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Jeff Vogel Soapbox Thread

Infinitron

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Codex Year of the Donut Serpent in the Staglands Dead State Divinity: Original Sin Project: Eternity Torment: Tides of Numenera Wasteland 2 Shadorwun: Hong Kong Divinity: Original Sin 2 A Beautifully Desolate Campaign Pillars of Eternity 2: Deadfire Pathfinder: Kingmaker Pathfinder: Wrath I'm very into cock and ball torture I helped put crap in Monomyth
https://bottomfeeder.substack.com/p/ufo50-the-only-game-youll-ever-need

UFO50, the Only Game You'll Ever Need​

Any game longer than 3 hours is a mistake.​




Party House is just about perfect. I think it could be expanded into its own title, but why? Let a perfect 3 hours stay a perfect 3 hours.

When I'm between writing games, I spend a lot of time playing them.

(Huge thanks to everyone for an awesome result for our Avernum 4: Greed and Glory Kickstarter. If you missed it, you can still back it.)

Part of the reason I play the hot new games is, of course, to find ideas to steal. Another part is to try to reawaken my interest in video games. After the exhaustion of shipping a game, I have a period of deep uncaring about the medium. I need to play a few really fun games to get interested again.

Lucky for me that UFO50 just came out. It's a truly remarkable indie title. We haven't seen its like before, and I'm not sure if we ever will again.

It came out, got a bit of attention, seemed to sell OK, and got washed from the public consciousness by the 100 new games that appear on Steam every day. So let's take a look. It offers a lot to learn.


I haven’t even gotten to the RPGs yet, which may be a good thing. RPGs are too long.

What Is UFO50?

It's a collection of 50 (!) games. The background story is: There was a games console in the 1980s called the LX. Everyone forgot that it existed until a console and 50 cartridges were rediscovered in a self-storage unit somewhere. Now you can play them.

Each game can be won, usually in a few hours, making the cartridge in the collection turn gold. Each game also has an extra-difficult goal, and completing it rewards you with a cherry. (As of this writing, I've tried all the games, with 8 wins and 2 cherries.)

UFO50 was developed by six indie devs over seven years. It was a gigantic effort. Much time and talent was invested in it, and it shows.

To be clear, I think this game is a monument, a true accomplishment and a celebration of the art form. I do not think we will see its like again.


Remarkably, there’s only one game out of the 50 that seems pretty not good: Combatants. I think it could be patched into being acceptably fun, but maybe one bad game just makes the collection more diverse.
There's A Lotta Good Stuff In Here

The 50 (!!!) games are hugely varied. Just about every genre is represented: Arcade. Strategy. Board. Tower Defense. Puzzle. Adventure. Deck-Building. A Zelda-like RPG, except it's golf. Even an idle game.

I'm not going to list what games I liked or didn't like. Your tastes will be different. I found an article that reviewed all the games, and I think it's an excellent overview. Two games that everyone was impressed by (including me) are Party House (a delightful deck-builder) and Mortol (a puzzle platformer where you advance by killing your guys).

What I will say is that all of these games have something that makes it feel fresh. I tried all of them for a while, and EVERY one of the 50 games had a twist or design element that made me think, "Huh. That's interesting!" This collection is absolutely loaded with clever ideas.

I think, no matter what your taste, you'll find 10 games in here that totally justifies the price. UFO50 is a bargain.

While it would be fun to pick apart the individual titles, I'm far more interested in what UFO50 can teach about the art and business of video games.


Porgy is the most controversial game in the bundle. It’s sort of like Metroid, but it has a real Dark Souls vibe where it’s easy to get burned and lose a bunch of time. I really liked it, but I also looked up a map to find a good route to the final boss.
Ideas Are Cheap

I'm kind of dubious about classes that claim to teach game design. But if you are teaching one, you should use this collection as a textbook.

UFO50 contains both introductions to a multitude of game genres and constant examples of how an old genre can be refreshed with a simple idea. But, because it contains so, so many clever ideas, it is great for showing how much a clever idea ISN'T worth.

