Oct 04 2014
I feel about ready to call this map done. I keep returning to this, my effort to render my partner and I’s first journey to Stockholm. Fundamentally however, while I’m confident in the details of the various routes which made up our journey (based on the Transport for London standard), I’m conscious of the fact this transit map does not make for a particularly pretty piece overall.
Great liberties had to be taken with the shape of the European continent already, but I still felt it important to have these routes point in roughly the right direction wherever possible - thus, the route takes a natural curve as it does in reality:
Still, this map serves more as a pleasant thought exercise for me than an attempt to make anything saleable or beautiful - and I hope it does at least serve to show how many stations and countries we passed through.
As an aside: the reason there are a few routes marked between Hannover and Hamburg is because we were originally booked on a train which veered off at Harburg, forcing us to change for a local Metronom service. Delays between Köln and Hannover, however, forced us onto a later train which actually terminated at Hamburg Hbf. More was the better - those suitcases were heavy!
Sep 29 2014
My Oddball DreamHackathon
Last weekend I took part in my first competitive game jam – the inaugural DreamHackathon, at Stockholm’s Ericsson Globe. This 24-hour game jam had a 100,000kr pize pool and counted eye gaze hardware manufacturer Tobii amongst its sponsors. It brought together some 90-odd jammers comprising 27 teams, and it sat right alongside one of Europe’s biggest esports tournaments. In the middle of all that, I teamed up with 4 other people to make a game in which you play as improbably fat cats, lusting after surströmming.
Given that I’ve attended game jams before at settings including a museum, the headquarters of Mind Candy and a boat moored in København, it didn’t feel quite so strange to bring my laptop and game controllers along to the world’s largest hemispherical structure; home to ice hockey matches, major concerts and of course, this major esports gathering. The venue was still impressive, though – replete with banners, posters and merchandise from the likes of World of Warcraft and Counter-strike: Global Offensive. I made my way past all of that, wearing a green “competitor” wrist-band, in order to reach the colourfully-lit bar which would be home for the next day.
We started out by generally mingling around talks by the event’s sponsors, and slowly our team took form. Myself and my friend and colleague at TjejHack, Inger Ekman, were joined by composer Johann Frell, student 3D artist Joel Zakrisson, and developer Joachim “Nevyn” Bengtsson. Our idea was simple: a physics-based, 4-player party game involving circles or spheres.
Each player controls one sphere, and has a context-sensitive action which will affect the rest of the group. Most of the time this is expressed as a jump. In both 2D and 3D environments, one sphere jumping will rotate the overall mass, pushing it forwards. If all the spheres at the base of the object jump at the same time, the whole mass will be lifted. We also decided that if those on top activated their ability when in the air, the mass would hover – thus giving us a basic palette around which to construct a few different types of game. We explored our options with relaxed, toy-like games and grid-based puzzles before settling on a mildly chaotic action game, in which inter-player communication becomes key to progressing through the level. The spheres became fat cats, and the result was Oddballs: In many ways, this was the most sophisticated game jam project I’ve been involved with (despite its whimsical theme!). Each participant’s role was clear, the deliverables were achievable, and despite it only being a 24-hour hackathon we managed to spend the last 7 hours of that simply refining a playable product. It had its ups and downs like any jam project – not least when we ran into problems with GitHub commits to Unity. It also proved quite a challenge to have four spherical cats act independently, and yet cohesively as part of an overall tetrahedron. In the end though, we built a reasonably complete level with which to demonstrate the game’s basic premise and mechanics:
Reunited with Level Design
My role in all this was almost exclusively design – a first for me, as quite often I find my input branches off after the programming goals are set and the art is in full production – usually into audio and presentation assets, with the occasional bit of 2D art support. However, with Johann creating stunning audio for us, Inger and “Nevyn” coding throughout and Joel prepared to create our 3D art, I set about reviving my love for level design.
I kept the level flow simple, and paced it around the players getting to grips with the game’s control scheme. An alleyway was the obvious choice for a setting, providing boundary walls for the players’ first calamitous steps and an easy choice of obstacles for them to overcome.
From the starting position at the lower-left of the above image, it would take a few moments for the players to get into the rhythm necessary to progress forwards. A fence was placed a short distance away in order to (quite literally) keep the rolling mass of cats on the straight and narrow, while also adding a gentle challenge to the collectible which would later be placed on the left here.
My goal then was to introduce hurdles of growing magnitude, and to spread collectibles at various points to try and encourage mastery of the controls. A climactic point would await at the tallest hurdle, which we intended to be just high enough so that the mass of cats would catch on the lip of the wall. Players would have to jump again en masse in order to topple over the wall and into a wide street scene, free from the confines of the alleyway.
Getting the Hang of This Jamming Lark
This time around, I decided to imposed upon myself a fairly solid working structure. Fortunately all our ideation was concluded in the breaks around sponsor talks and the like, so we were free to crack on at 19:00 on the Friday.
