Author Archives: Daniel

Doom week(s) and Bunkers.

It’s that time of year again, when students everywhere (well, everywhere on a semester schedule at least) undergo the long and grueling process of ingesting dangerous amounts of caffeine and overloading their short term memory capacity.

As one of these barely human coffee zombies, I am nearly free of the clutches of final examinations, but since Nicholas is also somewhat tied to the chains of academia, we’ve been forced to put development on hiatus until Monday.

Fear not, though! A bunker session the likes of which Gaslamp has never seen is slated for just the next day! I understand coffee and instant noodles are being stockpiled in the workplace of choice, and we are destined to either never emerge from our self-imposed programming exile, or we will shamble out of our dimly lit and stagnant bunker to bring to light something odd, fun, and addictive in video game form.

Bunker

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The Evolution of Workflow: Abandoning Failures and Being Adventurous

So… workflow.  The way we here at Gaslamp get things done has changed a lot over the last couple of years: our workflow system honestly, originally started with like 8 pages of nearly illegible blue marker on college rule thumb-tacked to a bulletin board, and is now, actually, pretty good.  I blame/thank web apps.

{ read this article }

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Why they just don’t make games like they used to.

Well, not all “they”s have stopped making games like they used to, but things have definitely changed.

Personally as a gamer, there are a lot of things about the way things are changing that I don’t like.  Take the RPG for example: a medium which began with Gary Gygax giving the escapists of the world a way to be a beefy barbarian who gets the ladies in, back then, probably their parents basement with some junk food and no girls:

Yes, that's Gary.
Courtesy of Westworld Blogs

And sometime in the last 25 to 30 years, console and computer gaming has gone from being something that kids at school felt self-conscious about because they were uncool, to being an industry with yearly revenues to rival video television and music.

But we’re not all sitting around tables rolling dice and drinking mountain dew.  The reasons?  Creative direction, cost, profitability, and marketing.

I should say that I actually do play pen&paper RPGs.  My group gets together once a week to play Pathfinder, a derivative of D&D 3.5.

The good reasons why we don’t play games like that anymore?  Storytelling, for one.  The technology available to a game developer these days allows us to decide from a vast array of possibilities exactly how the player should be capable of interacting with our worlds, and in doing so one can provide storytelling elements such as theme, setting, and style.  Also, you couldn’t play D&D by yourself when it’s 3pm but all your friends are at work and you have the late shift.

Video game designers of the past were, in essence, all lobbying for that period of time that you don’t really know what to do with, because they couldn’t really compete for the time that you did know what you wanted to do with, be it D&D, drinking with friends at the pub, watching a movie, or whatever.  Games just weren’t capable of delivering an experience rich enough to compete when all that was available was pong in 1972 or pac man in 1980.  The evolution of our technology, allowing for more creative direction, has made games like World of Warcraft capable of solving this issue.

But there are other reasons why games have changed, and they’re not nearly as good for the consumer.

Producing a video game was once the same for everyone as it is for small startups today: you work in your spare time to produce something that you think people will like and hope you run out of things on your to-do list before you run out of time or energy or money.

That model has been seriously overshadowed by large companies which started out as the small ingenious companies above, but have grown as the market has grown into billion dollar corporations which collect terabytes of data on where people click, what people buy, and what makes people buy more: a finely honed machine on cutting under-utilized and over-wrought resources so that in the end the ROI will improve.

This is why Final Fantasy doesn’t have towns anymore.  This is why Rock Band has 12 iterations that all cost 3 thousand dollars and the core game is exactly the same.

I’m sure there was a time, once, when someone was writing a video game like Oregon Trail and thought, “Man, won’t it be cool when we have the technology to make it possible to actually make all the decisions: how does one ford a river, for example, or what happens once you get to the Ozarks?  These are the kinds of things that RPGs did way before video games were on the scene – and still do.  You want to run a used mop store?  D&D can do it, Pathfinder, Palladium, Rifts, Heavy Gear… they all can.  But can I not kill Ares in God of War?  Can we talk things out?  Hell no, that would just be too expensive.

Now, this is RPGs I’m talking about here.  If you could do anything in Bejeweled it would just be weird and confusing; there is a time and place for everything.  But is video gaming doomed to this downward spiral of disappearing player-driven freedom?  I hope not, and I honestly see no reason why it should.  Occasionally, the indy game developers and small companies still make great products, not tied to their budgets like the big guys, and they can make towns and yogurt makers and whatever they want.  And, with the right group of fans to support them (and remind them of why they like their games), they will keep making them.

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Gameplay Mechanic Graveyard, part 1


The death of a pun.