It's been said a billion times: Ideas are cheap. Everyone has ideas. It's the implementation that matters. And to put the final nail in this coffin is one title with a whole career's worth of ideas in one messy pile.

I have gone to many industry shows, and I've tried out countless games by young, perky, energetic developers. Each game had its one good idea. The developers had this idea and wrote a game around it. They paid for a table at this convention or that to show it off. Every great once in a while, this game would ship and make money. Almost always not.

A handful of good ideas isn't enough anymore. In 2013, a bunch of totally mid indie games with one clever idea came out and made bank, but we will not live to see those days again. (Yes, I wrote some of those mid indie games.)

We just had another Steam Next Fest, which had around 3000 demos in it. (Skull emoji.) I watched streamers trying them, and more often than not I ended up thinking, "That's almost clever enough to be 1/50 of UFO50."

They weren't bad games. They were just somewhat above-average. If you're trying to run a business these days, "somewhat above-average" is death. I've always told developers, "You have to compete with free." Now I will add, "Is your game more fun than every game in UFO50?"


Block Koala is a neat puzzle game. The rules for its puzzles probably wouldn’t stretch to fill a 20 hours game (the ways you can move are VERY restrictive). But 3 hours? Perfect!
The Bliss Of Smaller Games

When I play UFO50, I channel surf from game to game. I look at the list, see what I'm in the mood for, and play it for 15 minutes. Then I move seamlessly to the next game I feel like. Then I see how many crystals I made in the idle game while playing the other games. This fun feeling of surfing is made possible by two things. 1. There is so much content. 2. All of the games are short, so you can make real progress in 15 minutes.

Almost all of the games in UFO50 can be beaten in 2-3 hours. More, if you're as bad at retro arcade games as I am. This makes a lots of sense. When there's 50 games, you don't want to be bogged down too much in any one of them.

This collection keeps showing how fully enjoyable and satisfying a 2-3 hour game can be. It turns out, this may be the perfect length for most sorts of games. (But not quite. One of the games takes 20+ hours. The RPG, of course. Maybe RPGs have been terrible all along.)

Making a short game also makes it far easier to come up with a clever design that can carry a whole title. UFO50 is utterly packed with designs that could not carry a 40 hours game but are perfect for 3 hours.

And yet, it feels like you can only be in business selling 2-3 hours games in packages like this. A lone short game will have to be really cheap. It's really difficult to make and market a game as it is. Putting all that effort into a short $5-10 game has a really poor return on investment. (My rule of thumb: Don’t charge more than $5/hour.)

Games need to be long to justifiably cost more than $10 or so. At least, that's what customers say, and they get the only vote. And it's still hard to have a short game that stands out in the market. So you have to make bundles of them, which takes forever and is really difficult, since you need to design several really good games, not just one. So ...

UFO50 is a glimpse into a beautiful impossible world. Lots of people only have time and energy for short games. I've seen how much I love nice, compact experiences with a satisfying conclusion in the length of a long movie.

A lovely dream, but I have to assume the market isn't providing short games for a reason. This list of 3 hour games that have been big hits is a very, very short one.

A Few Side Notes About The Games

One of my hobbies is collecting retro video games, and I’ve played pretty much everything in the period UFO50 claims to represent, 1984-1989. I have scavenged many a garage sale, buying cartridges fished out of attics, covered in cobwebs and full of dead bugs.

The game really reproduces one of the things collectors of old games experience: Finding the games but not their instructions. To play UFO50 you have to do a lot of trial and error to figure out how the game works. Honestly, a bit too much. If they did a better job of saying the rules (especially for the board games), it would enable players to experience more of the good stuff quickly.

One fascinating thing for me is that all of these games were technically doable on a Nintendo NES in the 1980s. (Except the idle game that keeps track of how long since you last played it, but whatever.)

UFO50 brags about having retro games with modern design, and it really does. When the NES was getting huge, a good designer could have invented the tower defense game or perfected the puzzle platformer.

