Meet Mechanisms!

I’ve been designing a tabletop game for a while now, and with Protospiel Online coming up (https://protospiel.online/prototype-games/april-2022/mechanisms-entry-1921/ ), I’ve been focused on making sure I have ways to play the game.

Tonight marks one of the big ones – I’ve started to get a few requests for a way to play the game in person. I tried out The Game Crafter and Print and Play Studio, but for a one-off printing both spots want over $150CAD, which I’ll be ok with – it’s my baby after all – but I don’t want to suggest it as an option to friends and family.

Enter the Print and Play – this is an option that many games use prior to publishing, whether it be licensed or crowdfunded. And, of course, I had to try it myself…

My first print and play!

So that’s it. If you’re interested in trying it out, feel free to send me an email or message me on Twitter.

Hobbyism and a new game

I’ve backed off from taking PMG too seriously these days, as I don’t have time for all the things I want to do, and taking things less seriously is one way of coping. My goal is to keep creating games under the Perfect Minute banner, but without the pressure to make money. I think that’s doable.

With that in mind, I’ve started fiddling with an idea I’ve had for a pen and paper roleplaying game. This isn’t related to the Card RPG (at least not yet). Where that project is about finding a genuinely interesting and novel (to me) diceless and possibly GMless system that can be used for quick RPG-lite style play, this one is much more rooted in older games I’ve played and loved for one reason or another.

The new thing is more setting-focused, for one thing. One of my first experiences at the table, the best part of 30 years ago now, was a longish campaign in the Rifts setting. Rifts is a funny beast; its setting, in particular, is impossible to pigeonhole, combining as it does super-tech and mecha and Nazis and gods and magic and dragons and entirely too many other things. It famously discards any notion of balance between player characters in favour of OH MY GOD DID YOU SEE WHAT I CAN DO? It does this kind of stuff well, at least at the level of setting.

But. Rifts also has some really massive holes in it. Some are mechanical, and they’re simple enough to paper over for an individual game, maybe even a full campaign. If you’re willing to deal with the cut and paste books and some of the…difficult…writing, and and and. Or If you buy the Savage Rifts books.

And if you’re not, say, a member of a First Nation. Or a kid from Africa. Or basically any non-white person.

But I digress.

I’ve been thinking about what my take on a Kitchen Sink setting like Rifts would be for years. I’ve had individual notions about what a “real” mecha suit might look like, and I’m seeing it show up in media over time. I’ve played with different incarnations of mashup settings and mechanics.

But the seed of something good finally clicked for me recently when I posed myself the question What Do I Like About High Magic and High Tech?

I’m an avid reader of science fiction, and so I have a really strong notion of what I want the tech half of that to look like. At its core, the tech of the new thing is rooted in the works of folks like Greg Egan and Charlie Stross. They write almost unimaginable futures that challenge the concept of selfhood in the face of immortality. They frequently push the limits of your imagination as a reader; I can’t even imagine what it’s like to live inside their heads. How could I not use them as the starting point for my vision of Highest Possible Technology?

For magic, on the other hand, there was only ever one candidate for my core inspiration. See, shortly after that first game of Rifts, a bunch of us started fooling with White Wolf’s World of Darkness games. Our “main” DM started with Vampire, and then our “off” DM got into Werewolf, and then I bought Mage: the Ascension, and it changed how I think of magic and just about everything else.

Mage, particularly the Ascension incarnation, isn’t really a roleplaying game per se. It’s more of a whole-brain metaphysical workout regimen. The notion of magic it purveys is rooted in the concept that belief makes reality, which sounds like something Tony Robbins might say, but it’s a deeply powerful idea in roleplaying terms. The game hit me at the height of my adolescent powers while I was on a whiplash trajectory of life changes, and instead of calming me down it kicked me up about four notches. I can never be anything but grateful for its influence.

