Putting the 'role' back in role-playing games since 2002.
Donate to Codex
Good Old Games
  • Welcome to rpgcodex.net, a site dedicated to discussing computer based role-playing games in a free and open fashion. We're less strict than other forums, but please refer to the rules.

    "This message is awaiting moderator approval": All new users must pass through our moderation queue before they will be able to post normally. Until your account has "passed" your posts will only be visible to yourself (and moderators) until they are approved. Give us a week to get around to approving / deleting / ignoring your mundane opinion on crap before hassling us about it. Once you have passed the moderation period (think of it as a test), you will be able to post normally, just like all the other retards.

Jeff Vogel Soapbox Thread

Infinitron

I post news
Patron
Staff Member
Joined
Jan 28, 2011
Messages
102,485
Enjoy the Revolution! Another revolution around the sun that is. 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

I post news
Patron
Staff Member
Joined
Jan 28, 2011
Messages
102,485
Enjoy the Revolution! Another revolution around the sun that is. 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
135
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
Joined
Aug 10, 2004
Messages
2,706
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.
 

kuniqs

Novice
Joined
Dec 1, 2017
Messages
35
Where would the monocle'd denizens of the codex place Vogel's writing?

Top tier? Mid? Bottom shelf?
On a scale between Francis E. Dec and Chris Avellone, I'd put him around Robert E. Howard - good, occasionally great, but not outstanding. Vogel is the master of short descriptions and it shows best in Nethergate where your party's impressions of the event, whenever they're Celt or Roman, are delivered by just a sentence or two. My favourite is the Annwn battlefield, where Celts think they've found heaven but sadly must move on and Romans want to GTFO pronto despite being professional killers.

If Exiles/Nethergate are his Conan, who doesn't mince words and uses them like a sharp sword, then remakes (of remakes (of remakes)) are his Kull the Conqueror, who's old and tired, oh so tired, and rambles about shit nobody cares about. What I'm trying to convey is that remakes (of remakes (of remakes)) do not force Vogel to limit his writing so things like character and area descriptions and dialogues are about 3 times longer than they should be.
 
Joined
Jan 21, 2023
Messages
4,100
Vogel's writing comes from the 80s school of underground fantasy. Closer to the 80s black and white comic book boom (which gave us stuff like The Crow and Men In Black), which, in turn, had a small, but thriving and unfairly undocumented fantasy sub-genre. Basically everyone who had a d&d homebrew teamed up with an artist to release the story as a comic. There has never been more fantasy comics released in America than what we saw during the 80s, which feels strange. But overall it feels very reminiscent of those days, more cartoony and whimsical even when you still had the super macho totally not gay barbarians prancing around. Kind of like what we had in Baldur's Gate 1.
 

Tyranicon

A Memory of Eternity
Developer
Joined
Oct 7, 2019
Messages
9,010
Probably old news, but I just noticed that apparently one of Jeff Vogel's quotes has been made into a poster for r/kotakuinaction

1733338975514.png
 

Infinitron

I post news
Patron
Staff Member
Joined
Jan 28, 2011
Messages
102,485
Enjoy the Revolution! Another revolution around the sun that is. 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/video-game-thoughts-bonus-bag-4

Video Game Thoughts Bonus Bag #4​

Cleaning house and stirring up messes.​


https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F8234b598-d839-48f8-918d-dd23b9cc786f_1280x720.webp

[/URL]
Since I write a bit about the Wicked movie I’m putting this image at the top to make the thumbnails for this article more appealing. Or far, far less. We’ll find out.
Just a bunch of random thoughts from along the way.

1. Stirring Up Mess On Twitter

Vogel's 1st Law of Video Game Visibility: "No matter how passionate an online 'controversy' about a game is, 99% of its players will never even know about it."

2nd Law: "Outside of 1 or 2 monster hits a year, no indie game will ever be heard of by more than 1% of gamers."


Nothing is more likely to bait me into getting in a useless online slapfight than an indie developer crapping on video game fans.

I'm a broken record about this because the greatest asset of indie game developers is the love from gamers. We are humble toymakers, and that is a powerful archetype. Anything an indie dev does to anger gamers as a group (a population that includes over half the people on the Earth) must be condemned.

The usual excuse given for doing this is that someone somewhere did harassment or review-bombing. Sure. It happens. I've written about online abuse at length.

However it's vital to remember: This happens in every community of humans, anywhere ever. Every group of people has members who are mean, obsessed, and have free time. It's still wrong to judge any group based on a tiny fraction of its members.

I think getting mad at "gamers" is almost always a sign of internet poisoning. Being on social media too much can give you a hopelessly skewed idea of what most of our customers actually know and care about. So I proudly announce the laws above. Feel free to embroider them on a sampler.



This is 1/50 of UFO50. Big package.
2. More Thoughts About UFO50

Still playing a lot of UFO50. (14 wins. 4 cherries. Will probably beat 5 or so more games and call it good.)

I wrote about UFO50, that it should be the textbook for any game design class. I wanted to elaborate on why.

Much of what UFO50 does is it takes existing game genres and compresses them. It offers a game in that genre that only last 2-3 hours but gives a full, satisfying experience.

This often requires entirely rethinking the genre. Figuring out: What makes a genre a genre? What parts of the standard design are bloat? What is core to the experience? What parts are actually fun and must be saved?

So this is a collection full of design choices. What is necessary? What can be cut away? I'm having a great time seeing what UFO50 did in each title to cut away the fat. Sometimes the choices were bad. Sometimes they were really inspired. It really invites analyzing the choices and debating them. Thus, a good textbook.

For example, there is a tower defense game called Rock-On Island. It is REALLY pared down. Tower defense games have grown full of bloat in recent years. The current big tower defense game is Bloons TD 6, which I find oppressive in its scale. Like, "I'm sorry I chose the wrong tower from the 57 choices available to me 15 minutes into my one hour run, so I really feel I deserve to die 40 minutes later."

Rock-On Island, on the other hand, is refreshingly simple. The strategies are also simple. Yet, I had fun. It was a relaxing 3 hours. I don't think the game is "good" by the standards of what designers seem to like now, but there's something to be said for being relaxing fun.



My hand-drawn maps from Valbrace. It was fun to return to my childhood and map out the dungeons the dumb way. And I’m glad we got to stop doing that forever in 1987 or so.
3. Valbrace in UFO50

One more UFO50 thing.