Would we have even liked them? Would the developer gotten rich if they'd had that idea earlier? At a time when simple titles like Duck Hunt and Ice Climber were hit games, were players ready for something as cool and odd as Mortol? It's fun to wonder.


Indie developers are great at strip mining old game genres, and yet so few have tried to sell a nice, fresh take on Pong.
And How Will UFO50 Do In The Cold, Cruel Marketplace?

Indie developers have a way of guessing how many copies their competitors' titles are selling. They take the number of Steam reviews and multiply by 30 or 40 or so.

If this is at all accurate, UFO50 is doing OK. It's into 7 figures for sure. But then there's the Steam cut, and then you're splitting the money six ways for work done over seven years. (I'm sure they weren't working on it for that long continuously, but a ton of work went into these games.)

I bet the devs are doing ok, and I'm glad. But nobody is getting rich off of UFO50. No giant Los Angeles mansions will be bought. And it might have bombed. Good games sell bad all the time.

I don't like ending this on yet another tired "The game industry is cooked." message. However, when I say UFO50 should be a textbook for neophyte developers, it's not just because of the clever design or the history of game design. It because this is the level of the competition now.

If you want to make money selling your game, is it better than 1/50 of UFO50? Or 50/50?
 

Infinitron

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Codex Year of the Donut Serpent in the Staglands Dead State Divinity: Original Sin Project: Eternity Torment: Tides of Numenera Wasteland 2 Shadorwun: Hong Kong Divinity: Original Sin 2 A Beautifully Desolate Campaign Pillars of Eternity 2: Deadfire Pathfinder: Kingmaker Pathfinder: Wrath I'm very into cock and ball torture I helped put crap in Monomyth
https://bottomfeeder.substack.com/p/when-writing-fantasy-kill-your-darlings

When Writing Fantasy, Kill Your Darlings. Literally.​

How to kill your characters to achieve maximum story efficiency.​




You can double-dip with your characters by killing them and bringing them back. Just be warned. This is cheap, and you can only get away with it once. After that, cheating death becomes just another lie.
"Murder your darlings." - Arthur Quiller-Couch (Though many have said similar sentiments.)

My family has been watching the second (and final) season of Arcane on Netflix. Arcane is a TV-series version of the video game League of Legends. Thus, by all the Laws of Nature, it should be unwatchable. Yet, shockingly, it is pretty good.

The great joy of Arcane is that its creators are keeping it short. A total of 18 episodes. Around 11 hours. Whether this is for artistic or budgetary reasons does not interest me. Eleven hours is enough time to tell just about any story.

This is great because it gets us into the last season quickly. If you are writing a fantasy epic, unless you really seriously blow it, the last season is going to be awesome.

(Yeah, yeah. I know. The last season of Game of Thrones was infamously terrible. Bear with me. I'll get to that.)

Why is the last season generally great?

Because you get to kill everyone and blow up the world. Arcane is killing characters left and right, and that enables good fantasy.


Spock, on the other hand, should have stayed dead. His self-sacrifice at the end made Star Trek II so epic that I would happily give up the later sequels to keep it pure.
We Take Fantasy Seriously

I have made my living for 30 years as a fantasy author, albeit in a pop culture variant. I do take it seriously.

Fantasy and fables strip away the mundane annoyances of everyday human life. Instead, fantasy conveys the values of the society that makes it. That's why we tell fantasy stories to children so often.

I've written in the past about how fantasy has been a default mode for human storytelling since forever. And how modern fantasy can fail to satisfy us when the moral underpinnings of the setting and the story you're trying to tell no longer match. (Did you know they made a second season of Rings of Power? It did not make a splash.)

So when you write fantasy, death is very important. When a character in a fantasy dies, it reflects two things. One: What that society sees as the greatest dangers. Two: What a society thinks is worth dying for.

That's a huge topic. Right now I'm more focused on practical matters: How to kill your characters for best effect.