So that’s the seed: Taking my lead from Rifts’ gonzo, go-for-broke mashupisms, I’m going to try to design a game where magic that directly incarnates reality interacts with tech that pushes the limits of possibility. I’ve already started tweaking that mix, throwing in a few doses of my own creative energy and stuffing the whole works into a “bright forest” universe (like a Dark Forest, but less murderey). We’ll see where it takes me.

It’s called Demiurges, at least for now. I hear that Kult uses that word as a pretty key part of its setting, but, you know. It’s a word. I like the sound of it. It means what I need it to mean. So. Demiurges. Watch this space for more details.

If you’re interested in being more involved, you can sign up for the mailing list that I just created.

The Game Studio Funding Checklist

I listen to a lot of broadcasts about game development, and in particular to bizdev talks and interviews and whatnot that feature Jason della Rocca. I’ve listened to so many of his talks, and seen the same points made in my local startup community so often, that I have a mental checklist at this point.

  1. The founding team: Art, Tech, Business. No more, no less
  2. The track record: More games shipped is better, more money earned is WAY better.
  3. The roadmap: 3-5 games, not just 1
  4. The market slice: No mobile premium games, please (this is della Rocca’s mantra, I think)
  5. The pre-funding funding climb: You, your family, your local funding community, and only then the bigger fish.

There could almost be a drinking game with these, except they’re pretty spot on. I hate to think that, because most of them don’t apply to Perfect Minute right now or in the foreseeable future, but the absolute best candidates will have all or almost all of the above, and those are the folks that deserve investors’ attention.

Love to hear from other folks – which of these do you have in place? What is missing in this checklist? What are you doing differently and having success with?

Boardgame Research: Thornwatch

My regular tabletop gaming group kindly agreed to try Thornwatch during our last session. I read through the rules when I received the game earlier this month, but this was the first time trying it out at the table.

I hadn’t punched out any of the pieces, so the first several minutes were spent just getting those out and sorted. There’s not a ton of information about how to use those until you’ve read through the rules, and when you do, there’s a fair bit of jumping back and forth to do. I don’t expect that’s usually a problem, as the rulebook is quite short, but I was using a PDF on my phone, so this was not ideal. I suspect we missed several important aspects of the game, so keep that in mind as you read this discussion.

The game board, enemies, and setup are dictated by the scene. The opening scene is usually chosen by the Judge – that was me, in this case – but I threw the options out to the table. We decided to play through May He Die in the Forest, which, for the uninitiated, is one of the suggested starting scenarios from the base set.

We had three players, and the group composition proved to be critical to party success. The players chose Greenheart (healer/support/melee), Sage (support/ranged), and Blade (melee/ranged). This seems to have been a spectacularly effective combination.

Setup is focused on the board. The scene dictates which tiles to use and how to put them together, which is a neat mechanic, but it isn’t the best gameplay experience. The art on the board tiles is blurry and complex, so it’s hard to match against the board setup as it’s shown on the scene card. It also means the board feels muddled. Sideways stairs and weird crystal columns beside a cozy hut in the woods give the whole thing a dreamy “unplace” feel. Maybe that’s your thing! Not mine, though.

There are also a lot of symbols to figure out, and we missed at least a couple of steps. This is also the point where the Judge role kicks in in earnest, which was unfortunate for me, as I hadn’t fully absorbed the gameplay yet. I didn’t know what to do with my pool of Ebb or how to decide where monsters should go.

In general the Judge role feels quite odd, at least in this kind of mechanics-heavy playtest. Your resources are tightly constrained, and there isn’t so much play space that you can make much happen with good tactical play. I’m not sure if there should be more options or if we missed something important in setup/gameplay, or if the Judge is just meant to be a lighter role than I’m used to.

The primary thing that the Judge has access to beyond the monsters themselves are the momentum track and the damage mechanics. There are two parts to this equation, the NPC damage mechanic and the player wounds mechanic. 

