Game Design Feed

Brunette Games Now Offers Voice-Over Services

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Brunette Games is pleased to announce a new offering in our suite of services: voice-over talent! As storytelling becomes more and more of a focus in mobile games, we see greater need for professional voice-actor recordings to help enhance and heighten narrative. As narrative designers and game writers, it's a natural fit for us to work directly with voice-over talent. We write the scripts they'll be reading, after all, and can provide the right direction and feedback for voicing dialogue that best works for the game and characters. It's a great benefit to clients, who can regain valuable studio time by offloading management of this task. We've already inaugurated this new service with one regular client who will have not one but three distinct voices adding texture and polish to one of their games. 

Two voice-over actors have joined our team to support the new offering: Cammie Middleton and Andy Mack.

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I've known Cammie Middleton for many years and have been only too excited to see her acting career soar. A native St. Louisan, she now works out of her L.A. studio. Game industry peeps might recognize Cammie as a series regular in "Dire Multiverse," directed by longtime narrative designer Angel McCoy. Cammie has also played the lead in several films: "Glass Half Empty," "Eastern Standard," and "Caseworx." A multitalented artist, she sings Jazz and Blues, is an accomplished stand-up comedian, has appeared in theater productions across the U.S., and can even make her ears wiggle. Read more about Cammie on her team page, where you can also listen to her reel.

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Unbeknownst to either of us, Andy Mack and I worked on the same games for the same Eastern European studio for years. That was Serbia-based Eipix, a longtime Big Fish partner and developer of flagship game series such as Mystery Case Files, Hidden Expedition, Phantasmat, Myths of the World, and many others. So literally, Andy has been voicing my scripts for a long time already. Now we can do so directly!

Besides the VO work he's done on Eipix titles, Andy has contributed to Dying Light 2, Whispers of a Machine, Grim Dawn: Forgotten Gods, and many other games. Andy toils daily at the metaphorical anvil of voice-overs, honing his craft and donning the 'chain mail' of vocal awesomeness. He'll proudly shout from his Hobbit hole that doing character work is his specialty, but many bards have sung and several lengthy tomes have been written about his audiobook, commercial, and e-learning skills as well. Give his reel a listen and find out more at his team page.

Please join us in welcoming Andy and Cammie to the BG team. And feel free to reach out to us to discuss how VO might enhance your game. We're happy to do a test sample anytime.

 


New Release! 'Vineyard Valley' for Jam City

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Brunette Games is pleased to announce the release of Jam City's Vineyard Valley. Vineyard Valley is a collapse, color blast game with a renovation storyline set in a winery. With this title, the Jam City team pushed the innovation curve with a slightly more adult setting than is customary in the genre. The game is rendered in 3D, and the art and design are beautiful. To capture the look and flavor of a winery, Jam City consulted with Genevieve Gorder, celebrity interior designer and Emmy-nominated television personality (Netflix’s Stay Here, Bravo’s Best Room Wins, and TLC’s Trading Spaces). Gorder designed the furniture and interiors featured in Vineyard Valley and will even appear in the game.

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A new client for Brunette Games, Jam City brought in our team just before launch as consultants to see what more could be done with the game before release. We've continued to consult on the title as well as work with Jam City on other, unannounced projects.

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In Vineyard Valley, you earn stars by beating puzzles, and you can use those earned stars to renovate and run a small winery, all while navigating the relationships of a cast of colorful characters and dealing with the pitfalls of running a business. The characters are quirky and fun, the rooms are lovely, and the decorative choices are modern and tasteful. The winery itself is enormous, with a lot of room for renovation, stories, and adventures.

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Here is the official description:

Design & renovate the vineyard resort of your dreams! Express your home design creativity by playing exciting puzzles in this FREE color blast matching game. 

Uncover the secrets & mysteries of Vineyard Valley with a lovable cast of unpredictable characters.  Complete puzzle quests and grow your business from catering to restaurant to acclaimed destination resort!