In the spirit of giving deeper insight into the game development process, I’m taking/stealing a page out of Sid Meier‘s play book and sharing with you guys one of my bad ideas.

In an earlier iteration of Dungeons of Dredmor, spells were learned from spellbooks found on the ground, of various “magical strengths”, which had different statistical probabilities of yielding spells.  Strong spellbooks would likely yield multiple spells, or higher level spells (which were harder to get), but you were never guaranteed a spell.  Not only that, but spell-casters had a better chance to learn spells than fighter-type characters, and so would end up with more spells, but there was always that chance that a fighter could “go for it” and get a really sweet spell to use when they had no more options.

It turns out that this was a terrible idea.  People hate the concept of failing to gain spells and instantly are less inclined to submerge themselves in the “Dungeons of Dredmor” experience.  We then were struck with a bad situation because if we guaranteed that spells would be learned, people would always go for the higher level spells in the book and always be above the power curve.

The solution?  We got rid of spell books and implemented a wizard leveling mechanic which rewarded players with the next level spell of whichever spell school they chose.  It combines limited choice (always a good thing) with automatic advancement (something which keeps players interested and rewarded for their zomby killing) …(and yes, that’s supposed to be “zomby”).

Next Friday, another exciting look into another one of my bad ideas =)  See you then!

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From Rogue-like to Something Unlike You’re Used to.

Hi, I’m Daniel Jacobsen (or sometimes Citizen) and I am the gameplay programmer and biz dev guy here at Gaslamp.  My posts here will generally have to do with designing systems for our games that are both fun and intuitive (or at least attempting to) as well as the hurdles that our indy game company is going through in order to support our lifestyles making games that people enjoy playing.

Our current project, Dungeons of Dredmor, started out life well before the Gaslamp team got our hands on it, as a project that Nicholas was working on while doing his undergrad degree.  We initially picked up the project as something that was “near completion” and just needed to be taken from a system of dungeon levels and monsters to a compelling experience that someone would enjoy sitting down and playing through.   Like most things, this was way harder than it seemed at the time.

Since we were dealing with a complete system without a game, one of the first things that we had to decide was how to entertain people with what we had. There are a lot of ways that people go with this sort of thing, but as a throwback to the “Rogue-like” origins of Dungeons of Dredmor, we really wanted the player to tell their own story through interesting solutions to problems and unique quests. Essentially, our goal is to allow players to create their own unique story every time they play through the game.

This, unfortunately, is much more difficult than it sounds, but using some interesting and slightly insane mad-lib style “procedural content generation”, we’ve developed algorithms to generate dungeons, monsters, items, and even quests that have such a large number of possible combinations that I can practically guarantee that you will never play the same game twice. While the ways in which you interact with things always stay the same (we thought about generating that too, but it would just be weird =P) and the end goal of defeating Dredmor is going to be the same, you can always find a different way to get there.

I mentioned earlier that the origins of Dungeons of Dredmor are in the traditions of Rogue, as it was initially intended to be a fully graphically represented Rogue-like with a single button interface, which displayed no numerical information to the player. After countless hours debating, arguing, and collaborating upon whether Rogue-like games have a place in today’s gaming world, we decided upon a less… erm, deadly approach to dungeon diving than Rogue loyalists. We also ditched the idea of having a single button interface. While we still feel it is important that everything *can* be done with just one (okay two) button(s), given the level of complexity that most gamers are comfortable with these days, we’ve augmented the system so that hotkeys that people are familiar with exist in our world too.

Finally though, we did stick to the “no numbers” philosophy. In part because not having numbers for players to focus on requires instead that they pay attention to other things in order to decide how well they’re doing in a game, but I’m sure also at least partly because of the challenge associated with rewarding players not by a higher damage number, but in other less common ways which has really pushed us in the direction of trying to understand exactly what players want, and how to give that to them without playing a game seeming to devolve into maximizing damage and hitpoint numbers.

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The Big Meeting

Gaslamp personnel recently (and for the first time unitarily!) congregated at our perennial drinking locations to strategize, plot, scheme, and inebriate in celebration of St. Patrick’s Day.  Game mechanics were discussed, old movie trivia was bantered, and strange information was brought to light about Guinness and the crew’s propensity for a good Scotch Whiskey.

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Welcome to the Gaslamp Blog

Greetings internet users!  The team here at Gaslamp is proud to announce the new Gaslamp Blog, where you will be able to find regularly posted news and exciting developments in the games of Gaslamp, as well as general development thoughts and insight into “the process”.  We’re ramping up to issue a new release soon with some new features which we’re really excited about, as well as new art and general content improvements, so stay tuned!

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