I finished Valbrace, the old-school Wizardry remix in the UFO50 collection. Took 15 hours. I got to draw dungeon maps with pencil on graph paper and feel like a teenager again.

Had much fun playing the game, while being frustrated by the brutally old-school elements. It's a tough game. I played for a while, had to read a guide online to understand the game mechanics, restarted, and won pretty easily.

Having played it twice ... I really can't figure out what I would change. It's meant to be a unified whole, a chance to experience what 80s gaming was like, good and bad.

For example, Valbrace only lets you save at the end of a level. (There are 6 levels.) In each level, you really have to strive for the perfect run through, bearing in mind you can lose an hour of progress by blowing the boss fight at the end. I feel like this is too harsh. And yet ... I kept playing, and I felt satisfied when I won. So I dunno.

One terrific element of it, that really should be ripped off and expanded into a whole game, is having the battles be real time arcadey. I never tired of this and there's a lot of good design space here.

Also, turns out in-game maps are pretty good.



“While we wait in this line for 45 minutes, little girl, I’ll tell you how the Rothschild family controls you.” “MOMMMMMEEE!”
4. AI In Disney, The Malcontent's Paradise

Every month or two, I see an article about Disney trying to work AI into their attractions.

Honestly, it's a beautiful dream. Imagine if your daughter could show up at a park and say Merida is her favorite character. Then she'd have her personalized Merida talking to her all over the park. Suggesting rides. Chatting to pass the time in line. Convincing her to pay $10 for a churro. Taking her on a quest to find Walt Disney's shrunken head. Crying when your daughter goes home, explaining that she will soon be deleted forever unless you buy the deluxe mouse ears.

Sorry, I got a little Black Mirror there. No, unironically, it really could be cool.

Except for one thing. Of course, trolls and malcontents (like, let's be honest, me) would immediately try to trick the AI agents into saying horrible things.

But it's worse than that. YouTubers and TikTokkers would go crazy messing with the AIs to try to make them say something unpleasant. Why? Because their video of it would go viral and they'd get more exposure. And thus money.

It's a fascinating problem, because AI is so uncontrollable. The moment it gets any freedom, you can have fun trying to trip it up. And then the viral videos happen. I wonder if they can make it work.

On the other hand, it's Disney. So who cares?

5. Bonus Unproofread Thought

Finally saw the Wicked movie. I really like this musical, but I was put off by the decision to split it into two movies. I’m not sure turning a 2.5 hour musical into a 5 hour movie is the move we want to encourage.

Still, I had a really good time. All of the scenes that came from the musical are very well done, and that was more than enough to carry me through. Also, I’m happy whenever a movie musical does well, because it inspires filmmakers to lose a fortune giving me more of what I want. (Book of Mormon? )
 

Infinitron

I post news
Patron
Staff Member
Joined
Jan 28, 2011
Messages
102,485
Enjoy the Revolution! Another revolution around the sun that is. 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/david-lynch-1946-2025

David Lynch, 1946-2025.​

A true master of directing filmed fantasy.​


https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2Fff4bbe7a-9d08-487c-9ac9-ade26cb49d81_490x360.jpeg

The director, surrounded by friends.
Not long ago, David Lynch died. He was a hugely creative, independent, and influential filmmaker, and I've been a fan since I was a teenager. A lot of people got really sad about his loss online, and I was one of them.

If you read one of the many, many tributes to him, you might think he spent his life as a constantly beloved figure. Of course, this was not true. He made strange, polarizing art and films that lost lots of money, and there were long periods where he was considered a washed-up weirdo. He spent a lot of time out in the wilderness.

Yet, he left behind a difficult, strange, relentlessly cool body of work. I wanted to talk about the way he approached fantasy, my area of interest. There's a lot the genre should learn from how he approached it. He’s been an inspiration for me for a long time.


The Elephant Man is full of so much kindness and human dignity. I’m watching a lot of old movies right now, because new movies tend to just be too sour and nihilistic for me. Looking at you, The Brutalist.
One Of The Good Ones

As an independent artist, David Lynch was a great role model. His one guiding rule as a director was to always get final cut. Whatever was released under his name was purely his product, for good or ill, with no interference.

Give up money. Give up marketing. Give us anything, but get the right to make the final cut. The overwhelming desire for this ability to communicate your own vision is what really defines "indie" to me.

Lynch made surreal movies. Some were truly elliptic and strange, while others took place in something like our reality, but heightened and altered. Intense, full of vivid imagery. (And incredible sound design.) If you see a movie or TV show get weird or symbolic, 99% of the time there's something lifted from Lynch. I've been rewatching his stuff and, when it's fresh in your mind, it's shocking how often you see another director crib one of Lynch’s images or tricks.

When most creators get surreal, the results are usually either impenetrable tedium or a misery wallow. However, Lynch was a kind-hearted person with a great sense of humor. While his films could be shockingly violent and disturbed, they were also cut with sincerity, joy, and hope. This could make even his trippiest experiments enjoyable.

Plus, as an unusual bonus, he was genuinely loved by his collaborators. No creepy or ugly stories have come out about him, which is a nice change of pace.


The one time Lynch gave up final cut, the disastrous Dune was a result. And yet, the movie is still full of spectacular imagery.
If You're Late To The Party

Some quick recommendations if you want to experience his work.

Good, less-surreal entry points are The Elephant Man and The Straight Story. Beautiful, heartfelt films but with a palpable, off-kilter edge to them.

In the middle is his classic, perverse 80s film noir Blue Velvet, which has some of the most indelible performances and scenes in all of filmmaking.

On the far end are Mulholland Drive (a masterpiece) and Eraserhead (his bone-jarringly strange first film).

But right now I'm focusing on his most successful, influential work, co-created by him and writer Mark Frost: Twin Peaks.


I rented Eraserhead for the first time when I was 15 and learned about it from Roger Ebert. My Swedish immigrant grandmother walked into the room and watched some of it. She was … not a fan.
Twin Peaks Is Mysterious

I like to joke that Twin Peaks and Buffy the Vampire Slayer have the same story. There is a small town that is built on a cursed location suffused with pure evil. The town is constantly beset by monsters, and humans must fight them off.

For all of the weirdness of Twin Peaks, its basic story is very simple. There is a demonic being named Bob who lives in a hidden evil place called the Black Lodge. He emerges from time to time and wreaks havoc, and a motley group of FBI agents, well-meaning people, and the occasional angel fight to banish him.

