The judgement predicament of audio and graphics.

The answer to this blog is probably going to be that the game industry dug this hole all by themselves and that we now have to live with it.

Since we released the first teaser of Penumbra: Overture in 2006 we have always received the expected comments "the graphics suck", "looks dated", "hmm, is this running on the Wii?" and so on and on. This has also echoed back in reviews, only with a bit more elegant phrasing.

Now four years later, the same pattern (slightly less to be fair) repeats for the teasers that we have released of our upcoming game, Amnesia: The Dark Descent. We have upped our graphics game, not only in technical fidelity, but also tremendous efforts has been made with the design and creation of the graphics, far above any of the Penumbra games. Sure, the game industry has taken the graphical technology and fidelity even further during this period, so our efforts are minimized by this. But even so, we have at least tried.

During the same period we have also enjoyed comments such as "the voices are great", "best music evah!", "the ambient noises scared me shi*beep*less"... again, repeated in reviews only with more elegance. For the Amnesia teasers so far this continues, with an almost 100% successful comment ratio for the audio. This is great! But it also puts a core problem out in the bright light, how different the audio is judged compared to the graphics.

I am not going to try and come up with any ideas as to why. That would be going beyond the introduction I make in this blog post. However, as the person in charge of the audio for our games, I feel compelled to give some details about the creation and technology behind it all. How the audio is made, who makes it, what resources we have to spend and what sort of technology that is used. As an independent developer, the resources are very limited, for graphics and even more so for audio.

For Amnesia I do most of the sounds, Mikko Tarmia creates the music and a new friend of ours, Tapio Liukkonen, makes the sounds that requires more time and skill. We also work with AudioGodz to get the voice acting done for the game. The money that we spend on audio is the bare minimum that we can afford to hire these people for as a short timespan as possible.

During a whole project I spend less than 20% of my time creating sounds, this is very little when thinking about the importance of the sounds in our games. I have to cut down on how carefully I create these sounds, I have a library of sound effects that I use to mix and I also record my own raw sounds. If any professional sound engineers were to see how I worked, they would laugh and take pity on me. At times I record things in the room where I have my computer, sometimes directly in front of it, from a noise ratio perspective this is a big NO. But with little time at my disposal, that is what I do.

With this in mind, I would say that the creation of the sounds can be quite sloppy, but in my own defense, having done sounds for games since my first attempt (menu music) in 1997, I think I have some experience and tricks in my pocket to rely on for an improved result.

The main computer that I use when I work with creating levels for Amnesia, including implementing the sounds into the game, is quite old. The sound card is a Soundblaster Live! from 1998, making it similar to what a Geforce 1 is for graphics cards. It has some capabilities that could be comparable to those of graphics cards, such as hardware support for effects like EAX (echo for example) and it can do 5.1 Surround sound. Other than that it is well, pretty old.

The sound technology is rudimentary in our games - play, stop, fade, pan, output 32 or so channels and apply some basic effects (the echo, all tough this is not implemented in Amnesia yet). That is basically it. Try to sum up the graphical features of a game engine this swiftly if you can!*

I could probably go on, but I think that the picture is getting quite clear, that from a resource, effort and technology perspective we are really limited in the audio department. But despite this, the ideas, design and how we implement the audio in the game has so far been very well received. I would argue that we are doing the exact same thing (ideas, design and implementation as key) for the graphics, only with more care and resources, but to an extent in vain.

For a first person type of game it seems that the audio is judged almost purely by the effect, mood and purpose, while the graphics are as far as I can tell, almost solely judged on a basis of technology and production value. There is also a side of it where the audio in comparison to other games does not matter as much for the overall "judgement". While for graphics, the key comparison is how it compares to other games, regardless of development budget.

Why is this? Is it like this? Does it matter? Any comments except good job on slamming the audio of your own game?

