A new generation in The Endless Forest

When we hit the 50,000 registered players mark, we didn’t realize how close we were to running out of names for our deer. If that’s not a nice testament to how two people who know next to nothing about mathematics can still make complicated computer software, I don’t know what is. 😉

New Deer Names

Behold the new generation of deer names in version 3.31 of The Endless Forest.
Good for another 50,000 players!

When we designed The Endless Forest, we wanted to avoid language as much as possible. First of all because language puts a barrier between people, and we wanted The Endless Forest to be harmonious. Secondly, we wanted to avoid violence and competitive behaviour as much as possible. Language is often used in multiplayer games for insults and other out of character behaviour. So we decided to have no chat in our game. And we came up with the idea of using abstract symbols instead of text-based names to identify players. These symbols are easy enough to memorize to recognize your friends and still disconnected from the humans behind the avatar sufficiently, to encourage spontaneous playing together with total strangers.

The Vision of Saint Hubert The symbols are made up of a limited range of elements that are combined to form pictograms. Players can choose a pictogram for their deer when they register for the game. when they login, this pictogram appears above the head of the deer avatar (in a reference to the legend of Saint Hubert, who was converted to Christianity after encountering a deer with a crucifix between its antlers).

Since the amount of elements from which pictograms are composed, is limited, however, there are only a limited amount of unique pictograms. And we ran into that limit last month. So we closed registration for a while and created a new pictogram “alphabet”.

This solution was part of the original design of the game. To create generations of pictograms, which would contribute to the story of The Endless Forest. First generation deer will be older (wiser, more experienced, etc) than second generation deer. And so on.

You can name your deer here.
Please note that you’ll need the very latest version of The Endless Forest to see the new pictograms (version 3.31). You can download it here.

The Endless Forest is free thanks to the continuous support of the Musée d’Art Moderne Grand-Duc Jean in Luxembourg. Registration is not required to play the game (it just makes it more fun).

IGF official selection

The shortlist for the Independent Games Festival has been revealed. The good news is that our entry FATALE was not selected and so we don’t have to go through Homeland Security Fun Park San Francisco in Spring. The bad news is that the selection is rather… boring? Only a few noteworthy games were selected. I guess this confirms Derek Yu’s observation that 2009 was a slow year for indie games. Good thing my New Year’s Resolution includes a goodbye to games (*). Otherwise, I think I’d be sort of… upset?

(*) blog post to follow soon

My selection for the IGF

FATALEFATALEFATALEFATALE

Our invitation to judge in the Independent Games Festival was withdrawn when we said we were submitting an entry ourselves. As it turns out, that was probably a smart move. Because when I had a look at each of the 301 entries in the festival, I couldn’t resist the urge to compare them with our own. And, frankly, FATALE beats them all, in every category. :) This is why I have only selected 4 games for each prize in the festival. The fifth game -and clear winner- of each category is our own FATALE. I’m sorry, I just can’t be objective about this. :)

I have based my selection on the information available on the IGF website, the game developers’ own websites, videos and screenshots. I have played demos and games when they were publicly available. But I must admit that some of my choices were based on very little data. So I reserve a margin of error. I could have missed a really great project. And I could have included a rather lousy one. Apologies ahead of time.

Apart from simply choosing the most interesting projects in each category, I have tried to limit the amount of overlap between the different categories. Which wasn’t always easy because interesting entries tend to be good in several categories simultaneously. such as our own wonderful FATALE, for instance

Despite of the high quality of some, I have rejected games created by DigiPen students because I don’t consider them serious contenders. The IGF has a separate competition for student work. I hope they use this category in the future.


Seumas McNally Grand Prize

Windosill
Windosill
Fig. 8
Fig. 8
Amnesia
Amnesia: The dark descent
TRAUMA
TRAUMA

I make no secret about the fact that the thing I like most about the games industry is its girlfriend its potential. There are many videogames that are fine games as such, even on the independent scene. If you want to play a game, there’s an enormous amount on offer. But I know this computer of ours can do a lot more. I even believe that it can bring us a new medium, a medium as relevant and important to our times as cinema was to the previous century and printing to the centuries before. But the developers who strive for such greatness are few and far between. Even on the independent scene, where one would expect them in larger numbers than in the so-called mainstream industry.