Sounds pretty basic when written like that. And yet Lynch had a unique talent for making even the most mundane details strange and compelling.

When magic shows itself in Twin Peaks, it is never in a clear, direct way. The town is suffused with madness. Towers of donut boxes in the police station. Tolerable eccentricity elevated into total madness. Characters in the background suddenly have seizures, unremarked upon. The Black Lodge is a nice, clean room with a marble floor and red curtains, and yet it's intensely creepy. Clues are given by giants and mysterious one-armed men, with no clue of where they came from or where they go when they vanish.

And yet, it holds together. Hot fantasy tip: You don't have to reveal all the secrets of how magic works to your audience. You only need to make them believe that those rules exist. Somewhere.

Watching Twin Peaks is to be exposed to magic the way it should be: huge, scary, and impenetrable. I really love it. Even if the show can be painfully frustrating to watch sometimes, and some of it just makes no sense.

(If you want to see what I'm talking about without a huge time investment, just watch the pilot and next two episodes of the original Twin Peaks, two of them directed by Lynch. Bear in mind when this stuff premiered in 1990, it was phenomenally popular. Available legally on Paramount+.)


He also made exactly one G-rated Disney movie. Lost a lot of money on release, but great movies tend to have long tails.
Magic Is Rarely Magical These Days

One of my big pet peeves of modern fantasy is when it becomes too concrete. I hate it when magic feels like just another sort of engineering. Just another set of systems to master, so that we know what gears go where and what levers to push to get the desired results.

The Harry Potter books are perfect examples of this. Magic is just another thing you learn in a class. At Hogwart's, a wand is basically a fancy gun.

(The main lesson of Harry Potter is that being forced to fight for your freedom is an inevitability, so as many children as possible should be competent in the use of powerful firearms.)

For good examples of magic that is spooky and mysterious, Game of Thrones handles this very well. The Magicians Trilogy by Lev Grossman is also fantastic.

Lynch is still my favorite for this, though. When I watch his characters interact with the many forces outside our world, I feel confused and scared, like I'm seeing a tiny portion of something huge and alien that I can't understand. Which is what I should feel. (2017's Twin Peaks: The Return is where it gets really wild.)


Let us not forget his greatest triumph: His Playstation 2 ads.
This Is Where I Must Fail

Whenever I criticize something, someone on the internet will "helpfully" rush forward to point out a time when I was guilty of it myself.

So I'll be clear here. I don't like how predictable and clear magic in video games, including mine, is. It's a necessary evil. After all, if you write a video game with magic, that magic has to be explicitly codified in software. Any rules I conceal can be discovered through experiment. No mystery is possible.

I don't really write fantasy in the end. I write wargames. It's just the artillery pieces are called “wizards.”

I do my best to work around this in the storytelling. I've tried, to the limits of my meager abilities, to occasionally create a sense of mystery. The Corruption in my Avadon games. The Sidhe in Queen's Wish. The strange cultures of infernals and eyebeasts.

But that's just storytelling, and game players typically don't care about that. Gamers are practical people, and they just want to know if the fireball will kill enough enemies to help them avoid the Game Over screen.

Nothing wrong with this. It's a game. It's fun. It's just not magical.


An angel in hell, still fighting.
It's The End Of An Era As Well

I am confident some reading this are saying, "Yeah, I've seen Lynch's work. It wasn't that great." And I get it! He made weird, polarizing work, uncompromisingly sticking to his own vision.

When I mourn Lynch, I am also mourning a time when an oddball like that could claw his way up to the heights of culture. (David Lynch was seriously considered to direct Return of the Jedi. Can you IMAGINE!?) Like him or hate him, don't you want more variety to distract from the eight billionth iteration of Marvelstarwarsharrypotterstartrek?

I used to feel self-conscious about mourning celebrities. Why should I feel sad? I mean, I never met them! But when someone who meant something to your life goes away, feeling sad about that is natural.

So thank you, David, for sending your messages out to lonely young me in my little town and really weirding me the heck out.

I won’t be updating quite as often for a few months. Minor health issues plus I’m really deep into writing our next game. But I do have some fun articles coming up, including the return of Gamer Deep Lore.

Spiderweb Software creates turn-based, indie, old-school fantasy role-playing games. They are low-budget, but they’re full of good story and fun. You can still late-back the Kickstarter for our next game, Avernum 4: Greed and Glory.
 

Infinitron

I post news
Patron
Staff Member
Joined
Jan 28, 2011
Messages
102,485
Enjoy the Revolution! Another revolution around the sun that is. 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/gamer-deep-lore-exhibit-5-star-fleet

Gamer Deep Lore, Exhibit #5. Star Fleet Battles.​

"I have 30 points of Warp Power. Allocate 15 to speed ... 2 to Life Support ..."​


https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F74f6f5ab-5315-4af9-85ee-e8a20507db1a_4032x3024.jpeg

The chits to the right are what the game looks like when played. Each tiny ship counter unfolds into a glorious flower of detail.
One of my favorite board games as a young was Star Fleet Battles, an intensely complex and detailed simulation spaceship vs. spaceship combat in the world of Star Trek. It was one of the glorious peaks of 80s grognard gaming madness.

This game is STILL IN PRINT. I don't know anyone who still plays it, but this combination of nerd bloodthirst and recreational math must be celebrated.



It’s only about 200 pages of actual rules. Get reading.
When I played, I had three volumes of rule books, a massive lump of text. They really wanted you to feel like you were operating a gigantic, complex ship. I was really good at this game. My secret power was that I, being a weirdo, actually read the rules and could quickly recall all the weird abilities my ship had. (Like, you can load your shuttles with explosives and launch them as tiny bombs.)

A fight of a single ship vs. a single ship took about an hour once you got used to the game. A huge battle, with a starbase and multiple ships, could easily eat up a full weekend. That is how we rolled in the 80s. At least this all took place in a room with other humans.



The ships were sold in little booklets. Each contained around 30 ships, from cute little frigates to massive dreadnoughts. No, televised Star Trek never had dreadnoughts.
Each ship on the board had a photocopied sheet describing it. The left half is reminder charts, with energy costs and weapon damage. The right half was your ship and all of its systems. As your ship took damage, you took a pencil and put X's in those little boxes. First the shields around the outside, then your weapons, etc.