Bring your home designs to life as you transform the rundown vineyard to a vibrant resort. Flex your interior design muscles by customizing the kitchen, dining room, entrance, guest rooms, garden and more. Embark on a brand new adventure puzzle game and uncover the mystery of The Tangled Vines.

Blast cubes through hundreds of challenging collapse puzzles, create powerful combos and let the renovation fun begin! 

Game features:

  • RENOVATE, design and restore your very own vineyard resort
  • DISCOVER the quirky cast of characters and enjoy their stories and secrets 
  • MATCH and blast cubes to solve hundreds of addictive matching puzzles
  • DECORATE the resort to increase your Prestige level and unlock awesome rewards
  • JOIN social clubs to connect to earn free lives, extra coins, and special perks

Are you ready for dream designs, mystery, and drama? Get immersed in fun gameplay and the personal stories of your new friends while you design and renovate the vineyard resort in this new home decorating game.

Download Vineyard Valley and start designing now! 


PixelPop Festival 2019: A Community for Gaming

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I’m Dexter Woltman, a Game Writer / Designer here at Brunette Games. On the weekend of September 13th and 14th, I had the pleasure of representing our narrative design company at PixelPop Festival. For those who aren’t familiar, here’s an official description of the event:

PixelPop Festival is a game conference and expo in St. Louis, Missouri, that celebrates unique games and the many people who make them possible.

PixelPop Festival features independent tabletop, digital, and experimental games produced by local and national game creators. Two full days of diverse conference sessions from industry professionals are curated to equip you with creative tools and resources to make remarkable work that makes a difference.

There are two main components to PixelPop. The first is the expo hall, where dozens of designers show off their creative visions in gaming, whether that be video gaming or tabletop gaming. The second is a series of talks coming from industry veterans that cover a wide range of game design topics.

This was my first time attending PixelPop. Aside from stories of past years, I didn’t know what to expect. I put on my Brunette Games shirt, filled a pack with notebooks, and went in with an open mind. The first thing I saw when I entered the expo hall was an overarching sense of community. Not only were there dozens of faces I recognized from classes and industry appearances, but everyone was actively engaged with one another. They were talking, laughing, and, most importantly, playing games together.

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An image of the PixelPop expo hall.

The community of PixelPop was filled with visitors from various cities across the country, like Chicago. Many local St. Louis developers also attended. As for the presenters themselves, some were part of companies with personal IPs to showcase, and others were independent developers demonstrating their design skills. Everyone was there to be part of something and engage in a supportive atmosphere.

As for the expo hall itself, it was a large room to accompany the dozens of stations and tables inside. Oddly enough, I noticed a strange lack of prominent lighting in certain areas. As the day went on, I realized this dim lighting lead to an explorative atmosphere where the games shined.

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Gamers playing a chicken-themed dice game called Dice Fight.

In the hall, imagination flourished in small-scale indies. While some presenters told a story with their games, others displayed gimmicks. Both concepts were equally as entertaining. I went from playing a game where you slap a fish controller in a dual fighting game to a narrative tale focused on the discovery of Earth’s roundness. 

Coming from a narrative design company myself, I couldn’t help but wonder about the story behind each game I played. I asked the developers what their inspiration was for their games, as well as the messages they’re trying to convey. One particularly adorable dog shelter management game, To the Rescue, had a darker, more hidden message. It called attention to the ongoing issue of kennel euthanizations, something players in the management game could do when their kennels got overfilled. Of course, this mechanic was optional, especially for younger audiences.

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To the Rescue is adorable and honest.

Beyond that were a plethora of narrative-based games. I spent over an hour playing a fun tabletop roleplaying game called Thalassophobia. The game was described by its creators as Dungeons and Dragons meets The Thing. My friends and I were each given occupations and were tasked with investigating reports of missing patients at a nearby hospital. I received the role of doctor. Coming from a narrative background, I constantly strived to push motivation onto my character. The end result was an obnoxious doctor who heals critical injuries with band-aids and who probably but definitely doesn’t have a real doctor’s license.

