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Turn-Based Tactics Into the Breach: Advanced Edition - mech tactics game from FTL devs with Chris Avellone writing

Taka-Haradin puolipeikko

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FTL retreaded a lot of fairly familiar ground, it just found a neat way to repackage it so to speak. Nihil sub sole novum.
That's pretty much true.
Repackaging of familiar mechanics (alongside spaceship command theme; not a lot of those around since Breach 2) into new format was the innovative part.
 

AdolfSatan

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there is much less hype for this game than I anticipated.
It's not like they've put up much of a show to garner any attention from what I see. No matter the outcome of the game, all my respect to them for not falling into the duplicitous gimmickry that many developers have turned into an industry standard.
Still, to wait is to agonize; I loved Advance Wars back in the day. A game in the same spirit, by the makers of FTL? Looking forward to sinking countless hours into this.
 

Arnust

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https://www.pcgamer.com/how-i-made-into-the-breachs-soundtrack/
How I made Into the Breach's soundtrack
FTL's composer explains how he took a different approach for the music of Into the Breach.

Ben Prunty is the composer whose music you've heard accompanying the death of your crew in FTL: Faster Than Light. His column for PC Gamer covers the role of music in games.

I recently finished the soundtrack for Into the Breach, Subset Games' follow up to FTL: Faster Than Light. Into the Breach is a turn-based strategy game about giant mechs, the apocalypse, and time travel. You can read more about it here. Making the soundtrack was a huge challenge, as the style was pretty far outside my comfort zone. Because of this, I thought it would be interesting to share some key parts of the creative process. Here are some of the decisions involved in making a game soundtrack.

Discarding the obvious
Let's compare it to FTL as an example. Like FTL, we decided that the soundtrack for Into the Breach should be something different than is expected for the genre.

Thanks to Star Wars and 2001: A Space Odyssey, media that takes place in space is often associated with music from a large, bombastic orchestra. We decided early on to simply not have any orchestral elements in FTL. After all, how could we even compete with the likes of The Empire Strikes Back or the Star Trek films? FTL's music featured smooth, melodic synths, lots of reverb, and a general sense of melancholy. This was apparently so unexpected that some early reviewers were put off by the style and recommended listening to orchestral music instead while playing. These days FTL's music has a pretty great reputation, so I'd say we made the right choice.

When the time came to decide what Into the Breach would sound like, we approached it with the same mindset. Into the Breach has thoughtful, turn-based battles, giant monsters destroying cities, and apocalyptic themes. 'Desperation' was a word we used as a guide for many creative decisions. So what does this sound like?

- As a group we decided to throw out the idea that strategy game music should be quiet -

Sometime in the last decade or so, Hollywood decided somber folk music was the official soundtrack of the apocalypse. I'm not entirely sure what kicked that off, but since it's the expected music for that kind of setting, we discarded it from our potential concepts. Of course, deciding what something isn't only gets you part of the way. You still need to figure out what it is.

This turned out to be difficult. First I tried a lo-fi electronic ambient sound, with synth drones, white noise, and almost no melodies. This actually made it sound a bit like a horror game. It did kind of fit the feel we were going for, but none of us liked it very much. I then made a few quiet, somber ambient tracks, more melodic, with some cello thrown in for a more human feel. I was operating under the assumption that music for turn-based strategy games should be quiet and unassuming. But none of the team, including me, really liked the new tracks either.

Finally Justin, Subset Games' artist and co-designer, shared this video with me, and suggested I use it as inspiration.



These two cellists take Hans Zimmer's Inception score and put their own spin on it. The result has an incredible energy. It was essentially the antithesis of everything I had made so far. So I took that concept and ran with it, making a track that would eventually end up as music for Into the Breach's very first trailer:



As a group we decided to throw out the idea that strategy game music should be quiet, and for each new track I just kept iterating and refining the concept I built with the trailer music. I kept it more energetic, and stopped relying on synthesizers. We finally had a style for Into the Breach.

Adding guitar
The style I had put together worked well enough, but I still felt like it was lacking something. Lately I've been teaching myself to play guitar. I have a Fender Stratocaster HSS and I love it. While I still consider myself a beginner guitarist, I found that muted rhythm guitar was something I was decent at, and I loved the sound. For one of the tracks, I tried playing a little muted rhythm part over what I had written. Suddenly the whole piece came together in a way I wasn't expecting. The riff I wrote for that one song became the defining sound of the entire soundtrack. It shows up everywhere.