*In all ego-fairness we DO have a lot of sound effects in our engine, for example a pretty advanced system for physics sounds. But these features do nothing special to the sounds other than changing volume and pitch. It is pretty much like having cool water effects in 2D pixel graphics. Yet, since it does the job, nobody seems to bother.

Storytelling through fragments and situations

Introduction
Stories are something that is very important to us humans and also a crucial part of many video games. In some games the player is the author of the story, for example in Civilization where you are given some basic start resources and are then free to decide how your story will play out. In other games the designer has the most control of the story and the game mechanics do their best to guide the payer through the narrative (which may dynamic or linear).
While the player-as-author stories are interesting, what I will discuss here is the type of stories that have been designed. Some people have argued that games are inferior at telling these kind of stories, something I do not agree with. While the games out today certainly do not compete with stories found in books and movies, I believe that the problem is that the medium is simply not been used correctly.


Plot-based Stories
Most games that are story heavy tells a narrative using a linear plot; in other words a string of events tied together by sections of gameplay. Most games that have been celebrated for their story such as Half-life 2 and God of War use this design. The concept is basically to force the player into doing certain actions by limiting the amount of interactivity.

Because this type of storytelling is based around forcing the player, it often comes with a very high amount of cut-scenes. Whenever a plot event requires an environment or situation where the player has too many choices, it is no longer possible to keep it within gameplay; all (or most) player control is taken away and a cut-scene is used. Some games (like Resident Evil 4) try and keep interactivity by using quick time events, but this has always felt like a cop-out and unneeded trial-and-error to me . In other games, like Half-life, these moments are handled by blocking the player in some way until the scene is over. In all cases, the normal gameplay is restricted and players cannot progress until the game lets them.

I believe that plot-based story telling has reached its limit*. A fusion of gameplay and story-telling the story can never occur unless it is some type of action scene or in other ways tightly connected to the gameplay. Whenever some emotional and story intense scenario is needed it is showed as a cut-scene. Interactive scenes only consists of very strict and standardized gameplay.

Plot-based story telling is not without its merits though. It fits very well with how it is done in movies and books and one can very easily use practices from these. This makes it possible to plot the different parts of the story early on and have things like characters arcs and tempo quite easily. It is probably because of this that plot-based storytelling is so widely used.

However, I personally find this way of doing it very problematic as it clashes directly with the unpredictability of games. For example, when we did the "meeting of Dr Swanson" event in Penumbra Black Plague, it was very hard to make it all playable and had to have doors mysteriously closing and the like (click here to see, spoilers ahead!!). When making Penumbra we had several other similar problems all due to events that had to happen at specific occasions in a very specific way. Every time we had to sacrifice some part of the gameplay in order to solve it story-wise.

This is troubling! When the most emotional and story-wise important scenes need to rely on taking away interactivity something is very wrong. I think the problem is simply that this type of storytelling is not the best way of doing story in games.


Fragmented Stories
This type of storytelling is evident in games like Bioshock, System Shock and to some extent in many RPGs and normal adventure games. It is about having a certain background story (or similar) spread out over the world. The player must then find these fragments and piece them together. These fragments usually come as notes or character dialogs, each giving a piece of the "puzzle". It is this kind of storytelling that we have mostly used for Penumbra and are using for our upcoming game Amnesia. It is also where I think the future of interactive story telling lie.

Fragmented storytelling allows for much more freedom as it is possible for the player to pick up fragments in different order and even to miss certain fragments without ruining the story. Some kind of order is usually wanted to though, and normally it is solved by not having all fragments available from starts, each level/section of the game containing certain fragments. It is also possible to solve by procedural generation of fragments. This can simply mean that the order of the fragments are independent of the actual interactions (e.g. first note picked is always a specific fragment), something we are using in Amnesia. It can also mean more advanced ways such as generating documents to fit the player, for example censuring certain information in case the player has not found out about other things first. This kind of procedural generation seem very exciting to me, yet it is very unusual in games and I know of no other games that are using it

Fragments does not only need to be text-heavy information such as dialog or notes. It can be graphics in the environment, sounds, character banter, interactions, etc. In Amnesia we try to use as many different types as possible and do our best to create a game where playing and exploring brings forward the story without ever removing control. The great thing about the fragmented design is that it is never in the way of the game and helps the player immerse, instead of the opposite (which cut-scenes might do). When designing Amnesia we have also made sure that pretty much everything is optional and instead of forcing the player to take part of certain story elements (fragments) we have made sure to make the most important things are really obvious (and hard to miss) and the less important more hidden.