Harry Potter did a fantastic job of timing the deaths. None when the books were about little kids. Then minor characters, one a book. Then major characters. Then a massive house-cleaning at the end.
Your Characters Are Like Money

When writing long fantasy epics, one of the great joys is blowing everything up at the end. When you make a sand castle, only half of the joy is in the creation. The other half is in its destruction, either by the waves or by just jumping up and down on it.

When you write a huge story, you are going to develop a lot of characters. The main protagonists and antagonists, of course. But these are supported by a somewhat larger number of secondary characters. Which are, in turn, layered over a host of minor characters. Plus, of course, settings, religions, magic items, etc.

It's a lot of work developing all these elements. You get something in return. When you put in time and work developing "Bob, The Loyal Blacksmith," and then you force your customer to learn about Bob, you have developed something of value. Bob is now money.

What is the point of money? To spend it. You now have earned the right to find a good time to kill Bob.

(Of course, you don't have to kill Bob. Maybe Bob is rewarded for his service to his king by getting to marry Elspeth, The Hot Tavern Wench. YAWN. Anyway, Bob can't marry Elspeth. She's getting super-stabbed during the surprise orc raid at the end of Book Two to give everything moral weight.)

Spend Your Money At The Right Time

Whenever you have a big story beat, you can add emotional emphasis to it by killing a character. Or five characters. The more characters you kill, and the more developed those characters are, the greater the impact. If you do it right, your slight "Let's go kill the evil demon with the elf sword" story starts to develop real emotional heft.

Killing a character in your book does all sorts of good. The reader gets put in suspense. The reader feels emotions. The reader has one less character to remember the name of.

However you don't want to waste your money. Don't kill characters too fast, or you run out and the customer feels numb. Don't do it too slow, or there's too many characters clogging your work and not enough stakes.

Some instructive examples ...


If anyone ever says kids shouldn’t have horror and death in their movies, remind that that The Lion King was an ENORMOUS hit. Disney is so painfully WIMPY these days.
Example 1: Disney Anything

At one end of the extreme, we have Disney. Modern Disney films never kills a character if it can possibly be avoided. Even in a film that is explicitly about dealing with death, like Soul, there will always be a cheap trick to push a character's inevitable end until after the credits roll.

Interestingly, Disney films rarely have villains anymore! Their movies are so wimpy that they can't even kill a bad guy.

This is just my opinion, but: Disney and Pixar movies are no longer events in the way they once were. I think that, for the last decade or so, they've been churning out a whole bunch of really flat movies. Disney releases flops with a frequency considered unthinkable a decade ago.

My unsolicited advice: In their next movie, they should develop a nice character and then kill it. One Bambi's Mom would create enough suspense and interest to carry through ten wimpy movies.


What does “Murder your darlings” mean? It means that sometimes you have to remove stuff you really love to make the work function as a whole. It’s time to face the fact that those legendary bloodbaths Game of Thrones people go on about came at the cost of the work as a whole.
Example 2: Game of Thrones

Many readers will be familiar with Game of Thrones, a series of fantasy novels by George R.R. Martin that will never be finished. The trademark quality of the series is that major characters frequently die, usually in spectacular, gruesome, nihilistic set-pieces.

If you read the third book (or watched Seasons 3-4 of the show), wasn't that AWESOME? Tons of the coolest characters going splat all over the place! One of the massacres was so spectacular that people started calling it the Red Wedding and it has its own page on Wikipedia!

Then the fourth and fifth books came out, and it turned out the heart had been ripped out of the thing. The dead characters were the people readers cared about. Worse, they were also the only ones who could move the plot along. The secondary characters who got promoted to replace them just weren't sufficiently interesting. Martin expended too many of his characters too quickly.

(The TV series was deeply flawed, but it did take the tangled mess of the books and turn them into a more or less coherent story. The TV series is thus better than the books, though it only won by default.)