I've isolated the guitar part from one of the tracks so you can hear what I'm talking about. There are three different guitar parts playing at once, with some delay effects added on top. Once you know what to look for, you'll hear it all over.

The art of implementation
One important thing I learned while transitioning from 'game music fan' to 'game music professional' is the importance of implementation. It's not enough to make good music, you also need to know exactly how to present the music. Where the music is placed, how it starts, how it stops, how long the silence is between tracks—it all has an impact. Even the best music can be placed wrong. For a perfect example of wonderful music that's poorly implemented, go punch a mudcrab in Morrowind.

- While you're placing your mechs, you hear only the ambient sounds of the environment. There's a tension now; the mission has started but there's no music yet. -

In the beginning, we just had music playing pretty much constantly. Menu music would fade to battle music when the battle started, and would fade back immediately when the battle was over. This seems intuitive, but in practice it doesn't sound very good. Constant music can fatigue the player.

Here's one subtle but important change we made. In the game, the player chooses a mission from the map screen, clicks Start Mission, and then the mission starts. Simple, right? In the original implementation, the battle music would start the moment the player clicked that Start Mission button. Again, this seems to make sense, but I didn't like it. I felt that some of the drama and excitement of starting a mission was missing. So I came up with a new way for the music to start.

There's a moment in the beginning of every mission where you're placing your mechs in their starting positions. With the updated implementation, the menu music fades out when you click on Start Mission, but no other music replaces it at first. While you're placing your mechs, you hear only the ambient sounds of the environment. There's a tension now; the mission has started but there's no music yet.

Once you've decided your unit placement, there's an animation of your mechs dropping from the sky and slamming on the ground, and the music starts at the exact moment the last mech lands. It's a strong, dramatic start to the fight. The tension built by the silence is released. This all makes the previous implementation feel lifeless by comparison. And that's just by changing when the music starts!

Making the music for Into the Breach was a long and difficult process, but in the end we got something that I think is pretty unique and personal. I learned a lot from it. I’m excited to finally share it with the world. I hope you enjoy what we've put together! Let me know what you think of the game and its music on Twitter.

If you motherfuckers rate "whatever you posted didn't load" I'll get quite mad
 
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Arnust

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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
http://www.eurogamer.net/articles/2...view-tactical-greatness-in-glorious-miniature

Into the Breach review - tactical greatness in glorious miniature
What lies beneath.

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The follow-up to FTL is just as punishing - and just as elegant.

Considering that Subset's last game, FTL, handed you an entire galaxy to knock about in, Into the Breach might strike you as being a little cramped in its opening minutes. This turn-based tactical battler likes to drop you into snug maps of eight squares by eight. You never have more than a handful of turns to worry about on each mission, and you have just three units to control as standard. What's worth remembering, though, is that FTL may have been set in the vast reaches of space, but it found its most frantic entertainment in the compact and claustrophobic arrangement of rooms that was your spaceship. This is a studio that understands panic and understands the power of confinement. FTL is a classic - and Into the Breach may well be even better.

The question with any turn-based tactical game is: what kind of game is this really?Once you take away the mechs and the super-soldiers, is this Chess again? Is it American Football? The easiest answer for Into the Breach - and it's not a complete answer because Into the Breach is not an easy game to get your head around - is that beneath a veneer that invokes the likes of Front Mission and even Advance Wars, this is billiards. By which I mean your shots matter, but victory lies in understanding where the remaining pieces are going to come to rest afterwards.

This is doubly true because so much of Into the Breach isn't merely concerned with blasting away at mutant hordes with your guns and missiles and lasers. It's concerned with doing all that while shoving them too. Shoving them into the sea where they drown. Shoving them onto a dangerous tile that is about to drop into the earth or be hit by falling magma or be engulfed with the burning fumes from a rocket launch. Missiles and lasers and guns are great, but you learn to look through the weapons you're given along the course of an adventure and cherish the ones that have drag or knockback powers. Again: it's not how much damage you do in a round, it's what the board looks like once the round is finished.

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The islands can't help but remind me of FTL's spaceships a little.

And here's something else. Into the Breach is also Whack-a-Mole. Your team of three units may drop from the sky into a deployment zone at the start of each mission - man, you can mess things up terribly badly by misjudging the deployment zone - but your enemies spawn from the ground, and the spots where they spawn are highlighted in the turn before you emerge. What this means is that you can park on them and stop them from coming up. You take a point of damage for that, of course. Better still - and remember, this is billiards, right? - you can knock an enemy back onto a spawn tile and they'll block the enemy and they'll take the point of damage.