While the fragmented story design is used quite a bit (especially as notes and dialog), I think that its potential is severely underused. There is a lot more stuff that can be done in this way. For instance, by interacting with the world the player can find out things, not just about the environment, but about the character too. How will the protagonist react when you try to eat meat (vegetarian?), why does she gets scared when in confined spaces, etc. It can also be about the environment itself, for example how different things work (machines in a sci-fi story) or how the ecology behave. It does not need to be related directly to the background story either, but can be a way of showing character motivations, increase understanding of the game world or just simply to set a certain mood or convey a theme. In books and movies this usually take up large part, almost always using plot-based story telling, and I think that a large problem lies in designer trying to copy this design (something I have discussed before) instead of using techniques more suitable for games.

Plot-based story telling does not need to be thrown out though and can still be used effectivly. The problem with fragmented story telling is that it only is only about the past and never about the present. Here plot-based design can help to spice up the story telling. For example, Bioshock, an otherwise pretty free-roaming game using fragmented story-telling, has an important cut scene (check here, spoilers of course) that even use the lack of interactivity as part of the story. The same is true in Penumbra where the infection-with-voice, Clarence, sometimes take control over the protagonist in cut-scene-like sequences.


Situations instead of events
As stated above, the problem with fragmented storytelling is that it is just covers things that HAVE happening and not what IS happening. This does not mean that one has to resort to the plot-based design though and instead of forcing on certain events, one can create situations instead. Creating a situations is large part of our story telling design since Penumbra and way of thinking we have found very effective. It might seem a really fine line between an event and a situation, but I think it is a really important one and will explain why.

In an event (as in a plot-event) one wants something very specific to happen, often including a protagonist action. For example, if a monster enters a room the protagonist hides in a closet. In a situation, one creates a some sort of outside pressure and then it is up to the player on how the protagonist should act, never stopping the normal mode of gameplay. The line between the two can get pretty vague, since a situation can be about getting the player to hide in a closet when monster enters a room, although in a situation this is never forced. A situation is not just a cut-scene + the interaction though and it is more about exposing the player to something and letting them deal with it. Also, situations are more complex to setup as one does not want to lock down the player and let the normal gameplay remain intact.

If there is a certain section of the game where the player should be exposed to a new enemy, but never come too close, this will be done differently using events or situations. In an event, it can be that the player notices something in the shadows and then a cut-scene shows how the player hides. Using situation design, this creature can be roaming certain parts of the map, making sounds and always staying a certain distance. This means that the player may sometimes spot the creature but never face it directly, achieving the same goal. The map can also be set up in such a way, that when spotting the creature, there is always a room nearby where the player can hide, trying to indirectly "force" the player into behaving in a certain manner.

By using situations instead of events, control does not need to be taken away and it is possible to add story elements that happen in the present (and not just in the past). When designing Amnesia, adding interesting situation that connect with the story has been a large design goal. Usually entire maps have been used as the place for the situations and designed around it. We have only started scraping the surface of what is possible though. By focusing on situations instead of plot-events we have come up with many things that have a lot more freedom than events we did in Penumbra, but still communicate the same feelings and story content. We will continue to use this kind of design in the future as it has been extremely helpful so far and we feel that there is a lot more to explore.

Using situations is a bit of a gamble though and one can never be sure that all players will get the intended experience. That is just something one has to live with though. When it comes to interactivity, risk are always involved as it is impossible to plan for every possible outcome. One should of course make sure that the player cannot get stuck, but I think it is well worth sacrificing some security for greater interactivity and possibility of a deeper experience.


