La-Mulana 2 Still Has More Stories to Tell

When last I wrote about La-Mulana 2, its Kickstarter Campaign met nearly half of its stated $200,000 minimum goal. Well, not only has it reached it’s goal, it has started to meet its stretch goals.

It has been an interesting experience watching this particular Kickstarter development, while also being involved in at least some of that growth. I got to watch as NIGORO and Playism Games added their own unique animated sprites and adjusted their stretch goal tiers accordingly with input from their fans. Even as they took the time to give their page its own unique pixilated aesthetics, I’ve seen them re-organize their campaign page’s information and the order of their Updates. But I think what really struck me is the tremendous sense of community that I gleaned from, and to some extent even experienced, from being involved in this particular Kickstarter.

I mean, just look at both of these Fan Art Updates. This is one other very unique element of the La-Mulana 2 Kickstarter: the fact that the creators and their supporters actually encourage and utilize a Fan Art Update to promote their world and the game that they want to create. NIGORO and Playism have also encouraged fans to make their own memes and advertisements for the game. And when there were some concerns expressed by fans in the comments section of with regards to the appropriateness of  some of Lumisa Kosugi’s unlockable and otherwise stunning costumes on the grounds of potential gender and cultural stereotyping, the creators responded and seemed more than willing to look into the matter. Basically, it seems to be the fans that get to determine many of the directions in which La-Mulana 2 will go: as is, and should be the case with crowdfunded projects. It also shouldn’t be too surprising.

After all, NIGORO itself began as GR3 Project which, in turn was and still is, an indie or independent video game development team. The very first La-Mulana, before its remake on Windows, WiiWare and Steam, was an 8-bit freeware game dedicated to the spirit of hard but rewarding vintage era games: especially those made for the MSX. The team has always wanted to see how far they can push the boundaries of the 2D game-scrolling medium. As such, it has always relied on a strong fan-base of even stronger-minded and enthusiastic fans to bring it to the point where it is now. In fact, one point that the Kickstarter itself has made in one of its updates is that while they could easily get sponsorship from other companies to meet their Kickstarter goals, gaining money directly from their fans will allow for NIGORO to maintain the degree of creative control over its work that it so desires.

One thing that has always struck me about La-Mulana is how rich its world truly is and how many stories can be told in it. So the good news is that they have met their baseline goal in what has proven to be their experiment and learning experience with Kickstarter and getting us fans involved. The bad news is that, with Kickstarter, they only have three days to fund the rest of their stretch goals. And what are some of these stretch goals?

If they receive $230,000, they will include a game mode called “Father’s Diary” in which further story is added to the game: to a point where the events between La-Mulana 1 and 2 are filled.  And if they receive $350,000 they will add “Character Stories”: in which every time you complete the game you will get to start over again with a new character, interact with a whole new story and even switch between characters. And while these are definitely my favourite stretch goals, there are many more if you check out the Kickstarter.

Yet while the bad news is that it seems very unlikely that they will meet all of their stretch goals with Kickstarter, especially in three days, the good news is that they are already opening up a Pledge Through PayPal option in order to keep reaching for those heights of game development.  So please, if you haven’t already, please check out this Kickstarter and follow the adventures of Lumisa Kosugi as she treks her own path through the ancient, terrifying and wondrous world of La-Mulana.

In fact, you can do more that simply look through a Kickstarter or even pass it along to others. As the following new Big Update has revealed, you can watch a video of the La-Mulana 2 game demo above and even download and play it for free. How cool is that?

Kickstarter Hacked: Change Your Password

On Saturday February 15th at 4:25 pm I received, like many others, a security notice in my email from Kickstarter informing me that the site had been compromised by hackers.

Yancey Strickler, the CEO of the crowdfunding platform, has the following to say:

On Wednesday night, law enforcement officials contacted Kickstarter and alerted us that hackers had sought and gained unauthorized access to some of our customers’ data. Upon learning this, we immediately closed the security breach and began strengthening security measures throughout the Kickstarter system.

No credit card data of any kind was accessed by hackers. There is no evidence of unauthorized activity of any kind on your account.

While no credit card data was accessed, some information about our customers was. Accessed information included usernames, email addresses, mailing addresses, phone numbers, and encrypted passwords. Actual passwords were not revealed, however it is possible for a malicious person with enough computing power to guess and crack an encrypted password, particularly a weak or obvious one.

As a precaution, we have reset your Facebook login credentials to secure your account. No further action is necessary on your part.

We’re incredibly sorry that this happened. We set a very high bar for how we serve our community, and this incident is frustrating and upsetting. We have since improved our security procedures and systems in numerous ways, and we will continue to do so in the weeks and months to come. We are working closely with law enforcement, and we are doing everything in our power to prevent this from happening again.