Cripes, Into the Breach is filled with this stuff. It is filled with synergy, which is why it can get so much tragic storytelling into a mission that's five turns long. Everything in the game ties into something else: this is true at the level of knockback damage and spawn tiles and it's true at the other end of the scale as you find out that each in-game achievement you earn, for example, grants you a coin that you can spend on unlocking new loadouts of units.

All of this works because Into the Breach is a game of total information. You know how much damage an enemy is going to do and you can get a clear sense of what attack it's about to make. You know how far you can move at any time and what your own attack options are. On top of this, Into the Breach is one of those magical games where you're trying not to lose as much as you're trying to win. And there are so many ways to lose! Each mission you're dropped into will have its own subset of mini-objectives - protect a train, defeat a certain number of enemies, keep a particularly tricky enemy alive - that will give you a specific reward. But there's also the wider objective: survive until the turns you're given have run out.

And survival is complicated. You can lose your units - and any pilots controlling them will die and permanently take their perks with them - or you can allow too much damage to befall the little tower blocks that are scattered around each level. Tower blocks power the grid, which is basically the health meter of the specific island campaign you're fighting at present, each one having their own clusters of missions and their own quirks, from deserts that offer up dust storms to coasts with tidal waves that eat away at the land and a cybernetic island where you're not just fighting the mutant beasts but some rogue AIs too.

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The best levels feel weirdly like Sudoku - in the sense that you have a handful of pieces, and they all eventually end up in the right places.

Out of this spirals a gloriously ordered campaign, absolutely filled with difficult choices. You will never be able to do all the things you want to. At the simplest level of things, you must complete a series of missions before a climactic battle at the island's HQ, and while you select your missions you're trading off the difficulty posed by it and the rewards it offers: reputation points that can be spent at the end-of-island shop to buy new weapons and gadgets, energy that can restore power bars to the island's grid, reactor cores that power up your units, bringing extra weapons online perhaps or raising their health and movement capabilities. You can win an island campaign but emerge so battered and so lacking in resources that your hopes for the next island are pretty much scuppered. And when you get to the next island, the whole thing repeats, and then, once you've liberated two of the four islands, you can decide to take on the multi-stage final mission - or you can risk everything on tackling another island or two in the hopes that it will leave you better prepared.

Throw in a handful of simple but satisfying enemy types: lobbers, earth-quakers, psionic brains that give everyone on their side a boost. Throw in weapons that allow you to flip enemy attack directions, that laser through multiple targets and leave flames or ice in their wakes. Throw in those pilots that come with their own perks and can be levelled up or lost in a single mistake. Throw in those different friendly units that play in entirely distinct ways, one group specialising in stirring up lighting storms, another that seems to receive as much damage as it deals out when it's fighting.

And pretty soon you're lost in the detailing and you realise that - yes! - alongside being billiards and Whack-a-Mole and chess and American Football and all the rest of it, Into the Breach is also FTL, in its delight in the glinting clockwork of failure, in its fascination with difficult choices, in surprising victories, in drastic variation that works its strange magic within tight restrictions. And all of these games come together to make Into the Breach, which is precise and brutal and complex and dizzying and utterly thrilling - and Into the Breach is, somehow, entirely its own thing too.
 

Raghar

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I can't get image of this game from my head when I read about into the breach. From what I seen on twitch when they played into the breach, this game had superior story to into the breach. I wonder if gameplay would be at least equal.
 

PorkBarrellGuy

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That fucking face.
Nihil sub sole novum.
Goddamnit, Arcade, not again.
Arcade actually says "Nihil novi sub sole", which is more or less the same thing. My Latin is rusty as fuck so I'm not sure which one is correct (might both be correct, who knows) but I knew that proverb a long time before Josh fucking Sawyer put it into Arcade's dialogue to make him sound sooper smort.
 

Raghar

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why is that 8 year old girl talking about fighting?
Because she was recruited into the army, send into high security research project as a member of team that have clearance to control a new weapon, weapon so horrible it would end all wars because enemy would have no chance of winning against it. Direct superior of her team is ranked colonel, known for extensive combat experience who is two years from retirement. As long as nobody from politicians or high ranking military officers would snitch, they just need to finish the superweapon, and train its operators.