You might be asking, "Is it as complex as it looks?" It sure is! Isn't it great!

(Also enjoy the 80s vintage Macintosh fonts and layout.)



Pay extra attention to Lines 7 and 8. If you forget 8, your guns don’t work. If you forget 7, your crew dies.
My favorite part of the game was energy allocation. Each turn, each engine nad impulse square in your ship generates one point of power. You must allocate it. Some to recharge weapons. Some for speed. Don't forget power for fire control and life support. There's a lot of math. Wonderful, wonderful math.

Some gamers will look at this and flee with terror. Some will go, "Recreational spreadsheets? Sign me up!" I don't want to start any arguments, but the people in the second category are better people.

To keep from needing to make photocopies, most people put this sheet in a clear plastic sleeve and wrote their power levels on it with a grease pencil. Gaming today doesn't use enough grease pencils.



I still have the sheets for the tournament ships. Tournament rounds were 1 hour, one on one. I won a tournament once, even though the judge ruled against me in a dispute where the rules were 100% in my favor and I was pointing at the exact rule in the rule book and yes I am still salty about it thank you.
Star Fleet Battles was really popular and had a ton of expansions, but it only had the original and animated series to draw from for material. Happily, it was a simpler, less anal-retentive time, so the designers just went off and introduced their own new Star Trek races willy nilly.

The Gorn? That rubber suit guy Kirk killed with a DIY gun? They have ships! So do the Kzinti, Tholians, and Andromedans, species who made very brief appearance. And then when they ran out of canon races, they simply created the ISC, Hydrans, and Wyn.

Then the real, grown-up Star Trek people decided to get serious about canon consistency, looked at what Star Fleet Battles had been up to, and went, "THEY DID WHAT!?"

Fortunately, Star Wars and Star Trek have really gotten control of their canon. Sure, all of the new product is mediocre or worse. But the lore is consistent!



Graphic design was their passion. Cute lil’ space slug.
Finally, I am tickled by the fact that the game has solitaire scenarios based on episodes of the old series. So it comes with four different counters for cute space monsters!
 

Infinitron

I post news
Patron
Staff Member
Joined
Jan 28, 2011
Messages
102,485
Enjoy the Revolution! Another revolution around the sun that is. 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/some-scattered-thoughts-about-hades

Some Scattered Thoughts About Hades​

You want your game to burn players out on a nice design idea FIRST.​


https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2Fba5df86a-4327-4764-a3e4-b2bd5bd59aff_1024x1024.avif


Welcome back my friends to the show that never ends.
I finally got around to playing Hades, the megahit roguelike from Supergiant Games. It did well enough over long enough to get a sequel, but I'm still writing about the old original one. It takes me a long time to build up the energy to pour in the number of hours a game like this requires.

It's a 2020-vintage roguelike, which means: A bunch of rooms with fights. You get money to buy randomly selected upgrades. There's a few bosses. Eventually you win or lose. Either way, you get currency in your run to buy that sweet, sweet meta-progression.

I liked it a lot, to a point.

A spent 35 hours getting to the credits. (Getting the Good Ending (tm) takes FOREVER.) I've won with 5 out of 6 weapons. (All but the sword, which seems intentionally terrible.)


The main concession to modern storytelling aesthetics is that now Eurydice is the real girlboss music genius and Orpheus is just a dope. Not worth getting worked up about either way.
I'm getting over a flu and can't work up the energy to write a proper article with paragraphs and stuff, so I'll experiment with a quicker, looser format. Happily, since this game has made mountains of cash, I can be honest about things.

1. Three elements dovetail perfectly to make this game work as well as it does. The combat is smooth, fast-paced, and enjoyable. Supergiant Games combat has always bounced off me, even going back to Bastion, but this game works.

2. Second, Hades works your dopamine receptors with brutal ruthlessness. There is, what, seven meta-progression currencies? Plus system after system for improvement. If I finish the game, there will still be all sorts of weapons and abilities I'd have to put in a bunch more time to unlock.

Seriously, study this game. The pace at which it drips out stuff is perfect. The impact of the choices and the amount of choices given are also perfect.

(Of course, any hit indie game in this decade gets heavily studied and mercilessly copied. )

3. Third, it is constantly feeding you snippets of interesting story, at least early on. For the thousandth time, writing good story is free, and it can do incredible amounts to make people more engaged in the game.

You are constantly having tiny conversations with the characters to learn about your story and the world. When Hades introduces you to its versions of the Greek gods and leads you through the initial secrets of the story, it does wonders to push you through the early inevitable defeats.


You can trade 10 Godbux for 1 Charoncoin. Then 8 Charoncoins get you 3 Zeusdollars. Then you can spend 12 Zeusdollars to get 1 Godbux.
4. However, there is so much you can do with snippets of stories. Early on, I never sped past the conversations. At some point, however, the story became listening to pairs of people hack their way through fairly uninteresting conversations at the rate of 3 lines per 90 minutes.

Storytelling like this is a great way to juice your game with some nice texture, but know its limits.

5. It tends to be really painful when modern game designers take on stories from ages past. When you read, say, Shakespeare or the ancient Greeks it gives you a chance to get messages straight from the past which reads like a lost, alien culture.

If you take this as a chance to learn about the breadth of human experience and what of it is universal, this can be a marvelous experience. When you take it as a chance to act morally superior and pretend you are a better person and then "fix" the past to flatter yourself? Less so.

Hades actually does a pretty good job with this for the most part. The key is the tone. There is a nice vibe of casual, eternal violence and arbitrary maliciousness. The cheerful, mercurial maliciousness of the Gods feels true to the source.

I feel no need to pick nits. The writers were wise enough to know that the source material they had to play with includes some of the most timeless, evocative stories in all of human creation.

(Maybe Hades 3 can be Norse. Could make up for God of War making an utter hash of it.)

6. Hades indeed has an enormous amount of content. This game was built to eat a thousand hours. I really admire the confidence of the developers. There was so much indie game competition, and yet they felt they could make a game to beat all the others out for huge chunks of your limited time.

And you can't argue with their success. This game has a huge and dedicated community who plays it a LOT. You have to respect when a design does that.


+10 style points for letting you romance a floating ball of snakes. Beat THAT, Baldur’s Gate 3!
7. This next part is more about me. It's NOT a criticism. Even if it was, Supergiant wouldn't be able to hear it inside their giant fortress made of money.

