotal to getting a full game finished.

Chris Chadwick’s Blitter Boy: Operation Monster Mall won the 1998 Game Developer UK Competition

“There was a core of people that committed to the platform and produced some good games and development tools,” says Ben James, developer of Hotline Miami-style top-down shooter Psychon . “However, there were other people that would suddenly appear announcing they'd just got a Net Yaroze and would soon be releasing the next Quake-beater. Most of the time, you'd never hear from them again. Presumably, they quickly realized that game development takes a lot of time and effort.”

“There were a few people on there that would post questions such as, ‘How do I make a game like Gran Turismo ?’ We would have a bit of fun with them!” says James Shaughnessy. “There aren’t really any shortcuts. How many people have bought a guitar and given up because they can’t play like Jimi Hendrix within 5 minutes?”


"We were isolated from the Japanese Yaroze community, who were producing some amazing stuff!"

I ask how much Sony themselves had contributed to this successful dynamic.

“Sony did a pretty good job at creating a community for Yaroze members,” says Scott Cartier, developer of Decaying Orbit, who hails from California . “The only part I felt was lacking was how support was divided between Japan, Europe, and the US. Each region had their own member site and forums. It wasn't until well into its life that I found out that the newsgroups for EU Yaroze members were much more active than the US.”

This was a common complaint from the people I interviewed.

“We were pretty much isolated from the Japanese Yaroze community, who were producing some amazing stuff!” says Chris Chadwick.

An example of this work from the Japanese newsgroups was the isometric adventure-RPG, famed for its technical excellence and hilariously shonky translation. It showcased what the Net Yaroze was capable of in the right pair of hands.


The remarkably polished Terra Incognita was made by Mitsuru Kamiyama, who went on to work for Square Enix


THE LIMITATIONS OF THE SDK

“We were given pretty much all the power of the PlayStation on the Net Yaroze. It wasn’t underclocked or anything like that,” says James Shaughnessy. However, there were still technological hurdles to overcome. A big one was the inability to load files from the CD in real time, like the PlayStation could.

“The main technical limitation was how your entire game had to reside in RAM. While there were methods to stream files from your PC via the serial cable, this was mostly for debug since non-Yaroze members wouldn't have that capability,” says Scott Cartier.


"The serial port seemed to be fond of giving me electric shocks, and blowing up the serial cards in my PC."

Ben James says, “Although the PlayStation had 2MB of memory, the Net Yaroze libraries took up something like 500k of that, so you were left with about 1.5MB to play with. I did run out of RAM once or twice and had to curtail the amount of graphics.”

Developers had to think up crafty solutions to squeeze out what they could from the limited space. Scott, who was working on a physics-based space game, came up with one such solution.

“I was starting to hit some limitations of the Yaroze. Each planet was comprised of several frames rendered out from a simple texture mapped sphere in 3D Studio. I could play tricks with having multiple color look-up tables (CLUTs), allowing for several color variations for each planet.”

This type of innovation was widespread in the community.

“I don’t think the limitations stopped people that much. The creativity was just astounding,” says Scott. He did have one gripe with the system, though: “Debugging on the Yaroze was painfully slow. The unit was connected to your PC via serial cable, and despite running that interface as fast as possible, it took a minute to download and build to the system.”

“Funnily enough, it was actually the limitations of the hardware that appealed to me, in a way!” says Chris Chadwick. “The Yaroze - like all consoles - had a fixed architecture. You had this much RAM, this much processing power, these graphics capabilities, etc. There was no option to fit more memory, upgrade the graphics hardware, or whatever. Consequently, you could be sure that anything you developed would look, sound and perform exactly the same on any other machine. I liked that.

"It meant it was you against the machine (insert "Theme from Rocky"), pushing it to perform as well as you wanted it to. I always enjoyed the satisfaction gained from successful code optimization. I guess this is an aspect of programming that I learned to enjoy, back in my early days. Not that back then I wouldn't have sold a kidney for more RAM and a faster CPU, as standard!”

David Johnston, developer of TimeSlip , expressed a similar sentiment in regard to working with strict memory limitations. “I always quite liked it, because it made you feel like you were really close to the hardware.”

There were a few other ‘quirks’ that were unique to the Yaroze itself, too. “The first problem I had with the system was that the serial port seemed fond of giving me electric shocks and blowing up the serial cards in my PC!” says Ben James.

The Net Yaroze has become something of a collector’s item in recent years, fetching high prices at auction.