As the group went from early conceptualising (on paper) straight into prototyping in Unity, the non-coders amongst us set to carving out the game’s look, feel and sound. I stuck mostly to spreadsheet-based design documentation, alternating between LibreOffice and Blender to block out the level mesh above and generate an asset list for Joel, our artist. This took up around 3 hours, at which point we were able to drop the very rough mesh into the coders’ prototype (as well as our character models and the first clips of audio).
As each new version of the game was committed to GitHub, we slowly swapped out my blank blocks for Joel’s Maya-made models, with me on active level-crafting duties throughout the night until rest had to come. Any down-time was spent trying to create 2D, graphical assets for our presentation. I started out trying to draw a comic book-styled splash image, but ultimately felt more confident in an arranged screenshot from the game itself (as seen near the beginning of this post).
The game became steadily more complete as we approached afternoon, and so I was all set to switch roles with 7 hours remaining. I’d be prepared to admit that what I put into Oddballs‘ presentation and graphics was not my best work, because sleep deprivation was beginning to hit us all, but the time slot was generous enough for me to get a logo and some bombastic slides drawn up. Ultimately we resolved to let the game do most of the talking for us, and while a sudden switching of game presentations ahead of our own meant that we couldn’t get set up in time, I’m happy to say that the cats did roll and meow on the surprisingly grand stage:
At the end of the day, we succeeded in creating an artistically-consistent, rich-sounding and playable game demo. We won no prizes for it, in any of the ‘special mention’ categories or indeed those with cash prizes, but we came away satisfied nevertheless.
DreamHackathon itself has given me much to think about, in terms of how the game jam was run, and my glimpse into esports culture. As far as I could tell, only four of the 90+ jammers were women. I was the event’s only female presenter, and that gender imbalance bore out at DreamHack proper. Whether it be because LadyCADE and TjejHack have skewed my impression of games events or not, I felt rather conspicuous when wandering around the male-dominated event on my breaks from the jam. Those I did see were either in front of a camera or manning stalls, and while there’s nothing wrong with that in and of itself, I quickly felt isolated as an observer.
Add to this the pressure created by sizeable cash prizes, and DreamHackathon became a more stressful experience than I might have originally expected. I kept the prizes well out of mind throughout our making the game, because I believe that any game jam is a success so long as you make something – and Oddballs was thoroughly good fun to make. Despite that, having 60,000kr rest on the quality of my presentation on behalf of my team-mates, delivered on only three hours’ sleep, served to scupper my optimistic streak as the 24-hour mark passed us by.
With that having been said, I would attend again, even if I feel fraudulent wearing a “competitor” wrist-band. Designing to win has never played a part in my game jam process, and I don’t intend to change that. It’s hard to balance ‘game jams for fun’ with ‘game jams for cash prizes’, but we had some pretty great facilities at our disposal. Even if I have to devote a certain amount of energy towards convincing myself that there is no contest, game jams remain a great way to meet new people and make fun things. DreamHackathon’s no different by those criteria, and ultimately that’s all that matters.
Sep 21 2014
Encouraging More Voices, and TjejHack’s Debut
Earlier this week, TjejHack made its Stockholm debut. This is a scheme which was founded by Inger Ekman, and which encourages local girls and women to take their first steps into game development. I volunteer my services there, and have been given a new perspective on the push to increase gender diversity.
Gender equality in games and the industry is a topic which lays close to my heart. Ever since a series of women in games events encouraged my friends and I to found LadyCADE, I’ve been invited to talk at events, I helped to form a geek podcast with an inclusivity angle, and have generally been doing my own small part to keep the conversation moving. And yet, while I hope the things I have to say are of some value, I am aware that I’m often preaching to the converted.
Stepping back a little bit: I feel we’ve reached a point where the recruitment drive has begun to work. Not only are more women playing games, but they are making them too, thanks to supportive communities and academic institutions encouraging more girls and women to get stuck in. One of the many upsides to this is that if game development is becoming more gender-balanced, that means there’ll be more voices in industry to add to our own current minority.
I’m a firm believer in promoting a diverse range of voices, at least in part so that a mere handful of people may be spared the weight of apparently speaking for their entire minority group. The problems inherent to situations like that are too many to go into here, but I (for one) would no more willingly be asked to speak for all women or trans people than I would the British population, railway fanatics or goth subculture.
I think that on some level, I had all this in mind when excitedly joining Inger Ekman’s efforts to form a girls’ hacking club in Huddinge, Stockholm. TjejHack invites girls and women from the age of 10 upwards to a free, weekly meetup at a local library. The first meeting took place last week, and the group – who represent a good spread of ages – have begun by recreating the fundamentals of Flappy Bird in Scratch.
On some level at least, TjejHack offers a peek behind the curtain, showing just how easy it can be to make a game using contemporary tools. Very soon we’ll be encouraging its members to develop their own games in the likes of Scratch, Twine and Unity – supporting them in what they want to do, and encouraging the group to do the same for each other.