Kickstarter is a vibrant community like no other, and we can’t thank you enough for being a part of it. Please let us know if you have any questions, comments, or concerns. You can reach us at accountsecurity@kickstarter.com.

Thank you,

Yancey Strickler
Kickstarter CEO

I should also add that if you have a direct password with Kickstarter, please change your password. Exiting and logging back into the site with your chosen social media, or at least Facebook will require you retyping your login and password, but you should be fine.

It is a good thing that no credit card information has been stolen, but the fact that this happened at all is troubling. Many of us in what many consider to be the geek community utilize Kickstarter and other crowdfunding platforms to back and support our favourite creators and become a more direct part in funding their works. In fact, it wasn’t too long ago that I wrote two articles on some popular Kickstarter campaigns on this very site.

One can only hope that in addition to the measures that Kickstarter taken after the fact that not only will the authorities trace just whom accessed the above data, but that it, and other platforms, can take the necessary precautions in preventing anything like this from happening again in the future.

Until then, fellow geeks, change your passwords, re-login and keep yourselves posted.

I Got Quoted, She Makes Comics, La-Mulana Cries, and A Pixie Is Making Games

This will be my first post written directly on schedule and I hope to make this a habit again. So what I’m going to do is the following. I missed you guys so much that in my haste to actually let you know what’s been going on with me lately, I’ve actually forgotten t mention a few things.

The first is that Anthony Martignetti, the author of Lunatic Heroes and now Beloved Demons, has created his own writer’s site and in its “Reviews and Endorsements” section is a blurb, at the very bottom of the page, taken from someone that all of you might find very familiar. Basically, Anthony quoted me. 🙂 I found this when I was at the Toronto Global Game Jam (which probably explains how I forgot to write about it with all the writing I had to do there and after) and in addition to all the positive energy that was already around me, it made my day. The fact of the matter is that I am honoured and feel kind of unworthy to be mentioned in such really august company.

That said, it still makes my day and reminds me that I am actually doing some good work here on Mythic Bios. I will tell you right now that it has been difficult to return back to my regularly scheduled posting. I still plan to do some writing outside of Mythic Bios and the Net and, regardless of even that, it took a while for the old, weird ideas to come back into my head and flow properly as they did. But I do have something to work with now.

And Anthony, I have not forgotten about you. You will all see something new about Anthony’s work relatively soon.

But here is what I am going to do for the rest of this post. I am actually going to be doing some very shameless plugging for some really cool things that haven’t been derived from me.

For first thing’s first. The Sequart Research & Literacy Organization is making a Kickstarter Campaign called She Makes Comics. Basically, this is a documentary about women in comics: specifically women as creators, editors, researchers, and publishers in the comics world. It really makes me frustrated that, despite all the comics I’ve read, I actually had to struggle to suggest some prominent female comics creators. In fact, it makes more than frustrated. It makes me sad. I am doing my part to support this Kickstarter. I even wrote a G33kPr0n article on She Makes Comics to give you another look or perspective on just why this is so important. I hope that you will support this campaign, or at least send the links out to those you know and, if you are Facebook or Twitter users, please do not hesitate to use the hashtag #SheMakesComics.

There is also another Kickstarter I would like to draw your attention. The La-Mulana 2 Kickstarter has reached its baseline goal. However, in order to unlock more goodies from chests not rigged with spikes, including the addition of extra character journals and story-modes to an already dangerous quirky puzzle and monster archaeological game of death, it requires more funding: with not much more time to spare. I always hated “timed levels” and I hope that someone here will make sure that this remains in reality and not in the game: which I hope to see funded as far as it will go.

I still hope PLAYISM will have time to post up my Twine fanfic in another Fan Art Update: as it has not happened yet. 🙂

Finally, last by not least there is a game-maker that you should be following. She is Gaming Pixie, whose work and process I reviewed in Life and Identity, Eden and Hell, and not only is she working on a video game that centres around a girl surviving seven days with her alcoholic father, but she has made offline versions of her Twine games Eden and Shadow of a Soul. The latter games are very complex and if you purchase them you will be able to store them on your hard-drive to play at leisure and also experience far less graphics and sound loading time. In addition, with the very modest prices that she offers for both games, you can also help to continue funding her endeavours. I cannot recommend Gaming Pixie’s work highly enough and it will only get better with time and aid. You can find both games here and, if you’re a Windows user, you can download “the first day” of her first major game Fighting the Monster for free.

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And that’s it for now. I had this all in my head for a while and there is still so much more work to do. I will speak with you all soon again I’m sure. Take care now, and have an excellent week.

Star Wars: Rebels and “Lost Missions”

It’s funny that though I am a big Star Wars fanatic, I’ve not really found the opportunity to really talk about the series on G33kPr0n until, well, now. And today, I find that I have a lot to talk about.