"The high cost of a Yaroze was motivational. No bloody way I was going to spend that kind of money and not end up doing anything with it!"

Another factor that dampened the more widespread adoption of the Net Yaroze was the cost of purchase. Upon release, it was around $750 – a big investment for a learning tool.

“I think the Net Yaroze project's main limitation was the price of entrance,” says Chris Chadwick. “Yes, there were several price reductions (I think it ended up being about half what I paid as an early adopter). Even so, we're still talking about hundreds of pounds.

"I appreciate that Sony won't have made any money from the Net Yaroze program; in fact, they probably made a loss on each unit they sold. I just wonder how many talented individuals missed out simply because they couldn't afford the entrance fee to what must have seemed like some kind of exclusive club, maybe. There were one or two universities running Yaroze development courses, but this still didn’t make it open to all, really.”

He added: “Personally, the cost of getting a Yaroze was somewhat motivational, though. There was no bloody way I was going to spend that kind of money and not end up doing anything with it!”
In the early days of the platform, Net Yaroze owners were only able to share games within the community, as they were only playable on other Net Yarozes – this was quite a bugbear with developers, and more stifling to the community than any technical imposition.


BEFORE THERE WAS STEAM, THERE WERE MAGAZINE DEMO DISCS

“The fact we couldn't burn our efforts to disc came up in discussions on the newsgroups quite often,” says Chris Chadwick.

“Looking at it objectively, now, I guess Sony just couldn't allow this. They couldn't have individuals potentially starting up their own mini Play Station distribution channel, giving away (or even selling) games completely independently from Sony. Sony needed to protect and contain its property and branding, I suppose. To this end, there was a fairly stringent QA process all PlayStation games had to undergo before publication - certain things had to be done a certain way; some things weren't allowed, etc.”

Sony were obviously attempting not to repeat the mistakes that other publishers had made in the past, notably Atari with the VCS. The lack of any kind of vetting of the titles made and released for it allowed a lot of poor-quality stuff to hit the market, effectively ruining the console’s reputation. Some, however, think Sony may have been over-cautious instead.

“The lack of distribution channels was a very real limitation to the Net Yaroze, and is probably what led to its eventual demise” says James Shaughnessy.

Hover Racing was a great but little-known title for the Yaroze

Later on in the project’s lifecycle, however, Official PlayStation Magazine (OPM) started putting playable copies of these games on their cover discs. They turned out to be a huge hit with players, and a huge boost to the Net Yaroze devs themselves.

“It was like Christmas!” says Scott Cartier. “Finally a way for people outside the Yaroze community to play our games!”

For those selected to appear on the discs, it was a big moment.


"The Net Yaroze and the community was pretty much my whole life. Sad, I know, but it was great!"

“Getting the game on the cover disc felt absolutely fantastic. It really meant something, it was a real achievement as it had to be selected to get on there. To know thousands of people are going to play your little game and might actually enjoy it is why we make games. I heard that they make a million of those cover discs so that was quite special,” says James Shaughnessy.

“It felt great!” says David Johnston. “I knew the print run for OPM was massive and it was weird to think of that many copies of my game being out there.”

It seems strange to imagine now, but it being the early days of the Internet meant it was nigh-impossible for the devs to get any feedback on their games. Some of them had no idea of how well they were received until years later.

“Social media like Twitter and Facebook wasn't around back then, so I didn't really hear much about how people got on with the game,” says David Johnston.

Ben James says this about his first Yaroze game, Psychon : “Well, the journos didn't seem to like it, and it would be years before I'd get any further feedback. About a decade later, folk started getting in touch about it, play-throughs appeared on YouTube and such, one guy was even going to port it to the PC. It seems there's a small band of gamers that really like that game.”

With many of the developers I spoke to now working full-time in the games industry, I was struck by how fondly they all reflected on their early days with the Net Yaroze.

Scott Cartier says “I made several lasting friendships through the Yaroze program. I have even met a couple UK members when I've taken trips to Britain or when they've traveled here for GDC.”

“The Net Yaroze and the community was pretty much my whole life at the time," says Chris Chadwick. "Sad, I know, but it was great!”

Dan Chamberlain is a freelance writer hailing from the English countryside. You can read his blog and subscribe to his Twitch channel over at www.superinternetfriends.com

Snow Bros’ Mobile Phone Debut And Sale

‘Snow Bros’ Mobile Phone Debut And Sale
ISAC Entertainment has released their classic game, Snow Bros , on mobile phones.