End Notes
The more game designers start going away from creating stories that emulate books and movies, the more the medium can evolve. It is only by focusing on the strengths of the medium that we can make make stories only games can tell!

What is you thought on stories using the fragments design? And how are your feelings regarding situations vs events?


*It is probably worth mentioning that Heavy Rain is making some kind of progress in the plot-based design. However this is done at the expense of player interactivity.

Horror Tip: The Statement of Randolph Carter

Name: The Statement of Randolph Carter
Type: Short Story
Link: Complete Text
This is one of my favorite stories from HP Lovecraft and it should also serve as an excellent introduction. It is very short and a perfect example of fear of the unknown. This story really got to under my skin and has served as an important influence when coming up with good scares for our horror games.

It is also interesting to note that the story started out as dream that Lovecraft had and the story is extremely close to actual dream*. This makes the story a sort insight into the disturbing mind of the master himself!

Hope you enjoy it and for those of you that have not read anything by Lovecraft, I hope this makes you eager to read more!

*Read it here. Thanks to Sebastian for the tip!

Update....

So, it's been sometime since I've posted anything and a lot has changed - well, for me at least. I've left Realtime Worlds after some long term disagreements with how the project I was on was being handled, but I wish them all the best and hope they make a go of it. All I can say about the project is that IF they manage to pull it off, then it's gonna be huge! Good luck to all involved, I spent 5 years of my life on it, so I'm still very keen to see it work.

Still onwards and upwards I guess. I'm currently on gardening leave from RTW and have just over a week left before my official end date. It's nice to be able to kick back and relax a bit, although I have been finishing off some freelance stuff I've been doing on the side. I hope this will be announced soon so I can start blogging a little more about it, because it's really interesting in its own right. With luck, I'll have things sorted out in a couple of weeks and everything will become clear.

Because of all this, my retro projects have obviously taken a back seat, and will remain so for some time to come; and the same goes for my electronics. I'd love to get back into them but I have bills to pay like everyone else so I have to concentrate on other things. I'd love to dabble back with my electronics in particular, but it's going to be a while before I can afford to do that again.

Anyways... I hope to announce some stuff in a couple of weeks, and with any luck, you'll all be interested in that as well!


Oh! And you can follow me on Twitter if you REALLY have no life and nothing else to do... I'm on there as MDF200 (which was my old Visual Sciences login ID!

Closer look at Teaser and more

After a lot of work we are finally done with the teaser! Hope you all enjoy it! In case you have not seen the teaser yet then do so before continuing with this post:



The map played in this teaser is based upon two other maps from the game and have been especially built to show of the mood and gameplay of Amnesia. If you are worried that the teaser will spoil parts of the game for you, have no fear, the exact events of the trailer are not in the game, but there will be some that are quite similar.

The map took about two days to build and script and then it took around 100 playthroughs before we got it as we wanted. Whenever I felt satisfied, I showed Jens a clip and he immediately gave me a list of uncountable other things that I could do better. As if Jens obsession for details was not enough, I also had to record the teaser while having an extremely smoothed camera. This meant that I had to pre-plan all camera movements because when ever I moved the mouse, the camera just gently floated towards the destination. It was especially hard to get the correct position during fast movements. This will of course not be the case in-game and was just something I had to do to get nicer camera movements for the clip.

"So the clip was not really from the game after all!", the skeptic might say. Well, the player will never experience exactly what is shown in this teaser and the main reason for this is to make it short and fun to watch. What happens in the trailer will perhaps take 20 - 30 minutes using proper gameplay and that would not be very fun to watch. There is a big difference between watching as a passive spectator and directly interacting with a game. Our goals was to cram the feeling of playing the game into a 3 minute movie clip. Also note that there is no cheating here, I actually played this map in a continuous recording and did not render it offline or something like that. Hope this clears up things :)

On a technical note, we really wanted to record it in HD, but my computer was just too crappy and we did not want a 10fps recording. The up-side of me having an ancient rig is that the game should flow smoothly on just about an computer bought over the past 5 years though.