I’ll admit I’m mildly surprised, and at the same time not, that Star Wars: Rebels is still going to happen. Between Disney buying LucasFilm, LucasArts closing down, the cancellation of Star Wars: The Clone Wars and especially the Lucasfilm Story Group’s “re-organization” of Star Wars canon into a potentially cohesive sense of continuity, I know that I assumed Rebels would just be another abandoned project. Aside from the introduction of the unidentified “Inquisitor” character, who seems to be a Dark Side Adept, member of the Inquisitorius and antagonist in the series, along the release of some really fascinating Imperial propaganda posters, nothing else was really known about the plot until recently with the revelation that one of the show’s lead characters will be a Jedi survivor of Order 66.

I’m not exactly sure what to think about it myself as a Star Wars fan. Even though Obi-Wan Kenobi’s exact words to Luke Skywalker were “Now the Jedi are all but extinct,” which doesn’t necessarily mean that he and Yoda are the last, this idea has been done before. In fact, if you look at the character he is kind of reminiscent of a young General Rahm Kota from The Force Unleashed games. Even the idea of the Inquisitor being an agent sent by Darth Vader to hunt down the remaining Jedi Knights is eerily similar to the tasks that he entrusted to his own secret apprentice Starkiller. Of course, these characters are different in and of themselves and there will be other main characters to consider as well. But a former Jedi as a gunslinger with perhaps looser morals could be interesting to watch in action. And the forces of evil can never have too many minions. I just hope they will give this Inquisitor a name of his own.

But while Star Wars: Rebels isn’t a lost mission, The Clone Wars are. “The Lost Missions” are thirteen previously unreleased episodes of the cancelled Season Six which will premiere on Netflix in North America on March 7. I myself had mixed feelings about the program itself, but I will admit that its teaser scenes in the trailer below are very intriguing when taken in themselves.

What do a “malfunctioning” clone trooper, a mischievous AWOL ancient Jedi Grand Master, an unknown bounty hunter, and a lightsaber found in the dusty remains of an abandoned ship with ominous Dark Side music in the background all have in common?

For now, just a common sense of mystery and one that many fans will look forward to exploring.

My Creation, My Past, My Challenge

It’s a strange thing to encounter your past, even when it is a fictionalized past.

Especially when it’s a fictionalized past.

In about 2001, I started playing a homemade table-top role-playing game with some friends of mine. Before that, I was more interested in playing the customized Star Wars game we had going on that took place many years after the Old Trilogy. But this particular game, the one I was invited to participate in, had been going on for a very long time. This time around, it was in the fantasy genre.

I was hesitant. I had played a few games of Dungeons and Dragons before this point and, more often than not, we spent more time arguing about the rules and I had very little time to play as I had curfews back in the day.

In the Star Wars game, I was a master manipulator and I destroyed my opponents or undermined them with indirect attacks and insinuations. As other players died, I got stronger and the ones left me alone, I left alone or made alliances with. Here, though, I was treading into a universe I wasn’t familiar with. I didn’t have a lot of in-world knowledge and I was cautious. But, after hearing a bit about its history, lore and the games that the previous players had I decided I’d find it fascinating to be a part of that story.

Now, at this time, we used to roll our backgrounds as a matter of course. I decided to play as a dark elf wizard. Unfortunately, my roll was low and he started off as a slave.

That was the beginning of Vrael-Saar.

Vrael-Saar was actually the name of an ancient Sith Lord I made in a juvenile fanfic long ago, or a character in a Computer Paint choose your own adventure game with the same idea. But I applied it to my character because I already knew what he would be like. He grew up in a society and family that believed in survival of the most cunning. He had siblings who actually killed each other and he barely proved himself to his own master: only to be enslaved by humans.

Vrael-Saar was like my Sith character in Star Wars. He was manipulative, vengeful and clever. He started off from Level 1 and only had the rags on his back and a broom to channel his magic. Almost anyone could beat the crap out of him. One friend made that very clear as he wanted to establish dominance right away.

But the most important thing about Vrael-Saar that you have to understand right off the bat is that he was, even as he advanced, never a power character. What I mean is: he never flat-out went into a mystical slugging match unless he absolutely had to. Because, you see, Vrael-Saar was one other thing too.

He was clever.

I admit that Dragonlance‘s Raistlin influenced me and, consequently, Vrael-Saar himself. He would often wait and let his allies expend themselves or allow his enemies to overextend themselves. He was also not adverse to using the powers of Light or Darkness or Chaos to advance himself, or have them do a lot of the work for him before he would take advantage of a situation. He was patient, mostly, and he waited.

Of course, he took some major risks: including a bid for immortality that could have ended quite badly for him had he rolled anything below a 16 on a D20. And he succeeded. One humid rainy night with some lightning in the sky, as I walked home from my friends, I gave Vrael-Saar immortality: the one thing he had sought for ages while constantly studying their lore.