, on mobile phones. In just four days after it’s April 5th debut on the Apple AppStore and Android Marketplace, the classic arcade game reached third place in the top paid apps of Korea, and became number one action game in Europe and Latin America.

Snow Bros was released as an arcade game in 1990, and became an almost instant success. The player would navigate dangerous levels filled with enemies and use their icy attacks to turn the enemies into snowballs. Then, by running into them, the player could kick their foe across the different platforms, knocking the other enemies into oblivion. The strategy involved requires the player to decide when and where one should begin making snowballs. Staying in one place for too long is dangerous, but the higher up you climb, the greater the reward. The longer a distance you can knock a snow-balled enemy, the more other enemies you can take out at once.

In the first four days Snow Bros was released it garnered over 20,000 downloads. If you head on over to the AppStore or Android Market you can purchase the app for $0.99. You may want to take advantage of this, because the regular price is a whopping $4.99.

You can find it hereon the AppStore and hereon the Android Marketplace.

Civilization V: The Celtic Chronicle, part 2 (1150 B.C. to 520 A.D.)

My friends!

My friends! Gather 'round the fire and prepare to hear an epic tale that spans the entirety of human history! I'm in the middle of chronicling the progress of my Celtic civilization in Civ V's new Gods & Kings expansion, with a new entry every Wednesday. In Part 1, I led my Ancient Era empire to glorious battle against the French, culminating in the long Siege of Paris. This week, my march through the Classical Era brings closure to the war and all the ramifications that come with it.

Indie Links Round-Up: Chain Of Command

“UCLA student game project Perfect Woman uses the awkward behaviors the Kinect can track to force players to mimic life choices starting from the womb.

Star_Command

Today’s Indie Linksinclude a Mario crossover, a Kickstarter warning and a fistful of indies.

The Perfect Woman is one who can adjust to the Kinect’s bad interface(IndieGames.com)
“UCLA student game project Perfect Woman uses the awkward behaviors the Kinect can track to force players to mimic life choices starting from the womb. As Perfect Woman progresses, players make decisions that can make their simulated life difficult as they get older. The game aims to poke at the ideals media perpetuates, with particular inspiration drawn from questionnaires written in women’s magazines.”

Juegos Rancheros’ Fistful of Indies: April 2013(Venus Patrol)
“Every month, as part of the regular monthly meetings of the Austin, TX independent game community JUEGOS RANCHEROS, we do a very casual & chatty rundown of the ten or so games from the previous month for the audience, to give people — especially those curious onlookers from outside the indie community itself — a look at what they may have missed. The featured games are both local and global, and both indie and, on occasion, a bit-bigger-budget — what binds them together is simply that they’re all amazing.”

Super Mario Bros. Crossover 3.0 and Exploding Rabbit’s link to the past(Polygon)
“Exploding Rabbit’s future is linked to the past. Just over three years ago, the studio’s founder, Jay Pavlina, released the first game he’d ever worked on. Super Mario Bros. Crossover’s conceit was both familiar and novel. In the Super Mario Bros. remake, players can platform through the Mushroom Kingdom as a number of 8-bit icons like Metroid’s Samus Aran, The Legend of Zelda’s Link and Mega Man’s titular hero. It still has about 10,000 players a day, according to Pavlina.”

The Joystiq Indie Pitch: Signal Ops(Joystiq)
“Signal Ops has you assume the role of a handler, in charge of directing field agents on somewhat questionable missions. You do the bidding of one of the government’s church divisions, seeking out traitors among other dirty work. As a seasoned officer, you stay back at base while the recruits go out and handle the dangerous bits. You won’t be relaxing, though; these field operatives need constant supervision and someone to tell them what to do. It’s a darkly comedic tale of clandestine operations, treachery, and doing what’s wrong because it is right.”

Xona Games Interview(Independent Gaming)
“Xona Games has always had a place in my heart (considering the fact that they are so close by!) ever since I read an article in the business section of a local newspaper about them. They were inspiring – heroes. So I had to contact them for an interview about the company and the retro games they make as well as their challenges. NOTE: This interview may be a bit outdated as I asked the questions weeks ago and just recently got the reply – sorry about that.”