Also her body is at least 14, and we are not talking about her brain. (It actually makes sense, nobody would recruit her as a spy in her age.) The game/VN starts at last stage of the project. What could go wrong?
 

Fairfax

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I've played it for a few hours and I'm enjoying it a lot. It's quite different to FTL, but the systems seem just as deep.
 

Urthor

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Pillars of Eternity 2: Deadfire
If Prey and Battle Brothers can win RPG of the year this game can be too.


Also can't wait, FTL devs hype train
 

Arnust

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https://steemit.com/gaming/@badastroza/interesting-people-27-chris-avellone-on-into-the-breach

On the Chris Avellone part of "new game from FTL devs with Chris Avellone writing".

Interesting People #27: Chris Avellone on Into The Breach

Some of you may know Chris Avellone from his work on the likes of Fallout 2, Star Wars Knights of the Old Republic II: The Sith Lords, Neverwinter Nights 2 and much more. He’s branched out from his RPG stable quite a few times in recent years, and took the time to chat to me about his writing work on Into the Breach, from Faster Than Light creators Subset Games, which launches on Steam tomorrow.

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I see you were credited as "Special quest writer" on FTL. For those not familiar, can you give us a little intro as to who Subset Games are and how you got involved with them?
Chris: Subset Games is two developers – Justin Ma (artist) and Matthew Davis (programmer), although both of them tend to be involved in all parts of a game, not solely art/programming. They do contract out for other roles (Ben Prunty for music, for example).

They’re best known for their work on FTL, which is how I first heard about them. I loved FTL and played it a great deal when it came out (although probably not half as much as other folks I know).

As to how I got involved with them, that’s a funny story: I was in London at a game writer meet-up with a fine fellow, Tom Jubert (who went on to work on Talos Principle). I was chatting with him over beers (since meet-up = at the pub), and eventually he said he had to leave early to finish writing the manual for a game he was working on.

When I asked which game, he said “FTL” and it was like the entire pub went silent to me except for “FTL”. I then told him at great length how much I loved the game – and so much so, I’d love the chance to write on it for free. I figured it wouldn’t go anywhere, BUT a few weeks later, Justin and Matthew dropped me a line to ask if I was serious, and I said, “hell yes.”

And so, I became a guest writer for encounters on the FTL: Advanced Edition, which I’m very proud of. (To give credit where credit is due, Tom did the writing on the core FTL game and most of the writing for the AE as well – I just scripted about 50-60 common, uncommon, and special encounters, if I recall correctly.)

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What was it about Into the Breach that got you interested in being part of this project too? Chris: Justin and Matthew wrote and said “hey, we’re doing something.” I said, “I’d love to.”

I don’t think we even discussed what they were doing initially, it was kind of just a “yes, I like working with these two” sort of thing.

When I learned it was a turn-based monster-bashing time travel strategy game that’s a lot like murder chess except you’re in Mechs bashing skyscraper-sized bugs, that was pretty much just gravy – I hadn’t had much chance to work on turn-based games for a while (this was even before Divinity: Original Sin II work began), so this was a great opportunity to get back to it.

Did you write all of the story, the background of the humans and the Vek, and so on?
Chris: For the background, Justin and Matthew came to me with the pillars of the world (time travel, flooded Earth, corporations, the principles of each corporation – relic preservation/waste disposal/robotics, giant bugs, Mechs, etc. – you know, “the usual”) and they asked if I could work with them to flesh out corporate lore, CEOs of corporations, the individual Mech pilots and their personalities, the pilot voice barks (although they had some of the personalities and pilot barks already done). They were also working with a talented artist I knew from previous projects, Polina Hristova (http://polinadesign.com/) to do the portraits, so it was really nice to work with her again and also see her bring the pilots to life. As if that wasn’t enough, I got to invent alien languages as well. I also think I drove Matthew crazy with User Interface text reviews.

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And following on from that, can you please give us a rundown of some of the interesting major players and perhaps what inspired them?
Chris: Sure. Among your allies is Isaac Jones, a temporal breach physicist whose time-jumping research has caused a neural lag in his language centers but allows him to make multiple minor jumps through time on the battlefield (allowing you to reset your moves more often than others). And there’s Gana, an Archive, Inc. construction robot that was retrofitted with combat programming, creating an odd psyche where he’s constantly disciplining and training his components like an army general – and executing those that fail to follow orders.