Even though he suffered setbacks, he was almost Level 20 by the time that game wound down in about 2004. He had learned how to spirit-walk and see the ghostly reality underneath the material facade of things. He also learned how to enter people’s souls.

He changed in other ways too. Vrael-Saar started off as a being with no regard for other peoples’ feelings and cared very little for sentient life. He only looked out for himself. Ironically, it was only after he carried out a Demon Lord’s orders to butcher an entire village and feed them to demons, and when a betrayal and a mutation changed him into something far less than humanoid that he began to change. It’s ironic that the more monstrous he became, the more “human” the character was becoming as well.

Vrael-Saar didn’t like to serve masters, but Demons and Dark Lords used him in their own agendas: even as he learned how to subvert them and use what was given to him to his advantage. He liked to be independent. One day, he even had a companion: a former enemy whom he helped corrupt for his former master, but who ended up becoming one of the few people who actually understood him. I wrote some stories about that. In the end, he saved the life of another immortal whose soul was being corrupted: and whom he healed at risk to his own essence and the Demon taint inside of it. Whether he did it out of a sense of compassion, leverage, or as a way to create a further blood debt between potential enemies who would be better disposed to him and his own plans for independence is open-ended.

That was where I left Vrael-Saar in 2004. I had almost four years of Journal Notes–The Chronicles of Vrael-Saar–before my travel drive died and I lost all of it. Even my friend, who was DM, kept track of matters with those Journals: though we still have yet to see if any survived.

It is now 2014. This homemade world, which I ended up contributing a lot to based on my actions and my own writing, got rebooted and there are new rules and histories now. However, it’s much in the way that mythologies can be retold: the details might be different, but the essence of the narrative is still the same. I am now a human Imperial Alchemist named Marcus Arctrurian: who is also the Baron of Wrengardt. As we did long ago, I rolled my background class and made out a little better than that first time years ago.

The Baron is a character I am fleshing out now, but he and his companions have infiltrated a secret stronghold where some cultists are performing some terrifying experiments on captive farmers. And after he defeated one of their leaders, a corrupt town guard, we found a parchment with a skull and a snake coming out of it.

A little before this, we played another game that was another variation of our homemade universe. Many of our old characters either long since passed or, if they had been immortal or particularly powerful, had become demigods. My DM friend informed me then that Vrael-Saar had become one of these gods, but we only encountered him peripherally: as followers to another character I created (as a story character or NPC) were using one of his artifacts. In that world, he was called The Snake Tongue.

But this time, in this game, in another variant of that world, we are dealing with a massive network of Demon-worshippers and agents known as The Cult of Saar.

I created Vrael-Saar, long ago, from a lot of young adult frustration, anger and general angst. He grew over the years and became something else. While this is another reboot, there are some characteristics about him that I would imagine to be exactly the same. He is also called The Snake Tongue in this world, but he has another epithet.

He is called The Lord of Lies.

And he is basically a Demon Lord now, if not the equivalent of a demon god. Essentially, I have come face to face with my creation as an idea transmitted overtime and taken to the nth degree from what I had been planning to do with him. And while I even wrote a new story about him as a Demon Lord, for all my educated guesses even I don’t know what he is planning.

And that frightens me: even as it thrills.

For over a decade, my group of friends and I created a mythos. It will continue for as long as we do. It is a legacy in a way now. While our own bodies age and our own possibilities are a little more limited than when we began, with some potential to grow from there even now, our game grows with us.

I’m a different player now than I was then, though I am still more than capable of being evil when I need to. The question is: can I defeat what I created so long ago?

My only answer is that we will see how long this game will last, and how far we will go. It has really come full-circle now. Let us see if we can triumph over what we have helped to make.

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She Makes Comics

It is a strangely ironic fact that in the early days of the comics medium, the majority of comics readers were women. During the period of the 1930s to the late 50s and before the Comics Code Authority inspired by the American psychiatrist Fredric Wertham came fully into effect there were many different genres of comics, such as romance comics, with some striking female protagonists and eventually works centered around superheroines.

Of course, that is only part of that past. In addition to Elizabeth Holloway Marston and Olive Byrne directly inspiring their mutual husband and partner William Moulton to create Wonder Woman, and Patricia Dingle, who was partially the physical inspiration for her husband Adrian’s Nelvana of the Northern Lights and ended up writing adventure stories in Triumph Comics’ works under a pseudonym, there were female creators of superheroine comics to consider such as Tarpé Mills and her Miss Fury. Even when you consider that the Golden Age of Comics wasn’t completely a “Golden Age” with regards to women and comics it is sometimes really hard to believe, after the decades-long idea of comics being an “all-boys club” permeating North American culture, along with sexism, misogyny, marginalization and violations of personal space at conventions afflicted on female comics creators and fans, that this was once a reality.