Avatar Trials: Ninja Uprising(Indie Gamer Chick)
“Avatar Trials: Ninja Uprising is another University of Utah student game. It’s really hard to believe it comes from the same pool of classmates that ultimately gave us Magnetic By Nature, one of the year’s best and most refreshing games. Avatar Trials is one of this year’s worst XBLIGs, and one of those rare games where my biggest challenge with it is trying to find anything positive to say about it. After having a few days to think about it, I couldn’t come up with a single nice thing to comment on. Avatar Trials is without merit in every way possible.”

Star Command Is A Great Game, But Also A Kickstarter Warning(Kotaku)
“For the last few days, I’ve been playing Star Command, a mobile game that’s had people excited for a very long time now. Beginning life as a Kickstarter project, it’s gone through several major delays, and arrives this week on the App Store an example not just of excellent portable strategy, but of the realities of Kickstarter funding as well.”

Monaco: The Kotaku Review(Kotaku)
“The co-op heist game Monaco appears to be missing whatever qualities an online video game must possess in order to turn the strangers who play it into jerks. I’m worried about telling you this, because I’m worried that I’m wrong and that Monaco is as prone to being ruined by the burrs of humanity. I’m worried that this ride isn’t going to be so comfy long-term.”

Civilization V: The Celtic Chronicle, part 1 (4000 B.C. to 1150 B.C.)

My friends!

My friends! Gather 'round the fire and prepare to hear an epic tale that spans the entirety of human history! Over the next few weeks, I will be chronicling the progress of my Celtic civilization in Civ V's new Gods & Kings expansion— a new entry every Wednesday. It is sure to be a tale of warfare, betrayal, alliances, and going bankrupt because I built too many freaking land improvements again. Pay attention. This will be on the mid-term.

A Retro Guide To Castlevania – Part 2

A Retro Guide To Castlevania – Part 2 2001: Castlevania: Circle Of The Moon The first of three Game Boy Advance “Metroidvania” outings, Circle Of The Moon was a launch day game for Nintendo’s handheld. Tiny sprites and very basic RPG elements made this a weak facsimile of Symphony Of The Night, but the next two games would improve on the formula. 2001: Castlevania Chronicles Chronicles was essentially

Yaiba: Ninja Gaiden Z review

Yaiba: Ninja Gaiden Z review Yaiba: Ninja Gaiden Z is aimed at the secret meathead in all of us, at that part of our brain that resents all the hard thinking it’s been made to do and that just wants to mash buttons to make the zombies fly. Yaiba: Ninja Gaiden Z often scratches that itch beautifully. This game is not, nor is it intended to be, an action game in the mould of a DMC or Bayonetta, but it

Civilization V adds Steam Workshop integration

As of today, Civ V fans can join the ranks of TF2, Skyrim, Dungeons of Dredmor, Dota 2 and Portal 2 players in browsing, uploading, and subscribing to mods through Steam Workshop.

Westeros Civ V

Among the 144 files already uploaded is a re-creation of Westeros, the world of A Song of Ice and Fire and Game of Thrones. All that's missing is for someone to mod in the major houses and unique tech trees accurate to the setting. So... someone get on that. I command thee, Civ community!

If you haven't read it already, also check out this preview of the Gods and Kings expansion, a mere five days from release.

2015 Personal Pick — Undertale

TYLER WILDE'S 2015 PERSONAL PICK
If the phrase ‘Final Fantasy VI opera scene’ doesn’t mean anything to you, that’s OK, I had to look it up on YouTube myself.

Undertale2

Along with our group-selected 2015 Game of the Year Awards, each member of the PC Gamer staff has independently chosen one game to commend as one of the year's best.

If the phrase ‘Final Fantasy VI opera scene’ doesn’t mean anything to you, that’s OK, I had to look it up on YouTube myself. Undertale’s references go deep, but it’s so much more than a JRPG tribute game. It’s a tribute to fans, really—a celebration of our sincere love for game characters and stories, without cynicism or judgment (outside of a few inward-looking jabs, maybe). Either that, or it’s a horror story. It depends.

Undertalecan be a lot darker than it looks. You’re a kid who’s fallen into an underground realm of monsters who were banished from the surface and trapped there in a war the humans have long since moved on from. While you may want to help the monsters, it isn’t always easy, because they keep trying to fight you. Encounter a hostile monster and they’ll attack with bullet hell-style minigames, and on your turn, you can fight back—but you don’t have to. You might compliment their good looks, or choose not to pick on them, or just show them mercy whether or not they want it. Undertale doesn’t assume you’re a killer, and battles can be resolved without attacking—it’s like a whole game based on the final boss of Earthbound, as a friend put it. I sort of got the reference, and then looked it upto make sure I got it. It's apt!