If I had to make an absolute judgment, I’d probably send each and every game in the IGF back to the drawing board (including our own amazing FATALE). Luckily I can suffice with a relative selection. So I have chosen games that give me hope for the future of the medium. Games that are ambitious, that try to explore interesting terrain and/or allow us to do so while playing.

Windosill brings back fond memories of computer-based entertainment’s early days, when an interactive piece could just be called a “CD Rom” instead of getting labeled “GAME”. I think we could do much worse than reconnect with that time and pick up what was so rudely interrupted: playful interaction without the need to compete or achieve. Fig. 8 is equally whimsical but more challenging. But its challenge reminds of the real-world challenge of trying to ride a bicycle as a child, so it feels a lot more natural than in most games. It’s also a wonderful illustration of how a videogame can simply be a journey. Amnesia: The dark descent is probably the most ambitious game in the festival. Its scope and aesthetic rival -and exceed- many of the productions in the commercial industry, even. This is the kind of game I would like to see more of on the independent scene: uncompromising exploration of the narrative potential of high tech. Trauma re-invents the idea of an interactive movie in a spectacular and exciting way. It combines an intuitive and beautiful control system with an intimate engaging story (expressed by means of superb voice acting).


Excellence In Visual Art

LIMBO
LIMBO
A New Zero
A New Zero
Saturated Dreamers
Saturated Dreamers
DOPPELSCOPE
DOPPELSCOPE

I was pleasantly surprised by the care that independent developers are starting to put in the aesthetic presentation of their games. The “faux amateur” style seems to no longer be a badge of honour. Good riddance, too. Because there’s a lot of work to be done.

I was also glad to see that, next to some excellent examples of traditional 3D aesthetics, several developers are starting to explore real-time 3D aesthetics in an experimental way. In A New Zero all shapes are reduced to their bare minimum covered with a seductive colour palette, that can almost make you forget you’re playing a relatively banal war game. Doppelscope adds to its simplification of shapes a new kind of sensory experience that affects the entire environment and doesn’t shy away from a bit of glossy spectacle here and there. Many entries in this year’s festival feature silhouettes as their main graphical element. But aesthetically, Limbo, is the superior game of the entire lot. Saturated Dreamers surprised me. The characters that seem to carry the story are naive art at best, and actual typography has been carefully avoided, but the playing reveals an interesting generative canvas of unlikely combinations of shapes and colours. I like the aesthetic connection it suggests between computer-based geometry and walllpaper and textile patterns.


Excellence In Audio

Broken Brothers
Broken Brothers
Demonica
Demonica
DOPPELSCOPE
DOPPELSCOPE
microsia - molecular tunes
microsia – molecular tunes

I was not very impressed with the sound in most entries this year. Sound still seems to be very much an afterthought for most independent developers. Which is a real shame, considering how powerful its effect can be on the player.

There’s a lot of music games out there. Many use the music to structure simple gameplay (last year’s audio category winner Audio Surf seems to have influenced a lot of designers) and others allow you to create some kind of music-like soundscape through interaction. Microsia stands out by successfully combining amusing interaction with actual composition. Broken Brothers didn’t fall into the tired trap of adding soft piano music to a war game but opted for a menacing oppressive soundtrack through minimal and almost humoristic means on top of melancholic music that actually helps you concentrate on your strategies of destruction rather than making you feel oh so bad about killing the enemy. Demonica‘s musical wall of sound is probably the most atmospheric entry in the festival. Doppelscope confronts electronic sounds with human interaction in analogy with how it expresses its theme of nature preservation through a very synthetic stylized look. Makes playing with computers feel hip again, without the need to resort to retro aesthetics.