Man, but I love some Hamlet. Polonius is such a comic-relief nothing character, but he is expended at exactly the right point to kick the entire show up a level. This is the moment where it gets REAL.
Example 3: Shakespearean Tragedy

The great tragedies are not all fantasy in the modern sense. Some have ghosts or witches, but not all. However, they are fantasy in the sense that they aren't realistic. Instead, they reflect our fantasies. They take place in a heightened reality, where people rise higher and have stronger, purer feelings than we do.

They are fantasy, not in the modern genre sense. They tell a fantasy of humans scaling the greatest of heights, only to then be brought to ruin by their flaws and errors. (I'm speaking about ancient Greek tragedy here too.)

Shakespeare was a guy who knew how to kill characters. In the best tragedies, the characters are developed and saved up in order to be liquidated in an overwhelming disaster. I mean, sure, you'll lose an Ophelia or two along the way to move things along and keep the audience alert.

You save up most of your characters for a truly epic disaster, to raise the emotional stakes as high as possible and try to send the audience out into the world truly affected. (What theatre nerds call "catharsis.")

(But when too much death happens, the story becomes nihilistic and the audience grows numb. I’m finding everyone-but-one-must-die stories, like Battle Royale and Hunger Games, increasingly distasteful. While Squid Game was very well made, it felt it had to slaughter hundreds of characters to affect the modern audience. Worrying. The death of one character we care about has more impact that mowing down hundreds of drones.)


To be fair, I would hesitate to walk with my family in the middle of the night through a place called Crime Alley. Sometimes, we bring our problems on ourselves.
Example 4: The Dead Master

I've talked a lot about the timing of character deaths, but I've said little about something just as important: The purpose of the death. For the death to have full effect, it needs to reinforce whatever is going on in your story.

There are lots of ways deaths get used. One archetypal example: The loss of your teacher or parental figure. In Kung Fu movies, the hero is required to avenge the death of his master to the point of parody. (eg Pai Mei in Kill Bill. Oogway in Kung Fu Panda.) But there's also Obi-Wan and Yoda in Star Wars. Spiderman driven to heroism by the murder of his uncle. Mufasa in The Lion King. Batman after his parents are killed in Crime Alley.

This is so emotionally effective because it's a condensed version of Human Existence: Our parents and elders teach us. They die and leave us to continue their work. We pass down that knowledge to our children.

When evaluating how to use death in a story, it's important to not forget the most obvious thing: Death is the universal human experience. We all, at some point, gotta do it. When a character dies, we feel less lonely in this grim fact. If the death has meaning, this comforts us in the face of grim, unavoidable reality.


Well-executed character deaths help a decent show become legendary. Arcane is handling this well. The Walking Dead, Battlestar Galactica, and The Expanse were really good at it. For old nerds, Blake’s 7 was also awesomely bloodthirsty.
Writing Fiction Gives A Weird Sort Of Power

When a fictional character dies, it affects us. Our strange brains can feel great empathy for people who don't exist. Seeing these imaginary people die gives us a tiny, tiny fraction of real shock and real mourning. This must have some value to us, or humanity wouldn't have chased that sensation in fiction for thousands of years.

If your movie is about an epic battle, characters have to die. That is what a battle means. If nobody dies, your whole work becomes a lie. So, if you are going to kill characters, do it with maximum effect. Spread it out. Make it unpredictable. And be sure to save up a bunch for a really big finish.

The characters we create and control are powerful tools which can create strong emotions in our customers, for good and ill. We need to use this power responsibly. But, more importantly, we do need to use it well.
 

granit

Augur
Joined
Mar 1, 2013
Messages
134
Ooh. Jeff Vogel. I played Exile Escape from the Pit and Exile II Crystal Souls so much as a teenager. Just the shareware versions, but I got as far as it was possible to play before the "Shareware Demon" comes and stops you. And a little bit of Exile III. It was magical. Never tried any remake or any other Vogel games after that. Probably should
 

almondblight

Arcane
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Aug 10, 2004
Messages
2,627
Blades of Exile as well. People shouldn't sleep on it, even the small modules Vogel included in the base game is better than most of the stuff out there.
 

OSK

Arcane
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Jan 24, 2007
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