Or you can just kill ‘em all. But how could you? The monsters all have great personalities—a vegetable who just wants to feed you, a depressed ghost, a dog who does dog stuff, a bumbling skeleton who loves puzzles—and the story is one of the most heartfelt this year. When it ended (I mean, really ended), it was like watching the Portal credits for the first time. Undertale will go down as having one of the best video game endings of recent memory.

Undertale4

It’s also a wonderfully inventive take on the RPG format, and an examination of games in general. Without spoiling too much, Undertale is always a step ahead of the player, predicting your next move and respecting the little decisions you make. Keep a disposable item for the whole game and use it at just the right time? It knows what’s up. And it also knows when to withhold resolution—when you get to the end, you may not find what you were looking for. It can take two or three playthroughs to really be satisfied with Undertale, and that’s how it’s meant to be. I highly recommend avoiding guides unless you’re really stuck, because it’s far more fun to go in unaware, making friends and figuring it out along the way—that’s really the point. Give it a chance to play with you, allowing its internal logic to stay hidden.

Undertale doesn’t take long to get through. It’s largely linear, though there’s some backtracking, and takes about five hours on the first go—quicker in subsequent playthroughs. The introductory area is a bit of a chore, and some of the bullet hell battles are a real pain in the ass, but it’s all worth the effort. The soundtrackis one of the best of the year, full of variety and emotion, and the graphics, while minimal, become comfortably charming over time (and get pretty flashy in certain instances).

Undertale is one of my favorite games of 2015 (maybe second to Rocket League), and I wholeheartedly recommend it. Getting the most out of it just takes a little determination.

Enola is a Horror Game About Living With the Pain of a Loved One

I needed a minute after I played the Enola demo at PAX East.

demo at PAX East. Some horror games can have that effect on me, but this one was different. While searching for the female main character’s girlfriend, I had witnessed a lot of imagery that disturbed me. Broken mannequins lay all over the place, carefully displayed in ways that made little secret of what had happened to the missing woman I was looking for. Enola isn’t speaking to our fear of supernatural creatures, but of the very real vulnerabilities a woman would feel while walking home alone at night. This is a game about living in the aftermath of the sexual assault of a loved one.

Developer The Domaginarium’s new trailer will show you that this is a horror game about dodging monsters in the dark, but those monsters are all human beings bent on hurting you. These men move quickly and with little warning, slipping out of the darkness to attack while all you can do is mash the keyboard in hopes of getting away. It shows the character making a lot more contact with these men than I’d seen in the PAX East demo, where I only saw one man and he was on top of me so quickly that I almost died instantly. It’s a more conventional horror game trailer that may draw more eyes to it, although I don’t know if it’s conveying the game’s tone and subject matter very well. Still, it’s another peek at the game for those interested in seeing how Enola ‘s coming along.

We’ll soon be seeing how well Enola deals with its difficult subject matter soon, as the game will be releasing in full on Steam this September. The demo, filled with tender moments between the main characters, showed touching as well as dark sides of their story together, so I do feel confident that this game will do a good job conveying what it’s like to live with a loved one hurt by sexual violence. It’s very touchy subject matter that the trailer doesn’t do the best job of conveying, but the demo I played did. The story seemed to be the most important part when speaking to the developers, and hopefully that will come through in the game when it launches.

Civilization V: Gods & Kings dev chat introduces the expansion's new civilizations

Civilization V's first expansion is out next week.

civ v gods

Civilization V's first expansion is out next week. Gods & Kings most notably introduces religion (gods), new civilizations (kings), and espionage (&?). I'm optimistic about the new systems, which you can read about in my recent hands-on preview, but for an overview of the new leaders and units, hop inside to watch Producer Dennis Shirk and Lead Designer Ed Beach talk to someone standing next to the camera.

Neither of them mentioned Sweden, which is madness. Gustavus Adolphus, I choose you!

2015 Personal Pick — Guild Wars 2: Heart of Thorns

PHIL SAVAGE'S 2015 PERSONAL PICK
I'm on a break from Heart of Thorns at the moment.