What this means to me is that – as well as being a fun and worthwhile endeavour – TjejHack becomes an opportunity to support women in creating games, where they never had before. It is, by its nature, a more active way to meet the gender equality goal. No matter where schemes like this are conducted, it serves to bring more people’s creative voices into the medium, and I think that is vital.
I feel I should stress that I don’t have any particular agenda here. I don’t believe, for example, that we are suffering any monotony or ego in the current push for a more inclusive medium and industry. Nevertheless, I’m beginning to feel (at a more personal level) that schemes like these, which work behind the scenes to make things better, deserve hefty focus for the fact they represent real action. If it’s at all within my power to do so, I’d like to encourage more women in games to do similar; in turn encouraging more women to add their voices to ours.
Aug 29 2014
As I embark upon a fortnight’s absence from the internet, I thought I’d leave a handful of links relating to my time at Nine Worlds Geekfest, GDC Europe, Gamescom and Loncon 3 earlier this month. Full write-ups for all of these will come soon!
Nine Worlds Geekfest 2014
- Recap [at this blog]
- The Geek Night In episode 19, recorded with a live audience at Nine Worlds
- My photos from the event [Flickr]
GDC Europe & Gamescom 2014
- My photos from the events [Flickr]
Loncon 3, the 72nd World Science Fiction Convention
- A social media recap of Azad at Loncon 3, which I helped to run [Storify]
- My photos from the event [Flickr]
- My photos from Steam on the Metropolitan Line, which I sneaked out for [Flickr]
Aug 24 2014
Nine Worlds Geekfest 2014
Despite it having happened a fortnight ago now, Nine Worlds Geekfest was the first in a string of four events which I attended recently, so I’m only now getting around to my write-ups. Check back later for my reviews of GDC and Gamescom in Köln, and Loncon 3 in London!
Nine Worlds Geekfest feels remarkably different when one travels to and from there almost directly by aeroplane. As my co-hosts from The Geek Night In have already remarked, Nine Worlds is a uniquely welcoming and inclusive event; thus, passing through security at Heathrow airport felt like crossing the border to a much friendlier place even than Sweden.
I took part in a handful of panels again this year – which I’ll return to in a while. Unlike last year’s event though, I wanted to take advantage of the fact everything was under one roof and experience more than just what was on offer in the video games culture track. I’m pleased to say that, while my partner was captivated by an impressively strong series of ‘future tech’ programme items, I was cheerily dipping my toes into Game of Thrones fandom, geek feminism and podcasting.
Finding Your Voice, on the podcasting track, was a solid way for me to start my Nine Worlds experience. Here, panelists from a handful of successful podcasts (including the Hugo-nominated Tea and Jeopardy) shared their experience of the craft and gave out useful tips for those wanting to create – be it a literature review, something narrative or a regular discussion of geek media. I was particularly grateful to receive tips on hardware, considering how wide a gap there can be between podcasts like ours, which are (usually) recorded over Skype, and those which have access to studio equipment.
Perhaps ironically, The Geek Night In later benefited from actually not having to be assembled over the internet, as we recorded a live episode that same evening! This was the first time we’d all been in one country at the same time, and it was the first time I’d met co-host Kate in person. Our episode also had an audience, meaning we had contributions from ‘badassperger’, Cara Ellison and Eoin Mason. You can hear the episode here.
My first panel of the event was held earlier on that Friday, on the subject of ‘Failing Faster‘. Here, Dan Pearce, Georg Backer, Dan Turner and I discussed our various approaches to prototyping when developing interactive media. I look forward to sharing the recording of this panel some day soon, as we had a lively discussion which I hope would prove informative to anyone starting out in design, or who’s looking to try new techniques.
I later attended a video games culture panel on Writing Better Characters, with contributions from Meg Jayanth (80 Days), Jack de Quidt (Castles in the Sky) and Helen Gould, an academic. Here, the panelists stressed the need to research in order to write better narrative generally, but also to avoid the trappings of stereotype – which is particularly important when writing in other cultures than your own. Gould gave a rousing talk later that weekend, on character creation in games; it was entitled Male, Pale and Stale. I applaud the delivery and her message, which included (amongst other things) the reminder that minorities still suffer erasure in media like games because we’re not viewed as people; rather as devices or a box to be ticked.
This set a good tone for the evening’s entertainment, as we were treated to a gig by LGBTQA-friendly, steampunk folk band The Mechanisms, whose performance is depicted at the top of this article.
My second panel was to a packed room, as myself, Cara Ellison, Meg Jayanth and Maki Yamazaki spoke about Sex in Video Games. I dare say the content was as colourful as everybody’s outfits (save for my own!), and in a fantastic way: we spoke about the need to reflect real sexual experiences in games, and Cara in particular was able to highlight the (often niche) titles which do this already. We also discussed those games which sit on the fringes of this topic (such as Japanese dating sims), and brought up examples of games which depict love poorly or lazily - which in my case, fed off what I experienced at Lyst Summit earlier this year.
