A few days ago my idle twitter-browsing was upended:
Huh. I just checked the Greenlight page for @zarfeblong's Hadean Lands... I somehow missed the news that Valve had started the GL process (@andetkaihetera)
Really? I, um, missed the news too. But a quick glance at the HL Greenlight page showed:
This game has been Greenlit by the Community!
The community has shown their interest in this game. Valve has reached out to this developer to start moving things toward release on Steam.
I was off at Balticon, so I couldn't dig into the matter right then. (Which is why everybody else announced the news before me.) But now I'm back and more or less caught up on life. So here's what I know.
If Valve reached out to me, I missed it. The Greenlight page says "Updated: May 12 @ 7:24pm", and the voting stats stop on May 11. So I guess the game was officially greenlit two weeks ago and nobody noticed until this weekend? O the embarrassment.
The site now offers me a link to "become a Steamworks partner". So I have begun that process. I have filled out a great many forms' worth of tax and banking info, the usual excitement. (And the usual confusion about whether I should use Zarfhome LLC's EIN or my personal SSN, a question which I will never, ever get right on the first try.)
Bureaucracy aside, what does this mean for Hadean Lands? I wish I could just push a button and launch the thing onto Steam. But no -- not that simple.
Joe Johnston, who co-hosted various Gameshelf TV episodes with me back in the day, has lately taken to independently publishing adventures and play aids for Labyrinth Lord, a modern revival of circa-1980 tabletop role-playing games (and which all but states on its website that it’s essentially first-edition Advanced Dungeons & Dragons with the serial numbers filed off). You can find them for sale at RPGNow; some are pay-what-you-want PDF booklets, while others make print editions available as well.
His latest work includes Tranzar’s Redoubt, which challenges the players to break into a wizard’s hideout and rob him blind in grand fantasy-grindhouse tradition, as well as How to Hexcrawl, a guide to running traditional fantasy adventures in sprawling outdoor settings rather than familiar square-grid dungeons. Both feature excellent, original artwork by Dyson Logos.
(This news comes via Joe’s own gaming blog, Tabletop on the Desktop.)
We noted last fall that Cyan had started developing a Myst TV series with Legendary Television. Yesterday this jumped forwards a notch:
- Hulu Lands 'Myst' Drama From Legendary TV (Deadline)
- After decades of efforts, Myst TV live-action show to debut on Hulu (VentureBeat)
- (confirmed by Cyan's Twitter account, with a cute photo of the Cyan and Hulu people yanking the big Riven lever)
The show is not yet greenlit. The deal seems to be that Hulu looks over the script, and if they like it, they'll start production on a season of TV (not just a pilot episode). The script is by Evan Daugherty, who is best known for the screenplays of Divergent and Snow White and the Huntsman.
(I've said snarky things about SWatH, but it was memorable and visually striking, at least...)
The producer will be Matt Tolmach; executive producers will include Larry Shapiro as well as Cyan's Rand Miller and Blake Lewin.
We still don't know anything about the script itself. The Deadline article says "It will explore the origins of the island of Myst from the game where a man wakes up on a mystery island..." But it's not clear if that represents any sourced information or if the journalist is just googling.
As a footnote: don't read the comments. I was half-amused, half-disgusted to find that there's a television equivalent of the "what about Android?" guy. It's the "what about Netflix?" guy. Since these articles are about games and TV, both species show up.
This is the same version that's been available all along. (No, I have not done a bug-fix release. I know, it's getting to be time...)
The Humble Store is fixed-price, not pay-what-you-want. The win is that 10% of proceeds go to charity.
(Have you voted for Hadean Lands on Steam Greenlight?)
The XYZZY Awards for best interactive fiction of 2014 have just been announced. I'm happy to say that Hadean Lands won in four categories: Best Puzzles, Best Setting, Best Implementation, and Best Use of Innovation.
The overall Best IF Game of 2014 went to 80 Days, which absolutely deserved it. It was a tightly-contested award -- Hadean Lands was in the running, along with Kevin Gold's Choice of Robots, Porpentine's standout Twine work With Those We Love Alive, and IFComp winner Hunger Daemon by Sean M. Shore.
Winners in other categories included Lynnea Glasser's Creatures Such As We, Ade McT's Fifteen Minutes, michael lutz's the uncle who works for nintendo, and a symbolically satisfying tie between Twine and Inform 7 for Best Technological Development.