For the corporate island CEOs, there’s Dewey Alms, the CEO of Archive Inc. who’s sometimes more concerned with preserving the Island’s Old Earth relics than battling the horrid giant bug monstrosities tunneling up beneath his island, and Zenith (designed by Matthew), the benevolent A.I. who runs Pinnacle robotics and cares for all sentient life on her island – machine and biological. She can make you sad about killing robots, which I didn’t think was possible.

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Can you please also describe a little of the writing process on something like Into the Breach, which on the surface doesn't seem quite as narrative-driven a game as many of your past works?
Chris: Sure – so a large part of the writing process on Into the Breach is driven by mission parameters, objectives, and designing scripting calls that refer to gameplay actions and consequences in the mission – not only obvious ones like taking damage (“taking hits here!”), but reacting to more subtle changes on the battlefield but breaking them down so a response makes logical sense.

For example, when pilot reactions to an event may involve carefully designing out an order of perceptions and consequences:

· The pilot killed an enemy (simple, right?). But…
o And that enemy was killed by direct damage (not by blasting it into a mountain or by having another creature knocked back into it)
§ And that enemy could be any enemy type (robot, Vek)
· And it was a single kill (no other enemy died from the direct damage – to explain, in Into the Breach, there’s a lot of weapons that can kill many enemies in many patterns and ways)

Matthew and I worked with this quite a bit, although Matthew was the one that got everything humming along because he is a programmer, and programmers make things “go”.

But even with the elements above, as a designer you have to be careful because then there’s exclusionary conditionals you want for reactions – you don’t want a pilot cheering about a kill on the same turn another pilot dies… or if the pilot cheering also just accidentally or purposely killed that pilot. Or if a building collapsed and civilians died. Or… you get the picture. It creates a many-layered series of scripting conditions to inform the logic of each response and dealing with the most emphatic ones first in a way that makes sense to the player and doesn’t break them out of the experience.

Once the scripting foundation is poured, then the actual writing work begins. That’s when you break things down into how reactive and aware you can make the pilots – one of the ways we do this (again, thanks, Matthew) is by introducing as many “token” calls as we can, within reason.

To explain, “tokens” are language in the writing such as #self_full (Pilot’s name, first and last is said), #self_last (only Pilot’s last name is said),#squad (the player’s squad name), etc. We do this for island types, corporations, pilot names, mech names, etc. and all of that makes the world feel more alive (the following is a bad example of this, but:)

It’s the difference between:
“Good shot, pilot 3!”

vs.

“Good shot, Jones. Doing Archive proud!” (Which would be written as “Good shot, #self_last. Doing #corp proud!”)

Then, once you have the mission specs and the general pilot scripting calls down, then you flesh out what each pilot says, informed by their background and personality. One pilot may not like it when you kill robots, for example (“could we have fixed its programming?”) while another pilot may not give it a second thought (“Zenith can bill me.”). We have some pilots that get upset when you destroy mountains, others that take special glee when you knock an enemy into water to drown – or when an enemy is blasted into a chasm and plummets to their death. Others seem to forget there are civilians in some buildings when the building collapses, others are more concerned about the infrastructure damage, not the bodies.

Overall, it’s a fun process that requires a lot of iteration to see the voice barks play out in-game and see if they “feel” correct. We spent a lot of time getting these right.

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Correct me if I am wrong, but isn't the nature of this game one where your writing is going to be far more linear than the branching conversations and story pathlines we've seen from a lot of your earlier work?
Chris: It’s not a linear story game - nor a story game at all, which is a change of pace for me. The writing is there to inform the aesthetic and feel of the world, and the pilot language is focused on events transpiring in the game with window views into the individual pilot backstories coming out over time (no pun intended).

It was both a challenge and a lot of fun. One point worthy of note is we purposely chose not to go “grimdark” with the lore and personalities, so it has a lighter feel to it, which was a nice writing change of pace for me (I’d been doing dark stuff for a long time, and you can get lost in that stuff).

So, you're freelancing now and you have been involved in a number of quite varied games over the last few years. What can you say about the decision to branch out of the RPGs you became known for? I read what you had to say in the Rolling Stone interview from March last year - it's been almost a year since then, so how is that all going?
Chris: It’s going great. I suppose part of the reason I branch out is because I don’t only like role-playing games, I like a bunch of genres, I just didn’t have much opportunity to work on them in the past… now that’s all changed.