My Saturday began in energetic fashion, with a swordplay workshop by Miltos Yerolimou (of Game of Thrones fame). There is, of course, little of ludic use to be gleaned from such an experience, but it was supremely fun and did give me more of a (basic) appreciation for how swordplay was actually done, and how often the rules are broken for dramatic effect. I don’t often play games involving swords, but when I do now, I can at least get a rough idea of how showy/suicidal the combatants might be in their respective finishing moves.
I freely confess that I was cheekily wound up in the tongue-in-cheek, Indies vs. Game Police panel, which was moderated by Peter Silk. It’s a topic which I believe should always be dealt with humourously, not least because I have pretty firm rules on what does and does not constitute a game. It is, of course, a non-sensical and pointless discussion but satire seems the best way to deal with those who take it too seriously online.
On a calmer note, I then had the privilege of attending A Conversation with Reiner Knizia, and I got chance to speak to the legendary game designer afterwards.
In his interview – which was hosted by Matt Johnson of the Haberdashery Collective – Knizia reflected on many of his own games, and spoke about his interest in hybrid gaming. I gather this was the subject of his talk at Nordic Game 2014, which sadly I had to miss: the notion of mixing digital and physical elements in tabletop and family gaming. It was especially fascinating to hear his take on prototyping, given that he’s a well-practised veteran of the non-digital games industry. It’s clear that these two arbitrarily-drawn strands of games media have more in common than I first thought.
Sunday was also my opportunity to once again enjoy social gaming with the aforementioned Haberdashery Collective. In a well-attended session, we rotated around a number of games including Lemon Joust, Engineering Corps and a chess-like battle whose name unfortunately escapes me.
The message of social gaming is something that this particular Nine Worlds track did well to push. It refers to those games which involve and encourage social discourse, and games like this one (in which two colour-opposed teams must cross the room, engaging in battles by revealing their value as a military unit) always prove rich in collaboration, a feeling of physical involvement in the game, and of course, laughter. If anyone’s attended the previous two Nine Worlds Geekfests and hasn’t managed to attend one of The Haberdashery Collective’s play sessions before, I urge you to fix that in 2015 (if not sooner).
My last day at Nine Worlds began with a fascinating and wittily-delivered talk on the Neuroscience of Swearing, by the brilliant Emma Byrne. This was more a point of personal interest do me, as someone who cannot seem to utter ‘hard’ swear words. I am, however, fascinated by language and communication, so I wonder about one day applying her insights to digital media. At the risk of repeating myself: it would appear that swearing is a far more communicative and important feature of spoken language than we might first think.
The aforementioned Male, Pale and Stale: Character Creation in Gaming was delivered later on Sunday, kicking off a trio of video games culture talks, the latter two of which were Ideal Control Methods and No More Heroes, delivered by Joseph Gavin and Ben Meredith respectively. Gavin spoke eloquently about the types of controls applied to games, making a point of highlighting the likes of QWOP and Surgeon Simulator 2013 as something outside of arcade controls (simple, responsive) and simulation (complex, semi-realistic). Meredith’s talk was based on his academic work, evaluating the role of the hero (one which is typified by the hero’s own set of morals and rules) in spaces where the player’s own agency can lead to such rules being broken. What’s interesting is to see examples even within the same series, where games like Grand Theft Auto: Vice City actually lend the player more license with the protagonist than later GTA games.
The last programme item I saw before having to leave Nine Worlds Geekfest was a talk from and with Laurie Penny, around her latest book, Unspeakable Things. While my first Nine Worlds programme item was rich in practical advice for a particular medium, this one – the one I departed with – was a cascade of inspiration for social good. Penny spoke about geek culture and how it can be a space for socially progressive ideas; about how we have media available to us which can be – and sometimes are – actively inclusive. She spoke passionately about the anger some privileged people feel, now that their world view is no longer the default. I left feeling solidarity with my geeky peers, but also encouraged that by creating in and speaking about these media, we can do good.
So it was that I left Nine Worlds Geekfest – and the UK again, but only for a short time. I had booked an evening flight to Köln, and while delays kept us in the terminal and then the gate for over two hours past our original departure time, I was able to see the top of the hotel venue from gate 5c at Terminal 1 – there to reflect on the rainbow-coloured spotlight which Nine Worlds shines on geek media.
Nächste: GDC ‘Eu und Gamescom, nach Kölnmesse, Köln, Deutschland.
- The Geek Night In episode 19, recorded with a live audience at Nine Worlds Geekfest
- My Flickr album, Nine Worlds Geekfest 2014
Aug 04 2014
Schedule: Nine Worlds Geekfest, GDC Europe and Loncon 3
This week is the start of a succession of four games and geek culture events, stacked back-to-back across two countries. I’ll be attending Nine Worlds Geekfest in Heathrow, London; GDC Europe and Gamescom in Köln, Deutschland; and Loncon 3, the 72nd Worldcon in Docklands, London.
I’ll primarily be an audience member at GDC and Gamescom, attending on Monday, Tuesday and Wednesday. With that having been said, I’m keen to talk to interested parties about Mimic, the game I’m currently working on – and to generally meet up with people in the European game development scene!