Then again, it isn’t that hard to believe. There are female voices in comics. They exist as artists, writers, editors, scholars, and above all, as fans. These are voices that need to be heard and can never be heard enough. And that is precisely what the Sequart Research & Literacy Organization intends to do by creating She Makes Comics.

She Makes Comics is a film Documentary and Kickstarter Campaign created to interview female creators and executives within the comics industry: to collect a series of oral histories and accounts from those women of various eras in comics history in order to accentuate their already considerable voices in the medium and community built around comics. Just as Hope Nicholson and Rachel Richey of Nelvana Comics endeavour to make Nelvana a household name again in Canada, if not the world, so too does She Makes Comics is intend to do the same for the women that have helped make comics as a medium, industry, and community possible.

However, in order to make this possible, this Kickstarter will need your help. To those of you who know that women in and around comics are more than just stereotyped images, subordinated side-kicks, love interests or “fake geek girls,” please take a look at this Kickstarter Campaign and consider that while it cannot speak for this generation of female fans and readers, it can definitely become something to inspire them.

And to all the ladies out there that love comics and the movies and media around them: you have been supporting all of this awesomeness for a very long time and I hope that you will continue to do so as our fellow geeks, and friends, and as the creators and industry movers that we can all admire.

So, with that serious business out of the way for the moment, I would like to ask you all something. She Makes Comics is looking to interview thirty-five more people in addition to those that they already list on their page. I myself want to see some more independent figures such as Alison Bechdel, Marjane Satrapi, Hope Larson, Aline Kominsky-Crumb, Melinda Gebbie, and Wendy Pini. I’d definitely like to see more interviews with more “Golden Agers” as well.

Who do you want to see interviewed for She Makes Comics?

Please follow She Makes Comics on its Kickstarter or its Twitter Profile for more updates.

A Surprise Post Appears! La-Mulana, an Age, and Solo Jamming all Entwined.

I have been meaning to write here for a very long time. So I am going to write behind my own designated schedule and wave hello at all of you.

So I am still alive and I am hoping to write here again a lot more often now. For those of you don’t know, I went on something of a hiatus to finish a short story that may have me see actual print: as in something actually published in print in addition to my poem in the art book Klarissa Dreams. That is all I can really about that at the moment, but please stay tuned.

In the meantime, however, I have been busy with other things as well. So where do I even begin?

Well, I participated in the Unwritten RPG Kickstarter Campaign. I essentially made an Age for them. In case you don’t know, Unwritten is a table-top RPG based on the universe of Myst: in which you must go through several Descriptive and Linking Books that connect to other worlds. The D’Ni civilization figured out a way to write Books that allowed people to link to other worlds or gradations of a particular world: or Ages as they are called. I read the books and played two of the games in my formative years and for about a decade I had an idea for an Age and a people.

There were some changes I had to make, but what resulted is pretty impressive based on a creative collaboration with the team. I can’t wait for it to come out so I can show people that I was part of the Guild of Writers and I finally made my own Age. My nineteen year old self would be proud of what the thirty-one year old me has become capable of doing: at least to that regard.

I also admit one other thing. So you know the game I vowed never to play? Well, I am playing La-Mulana now. In fact, very soon the La-Mulana 2 Kickstarter will be making more Fan Art Updates and my Twine story The Treasure of La-Mulana will be featured in one of them. I will be on the look out for that and at some point I will link that update to all of you. It’s funny. I have gotten to know quite a few people through this game and it is perhaps one of the few sources of real community that I’ve felt in a really long time, if not ever. I am not a game-designer in the programming sense. I am a writer. Of course, Christine Love herself said the same thing and look at the places she is at now. Granted, she has programming knowledge and I don’t. But that’s ok.

In fact, I hit another milestone relatively recently. I attended the 2014 Toronto Global Game Jam. As some of you know I participated in the event last year, but armed with a basic understanding of Twine, I registered as a Solo Jammer and completed my first Twine game as such. I go into a little more detail about that on my G33kPron article Experiences from the 2014 Toronto Global Game Jam, but given what this Blog is about I wanted to talk a little shop about my game.

The Looking Glass was an experiment. After my Treasure of La-Mulana fanfic, I realized I could tell an extensive story with Twine, and use the hyperlinking transitions to control how much text the reader sees, and how much I wanted to pace the narrative. My Haunted Twine was an earlier attempt at this, but it was a lot clunkier and it still has issues that I need to address in future works. But I wanted to add more of an interactive element besides clicking on words this time around.

In addition, I was following a person’s experiences with a particular game online and, as my brain often works, I combined a few ideas together and came up with a concept and a few notes that you can see in all of their natural idiosyncratic handwritten glory down below.