Excellence in Design

Windosill
Windosill
Dangerous High School Girls in Trouble!
Dangerous High School Girls in Trouble!
Constellation
Constellation
Galcon Fusion
Galcon Fusion

I don’t think videogames need to be games as such. But for this category, I selected videogames that I find well designed as games in the strict sense of the word. The fact that two of them are dressed up as space conquest games only illustrates how irrelevant story and meaning are when it comes to pure game design. Both Galcon and Constellation are wonderfully simple-yet-complex systems that are fascinating to interact with. Dangerous High School Girls in Trouble! does have a story. Quite an extensive one, even. But it feels so much like a board game that I couldn’t resist putting it in this category. Windosill is probably the only game I selected for this category that is undisputedly at home on the computer. And in an irresistibly charming way at that. Games this playful are too rare.


Nuovo Award

Lose/Lose
Lose/Lose
hell is other people
hell is other people
Wait
Wait
A Slow Year
A Slow Year

I’m considering this category as the place for art works. Not necessarily “art games” but simply artistic pieces that use game concepts or technology. Lose/Lose reminds me a lot of the some of the net.art of the 90s we used to be involved in, especially the work of Jodi. I may not be the world’s greatest fan of modern art, but I like seeing it become part of independent game development. If only because game distribution would offer media artists an alternative venue for showing their work. A venue that is more appropriate for the digital medium, in my opinion. The other games are more interesting as experiences, rather than simple conceptual statements. There’s something very melancholic about playing with people who have been playing before you but are not at the moment (hell is other people). Wait may be ugly but it has a very inspiring game mechanic (which is rare in indie games). And A Slow Year simply appeals to me because of its references to traditional painting and the link that it makes between nature and machines.


Technical Excellence

Heroes of Newerth
Heroes of Newerth
Amnesia
Amnesia: The dark descent
HurricaneX2
HurricaneX2
7 Nights
7 Nights

All videogames are small miracles. Contrary to popular belief, computer hardware is still incredibly slow, unwieldy and inaccessible. But of all software that one can make with a computer, real-time 3D games must be the most complicated and technically impressive. There’s a tendency on the independent developers scene to look down on 3D games. But I think that’s just a self defense reflex that should not impair our judgment.
With the exception of Amnesia: The dark descent, none of the games I selected in this category are games that I would play myself. But I want to pay tribute to the effort that the developers are doing to, independently, create such technically ambitious projects. Hopefully their work encourages other indie developers and artists not to shy away in their comfortable flat platformer and shooter zones.

A bad year for dreams

2009 Was another triumphant year for the Wii and DS. Nintendo has successfully introduced the general public to playing games on computer hardware. But this is far from a triumph for the medium of videogames.

Refusing to grow up keeps you small
Source: VGChartz


People like playing games

Nintendo didn’t do much. But they were smart about it. Rather than trying to start a revolution with a brand new medium, they had a good look at the way people play today and made digital versions of those activities. They basically made it possible for people to play the kinds of games they were already enjoying, on their television sets.

Some may celebrate this as the breakthrough of videogames into the mainstream. I don’t. I hope this is just a temporary setback in the evolution of the medium. I’m not a big fan of huge corporations, but I do share, to some extent, the dreams that Sony and Microsoft have about the interactive medium. With them, I see videogames as the great new art form of the new century. Videogames as the cinema, television and pop music of the young millennium.

It’s not about getting as many people as possible to play games (they were already playing games, have been doing that since the dawn of time, there’s nothing new here). It’s about giving our times, our cultures a medium that we can find ourselves in, that we can express ourselves in. A medium that can help us understand our world, and that can help define it. Just as literature and cinema have done in the past.

Nintendo does not share this dream. They never have. Mario and Zelda and Pokemon are nothing like Scarlett O’Hara, Jean-Luc Picard or Romeo and Juliet. Nintendo makes games. It’s what they do. And they’re successful at it.

But the dream of Sony and Microsoft reaches a lot further. They want to be part of your life style, part of your culture, embedded in your society. They want the experiences you have on their systems to be meaningful and dramatic. They’re not selling fun. They’re selling mystery and wonder, spectacle and discovery, experiences you have never had before.