I’m a returning panelist at Nine Worlds, speaking on the video games culture track there. I’m involved in a number of items at Loncon 3 - primarily on the games track, but also around the convention’s exciting attempt to create Azad – the game which gave its name to an empire, in Iain M. Banks’ The Player of Games.
My schedule for those is as follows:
- Friday, the 8th of August
- 12:45-13:45 Failing Faster [VG culture]
- 17:00-18:00 The Geek Night In Live Recording [podcasting]
- 20:45-21:45 Sex in Games [VG culture]
- Thursday, the 14th of August
- 15:00-16:00 What is Azad? [Iain Banks, games]
- Friday, the 15th of August
- 19:00-21:00 Games Like Azad, and The Ideology Game [Iain Banks, games]
- Saturday, the 16th of August
- 13:30-15:00 Making Azad [Iain Banks, games]
- 16:30-18:00 From Indie to AAA [games]
- Sunday, the 17th of August
- 13:30-15:00 Loncon 3 Presents… Azad! [Iain Banks, games]
- 18:00-19:00 LGBTQ Gaming: Industry and Design [games]
- 19:00-20:00 Industry-friendly Games Development [games]
- Monday, the 18th of August
- 11:00-12:00 The Politics of The Culture [Iain Banks]
The post Schedule: Nine Worlds Geekfest, GDC Europe and Loncon 3 appeared first on Raygun Gothic.
Jul 01 2014
Lyst Summit Write-up (part 2)
Part 1 of my recap-cum-travelogue was published a short while ago; you can read it here!
There’s an unwritten rule of almost every game jam I’ve taken part in, which states that the first 5 or so hours will be devoted to anything but the final project. I’m pleased to say that with practice, this period has shifted from becoming something terrifying, to actually rather productive for me. When the jam starts, we (as a group) will tend to fixate upon an idea which seems feasible, expressive and daring within the bounds of the jam. We’ll sketch it out, start prototyping.. and then realise the idea has no traction or depth.
I panicked, the first time this happened in a jam – thinking I was a lousy designer, unqualified to play my part in a game jam team. I’ve soon learned, however, that quite often sleep will bring with it an epiphany. This is precisely what happened at the Lyst Summit game jam.
Our first concept, designed on the Friday night, was a card-based tabletop game on the theme of sexual taboo. Over the course of some frank and therapeutic discussions about our own experiences, we created something which explored sex as a literal chain of prescribed events. Calling upon such fallacies as “the done thing”, the baseball metaphor, and the mythology which surrounds virginity, our game had each player lay down cards on their own or other player’s chains in order to form sexual experiences, which were to be described for the titillation (or arousal) of the other players.
The players’ ‘sex chains’ (and the game itself) were divided into four main acts, based loosely upon the aforementioned baseball metaphor:
- The First Time
- Subsequent sexual encounters (repeated 1-3 times, depending on the intended game length)
Each act was ‘bookended’ with main event cards, which players could place from their hand at any time in order to move on in the game. Between these were smaller event cards, which each player would use to describe the main events in greater detail. These cards could be positive, negative, or really open to interpretation. For example, a player might begin playing footsie while kissing, only to have their partner’s filling fall out. Where we wanted to focus was on the more interpretive cards, such as with one player interrupting another’s gentle fondling session with a confession that they enjoy wearing latex. It would then be up to the whole group to vote on how that experience went down - adding an element of role-play, and distancing from one’s own particular tastes.
We iterated on this concept a few times, generating an assortment of interesting cards as we went. Many of these were marked with an minimum ‘act’, so that for example, a player could not place a “new erogenous zone” card inside act 1, which was reserved simply for kissing. We also toyed with the voting mechanics, and a character profile idea inspired by The Sims, which reformed the mechanics into something more akin to tabletop roleplay.
In the end though, we killed Sex Chain off due to its complexity, and the fact it wasn’t quite challenging us in the way we felt we wanted it to. However, thanks to the input from our new team member, Patrick Jarnfelt (also of Copenhagen Game Collective, and co-organiser of the Lyst Summit), on day two we shifted onto a project which lay further outside of our comfort zones. It also expressed what we all felt was the most interesting thing to come out of our earlier discussions: the duality in sex between hard and soft, rough and tender, formulaic and emotional.
I describe Play-tex as a sex toy (albeit one with an unusable name, thanks to a non-rubber underwear manufacturer). It arose as a product of our limitations, and I think upon it very fondly for that. Built in Unity and rich in audio/visual tactile feedback, the central premise (or goal) is to explore whatever your iPad is currently into.
Play-tex presents you with an abstract environment, filled with sexual paraphernalia such as balls of latex, fur, spike chains and bound flesh. All of these items interact with each other and the background, which is itself a canvas of skin and nipples.