I had a choice between this and a game about a serial killer. I was at first happy with neither of these concepts as I wanted to make something very personal and me for this Jam, but when I realized that my version of a “choose your own adventure” Twine game about my experience at the Jam itself would not be good enough at this stage in my development, and not really feeling the killing thing by the second official day of the 48-hour Jam I went with my original, very complex yet simply elegant idea that I should have taken more than two days to do. I may create more games like this one in the near future. In fact, I may be personally showcasing this one at the Toronto Global Game Jam Arcade in April. We shall see.

So now that I have at least four working Twine games or stories, I decided to expand a branch of Mythic Bios to contain them. You can find it on the menu bar above or click here on this link. I thought I would only make two relatively big Twine novels, but it seems my brain had, and needed, other plans. Perhaps sometime in the near future I will see what will be done with those.

And seriously ladies, gentlemen and other sentient beings, this is it for now. As I said before, I hope to be writing here more often again and I have some plans, as always. I have a few posts that are overdue and I want to fee more time to explore while continuing some of the work that I have been cultivating in my long self-exile. Poor January only had one post. Let’s see how many posts February will have as result shall we? 🙂

La-Mulana 2

Oh and before I go, please support NIGORO and Playism’s La-Mulana 2 Kickstarter Campaign. The universe of La-Mulana is both an archaeologist’s and a gamer’s dream and worst nightmare: it will challenge your ingrained assumptions about gameplay and mechanics. It also has a really nice unfolding story and a quirky character about it that few other games I’ve seen can match. So please check it out. You will not be disappointed and we might get to unlock some goodies without the spikes.

Mostly. Err …

Take care everyone.

Experiences from the 2014 Toronto Global Game Jam

The 2014 Toronto Global Game Jam last weekend was definitely an event to be remembered.

The TGGJ, which is the Global Game Jam’s location in Toronto, was held at the George Brown College of Applied Arts and Technology. We took up the fifth and sixth floors of the college where its Digital Media & Gaming Incubator is situated.  The GGJ is an event held all around the world, where teams are challenged to make a complete game in 48 hours. Think about that: we programmers, sound designers, graphic artists and writers had only two days to make fully functional games. Bear in mind that I am a writer and I have little to no programming experience and that I only really got to learn Twine, a text-based hyper-linking free bit of software, only a few months ago (and even now I only know how to use the basics).

We spent the first part of the Jam finding our assigned computer work rooms. I actually deposited my belongings, including my sleeping bag, into the spare classroom on the sixth floor. While it is discouraged for the most part, according to the event organizers Randy Orenstein and Troy Morrissey, I decided to sleep where my work would be (as I did last year, when I decided to try out this event for the first time without even the knowledge of Twine and hoping to find some people in need of a writer).

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About 300 Jammers registered and participated in the Jam itself. After settling in, we were eventually called down to learn this year’s game theme.  Every year the Jam gets a different theme to work with: which is, essentially, the prompt which we were going to shape our games around.

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The theme of this year’s Game Jam was, “We don’t see things as they are. We see things as we are.”

That is a pretty open-ended theme, isn’t it? So I wrote it on one of my business cards and went upstairs.

TGGJ 14 Grab Bag

Earlier, at our assigned computer workstations, we were given gift bags. These bags had a variety of candy bars and snacks, mostly to maintain energy, but they also had a schedule for the events of the next two days as well as a schedule of when we were to upload our games onto the Global Game Jam site.

Contents of TGGJ 14 Grab Bag

This was, more or less, a similar format to how last year’s Toronto Global Game Jam worked. There were, however, some differences. For instance, while this year also had its Team Jammers and Solo Jammers (pre-established designer groups and solitary game-makers), there were two additions that didn’t exist last year. The first was “Team Random.”  Team Random essentially was a group of people who didn’t have teams and were looking to collaborate with people at the event. Last year, I was in Team Random, though we were not named as such and there were much fewer of us. I actually like the fact that this year the organizers actually went out of their way during announcements to ask who was looking for teammates and they seemed to have a more organized structure in mind for dealing with that. Last year, as I said, I didn’t even know how to use Twine and there was some anxiety there at the time.

The second addition this year was the Floaters. Floaters were an assortment of independent programmers, sound designers and artists that were either free to join other teams, give them advice, or even contribute some of their expertise to certain parts of other people’s projects. Unfortunately I wasn’t in a position to use any of their skills, though I did talk with a few, as I basically started my project solidly after the Friday introductions.

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On the Friday I had written up a considerable amount of notes, but I still wasn’t sure what I was doing. I almost switched away from the idea I had made so many notes for but I was stuck. The fact of the matter was that I had a story in mind that was pretty complex and a challenge to make. But by the middle of Saturday I had a decision to make and so I began writing out my story.

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I wrote it directly into the Twine boxes that you can see right here.