And they failed. Massively. So much so that they are hurrying to try and pick some crumbs left behind by Nintendo by quickly introducing some motion sensing hardware to their systems. The irony of the cats following the mouse would be amusing if it weren’t so sad.


The failure of the nerds

Nintendo got one thing right. It’s an extremely obvious thing. But Sony and Microsoft continuously fail at recognizing it. Nintendo realized that the mainstream audience does not consist of nerds -in fact, one could argue that that is the very definition of a mainstream audience. As soon as they did, they were instantly successful.

There’s a lesson to be learned here. The “hardcore industry” has always insisted that games were great just as they were, that it was just a matter of time before the masses would start playing them. They were basically expecting that everyone would become a nerd. Obviously this did not happen. And it never will. If only because language doesn’t allow it. Nerd and mainstream are polar opposites.

The games themselves were not the problem. Any expert will point out that there is not a lot of difference between Tic Tac Toe and Gears of War, or between Super Mario and Devil May Cry. But Nintendo -finally- realized that people don’t play games for the pretty characters or the great stories but for the systems of interaction that they allow us to engage in. And those systems are far better served by simple graphics and sounds than by elaborate theatrical displays.

The games that Sony and Microsoft have been promoting were basically the digital equivalent of chess sets with pieces made to look like characters from Star Wars or Lord of the Rings. Only 1337 H4x0rz would actually believe they were attacking the Death Star while playing a match with such a set. Most people simply prefer to play a straight-up game with traditional pieces.


Games and… something else?

So now we’re at a crossroads. Do we give up the dream of a new medium for a new century and follow Nintendo’s example of simply giving people what they expect? Or do we strive for greatness and realize the potential of this marvellous new technology?

Nintendo has made one thing clear: people want to play games. But only if the games are simple and straightforward. They don’t want pretty pictures on their games or sweeping stories. They just want to have fun. However, the same people who are having fun with the Wii, also enjoy a visit to the cinema. They also love reading books. Their eyes fill with tears when listening to their favourite pop tune. And they’re hooked on several television shows. These people are not insensitive to narrative, emotion or meaning. They just don’t want to mix those experiences with playing games.

So the solution seems clear. If we want to realize the dream, if we want to give the new century the medium it deserves, the medium it needs, the medium it is sorely lacking, we need to stop wasting this technology on games!

It’s a difficult step to take. Because we love our games. We love battling our giant demons and riding our fire breathing dragons. We love planning our global wars and feeling the rush of victory against improbable odds. But let’s face it: we’re nerds. And only nerds like this kind of stuff. In the clear light of day, a sober eye quickly recognizes these videogames as the superb kitsch they are. Such videogames appeal exclusively to an educated elite and/or marginal ghetto.

This doesn’t mean that it is impossible to create interactive entertainment for people outside of the core niche. People still love their stories, and they still need fiction to help them deal with reality. And people also love to interact with their machines. That has ceased to be a geek exclusive a long time ago -if it ever was one. We just need to work a bit harder.

Instead of simply skinning ancient game routines with high tech spectacle, we need to sit down and have a good look at our medium-to-be and understand what is so uniquely interesting about it. Instead of trying to use new technology to do old tricks, we need to figure out what it is exactly that we find so fascinating about playing on a computer. And translate this to new audiences. This is not an easy thing to do, and it will take a lot of trial and error. But the rewards are great and the accomplishment will completely overshadow any of Nintendo’s current successes.


Down or up?

Will Sony and Microsoft realize this any time soon? I doubt it. The fight seems to have moved from the living room to the play room, from the media store to the toy store. And they will battle it out right there, on the brightly coloured carpet, in between the Barbie dolls and plastic machine guns, while the rest of the world is aching for a new medium, a medium that can deal with the complexities of today’s society, a fiction that can help us cope with our confusing realities.

I feel we have a responsibility here. A duty, even. We have a choice. We can continue to make geek kitsch for the niche audience of hardcore gamers. We can follow Nintendo and make simple games with pixels and code instead of cardboard and plastic. Or we can do something important, something meaningful, something that actually makes a difference.