Even more importantly, I felt the need to branch out because I wanted to see how other genres utilize narrative – writing for other genres I think will ultimately improve my RPG writing and my overall game writing, whether it’s because of new techniques, tools, text editors, story pipelines, visual storytelling, or even simply the design and writing production approaches various companies use.

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What's a typical day in the life of a freelance game writer look like? Are you doing all of your work remotely? Are you still in your pyjamas..?
Chris: It’s 90% remote (it has to be – part of it is family obligations, typical life stuff that happens as life goes along).

I wish I could say I live some sort of glamorous writing life, but it’s like you say… I tumble out of bed in the morning, write, write, write, realize it’s dark out, then I go to sleep. I love it.

I see you're also busy on System Shock and still working on Pathfinder: Kingmaker (or have you completed your work on these two already?) , which we discussed last year. Are you taking on more freelance work in 2018?
Chris: Yes, there’s a number of projects in the works (I wish I could say what they were!), and I’m always on the look out for new projects, especially if it’s people, genres, franchises, or toolsets I’ve never worked with (trying to broaden my horizons). I’ve gotten the chance to work with a number of people I’ve always wanted to work with in the industry so far along with a number of other franchises, and I couldn’t have done that working full-time at one place, so I’m especially happy about that.

Of the titles I’ve been working on, I just finished up Divinity: Original Sin II (another turn-based game, and it was very well-received – kudos to Larian), I’ve been working on Wasteland 3, and I helped out Burden of Command with empathy mechanics - to explain, Burden of Command is a WW2 game, but in a nice shift in the genre, it’s about being a leader of a squad and having to deal with the emotional pressure of being in command and doing the best you can to accomplish your mission and protect your soldiers on the battlefield at the same time. I think I learned more on that project than I did creating systems for it (which is a pretty good deal as far as I’m concerned).

Aside from design and writing, I also do script work for some titles, editing for others, story consulting, and even translations every once in a while (all of this is just for fun and plus, I need to refine my editing skills – I’ve learned a lot of errors I’ve been making over the years as a result, so doing editing has improved my craft for sure).

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So, if people are interested in reaching out to have you work on their project, what's the best means of getting hold of you?
Chris: CAvellone, then slap gmail.com on the end. I get a new request almost every 3 days, and while I can’t help everyone, I usually can direct you to another writer who’s (1) likely better than me and (2) better for your project, too.

If you have something simple to ask, Twitter’s usually the best (@chrisavellone, and you don’t need to Direct Message me, you can just ask in the feed – this helps if someone else has the same question, too). And if you want to add Subset Games to those you follow on Twitter, they’re @subsetgames.

And in closing, I always like to ask this one... what have you been playing over the last 6 months or so that has really impressed you?
Chris: I play a lot of Dungeon Boss (even though Solaris, the Phoenix hero, is one of the evilest characters ever created, both to fight and use on your team), I played a LOT of Into the Breach (as of last week, I got the final achievement [no cheats], I logged about 230+ hours playing it). I also was playing a lot of Darkest Dungeon but I got pissed at it last week when my best party (and worse, their best equipment) was wiped out, so I think I’m going to shelve it and play something more relaxing for a while. : ) Still, I think DD’s a great game, I like the ambiance, the character archetypes, and how those archetypes play out in the game mechanics (esp. the Abomination).

Another huge thanks to Chris for taking the time to answer all these questions. Learn more about Into the Breach on the official page, or pick it up on Steam when it launches tomorrow (27 February 2018)!
 

Mark Richard

Arcane
Joined
Mar 14, 2016
Messages
1,192
Sounds like Subset Games have done it again. What strikes me about this one is how it veers away from Faster Than Light's RNG rather than doubling down. With the AI's attacks being telegraphed in advance, you've really got no one to blame but yourself for losing. Wasn't sure about the theme but a few gameplay videos have won me over. Not to mention the excellent pricing.

Less than an hour to go before Into The Breach reaches Steam. Hopefully it hits GOG around the same time.
 

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Arcane
Joined
Dec 19, 2015
Messages
1,724
Location
Italy
It's always nice when you don't know about a game, and you suddenly discover it just before the release, avoiding the long and painful waiting.

Got it, I loved FTL :D
 

MachineCommander

Educated
Joined
Jul 12, 2012
Messages
46
Was hoping this would've released a couple hours sooner while I was at home. But, I got the installer downloaded on my work computer, so I'll still be able to play it when I go on lunch.
 

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