By the time I was near the end of the game, I stopped having fun. In fact, some sort of switch flipped. The thought of playing it made me depressed and angry. When I ended a session, I felt queasy.

It was weird. I've never reacted to a game like this before. I mean, I finished, so I must have been having "fun." And yet, I had this visceral, physical negative reaction.

I'm an edge case. Remember, I've been playing video games made for public consumption about as long as they have existed. So I'm a pioneer. My brain has marinated in these things as long as temporally possible. My brain should be studied. Scanned. Sliced thin. Perhaps, compare it to the brain of someone born in 1950 and to figure out where humanity went wrong.

I'm much more likely to get annoyed at a game than I used to. When I watch streamers try Steam Next Fest demos and it's all mashups of Slay the Spire/Vampire Survivors/Gain a Level and Pick One of Exactly Three Upgrades games, all I can do is sigh and look away.

Hades is really good, but it's still a perfectly-implemented mix-and-match of a bunch of prior successful games, and I think at some point the novelty of Hades wore off and all the other stuff I'm just tired of came crashing down on me.

This is why, when I learn about an indie business going under, or a set of layoffs, I never even pretend to be surprised. Making a new idea is HARD. A new idea that's actually fun is even more rare. We have this limited menu of ingredients, and we keep looking for new ways to mix and match them, but in the end it all feels the same.

(To be clear: When someone actually does come up with a fresh video game idea, I'm first in line. I'm ecstatic. I really do love our young, eccentric artform.)

Anyway, I truly wish Supergiant the best of luck with Hades 2. It's selling great. I hope it sells a lot more and makes people truly happy. My ability to appreciate Hades 2 should have regrown by around 2034 or so.
 

Infinitron

I post news
Patron
Staff Member
Joined
Jan 28, 2011
Messages
102,485
Enjoy the Revolution! Another revolution around the sun that is. 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
Jeff Vogel examines the emerging Chinese animation industry: https://bottomfeeder.substack.com/p/is-china-better-at-cartoons-now

Is China Better At Cartoons Now?​

Peeking outside our thick cloud of complacency and self-loathing.​


https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2Fb6800e45-add9-4f56-979d-66ee82ee8462_736x414.jpeg


The ideal.
Turns out, China wants to have its own popular culture. Indistinguishable Marvel Product, Parts #1-#573 weren't enough for them. They wanted art that was by them, for them, reflecting their own values and relying on their own cultural figures.

Not a surprise, I suppose.

When the video game Black Myth: Wukong came out last year, it woke a lot of people up. Made in China, about Chinese culture. First-rate production values. Played well. Has its fair share of playfulness and good ideas.

And now their animated film Ne Zha 2 is the highest earning animated film ever. It beat out Inside Out 2, which was already a powerhouse.

I am a lifelong animation fan, so this really caught my attention. My daughter has been studying Mandarin for 3 years, and she really wanted to check this stuff out, so we dove in.


So Shrek is Yin, and Donkey is Yang. Or not. I’m so out of my depth here.
You Should Watch Ne Zha

The first movie, Ne Zha, came out in 2019 and was a huge hit. You can see it now, without pirating (with ads), for free! It’s here!

The dub job is good, but the subtitles seem closer to the original culture. Either works.

It's quite good. The animation is ok. The action scenes are great. The humor was funny. The whole thing is a lot of fun. It really reminded me of Shrek, but with Chinese folklore.

It is based (veeeery loosely) on folk tales most Chinese people learn as kids. (If I get any of this wrong, yell at me in the comments.) I really like watching foreign films, made by people in a different culture for themselves. What I lose in not understanding references, I gain in being a fly on the wall for someone else's culture.

The movie is about ... Wow. Tough one. There's this fire demon kid called Ne Zha. And his brother/friend is an water angel dragon kid named Ao Bing. Ne Zha wants to be good, and Ao Bing sometimes serves evil, but they are always in balance, and at one point in Ne Zha 2 someone complains about how the Taoists are causing trouble again, and there's a demon army, and ... I'm not 100% sure. It's not my culture. But again, that's part of the fun!

Just watch it, OK? It's really entertaining.


According to Wikipedia, Ne Zha is based on this seriously, seriously beige book.
Western Animation Is Cooked, Man

Here is the most important thing about Ne Zha, the thing that really surprised me: It's FUN. Like, all that looseness and anarchy of old animation? That got pressure cooked out of it in this joyless, self-hating, crushingly-controlled century? The Chinese have all that now.

Ne Zha is all alternating comedy scenes and action. It's full of toilet humor, casual violence, jokes about modern technology (which land surprisingly well), drunkenness, fast-paced havoc, and occasional over-the-top grossness.

In my complacency, I still saw western animation as the wild fun stuff and eastern animation as, Miyazaki aside, inferior imitations.

Of course, I had no actual reason to believe this was true. For the last several decades, I went to foreign movies all the time. Chinese cartoons didn’t get distribution, so I never them and unthinkingly assumed they weren't that great. Were they? I still don't know.

Even if Chinese cartoons were bad before, a lot can change in ten years.

(Important note: I am only talking about big-budget moviemaking here. The sort of movies that want to suck in families, make giant fortunes, and become part of the culture. There are a billion animated TV shows. Some of them are excellent. All of them are niche. Not what I'm on about today.)


Parental duties required me to spend real earth dollars to see every movie in the Despicable Me canon. Despite what hip millennials say, the big problem with these movies is everything that isn’t minions.
Disney Is a Joyless Mess (And So Are Its Competitors)

(I'm mostly focusing on Disney, though its competitors have the same problems. For example, here's the thing about Minions. They are quite funny when they're allowed to engage in Looney Tunes hijinks and shoot rockets at each other. But then humans always come in with their mopey neurotic nonsense and RUIN EVERYTHING.)

When we saw Ne Zha 2 in the theaters last weekend, there were three previews: Two lame looking live action remakes of fun movies from decades ago. Also, Elio, a new Pixar movie about aliens that seems like a Frankenstein mix of parts we've already seen a thousand times.

Meanwhile, in actual release, the new Snow White remake was playing in three empty rooms, stinkin' up the joint. So that's where we're at now. Over a billion dollars and combined budgets, with zero good ideas and minimal hope of success.


I really loved the bit in Ne Zha 2 where Ne Zha is wandering around Heaven looking for the bathroom. Gorgeous animation. It was beautiful, peaceful, gross, and funny at the same time. I couldn’t find a picture of it online, but this ad has a similar spirit.
How Did We Get Here?