Now for some more in-depth study of the movie:

- 0:20
This is not very visible in the clip, but there are actually fishes swimming around here. We intend to get many types of critters in the game and this is one of the ones that are in right now. (another critter is in the clip, can you spot it?)
Also note that we got proper water reflections and refractions. It is way more advanced than seen in Penumbra and also optimized for indoor rendering.

- 0:30
Rotations and other advanced physical controls are the same as in Penumbra. They are a lot smoother this time though and even though it is actual physics being simulated there is little lag noticed.

- 0:33
That scream has a very significant part of the plot. What I cannot say.

- 0:44
New nice feature with the doors is that you can grab at any place while interacting and it will always work. In Penumbra it was very specific where you grabbed, but not so in Amnesia.

- 1:05
As darkness decreases your sanity you never want to enter dark areas like this without using the lantern or having some candles (or similar) to light.

- 1:21
All the nice blood and stain effects are thanks to Luis hard work with the decal editor!

- 1:54
First glimpse of new enemy! What can it be...

- 2:01
Just as in Penumbra, looking at enemies is a best avoided. In Amnesia it will cause your sanity to drop.

- 2:05
Notice how books just slightly slide along the shelf because of friction and so on. This is all due the nice simulations provided by Newton Game Dynamics. It was quite fun setting everything up on the table so that that some fell off while pushing it, giving the a feel of urgency when trying to barricade the door. The table was also harder to move due to the weight from all the stuff on it, so had to give it an extra push to get into place (using the "throw" button). One never knows what going to happen with physics...

- 2:26
It took a while to remember the best times to open the closer door, in order to get a nice effect. After 50 tries or so, I had that creature pretty much figured out though (apart from the times he managed to stray from the path and not be where I expected, that actually scared me a few times...). Also note that there is no special gimmick for hiding in a closet (like in Clock Tower, etc), you are always in full control and use same mechanics as the rest of the game.

- 3:13
Brief glimpse of another enemy...


Hope you enjoyed this closer look at the teaser! If you liked the movie, please spread the word and post on your Facebook, Youtube, Twitter or what not. We do not have any big PR resources (it is basically me or Jens taking a break from normal work to do it), so any help is extremely welcome! Thanks for all support so far!

Exploring Deeper Meaning In Games

Introduction
This post aims to be a deeper look at my earlier rant about meaning, narrative (plot) and gameplay. After considering feedback and thinking about it some more I would now like to write a more constructive text. In this post I will outline some steps and ways of thinking that I think are needed in order to achieve deeper and more varied meaning in games. "Deeper meaning" is of course a highly subjective thing, but what I mean is simply games where the core is not just about a gameplay mechanic, showing entertaining gore or similar. Instead, the focus should be on exploring something other than pure "fun".


Meaning should come first
Instead of starting out with a gameplay mechanic, one should find some other kind of meaning to have at the core. Note, that "meaning" does not have to be something hard to understand or extremely profound. "The joys of snowboarding" is one kind of meaning and "What is it like to be homeless?" is another. Note the difference in meanings here, one is pretty mainstream while the other is not. Also note that I would consider both of these meanings "deep" as they do not concentrate on the gameplay directly.

I think having this kind of meaning can be crucial in order to create a good work, and many (all?) great films and books are based around it. For example, take books like Animal Farm and Grapes of Wrath, both of which are very compelling stories and also have a strong meanings. The meaning that lie at the core of these works is what is essential though and not the plot. Grapes of Wrath tries to describe the problems poor farmers had when they where forced to move to California. Animal Farm is at one level about corruption in governments after revolutions and at another a fairly accurate description of the Russian revolution. The important thing is that the plots are not what is essential in these books. Instead the plots are merely vessels in order to bring forward the meaning and have been written to do so in the most effective manner. Without the strong meaning at the core, the novels would have never been written. The engaging stories has grown directly from their respective meanings.