The momentum track acts as both initiative and NPC damage. It’s an interesting system that can suffer badly when players aren’t rolling well, as it can be straight-up impossible to kill the bad guys for extended periods. There are other options for handling this situation – the Sage’s board control powers, for example – but success still frequently hinges critically on making the bad guys go away somehow.

The wound mechanic, on the other hand, seems badly under-tuned. There are 10 wound cards for each player, and the scene is lost when this collection is exhausted. If the party has a Greenheart, however, it’s hard to see how this could possibly pose an issue, as the Greenheart’s healing abilities are extremely potent. If you don’t kill the party in the first couple of turns, the Greenheart has a good chance of simply preventing any meaningful threat from wounds.

Speaking of under-tuned mechanics, the Judge’s ebb supply also feels a bit wanting. Player dice that show the @ (ebb) symbol supply one point of ebb, and deck reshuffles supply two. Perhaps my players were simply amazing from the get-go, but I was having trouble maintaining my supply, and that meant my monsters often lacked the Ebb-infused trait, which meant they were kind of pathetic, inflicting very little damage and succumbing quickly to focused attacks.

As you can tell, we focused on the mechanics over the roleplaying for this test. We did use Traits, but didn’t get a lot of value out of them in this session. They’re an interesting mechanic, but it eventually became clear that they make a lot more sense if you’re treating the game as much more of an RPG and much less of a boardgame.

That feels a little in opposition to how the game is actually built, as much of the focus is on the board, tokens, and mechanics, but the trait mechanic is  simple enough that it doesn’t interfere with normal play, and it does encourage a small degree of roleplaying even in a mechanics test.

Overall, Thornwatch is an interesting game, and one I’d like to give a second go with more involved roleplaying at the table, but also one I currently feel is going to need some house rules to really “finish” the play experience. I hope to stand corrected on that at some point.

Learning Highlight: Entrepreneurship in Game Development

I’ve been spending a lot of my time in the last couple of months thinking about how I might move Perfect Minute Games from the “advanced hobbyist” phase it’s in to more of a professional entity. One of the big questions that comes up in that process is how to bootstrap a company. If you have some money available, that’s a big help, but if you don’t, or even if you’re just not careful enough with what you do have, then it’s a steep hill to climb.

If you don’t already know him, Jason Della Rocca is one of the founders of Execution Labs. He gave a talk at GDC 2017 about Advanced Entrepreneurship, and the more I watch it the more value I get from it. 

In particular, I’ve started really focusing on his idea of “scaffolding” your games, so that you plan your company’s games so that you can leverage the work from the current game to build the next one and the one after that.

For me, Beat Farmer fits into a series of games that all fall under the broad umbrella of music-driven games. Ideally the games that follow will build out and up in terms of scope and complexity and richness of the whole experience, and get some system and financial support from the fruits of the preceding games.

I’d really recommend watching this talk more than once. I watched it a while ago, and again today, and I expect to watch it at least once more. Some things are just like that – you need to go away and think and build your own ideas a bit, then come back and see what still resonates for you. Writing is like that, as is game design. If you, like me, are not a bizdevver first, you can still try this approach and maybe learn enough to make it work.

Design Prototyping: Card RPG

Perfect Minute Games is primarily focused on video games, but one of the fun secrets about game design is that paper is always an option for prototyping mechanics. And if you can prototype on paper, you can implement the whole thing on paper.

(Well, sort of. I found out quickly that there are hard limits on how much paper prototyping you can do with a game like Contension without also building the dynamic experience in code!)

The new project, then: It’s a card game. Specifically, it’s a card game taking design notes from RPG-adjacent boardgames like Gloomhaven, Pathfinder Adventures, and Descent; from light RPGs like Fiasco and Thornwatch; from heavier but non-traditional RPGs like Fantasy Flight Games’ excellent Star Wars and Genesys systems and from the Fate RPG; and, finally, from some really interesting indie RPGs like Phoenix: Dawn Command, Ten Candles, and Tavern Tales.