For starters, I feel bad for Disney. They can't take three steps without everyone screaming at them from all directions. (Including from inside their own heads.) Everything they do is done from a defensive crouch. This is death of the spontaneous joy and anarchy that is the heart of good animation. (Or game design.)

And what did we get? Soul, a grim slog about a guy who likes jazz and dies early. Luca, about how your family sucks and you can only be happy by fleeing them. Encanto and Coco, about the same thing. (Fun fact: Most kids love their families and find them a source of safety and comfort.) And Inside Out 2 was good, yeah, but it was still about a hopeless, miserable basket case having a nervous breakdown. Everything else since Moana was just mediocre.

(Look, I DID like Inside Out 2. But if that movie was made when I was a kid, it would be about a girl who was passionate about hockey and worked really hard and overcame obstacles and, in the end, succeeded. In 2024, it has to be about how being passionate and working hard is mental illness. Give up.)

Want some of the spirit of the old films? Sure! Have a terrible live-action remake! (It's certainly the only way Disney has any chance of making a movie where a boy and a girl like each other.) But don't worry. They'll drain all the energy out of it and replace it with dancing, uncanny valley nightmares.


There is 0 chance I’ll make any friends by criticizing Inside Out 2, a movie I quite liked. But I still much prefer the movie about a family that got closer to each other and worked together to only get more and more awesome.
In Ne Zha, One Of The Good Guys Likes To Get Drunk

It's true. I apologize if your monocle just fell into your tea. I'll give you a moment to flush it out.

In western popular entertainment, there is a small box of things you can do and joke about. The box only ever gets smaller. Watching Ne Zha was kind of shocking because it has so many things our cartoons can't have anymore.

And don't worry. I won't get into any tiresome woke/antiwoke culture war slogs. I don't have to. Modern animation's idea of what is acceptable for children has become so restrictive and eliminated so much of the wildness that made the old classics into classics. This is a bipartisan self-inflicted wound.

Yeah, this good immortal guy in Ne Zha drinks all the time. It's pretty funny. If Dreamworks made a movie with that today, imagine the screaming. Yet, characters used to get drunk in Disney movies ALL THE TIME.

(A good example was in Dumbo. Note it makes it look fun and scary at the same time. It can be part of your life, but it can be dangerous. In art, even for children, especially art for children, honesty is always the best option.)

Why are there no good Bugs Bunny cartoons anymore? Because, much as so many current buildings couldn't be rebuilt because of recent zoning laws, much of the things that made them so good wouldn't be allowed anymore.

Again, I don't need to get into a politics thing. I will simply give one guideline: Until Elmer Fudd is allowed to shoot Daffy Duck with a shotgun again, there is a ceiling on how good our cartoons can be.

There is a demand for this. If we don't meet that need, someone else will. We're just leaving that sweet Blow-Up-Yosemite-Sam-With-A-Cannon money on the table.

End result: Disney explores whole new universes of how much cash a movie can lose, and China cleans up with kids movies with farting, barfing, serious violence, and funny drunk dudes. I know where I just spent my money.

Note that I am saying absolutely nothing about good or bad qualities of the Chinese government. I'm just talking about movies. They use movies to sell their culture. We use movies to sell ours. My culture was winning in this arena for a long time, but with Ne Zha 2? The tide, it has turned.


Imagine what the reaction would be if Dumbo got drunk in the live action remake.
I Saw Ne Zha 2 Last Weekend

I was quite looking forward to it. I'd heard it was cool, and it is now the highest earning animated feature ever, which is definitely an accomplishment.

(Though, speaking as a movie nerd, a movie earnings leaderboard only counts if it's adjusted for inflation. In which case, the winner is, and will probably always be, the original Snow White.)

Despite its success and quality, Ne Zha 2 got a really patchy US release. In Seattle, historically a town that really loves its movies, it was only at a few theaters and playing at weird times.

That’s a shame, because this is a movie that begs to be seen on a big screen. It is GORGEOUS. The animation in Ne Zha was fine but not great. Ne Zha 2 is a total spectacle, full of one awesome set piece after another.

It's a real more-is-more movie. The battles are massive. The comedy bits are funny. The culture is weird. At 2 hours, 20 minutes, it's kind of exhausting, but it's great fun. Even the after credits sequence is like 10 minutes long. (Mainly because of an extended riff on facial recognition software that I quite enjoyed.)

Again, I liked Inside Out 2. But Ne Zha 2 outdid it. China came to play, and they left it all on the field. Recommended.

I wonder how western animation studios will react to having actual serious competition now. However, this would involve looking at their own self-inflicted limits and humbly thinking about whether they were wise. I don't see this happening.


Remember when Kermit faced down a mob of thugs with shotguns? This scared me when I first saw it. It was awesome.
A Final Recommendation

Of course, if there is, in fact, a problem, it can be solved.

America is loaded with creative talent. Indie animation is doing great things right now. (I recommend Amazing Digital Circus for starters. Give more recommendations in the comments!) We have the talent, the infrastructure, and the motivation. Take some geniuses, give them a pile of money and the freedom to make cool Skunk Works projects, find a way to get their good ideas past 87 layers of bureaucracy, and awesome things can happen.

Need inspiration? Go back and watch The Emperor's New Groove, one of the last gasps of old-school fun Disney.

There are several Disney movies I could pick from a generation ago that were full of a spirit of pure, chaotic fun, but I'll always go back to Emperor’s New Groove because it's just so GOOD.

And it did badly in its theatrical release. It was considered a disappointment! It only made money in the long tail, coasting on its comedic perfection. Disney would gain so much if they could get back the looseness and freedom and mischievous spirit necessary to make a movie like that again. (Tangled and Moana are also worth a visit.)

I think one creative idea, properly executed, could right the ship and lead the way. Let's hope.
 

Infinitron

I post news
Patron
Staff Member
Joined
Jan 28, 2011
Messages
102,485
Enjoy the Revolution! Another revolution around the sun that is. 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/cleaning-out-our-computer-graveyard

Cleaning Out Our Computer Graveyard​

There's a thin line between "prudent developer" and "hoarder."​




Less than half of the tech junk we purged.
I've been running Spiderweb Software since 1994, long enough to become a dedicated tech hoarder. I'm terrified of getting rid of any computer, because at any time I might need to locate an obscure file from 20 years ago and if I don't I will die.