Let’s end with a long picture:
Potential...
Sources: VGChartz, Worldmapper, Wikipedia

The Path now available in Russian, Danish, French, German, Hungarian, Italian, Portuguese, Romanian and Spanish

The Path, in Russian

Last week, 1C released a full translation of The Path in Russian. So now our friends in Russia, Belarus, Estonia, Latvia, Lithuania, Ukraine, Armenia, Azerbaijan, Georgia, Kazakhstan, Kyrgyzstan, Moldavia, Tajikistan, Turkmenistan and Uzbekistan no longer need to fiddle with badly made torrents. They can simply get the game here.

And thanks to the help of many volunteers, you can also play The Path in Danish, French, German, Hungarian, Italian, Portuguese, Romanian and Spanish, next to the English and Dutch available in the normal release. A patch that translates the game to any of these languages can be downloaded here. Credits for the translations can be found here.

Oh, and there’s also the Polish version, of course, published by Topware. We still have a few copies available in our store.
More languages will be added later. We’re working on Arabic, Czech, Japanese and Korean at the moment.

“Making of Fatale” interview

The ever eloquent Bruno de Figueiredo picked our brains when we were working on Fatale and has now published the result with a bunch of work-in-progress pictures. Enjoy!

To a large extent, FATALE is about looking. We follow Wilde’s version of the story in this. You start as John the Baptist in a situation where you’re being looked at – by Salome – against your will. Then because of the looking of another person – King Herod at Salome – you are put to death. And finally you meet Salome who claims that if you would have looked at her, you would have loved her. And, presumably, none of this would have happened.

Interviewed by Play as Life

D. Yvette Wohn sent us a bunch of interesting questions to which we hopefully gave some enlightening answers. The resulting big interview is here

Unlike most games, which put you on a roller-coaster ride away from your own life, our games act as pause buttons. Take a moment and allow yourself to breathe. That’s why their slowness might come as a kind of shock when you start up the game. Like a speeding truck coming to a sudden halt.

Interview with an Elder Geek

As proponent of a maximum age rating for games, it was an honour to be interviewed by Randy Yasenchak for a website called Elder Geek. On top of being old and geeky, Elder Geek is also looks great. Its design brings back fond memories of times when graphic design was something that people did on websites.

Read the interview here. It’s about The Path, Fatale, the games industry, etc. Hopefully the answers are as interesting as the questions. If not, feel free to continue the discussion in the comments. :)

Immersion on the iPhone impossible?

I have never cared much for mobile gaming platforms. Or mobile anything, for that matter. I come from a time when moving around meant being separated from information technology. And I guess I’m comfortable with that feeling now. Perhaps I even cherish being disconnected.

As a designer for interactive media, I was also never attracted to mobile devices. Mostly because of their small screens. One of the most important things about interactive experiences for me is immersion, immersion in a virtual world. And, partly because of their size, computer monitors and televisions screens seem to dissolve when I’m playing a game. They become invisible frames of the windows through which I experience virtual worlds.

But small devices are always there. You’re holding them in your hands, you constantly feel their material, their weight, and worst of all, you have to focus your vision to a very small physical area, the area of the small screen. As a result, I think, the best experiences I’ve had on my iPod Touch have been simple puzzle games, games that don’t necessarily look like representations of something large but that “fit” in the small format. Oddly, this seems to apply to both size and content. Superficial and abstract games thrive on small devices.

But that doesn’t stop me from wanting more.
Now that we’re trying to make a game for the iPhone ourselves, I’m trying to play the ones that are out there. I’m naturally inclined to look for things that have a bit of “meat around their bones”, experiences that can draw me in, make me believe in their fiction, make me want to spend time in their worlds.

But I haven’t found a lot that even comes close to this on the App Store.
Maybe the device is just not suitable for this kind of thing. Or maybe I’m looking in the wrong places. So this is a call for tips: can anyone recommend any immersive experiences on the iPhone? They don’t need to be games, they don’t need to be big. Just something that makes me feel something. That I can step into.