GW2 HeartOfThorns screenshot 4 4f626f12

Along with our group-selected 2015 Game of the Year Awards, each member of the PC Gamer staff has independently chosen one game to commend as one of the year's best.

at the moment. In any other MMO, that would be considered a failing. As a genre, the business model almost demands that players be constantly playing. If they ever try to leave the rollercoaster, they might decide to unsubscribe. Or, if it's a free-to-play MMO (which is to say pretty much all of them) they might not become so infuriated by the lack of some basic quality-of-life feature that they'll spend money in the microtransaction store. That, I assume, must be the thinking behind some MMOs' monetisation schemes.

Not that Guild Wars 2 is grind free (source: any of its seasonal events) but the meat of the product feels like it's designed for people who don't want to make a lifelong commitment to a single game. Before the release of Heart of Thorns I had a couple of max-level characters, each with a full set of very good gear. After the release of Heart of Thorns, I had the same max-level characters, each with a full set of still very good gear. With no additional levels or tiers of loot, there's no pressure to keep up with some new power curve that threatens to leave me behind. It's the chillest MMO I've ever played.

So far, this has mostly been about me not playing Heart of Thorns. I also enjoy it when I am playing it. The expansion restructures Guild Wars 2 in a variety of clever ways, and provides a sort of natural, localised progression that isn't tied to making your character's number be a slightly higher number. It also doubles down on the effortless event system, rewarding ad-hoc cooperation between players. Each new map has its own distinct meta-event, funnelling people from individual activities towards huge, collaborative challenges.

Guild Wars 2 Heart of Thorns

There's a fun sense of anticipation as you build towards an event's end and wonder whether or not this will be a successful run. For some, the sense of missing out on completion is a frustrating waste of time, especially when success isn't tied to individual performance. I kind of like it. I get oodles of achievements from singleplayer games—most of them bend over backwards to make me feel like Dr. Great, Chief Physician of Being Swell. Guild Wars 2 is a reminder that, just like everyone else, I'm an ultimately insignificant speck in a world that doesn't care—barely in charge of my own destiny, let alone that of anything large-scale or important. In a nice way, that's also fun.

Ultimately, Heart of Thorns feels like what an MMO should be: hundreds of players working together towards a common goal. It's amazing how many games in the genre still don't do this—that seemingly encourage you to see other players as background actors, or active inconveniences. It's getting much better nowadays, but massively muliplayer is still too synonymous with small groups and instances.

Buying into Heart of Thorns means you're also buying into all of its subsequent content updates. I enjoyed Guild Wars 2's living story stuff, and I'm looking forward to seeing what form it takes within the expansion. (Admittedly, I will probably never do the raid, but it's nice that it's there.) Heart of Thorns brings a modular design to Guild Wars 2, making it easy to see how future expansions would fit neatly into the game. It adds loads to do, and the possibility of loads more in the coming months and years. But it's also happy to let you go at your own pace—to enjoy dropping in to an event chain safe in the knowledge that you'll gain progress no matter what you choose to do.

IGM Forum Finds – Into Blue Valley, A Found-Footage Adventure

Kuchalu Games, a four-person development team based in the UK, has created an adventure/exploration game in the vein of such games as Dear Esther and Gone Home – you are exploring the scene of an event, through the eyes of someone who is trying to figure out what happened, and your actions affect how much information you can actually uncover.

– you are exploring the scene of an event, through the eyes of someone who is trying to figure out what happened, and your actions affect how much information you can actually uncover. In Into Blue Valley , that person is Peter Abbotsfield, a documentarian exploring a ghost town. How much of the story you reveal depends entirely on you.

Into Blue Valley is currently on Steam Greenlight, and will be released on PC, Mac, and Linux, with Oculus Rift support, in 2014. Like some other exploration games, it will feature objective-based gameplay, meaning that in order to progress, you must complete tasks. The experiences are increasingly surreal, and Peter becomes more delirious, making it difficult to tell what’s real and what isn’t in this unknown location.

Vote for Into Blue Valley on Greenlight, look for more information on Kuchalu’s website,follow them on Twitter, or like them on Facebook. And, of course, check out the original forum postfor updates directly from the developers!

Have a great game you want to share? Want to see some awesome projects and chat with fellow game devs? Just a fan of indie games and want to see what’s out there? Join the IGM Forumsand Tell Us About Your Indie Game!

Are you interested in Into Blue Valley ? Why or why not? Tell us in the comments!

Quantum Conundrum demo hits Steam

NORMAL DIMENSION: Yet to try this reality bending puzzler from one of Portal's creators?