It is worth noting that just because a meaning lies at the core, a game does not have to turn out different from how they normally are today. For example, the "The joys of snowboarding" could be made into an ordinary game like SSX or something more experimental like Stoked Rider (that does not contain goals, scores, etc). What is essential though is that the meaning is never sacrificed for other features. If a score is added to the "joys of snowboarding" game then it should increase the meaning and if doesn't, it should be discarded! Ignoring this cause problems in many games, some of which have been discussed here.


Fun does not need to be in focus
When designing a way to bring forward the meaning, one should use all tricks that are available to the medium and not feel forced that everything must be fun gameplay mechanics. Focusing on having some kind of entertaining activity at the core of the game tend to take away the meaning and instead let the mechanic take over. A recent example of this would be combat and upgrading in Dead Space that takes away quite bit of the Alien/Event Horizon-like atmosphere ( which I assume is what the designers where after).

When designing our upcoming game Amnesia we first focused on having a core gameplay which the rest of the game could be built upon. However, every type of gameplay we tried out weakened our core meaning of creating a scary and disturbing atmosphere. It was not until we just let go of the concept that something "fun" needs to lie at the core that we really felt the project coming together.


It's not all about events
What drives the meaning in books like Animal Farm is basically a string of plot events. This is because linear media, like books and movies, are pretty much all about plots and therefore events is the most common way to bring forward a meaning. However, this is not true for games, where we have interactivity, non-linearity and generated content to work with as well!

I think many game designers look too much at books and films, and mimics their ways of communicating a message. Instead I think that one way to move forward is to look at the meaning and then figure out the best way to convey it. (Of course this also means that one must have a meaning from the start...)

Consider portraying a dangerous neighborhood. In a linear media a character might be mugged when walking in the area, and in that way conveying that it is a bad place by using a plot event. In a game this could be done through interaction instead. For instance, NPC:s can give more hostile answers to questions asked, showing certain objects will make people stare with greedy eyes, etc. These kinds of interactions all enhance the meaning that is portrayed and makes the mugging event irrelevant.

What I wanted to show with the previous example is that instead of a scripted event, interaction with the world can provide the same kind of meaning. It is also worth pointing out that some games (Fallout comes into mind) already use this method, but I would like to see used more often. Also, it is very important to be aware of this possibility and not just assume that an event is important for the story. There are bound to be many plot events in a story that could be changed this way. One should not focus on having everything as interactivity though; the method to be used should always be the one which best conveys the intended meaning.


Winning is not everything
All ancient games like go and backgammon are at the core about one thing: winning. This is something that seem to have followed ever since and most games rely on some mechanic where the player either succeeds or fails. While it suits some types of games, it can devastate the experience in others and it also sets up a sort of barrier on who can play the game. Many games effectively say: "Either you complete this task or you won't proceed!". There seems to be some kind of common knowledge that this type of mechanic is a must in order for a creation to be called a game and if the player cannot loose the game is pointless.

I believe it is time to stop thinking in terms of "beating a game" and instead focus creating an experience for the player. For example, I have discussed chase sequences in a previous post and the main problems with these is that they loose their impact when replayed. There is a very simple solution to this problem: make sure they are only played once! I think it is possible to still create tension even if it is predetermined whether the protagonist dies or not. It is all about immersing oneself and it works great for films and books. Another way is to continue the game regardless if the player wins or looses, changing the game accordingly. Both of these methods are implemented in Heavy Rain and while I have not tried the game, reviews seem to show that it works quite well. Also note that it is possible to fool the player into believing that there are grave consequences if failing in certain sequences. As long as there is some rare occasions where it really does matter, the player will never be sure if the current situation is "for real" or not. This approach makes it easier for the designer as large amounts of narrative permutations does need to be supported.