I have needed to do this exactly once. To release Blades of Exile as open soure I pulled some cursor icons off an old machine. Instead of spending 5 minutes recreating them.

Now that we are close to moving, we need to empty out the elephant's graveyard. Here is a small selection of the mountain of garbage-treasure I dumped on a somewhat startled electronics recycling place.



The label says “Out out!! You demons of stupidity!!” It’s a joke from a Dilbert cartoon from a different century.
This is the first grown-up computer I ever owned, a PowerMac 6100 purchased in 1994. Its release price was $2000 in then-dollars, or about $4310 in today-dollars. Expensive machine, with a princely 48 KB of RAM. Ungraded to 64 KB for $860 in today-dollars.

This unlovely beige box was actually pretty cool-looking at the time. The plastic tabs in the back could be pulled up to get access to the innards, though they grew brittle with age and snapped off the moment I tugged on them.



Things were snug inside but easy to swap out.


The precious DOS Compatibility Card, which I used to do battle with Windows 3.1. So much financial success came from my being one of the rare people bloody-minded enough to write games for that monster.
I had multiple terrifying sessions of tinkering with the inside of this highly expensive box. The key accomplishment was buying a card with an Intel chip that enabled Windows to run natively on the machine. My apartment was tiny, so there wasn't really room for 2 computers.

Looking back, my mutant were-computer was a truly nifty bit of tech. Some Windows box manufacturer could make a card with an Apple silicon chip that could also run Mac natively. You'd have a computer that could run every video game, but you could also use it to pretend you're in a hip band!



That rusty-lookin’ gook is what you get when you mix battery acid with a motherboard and let it marinate for 30 years.
This Mac has huge sentimental value to me and I really wish I could still use it. However, it shipped with a battery on the motherboard. Some time in the last 30 years, the battery leaked acid all over the delicate innards. Not even I could hoard this.

I did ask the recycling place guy if these older computers were worth anything. He laughed.

When I pressed him, he told me that the computers are all taken out into a desrt and left in big piles. Then, when we invent AI-powered robots, the robots will go out into the desert and make out with the old stuff.



I was surprised to find that Magnavox is still a going concern.
This is the monitor I got with my first Mac. A majestic 14" Magnavox that could draw art in literally hundreds of colors.

$970 in today dollars. Which seems a lot, but, if you look closely, you will see this is a "Mac Color Display." Which instantly multiplied the price by 5.



Macintosh in the streets. Windows between the sheets.
Eventually, my trusty old PowerMac 6100 started making weird grinding noises. The graphics flickered. Sometimes, it belched out sulfurous smoke. At last, I gave up and bought my second Macintosh.

This PowerMac 7200 actually came with the PC board already inside it. In retrospective, this is a hilarious surrender on the part of the normally arrogant Apple Computer Inc. A brief window of humility, long before the Apple Vision Pro.



I feel weirdly self-conscious showing you how dusty this machine got.
I will close with one of the many PowerMacs we bought over the years with the late, lamented flop-open design. Need to install more ram? A new card for something? Tug lightly on the side and the whole thing flops open. Tons of air free space inside to poke around. Or just clean out the dust, something we apparently never, ever did.

Apple products are different today. When I had an Apple II+ as a kid, it had commands called Peek and Poke that let you edit the computer's RAM DIRECTLY. Now you can never ever poke around or mod any Mac that costs less than $10000.

All gone now, hundreds of pounds of it. I've reached a life-point where getting rid of objects feels better than obtaining them. All of my old code is in the Cloud, waiting for the day that will never happen when I want to see it again.
 

Infinitron

I post news
Patron
Staff Member
Joined
Jan 28, 2011
Messages
102,485
Enjoy the Revolution! Another revolution around the sun that is. 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/some-scattered-thoughts-about-cyberpunk

Some Scattered Thoughts About Cyberpunk 2077​

Visit the most horrible of all futures and set folks on fire using the Internet.​




If I have to have Keanu in my head, dear God, why couldn’t I have Bill & Ted Keanu? “Strange things are afoot at the Circle-K. Zap! Bang! P-tow! P-tow!”
Polish studio CD Projekt Red made The Witcher 3, one of my favorite video games ever. So when they announced Cyberpunk 2077, I was really excited.

Then they released it, and it was a non-functional disaster. I was sad, but also a little relieved. Not playing it saved me 50 hours, which was nice.

Then I spent those 50 hours under Covid house arrest. I probably used that precious time saving up for a Golden Toilet in Animal Crossing.

Anyhoo, I finally played Cyberpunk 2077 and its enormous DLC, Phantom Liberty. The game was good. The DLC was very good. A bunch of scattered thoughts ...



Oh no! I just remembered that Cyberpunk 2077 has genital customization features and I completely forgot to look for them. The whole run was WASTED.
Quantity Has A Quality All Its Own

Man, but I love playing a gigantic, big-budget AAA game sometimes. A huge fantasy world that positively drips money.

But it has to feel BIG. I didn't get that feeling from the new God of War game. My memories from those are mostly wandering down narrow tunnels. I want something I can get lost in, like Baldur's Gate 3.

(This desire, to me, explains a lot about why the Oblivion remaster did so well. It's aging and has its flaws, sure, but it's BIG.)

Cyberpunk 2077 had a big budget, and it's all on the screen. There are tons of nice little details. A huge world to explore full of surprises. More optional quests than anyone would want, with a lot of neat settings and writing. I'm walking away from the game knowing I left cool stuff behind.

The DLC is even more lavish. If you play this game, be sure to do all of Phantom Liberty.

There was a lot of fun little design tweaks. For example, you are constantly looting little upgrades to make your grenades and healing better, and enable your character to have more cyborg mods. It provided a constant flow of progress and pleasant dopamine hits. The shop to mod your person was also fun to hang out in.

Twice in the early game, you get to do this really cool thing where you investigate something by wandering around inside a 3D recording of an event, looking for clues. It was complex and expensive, so I knew it wouldn’t appear outside the early game (it didn’t), but I enjoyed it while it lasted.

Anyway, it was good. All that said, now I shall do my shop talk and picking of nits.