Our prototype has the player controlling a ball of latex, which they can pet and drag slowly around the environment using their finger. As they do so, small snippets of texts appear on-screen, reflecting the complex array of thoughts and emotions which we thought represented the harsh/vulnerable duality of sex. The game is also rich in sound effects, offering a variety of squeaks, moans and metallic clinks in order to inform the player’s experience of what is positive, negative and (in the case of some sado-masochistic combinations) good-negative.
Our game may only have won a few hearts out of Lyst Summit’s rather wonderful voting system, but in the course of making it, myself, Ida and Ene each had chance to try something we’d always wanted to. Ida was able to code the game (a lofty task which included plugging in a rather diverse range of media and inputs), while Ene was given free reign over the art. I was able to design something which barely qualifies as a game, and to practice more sound editing - a task I’d adopted in previous game jams and which I now take some enjoyment in. I also seized the opportunity to practice my presentation skills. Granted, this was a pretty strange first project to try presenting – to a room filled with creative individuals, many of whom were industry veterans and recently-acquired friends – but I was proud to play my part.
In truth, Play-tex is a strange little toy but it’s definitely a child of Lyst Summit. It’s borne of passion, and I believe we hit our unspoken goal: of making something which has playful, adult fun with the taboo concept of sex. I hope this came across to those who played at the summit, and who may have had the chance to play at Nordic Forum in Malmö, a week later.
The Lyst Summit jam wrapped up with worthy praise heaped upon crowd favourites Custody (a fascinating implementation of multi-platform, social gaming), Sushi Hands (a delightfully inventive physical game game, which I was proud to lend my burgeoning hand modelling skills to) and Fever (a beautiful game which required two or more players to manipulate nearly every input on an Xbox 360 controller).
The summit ended with a Lyst-ful arcade, and a gorgeous dinner, but sadly I had to leave before dessert could even be served. It really was a terrible event to try and leave, and in fact were it not for some fluke train delays, this part of Scandinavia may not even have let me go.
My return journey was also subject to delays by strike action. Couple that with the fact I couldn’t simply meander back to Københavns Høvedbanegård by boat and on foot – I had a schedule to keep – and I had to turn to public transport. Fortunately a bus runs from Holmen Nord directly to Christianshavn Metro station, and so it was there I got my first taste of København’s rather tasty ‘Tube’ network.
.. except here’s where I need to make a frank confession. Whether it be because of fatigue, the hasty glow of post-Lyst accomplishment and love, or being distracted by the fact these Metro lines are like somebody combined London’s DLR with the Jubilee line, I neglected to check that what was signposted on the departure boards corresponded to the destination on the train itself. What I expected to be the M2 mod Lufthavnen actually turned out to be an M1, headed towards Vestamager. I didn’t realise this until I’d passed a few stops and wound up at Sundby, on the wrong branch for the airport, which is where the rail replacement bus service would take me across the Øresund.
I immediately caught the next train back to Christianshavn, waited on the next genuine M2, and proceeded to panic my way around Kastrup Lufthavn until I found a togbus (train-bus). Rather than appreciating the scenery again, my trip back across the bridge was spent counting each minute, and after I near-sprinted with my heavy suitcase across the plaza at Malmö Hyllie, I was almost praying for a train to turn up. I flung myself at what I hoped was the right platform just as a train arrived. It was busy, and some folk were left behind on the platform, but as I caught my breath I also grabbed my ‘phone and checked the Skånetrafiken website, to see if I would make it to my night train.
To my utter amazement, the pågatåg (purple train) I was stood on had arrived at Hyllie two minutes late. If it had been on time I would have missed it, and - given that I ended up arriving at Malmö Centralstation with only two minutes to spare – that would have left me stranded at the southern tip of Sweden. As it was, I made it to my train-cum-hotel by the skin of my teeth, and was thus in an excellent state to collapse and actually get a good night’s rest atop my flat, rocking bunk.
So it is that I was brought home from Lyst Summit – sweating, exhausted and deeply relieved. Fitting, no?
Jun 29 2014
Lyst Summit Write-up (part 1)
I’m certainly embarrassed by how long it’s taken me to get around to my Lyst write-up - things have been very busy in recent weeks - but in some many ways, it’s taken until now for me to actually process the glorious things which happened there. What follows is more of a travelogue than a simple game jam recap, split into two parts for your convenience.
Lyst Summit is a unique gathering on the subject of love, sexuality and romance in games, and its first event was held in early June aboard the MF William Jørgenson - a boat moored in København (Copenhagen), Danmark. I was honoured to be able to attend, so taking part in a fascinating series of talks, followed by a 48-hour game jam unlike any other. It was my first time visiting the Danish capital since a very brief change of trains last year, and I’m pleased to say it was as rich in friendship as it was in inspiration and creative output.
My journey began at Stockholms Centralstation. Rather than making my journey more grim, the fact I had to attend on a budget actually justified my taking a night train for the first time in my life. Only weeks after I’d made the same (daytime) journey to Nordic Indie Game Night, SJ nattåg 1 brought me from the Swedish capital to Malmö – this time with sheets and a bunk provided.