The initial iteration of the game is focused on simple, purely card-driven mechanics and is playable as a regular game akin to Munchkin and other Expandable Card Games. I have, in parallel, been fleshing out an expansion that adds roleplaying elements.

As I’m not an artist, it all looks pretty terrible right now, especially given that there’s no built-in “setting” or “theme”. Please keep that in mind(!) when I’m a little further along and post some shots of the game and “cards” in action.

I haven’t decided whether I’ll establish a theme or setting to “ship” with the core game. At the moment, as with most of my initial designs, it’s mechanics-driven, and I think I can create something compelling without the need to tie it to a single setting.

I’d much rather have expansions (or “splats”, as some folks call ’em) that contribute their own unique mechanics and style sitting on top of the core game. But a lot of the interesting work for projects like this comes down to creating the worlds that players inhabit. So we’ll see.

Disastrophe

A while ago, Orange Slip Studios asked whether I’d be interested in working with them on a project. The fruits of that discussion are now publicly available, and it’s a good feeling.

Disastrophe! (diz-ass-tro-fee) is actually not the first project we talked about, but it’s the first one that we had the means to complete. Disastrophe! is a round-based survival game on the Roblox platform, and I’m pretty proud of it.

We also have a fair bit of content in the pipe to add to the game in the next while, including new disasters, custom Roblox outfits, and consumable items to help you during gameplay.

I’d encourage you to try the game out and leave your feedback on the game page. This is a made-in-Newfoundland project with a mostly-based-in-Newfoundland team, and we’re hopeful that it will gain an audience in the weeks to come.  You can help us make that happen!

SJBOT & Patch Prototype 2.5

I had a good, though tiring, day at the BDC Entrepreneurship booth at the St. John’s Board of Trade Trade Show & Conference. I met a few new folks, like Ashley from Fundamental Inc, who was kind enough to talk about her work in renewable institution planning, and Armin from AS Works, who had a really cool drone on show.

Also saw a few familiar faces, including co-boothee Julie Lewis from SassyTuna Studio, which was nice – another game dev was good to see!

I wasn’t sure what to expect from the experience, but I talked to a number of folks about what I’m doing, and had a few people who wanted to connect either on the recruitment side or on the contracting side of things, both of which are encouraging signs – getting new devs is a challenge, and finding work is always good!

I spent a lot of my day, however, just showing off Beat Farmer and watching people play it, which lead to the refinement of yet another prototype, which I’m calling 2.5. This is the first version guided by a substantial amount of user feedback, and I feel really good about the result.

Check it out!

Demo Reel: Patch Prototype

I got the art for the first prototype from Clay recently, and so I reached out to my music guy, Georgie, to get some sound to back the demo up. Georgie mentioned he’d like to get a demo video to help during composition, so I put something together last night.

I’m tempted to call this the Soul Patch, but that’s probably not a good idea, given Georgie borrowed a banjo recently.

I’m prototyping with this level because it requires most of the elements I expect to need for every level in the full game, without requiring many single-use graphics or effects.

So far it’s been interesting. This level marks my first exposure to the Animation system in Unity, and it’s been interesting. I found myself struggling at first to understand how to put things together, because I really wanted to administrate state changes centrally, but once you’ve given up on that notion, things become fairly simple – import a sprite, create a GameObject, drag a set of animation frames over the object, and the Animation editor takes it from there.

I’m using a couple of control variables to manage transitions to new states, and I think I’ll probably end up allowing the Animation to drive the rest of my gameplay.

I’m not sure that’s the most efficient solution here, but it’s certainly the most straightforward, and to be honest, Beat Farmer isn’t likely to be a technically demanding game. My primary concern is keeping it relatively manageable in terms of development effort.

It’s nice, though. My little beets are growing up so fast!

short, beautiful experiences