Yet to try this reality bending puzzler from one of Portal's creators? Now you can, with this new demo on Steam. Now available in all known dimensions. But not on Origin.

FLUFFY DIMENSION: OMG EVERYTHING IS AMAZING! LIKE, YOU PRESS BUTTONS AND STUFF HAPPENS, AND SOMETIMES YOU THROW SAFES AT LASERS, AND THEY SORTA MELT, BUT IT'S OKAY, BECAUSE YOU GET AS MANY OF THEM AS YOU NEED AND SO YAY!

HEAVY DIMENSION: But you're still going to die.

SLOW DIMENSION: Slowly.

REVERSE GRAVITY DIMENSION: Don't let this get you down.

NORMAL DIMENSION: Ahem. It may not be as polished as Portal, but it's a solid chunk of puzzling and shameless physics-warping. Here's the trailer, in the unlikely event you've yet to see its adorable fluffiness. Not pictured: much platforming. Your mileage may vary on its in-game impact.

2015 Personal Pick — Rainbow Six: Siege

SHAUN PRESCOTT's 2015 PERSONAL PICK
I spent most of 2015 with no feelings for Rainbow Six: Siege .

Rainbow Six In Progress

Along with our group-selected 2015 Game of the Year Awards, each member of the PC Gamer staff has independently chosen one game to commend as one of the year's best.

. I honestly didn’t care. When we sent our latest issue to print, Ori and the Blind Forest was my Personal Pick, but I'm going to break the rules and claim an extra one, because since then I’ve spent most nights cowering in the corners of biker bars, storming the boardrooms of presidential aircraft and hiding drones in the laps of hostages. I’ve been playing Siege almost exclusively, and barely stopped to wonder why. Now, I’m going to wonder why aloud.

It’s a frightening game in many respects. The stony silence of a barricaded bedroom as your squad awaits its opponents is mentally draining, and squatting through an evacuated embassy with ears pricked for telltale signs (the sound of glass scrunching underfoot, a distant breach charge) is downright eerie. Ubisoft never contextualises these breach-and-clear scenarios, and that’s one of the game’s strengths. Rainbow Six: Siege is unusually cold. It lacks the jingoistic brouhaha of other real world shooters, and while it’s still a pretty macho game, it eases off the fistbumping for a more austere tone. Rainbow Six: Siege’s operators are faceless predators with no backstory and no interior life, and that feels like a deliberate move on the part of Ubisoft Montreal. You’re meant to be scared of them.

Rainbow Six Siege dials back a lot of the feelings we’ve come to expect from modern blockbuster shooters: independence, confidence, and that sense of virtual invincibility borne of instant respawns. Siege’s operators are all kitted out with special gadgets and abilities, but you’re never allowed to feel like a hero. Every corner turned in Siege feels like a risk, and even if you feel confident you’ve staked out an area, there’s no route or hidey-hole that can guarantee safety in this game. As James pointed out in his review, wit and cunning is likely to beat dexterity in most scenarios, but close collaboration is arguably a team’s strongest asset.

Rainbow Six Siege

That paints a picture of a punishing game, and it is. While tutorial videos and singleplayer training ‘situations’ are present, neither are ample preparation for the pressure of facing other human beings. The inherent unpredictability of other people, mixed with the two dozen operators and fully destructible maps, results in a game that doesn’t feel small, despite having only two PvP modes in bomb disposal and hostage capture. It’s early days, and the scenarios are likely to become repetitive over time, but all forthcoming maps and modes will be free.

I’ve played a fair bit of Siege with randoms and had fun doing so. I’ve also played matches where no one on my team uttered a word. Predictably enough the latter scenario is most common, but unlike what many are claiming, silence doesn’t break the game. In fact, I’d implore you to go ahead and try the game even if you don’t have a solid crew or even a headset. At this early stage, Rainbow Six: Siege has a healthy, non-toxic community, and collaboration is possible without speech—especially on PC (though the forthcoming Hardcore playlist will necessitate headsets, given the lack of team outlines).

Siege isn’t like any older Rainbow Six games you’ve played, but you know what? Good. Let go. This is an incredible shooter, frightening and liberating in equal measure, in the way it rewards brain over brawn and removes the focus on twitch—a good thing if you’re getting on like me. You might not even shoot a bullet during an average Siege round, and that’s okay. If Ubisoft can keep the community happy with regular communication and updates, then only bad luck can stand in Siege’s way.

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