From here, the plan was to catch the Öresundståg directly to Københavns Høvedbanegård (Copenhagen Central Station), but a strike was limiting all rail travel over this link between Sweden and Denmark, and so my journey took in a few extra Metro stops and that most familiar of British concepts: the rail replacement bus service.
Still, I got there in one piece, and as I restored my sensibilities with breakfast just outside the station, I had time to contemplate the last time I had visited København. The very definition of a flying visit, I hadn’t even seen outside the station before, because it is here we changed trains on our journey from Hamburg to Stockholm, back when my partner and I first moved to Sweden. Now perhaps you can appreciate why I linger upon this part of my journey – it wasn’t just about trains for trains’ sake.
I’d made a point of crossing the Danish capital on foot as much as possible, given that a game jam is not the best excuse to see a new place. My walk took me through some rather beautiful places, and while the architecture there may have much in common with the old town in Stockholm – now rather familiar and welcoming to me – it’s spread around a canal network which is much more evocative of Amsterdam. It’s easy to see how a place like this can be such a hotbed of avant-garde culture.
The last step of my journey was a havnebuss (harbour bus) from beautiful Nyhavn, right up to Lyst Summit’s gangplank at Holmen, just off the Bohemian district of Christianshavn. So, the tone was set for our exploration of all things erotic, familial and romantic in games.
As has been mentioned, the first day of Lyst Summit was a series of talks. Our host was Richard Lemarchand, who lead us through a fascinating range of experiences: from radio play sex mechanics in LARP (Jaako Stenros, Game Research Lab) to games ignoring platonic love (Dr. Esther MacCallum-Stewart, Uni. of Surrey), and from slumber party fun (Lau Korsgaard, KnapNok Games) to robotic dildos (Johannes Grenzfurthner, Arse Elektronika).
To my mind, what cemented this all was Ernest Adams’ talk on the “Mechanics of Love”. His talk reminded us that, according to Greek philosophy at least, there are four branches of love to be considered: storga (familial), agape (unconditional), philia (friendship) and eros (passion). The final talk of the day added yet more food for thought, as Dr. Hanna Wirman (Hong Kong Polytechnic University) described her work, communicating with non-human species.
With all this in mind, the summit came to a close and the attendees broke into some games, including a rare, interactive performance with the Indie Bird Game Collective – a group which formed around their Lovebirds project at Nordic Game Jam earlier this year. Although the game was demonstrated at Nordic Indie Game Night in May, it benefits immensely from a more intimate setting, and particularly from a player base and audience who’ve just been contemplating human affection and emotion for the past 7 hours.
It’s hard to describe Lovebirds, and even harder to do the game any justice in such a description, but its staging involves live music, wonderfully macabre masks, and a gentle nature documentary host. In all, I believe some 13 players were involved: 9 lovebirds, and about 4 trees. I had the privilege of becoming a lovebird for the evening.
As the music started, the host introduced the lovebirds to the audience: their mythology, their temperament and their goals. We, the lovebirds then set about our task: a surprisingly intimate one, involving rubbing the beaks of our masks gently against other lovebirds’ in order to find out who we were romantically compatible with. This was to be done under the private shelter of umbrella-style trees, and the only way we could know a mate from our lovebird threesome was to communicate about a single glowing light on our ‘faces’ – which only our partner could see.
Once a threesome was found, the lovebirds were instructed to gather for a grand procession – the culmination of the performance. I had the unique pleasure of a Lovebirds threesome with Richard Lemarchand, and Patrick Jarnfelt of the Copenhagen Game Collective. That’s something you don’t get at any other games event.
As night finally began to fall on København, we of the weekend-long Lyst Summit settled into our game jam groups – decided by the colour of our delightful, hand-made heart badges. I became part of a small group, with Ene Esgaard (freelance illustrator) and Ida Toft (Copenhagen Game Collective). Our planning was decidedly alcohol-fuelled, but also refreshingly open. The games we designed were meandering, ambitious and personally enlightening in a way I haven’t felt since Boob Jam. With all this philia (and a little eros!) saturating the atmosphere, it’s little wonder we made what we did – but that’s a teaser I’ll fulfil in part two of my round-up.
Jun 28 2014
Loncon 3 Draft Schedule
One of the things I’ve been meaning to post for a while is my (draft) schedule for Loncon 3!
I’ve been looking forward to this for well over a year now, as my partner and I bought membership to what will be our first ever Worldcon back at Redemption, in 2013. A lot of time has passed since then though, and so it’s with shock as much as pride that I can say I’ll be on four panels at the ExCel centre:
From Indie to AAA
(Saturday, 1.5 hours) with Sylvia Wrigley*, Colin Harvey, JW Alden, Mitu Khandaker-Kokoris and James Swallow.
Should Indie games aim for AAA status, or are they better off as a forum for arts and creative development? Can the two live together?
LGBTQ Gaming: Industry and Design
(Sunday, 1 hour) with Tee Morris*, Leo Adams, Michele Howe, Foz Meadows and Richard Calder.