This thinking can be applied to just about any sequence that is supposed to have tension. Every time "game over" is shown immersion is broken and the player is pulled out of the game world. One can give the experience more flow by skipping the old notion of "trial and error" and instead make sure that the game always progresses. At the same time the game is made accessible to more people and not just hard-core gamers.

As a final note on the "win or loose" topic I want to add that this is of course not true for every type of game. But I do think that designers should carefully consider if a trial and error mechanic is really needed and if it might not be for the best to skip it.


Existing for existence itself
The interactions performed in games are almost always connected to some kind of gameplay mechanic. Often just about all the actions available in a game are relevant to the core rule system and actions are not often present only because of their intrinsic value. I think this is something that needs change and would like to show why by considering how graphics has evolved in games.

In the first games, all graphics had some kind of relevance to the gameplay (e.g. Pong). However, as technology advanced graphics where added just to enhance atmosphere and for the viewing pleasure of the player. Today very little of a game's graphics are there strictly for gameplay and are mostly there to make the game attractive. The same has not been true for interaction and there has been very little improvement. Often when more "superfluous" interactions have been added, they have still gotten some kind of gameplay connection (like eating various food items in System Shock 2).

Notable exceptions are for instance Max Payne where sinks, driers, etc can be turned on in a public toilet. Another examples is Half-life 2 where many of the objects have physical properties, allowing interaction, but no relevance to the gameplay. While these interactions add a lot to immersion they are pretty simple and I think more complex actions could and should be added.

Consider a game where a male protagonist has a child following him and certain actions can make the child sad or happy. The mood of the child has no impact on the gameplay, but would just be a mean for the player to connect to the father-child relationship. Some might argue that adding some gameplay relevance would make the impact of a happy/sad child stronger, but I think this is false. First of all, gameplay comes with balancing issues and instead of focusing on making the child believable and on creating a certain experience, one might end up focusing on making it all work gameplay wise instead - in the end decreasing the impact. Secondly, adding a gameplay mechanic easily make the player focus on the underlying rules instead of evoking feelings. Because of this, only having the happy/sad boy interaction for its own sake can make it a more emotional experience.

Just as adding nice graphics, for no other reason than their beauty, can make a game more compelling and attract more people, adding gameplay wise "meaningless" interactions could help make the game medium reach new places.

End notes
I do not want to stop games from being made as they are now. Neither do I want all future games to have deep meanings. However, I would like to see games that take the medium to new places and explore deeper subjects . I would like to see games that can provoke deep thought and feel as something other than "pure entertainment". As I mentioned in the earlier post on this subject, the current state of games, where the core experience is almost always be about hero induced genocide, is just sad. There needs to be some change to this or else a lot of potential will go to waste!

Alpha - the beginning of the end!

Yesterday, after several weeks of grueling 15 hour (kid you not) days, we finally reached a really important milestone here at Frictional Games. It's by far the most important milestone we have reached so far and might be the most important milestone of the entire project!

We have completed making the Alpha version!
For ALL Platforms! (Windows, Mac and Linux that is)

So what does this mean? In general terms it means that we now have a large chunk of the game done which we can evaluate and draw conclusions from. More specifically it means:

• All code for tech, tools and game are done and what is left is basically polish. Note again that this is for all platforms! Sure, the polish is not an easy thing and can include plenty of smaller feature additions, but it is a road map that we can control and plan for.
• We can now, for the first time in almost three years, test the game and see how it really plays like!
  
• We now have all of the design for the game done and know with strong certainty how we want it to play and how to fulfill that vision. Much work remains, but now we know what we are working for.
  
• Having the design done also means that we can pinpoint very exactly what needs to be done and how it should be done. This means that can we now for the first time see a finish line and know that we have what it takes to cross it!
  

This project has been an emotional roller coaster for us at Frictional Games. There have been many times when we thought we where done for and had to stop making games. Now we finally feel that we have the finished game firmly in our grasp. Hopefully all the sweat and tears we put into this will help create an extra memorable experience for you all to play in a couple of months!

And oh, more fun stuff to come really soon!