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And so, from roughly 3 pm to 12 pm on the following Sunday I wrote out and built my Twine story while socializing at times and drinking a whole lot of tea and sugar generously donated by Starbucks. There was a raffle for some cool free stuff (we got a ticket in our grab bags and, no, I didn’t win anything) and the session finished off with the announcement of  a wedding having occurred between the duo that made up Team: “I’m a Pretty Princess” (who actually came back and continued their work) and me having finished my first ever Solo Game Jam (I was the sole member of “Team Eldritch”).

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The Global Game Jam encourages Play Parties to showcase all the games that were created during the event along with their creators. Last year, the Toronto Global Game Jam had an Arcade and there is going to be another one this summer as well. I know I will be there with my “choose your own adventure” text game which you can find right here on the GGJ site:  The Looking Glass. This year the Global Game Jam site extended the time we had to upload our submissions. It is an improvement over the first attempt that I linked on G33kPr0n months ago and I hope to keep exploring this world of creation and community.

And you had better believe I will be doing this again next year.

Matthew K TGGJ 14

Photo Credit: Uber Events and Promotions

You can find more of Uber Events and Promotions‘ TGGJ Group Portraits at this flickr account.

Correction: The GGJ (the Global Game Jam) is an event held all around the world. The TGGJ (the Toronto Global Game Jam) is local in Toronto.

La-Mulana 2 is an Answer to the Question

“What if games had continued to evolve – but stayed in 2D?”

This is both a question asked by the Japanese developer NIGORO and the impetus behind their intricate masterpiece: the video game La-Mulana. They and their director, Takumi Naramura, consider La-Mulana a “Ruins Exploration Archaeological action game” though that may also be a euphemism for a “puzzle, trap and treasure with epic battles and quirky characters game.” Actually, La-Mulana is often classified under “Metroidvania”: a genre of 2D platformer game that puts a great emphasis on exploration, complex mysteries, hidden secrets, and challenges that sometimes require excellent hand-eye coordination or the cultivation of such. La-Mulana itself is a game that was created by Naramura, lead programmer Takayuki Ebihara and programmer/sound designer Houryuu Samejima’s love for vintage games on the old MSX that challenged players:  placing them into the middle of the chaos with almost no hand-holding, but making them earn their progress and gain a sense of accomplishment–or exhaustion–through doing so.

La-Mulana was originally a freeware game published independently by GR3 Project (before it became NIGORO) in Japan on Microsoft Windows based on these principles, and on the nostalgia of difficult 8-bit games, and was then remade as a 16-bit game with a few more additions for WiiWare, the PlayStation Vita, and Windows in 2011 and finally released on Steam in 2013. It has an arguably small fan-base, but I suspect it is only continuing to grow based on its wide acclaim. The premise of La-Mulana is that you play as an archaeologist named Lemeza Kosugi who regularly competes with his older archaeologist father Shawn for fame and is lured to the ruined temple of La-Mulana to supposedly find the origin of all life, and its treasure. And then it ends and it all seems to be over: even in the remake. But it still leaves you with questions.

Then NIGORO announced that they were working on a sequel: La-Mulana 2.

For a while, there was only the information that the main character would be Lemeza’s daughter and that the setting seemed to take place in a Nordic-themed dungeon. There was even a brief trailer for La-Mulana 2 and a few interviews with Naramura, but nothing more.

However, more information has been revealed since: not the least of which being the fact that La-Mulana 2 is being promoted and funded on Kickstarter. The game is being promoted as a Kickstarter Project by Playism Games, a company that is helping to translate La-Mulana 2 for its English fan-base, and also publishing both Japanese and English versions of the game. So far, from the time this article is being written, La-Mulana 2 has met a little over half of its $200,000 goal. NIGORO itself has a lot of plans with regards to where they will take this game should they meet, or even exceed, their goals. If you check out their Kickstarter, you will see all of their plans and the potential treasures that you yourself might get on should you be interested. I will say, however, that while La-Mulana 2 could be played and appreciated on its own, knowledge of the first game might keep you from discovering too many spoilers at this time. So if you are a gamer with a love of 8 to 16-bit sprites and synthesized music, with good hand-eye reflexes and a masochistic streak that likes to see a story gradually unfurl the more you suffer, or progress, you might want to consider backing this game.

That said however, if nostalgia is pain for the loss of one’s sense of home or the past and the aching hope of finding it again, NIGORO and La-Mulana is attempt to find that place again and create new memories and possibilities. For while the world of La-Mulana, with its dangerous secrets and ever-present mysteries, might have been based on MSX games such as The Maze of Galious, it seems as though the developer wants to take its own question to heart: continuing to take 2D from a medium, to a genre and back again to a medium with more complexity, depth and potential.

I myself am eager to see just how far their explorations will take us.