Here's the full list of winners and finalists. Congrats to everybody!
Since this is my brag post, I'll also note that I'm working on a new IF game! This will not be parser-based. I've got ideas about cool things to do with a touchscreen other than typing a lot.
No other hints right now. Stay tuned for more information.
Another question from the tweetzone: "What are the significant differences for object/rooms + hypertext/choice vs parser + web?"
Here's (more of) that strand(s) of conversation:
I want tools to create a hypertext based game that still has a room and object model for the engine. Any suggestions? (@KalevTait)
I've done it (in Glulx) but the game design space is poorly understood. (As compared to parser+object model.) (@zarfeblong)
this just means it needs more research (@emshort)
What are the significant differences for object/rooms + hypertext/choice vs parser + web? Maybe I’ve misunderstood. (@jurieongames)
Emily's further responses:
parser + web = you still type. world model + choice = you're selecting what to do from options based on model (@emshort)
Oh, and I guess choice-based games tend to come from a CYOA, paragraph-based design approach? (@jurieongames)
often. even if they don't, enumerating all the options that would exist with a parser gives you a too-long list (@emshort)
so you need then to build a hierarchical interface or else have a smaller tighter verb set, for instance (@emshort)
I agree with Emily here (as usual), but I want to back up and talk about ways I've approach IF design.
A question about Hadean Lands from the tweet gallery: "Have you written anything about how you approached designing the alchemical system?"
Excellent question! The answer is "No, but I should, shouldn't I," yes okay. (Thanks @logodaedalus.)
My twitter-sized reply was "Sound cool while supporting the puzzles," but I can say more than that.
(Note: I will start this post by talking about HL in generalities. Later on I'll get into more spoilery detail about the game structure. It won't come down to specific puzzle solutions, but I'll put in a spoiler warning anyway.)
I am pleased to announce The McFarlane Job, a short interactive caper story that I developed for House of Cool late last year. I built it with Massively, their new platform for creating and distributing IF that resembles SMS conversations.
While Massively has commercial aspirations, this game is free for all to enjoy. To play the game, download Massively onto your iOS or Android device, create an account, and then search for “McFarlane Job”.
Keeping to the pattern of IF I have written before, this game is quite short, so I shall say no more about the story. I shall instead say that it benefitted from Katherine Morayati’s expert QA, and enjoyed additional development by House of Cool’s Dylan McFadyen. I would very much welcome bug reports and other feedback!
Shout-out to Jim Munroe and the Hand-Eye Society of Toronto for organizing WordPlay, the November event which allowed me to cross paths with House of Cool, leading in turn to this work.
For the past few weeks, my partner and I have been striving to get out of house more, a tonic against the crushing isolation of Newport in winter — made all the worse on us as newcomers with few local friends. A couple of weekends ago we attended a board game meetup at my favorite local coffee house, our first such event since leaving our Boston-based circle of tabletop-loving friends. We didn’t know anyone there, and had a great time.
In the same vein, and at the same time, I decided to finally try Ingress. More than one friend of ours treats this game as a significant personal pastime, and I’d felt curious to examine it for months just from my usual semi-pro game-studies perspective. Ingress presents itself as an augmented-reality game that gets you exploring your neighborhood in a new way, and I imagined something like Geocaching: the RPG. It seemed like just the thing to escape a wintertime rut, at the cost of stomping around through snow and sub-freezing temperatures.
Well: the game is ostensibly like that. I had terrific fun for the span of a single weekend, but it ended up souring on me quickly. Before a week had passed, I had deleted the game from my phone, and found the willpower to keep it off. My problems with Ingress stemmed from how I found myself unable to stop playing the game. I don’t refer to addictive, repetitive play, here, even though it does involve a bit of level-up grinding. Rather, I mean that I felt literally unable to enter a state where I was not playing Ingress. I would put my phone away, I would get back to work, and yet I was still playing Ingress. I found this total bleed-through of game and life initially novel, then uncanny, and finally uncomfortable, especially once I started interacting with other local players. This culminated in an angry and cowardly action my part, the last thing I did within the game world.
Before describing this negative effect any further, I shall describe three inarguably positive experiences I enjoyed via Ingress during that first weekend.