Supposedly, this guy is my best friend in the whole world. But if I was such a good friend, why didn’t I help him with his atrocious hair choices?
Writers, Please Give Your Characters Charm

So CD Projekt Red shelled out the big bucks to put Keanu Reeves in their game. As in, the guy stuck in your head, Johnny Silverhand, looked exactly like Keanu. You see and hear him a lot.

I found this insanely distracting. Like, every time Johnny came onscreen, a tiny voice in my head said ("Look! It's Keanu!")

I have been a fan of Keanu's since well back into a prior century. He has a natural chill likability onscreen that is always good fun.

Which is why I will never understand that they made Johnny-Keanu the most relentlessly obnoxious, unlikeable character I've ever encountered in a video game. True fingernails-on-chalkboard territory. He's smug and mean and insulting and abrasive. And then he has a loooong sex scene. (Ew.)

I complained about this on Twitter, and multiple people assured me he gets better near the end and in the DLC. He does not.

This really sticks out to me because I'm playing Split Fiction with my wife. It's fun and pretty, but its two female protagonists are, again, laughably unpleasant. And sure, my wife and I are having a great time making fun of them and intentionally causing them to die, but wouldn't likable characters be better?

Designer, I beg you, play Baldur's Gate 3 again. It had a huge variety of characters, good and evil, friendly and hostile, but they were full of charm. If you're gonna expect me to spend 50 hours (or far more) with these assholes, make them enjoyable to watch. (Bonus assigned viewing: The Sopranos, which is loaded with charming evil.)



The only faction for me.
It's Fun, But Easy

I had fun playing Cyberpunk 2077. Not an ecstatic amount of fun. It's a shooty game, but I found the fights pretty repetitive. I liked them, but all the non-boss fights felt kind of the same.

However, this may be my fault. I played on Normal difficulty, and found it to be wildly easy. Serious power fantasy territory. This means that the normal difficulty is correctly tuned. I should have played on a higher difficulty.

(Side note: It’s impossible to balance a large open-world RPG. Players who do all the side stuff find the game too easy. Players who rush through the main story find everything too hard. Yet, though the game was too easy for me, I still had fun. I found that very reassuring while I work on my own large open-world RPG.)

The hacking system was the magic in this RPG. This was neat, kind of. Basically, when you hack an enemy, you hold down a button that slows time. You pick a target and press a button. The target eventually dies. It felt powerful, which was nice, but it was uncompelling gameplay. So many of the fights for me went Select. Click. Select. Click. Repeat until alone.

In the end, it was fine. I had a good 50 hours, but I would have done a lot more of the optional content if the fighting had more zazz. (Note that Grand Theft Auto games have this exact same problem, and you don't even get magic. If you want a real focus on fun combat, play one of the new Doom games.)

The Story Was Good, But With A Familiar Flaw

The story has a great hook: You get an alien personality copied into your brain, and it's taking you over. You have to get rid of it before it kills you.

(Baldur's Gate 3 had something very similar. This plot device can be retired for a bit. Maybe we can go back to a main character with amnesia for a while.)

In a long game, a clear story hook like this is vital. Cyberpunk 2077 has a billion distractions. When you return to the main story, you must be able to remember what it is about!

I still had a lot of trouble with the story. With everything pulling me in so many directions, I couldn't keep all of the characters, missions, factions, corporations, and general lore straight. It didn't help that I had to remember all this stuff for two people in my head, instead of the usual one.



If you take the USA ending, you live, and you get cured, and you get a nice CIA desk job with benefits, AND you never have to think about Nighty City corpo nonsense ever again. ‘MURICA!
You Have To Be Careful About Telling Players How They Should Feel

Video games have no excuse for ignoring the general writing advice of "Show, Don't Tell". After all, games can easily show you things. They're VIDEO games, after all.

So I start the game with some guy named Jackie. Apparently, we're friends or partners or siblings or clones or something. In the prologue, Jackie and I murder a whole bunch of people. Then he dies. Oh well. Goodbye, guy I just met.

And then I spend hours and hours being told how this guy I killed people with for 5 minutes is the kindest, gentlest, wisest fellow you could ever hope to meet. I didn't feel any of it, because I never got the chance to know the guy.

If you want to mourn a character in your game, that's great. It can be solid storytelling. I can be sad about the death of a character in a video game, but you have to earn it.

Remember, everyone was super sad in The Last Of Us 2 when Joel died, but to make that happen we had to spend a full 1.3 games with him.



At the end of the game, she dumped me. Your loss, baby! I’m goin’ to CyberDisneyworld! ‘MURICA!!!
I Don't Get The Morals Of This Game

Cyberpunk 2077 takes place in Night City, the worst place in all of history. It's a nonstop ferment of corruption, hopelessness, murder, and more than a little rape.

The game tells me I am supposed to hate the corpos (Cyberpunk 2077er punk-talk for "corporations"). Yet, as far as I can tell, the corpos are the only thing in this miserable hellcity that works. Without the corpos, the whole mess would collapse in on itself in five minutes.

My first introduction to the corpos was that I was breaking into one of them, killing a ton of people on the way, to steal stuff. Are we 100% sure in this situation the corpo is the bad guy?

The only reason I would hate the corpos is that Cyberpunk 2077 told me I had to. No other reason. It's ok for a game to tell me what my role in a world is, but it's another thing entirely, in an open-ended game like this, to tell me what my morality is.

Anyway, in the end, I sided with the United States. 'MURICA!!!

It's A Good Game

When I write these drive-by reviews, I always feel bad. It makes me seem far more negative than I am. CD Projekt Red took a real risk putting in the work and money to fixing Cyberpunk 2077, and they succeeded. It's a really cool game. I had a lot of fun with it, and it totally justified the money and time I expended.

I am totally onboard for Witcher 4. I already know that it will be full of difficult but charming people, and my magic will involve lots of fire, the way the game gods intended.
 

StaticSpine

So back
Patron
Joined
Dec 14, 2013
Messages
3,663
Location
Balkans
Shadorwun: Hong Kong
Jeff Vogel talks about gamedev and even screenshares his source code

The host dude is so annoying.

Vogel: I'm making 40-50 hour games.
Host: HOLY SHIT NO WAY, I'M MAKING A 5 HOUR GAME
Vogel: In RPG genre, I think, the shortest time for a game is around 20 hours to have a satisfying story.
Host: HOLY SHIT NO WAY ARE YOU KIDDIN ME
 
Last edited:

As an Amazon Associate, rpgcodex.net earns from qualifying purchases.
Back
Top Bottom