When Reading High Fantasy, Travel Light

Back in the early twentieth century, two journeys began. They both began in England. One was the story of a Hobbit cleverly manipulated, though not necessarily against his will, into joining a company of Dwarves to confront a Dragon. The other story is one of a young girl, raised by bears and dragons, that sees heroes as her enemies, talks to a Valkyrie,  and must travel the world to find and understand her place in it. One of these stories was made by a male Anglo-Saxon and Linguistics professor, poet and novelist, while the other was created by a female Liberal, Socialist, novelist, poet, and an early founder of some of the first birth control clinics in London. One of these stories survived and helped found a genre of high fantasy. The other story, however, was all but forgotten.

But fantasy author Amal El-Mohtar has not.

Naomi Mitchison wrote the 1952 novel Travel Light. While Mitchison is an interesting figure in and of herself, and she possesses many contemporary sensibilities about war, sex, and women’s rights, it is this particular novel of hers that fascinates me even more. Obviously, up until I read the above linked io9 article I neither heard of her nor this story. Travel Light is the story of a young girl named Halla, formerly the daughter of a king, who is rejected by her family and fostered by bears before, finally, being raised by dragons. It is after living amongst dragons and legendary monsters, and being taught to despise the heroes that hunt them, that she is approached by the All-Father Odin (The Wanderer),  and is forced to make a choice: whether she wants to hold onto the parts of her life that define her, or to shed them and wander as well.

It is actually because of the io9 article and Amal El-Mohtar’s own beautiful article Crossroads And Coins: Naomi Mitchison’s ‘Travel Light’ that I read this book. It is an interesting story in a few ways. First of all, unlike Tolkien and his other contemporaries such as C.S. Lewis, Mitchison makes her mythological and historical references clear. Halla’s world is very overtly the world of Nordic and Mediterranean mythology. Also, there have been mentions of Greece, Constantinople, and Novgorod. Mitchison manages to subvert, perhaps tweak these beings ever so slightly and succeeds in making the reader look at them from another perspective. In fact, not only does she very smoothly subvert some tropes, she may well have made a few of her own. At the same time, she makes it so that Halla’s story seems to take place in our world, as much as fiction, fantasy or otherwise can allow, and that in itself speaks volumes.

As such, Mitchison also does not shy away from the very real dangers and moments of grief and vulnerability that Halla faces and comes to understand as a girl, a woman, and essentially as a human being. There is one quote that really gets to me after Halla faces a particularly horrible situation where it is stated “It was as though the murderers who had killed the old dragon had also killed a dragonishness in herself and she hated them all the more for it.” Mitchison makes sure that that while the dangers and consequences are not gratuitous in detail, she makes abundantly clear that they are serious and very real. At the same time, as all of these events happen to Halla, proving how strong and how vulnerable she really is, there is another element of Mitchison’s writing to consider.

While Halla is immune to fire, has knowledge of all languages that are animal or otherwise, and even comes to be given a piece of the Wanderer’s cloak, the most striking thing about her as a character is how many times she sheds her sense of identity, even as she collects epithets–surnames–to become and learn something new. It very much critiques and averts some parts of “the hero’s quest,” and heroes themselves, but at the same time Halla’s journey maintains its own rules. Simultaneously, when the story does come back full circle, it makes for a very awe-inspiring realization and where the narrative begins as a fairytale, and heroes and monsters fade into mutual legend, it all ends in mythology.

Travel Light is a story that works on so many different levels of physical detail and emotional depth: a tale with a sentence structure and language flow that you sometimes have to pay attention to, that doesn’t shirk away from background intrigue, or dare I say Byzantine scheming,  but at the same time provides dimensions to characters and an interesting notion of spirituality. I have this temptation to state, in a similar way to Amal El-Mohtar, that Mitchison’s novel makes an excellent story for young girls trying to find someone they can identify with in literature and fantasy. Unlike Tolkien’s heroines Eowyn, Arwen, or even Galadriel in Middle-earth Halla is the protagonist of her own world and her journey.

But what I really want to say is that Travel Light works on many different layers, as most great stories do, and Mitchison says something to everyone. I do think that young girls should read this story, but I also think that boys and adult audiences would also definitely appreciate the depth and resonance that it provides.  In fact, I would definitely classify this novel as an obscure classic, as a narrative that can be read by someone as a child and read again as an adult with a different kind understanding but still somehow managing to retain a sense of timelessness.

In the end, Travel Light is a work that deserves to be on a shelf next to Tolkien’s The Hobbit, C.S. Lewis’ The Chronicles of Narnia, Ursula K. LeGuin’s A Wizard of Earthsea, and all the great timeless stories of fantasy: that is, when a parent is not reading it to their child, or when their child is not reading it for themselves and imagining themselves stripping away all their preconceptions of reality … and traveling light.