We investigate some of the ways that LGBTQ perspectives are developing in both Indie and Mainstream titles. What challenges do designers need to address in order to develop LGBTQ games, characters or ideas, and how should these be articulated within the larger sphere of gaming culture?
Industry-Friendly Games Development
(Sunday, 1 hour) with Sebastian Bleasdale*, Karen Davies, Adrian Hon, Mitu Khandaker-Kokoris and Alice Taylor.
In which we discover if all three of these concepts can live happily together.
The Politics of The Culture
(Monday, 1 hour) with David Dingwall*, Rachel Coleman Finch, Ken MacLeod and Lalith Vipulananthan Lal.
In her review of “Look to Windward”, Abigail Nussbaum suggests that the central paradox of Iain M Banks’ Culture is that it is “both a force for goodness, freedom, and happiness in the galaxy, and an engine of its citizens’ selfish, childish needs to imbue their lives with meaning, to which end they will cause any amount of suffering … both are true, and both are reductive.” To what extent is the Culture, as a political entity, built around this unresolvable duality? How do the Culture novels grapple with the contradictions at the heart of this utopia? And how do the actions of the Culture connect with the more immediate political choices we face in the present world?
Details may of course change as we get closer to the dates in August. I’m certainly quivering with excitement; I hope some of you will be interested too!
May 30 2014
In design, it is generally understood that we must learn to let ideas go. If you are to successfully prototype either one project or many, you have to learn to divorce yourself from ‘precious’ ideas, lest you start awkwardly accommodating nuggets of ideas which, in reality, simply will not work as you might hope. What I’ve found more recently is that I have to apply this philosophy to the way I generate ideas, too. I have to learn to let go of design techniques.
I am a tidy person who aspires towards orderliness in a great many things - be it the upkeep of file naming conventions or ensuring that every one of my photographs is geo-tagged. As such, I place great stock in (and derive enjoyment from) coming up with systems to help keep organised. However, as I’m sure a few people could relate: I seem to spend my life perpetually moving from one system to the next, never quite managing to finish what I started the last time around. I don’t just keep one backup of my hard drives – I have four, and this is not because I want to be absolutely sure and safe. The truth is, each backup is only half-complete but bears a different folder naming structure, and I have yet to integrate everything into one, cohesive pattern.
This same organised chaos plays itself out in my design notes, and while I pride myself on thorough note-keeping for client work, my own projects and ideas are a relative mess. To explain, my current setup is like this:
From top left, clockwise:
- The first of what I hope will be a few A4, narrow-lined ‘logbooks’ for taking down lasting notes -particularly about new working methods.
- My laptop (represented by a keyboard), Nexus 7 and Galaxy S4 Mini, all of which run Evernote – for taking portable, rich-media notes. As I type more quickly than I can write on all but my phone, this is where I often jot down snippets of game ideas, or ideas for blog posts.
- Whiteboard, mostly used to keep track of time-critical notes on a variety of projects.
- Post-it notes, mostly used to keep track of events, as I find it useful to frame complicated travel itineraries in one neat, transferable form.
- Reporter-sized notepads, for day-to-day use. On the rare occasion I do manage to write these up into either Evernote or my logbook, I tear the respective pages out and bin them.
- A5 sketchbook, nowadays mostly used to jog my visualisation of an idea. I haven’t ‘finished’ a sketch in one of these in years.
While each medium tends to have a particular key ‘use’, my current system means I will keep notes in at least 3 different places, never quite bringing them into a whole unless there’s demand for a design document. Some time ago I wondered if there would be a way to unite all this, probably in digital format. I gave that a try with Evernote, and it failed miserably.
Whether or not a single product is actually capable of achieving this lofty goal is a matter on which I have no authority to speak. In working towards this design utopia*, however, I realised a greater and more practical truth: my ideas directly benefit from being expressed in so many different ways.
The act of moving concepts from one notebook to another results in two things:
- you break away from the environment you were creating in originally, gaining a fresh perspective and an opportunity to edit;
- and you instinctively tweak what it is you’re actually capturing to fit the new note-taking medium, be that sketches into words or shorthand into long.
I consider this to be the first, subtle step into true and progressive design – challenging an idea, to ensure it can stand up to user experience and still communicate what it needs to. Even if it only comes down to tweaking the way your notes are expressed, that’s still a vital skill where you hope to involve other people in your vision.
It may well be that in order for me to construct a two-page design brief, I have to use enough note-making media to cover a coffee table – but at least this way I can see how far the idea’s already had to travel.
* Given that many† view utopia not as an achievable state, but rather something which was always intended to be an aspiration, and that good and orderly society may form while on the path towards achieving it.. I think this terminology is rather apt.
† This was revealed to me in a fascinating lecture by Gerald Farca (Uni. of Augsburg) at the Swedish Game Awards Conference, on the subject of dystopia in game narratives – however ironically I cannot find the notes I made at the time. Dystopia is clearly only an in-tray away…