I also can’t forget to mention the roleplaying game, Starry Messengers, where I could only communicate with other players through handwritten letters. The setting may have placed me centuries ago, but I still found ways to put modern-day memes in all my letters. There was also the occult choice game, Hills & Hollows, that features tarot cards as a decision device. I’m proud to say I’m one of the lucky few who discovered a hidden ending and somehow summoned the Devil. Last but not least, I found a texting game called We should talk, where I texted my in-game girlfriend from a bar. Again, I discovered a rare ending that definitely got me broken up with.

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The poster for Hills & Hallows.

Throughout these many narrative-focused games, others also relied on the amusement of gimmicks. I probably spent too much time at Hellcouch, a game where an actual couch is a controller. A previous professor of mine and an active member of the St. Louis Game Developer Co-Op, Rob Santos, also presented two incredibly fun games. One featured an Infinity Gauntlet as a controller and put players in the shoes of Thanos. The game was a parody of the recent blockbuster hit, Avengers: Endgame. An endless runner, players used Infinity Stones to avoid being caught by Ant-Man before the superhero flies up Thanos’ personal “endgame.” Santos also showed a mouse cursor battle royal. There were computer mice scattered around the table, and players scrambled to find an active cursor to move around and shoot others with.

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Santos' Infinity Gauntlet and mouse battle royal games side-by-side.

 

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Hellcouch is a game you control with standing and sitting.

Beyond the expo hall and games was an impressive line-up of industry talks. While I didn’t attend every talk of the festival, I did pay special attention to the ones with a narrative focus. The first I attended was a talk about visual novels. They spoke of the various ways to go about writing a visual novel and how to deal with branching choices. As someone who recently worked on an interactive novel with many, many choices, I was particularly interested in their organizational methods.

There was also a talk on depicting mental health in games. This can be a sensitive topic, and I admit struggling with it in my own game writing. The talk focused on ways to approach mental health respectfully and realistically. The largest takeaway for me was that writers must consider mental health as part of the character, rather than merely a status ailment.

Lastly, I attended a talk on procedurally generated storytelling in the real world. It was all about how designers can use sounds and images in the real world to influence the story of a game. Not only was this a very intriguing subject, but it opened my eyes to various ways in-game environments can convey stories beyond just typical dialogue and cutscenes.

Oh, also there was a mini talk about Bad Tetris. Someone intentionally made an aggravating version of Tetris that moves a character around based on regular Tetris block movements. The comments the developer received for sharing the game online were just as funny as the game’s actual existence.

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Bad Tetris, "It made me frustrated but like in a good way."

Throughout all these games and talks, PixelPop taught me that no one has to forge the gaming industry alone. This festival builds a community. It’s about finding reliance and mutual interest in ideas and mechanics. It’s for people trying to bring awareness to their creativity. It was an honor to be part of the festival, and I hope Brunette Games is even more involved next year.


St. Louis' PixelPop Festival Is This Weekend!

 

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Developer Philip Hayes, of Bravendary, demo-ing Super Bobbert at PixelPop 2018.

This weekend St. Louis hosts PixelPop Festival, a conference featuring independent tabletop, digital, and experimental games produced by local and international game creators. Here's an official description of the event:

Two full days of diverse conference sessions from industry professionals are curated to equip you with creative tools and resources to make remarkable work that makes a difference. Plus, our official after-parties are designed to help you unwind after the conference and see more of what St. Louis has to offer.

This year Dexter Woltman will represent Brunette Games at PixelPop, so if you're planning to go, please get in touch with him to connect. To support the festival, I offer the below recap of the 2018 event to give you a sneak peek at what might be in store for you this weekend.

From the 2018 blog archives:

As mentioned previously, I gave a presentation this weekend at PixelPop Festival. (If you missed it and wish you hadn't, there's also coverage on the blog with the post "Narrative Design 101: Do We Need Stories? How Do We Make Them Work in Games?" because apparently I'm obsessed with questions-as-headlines.)

Organizers Carol Mertz and Mary McKenzie Kelly and their super-cool army of volunteers did a fantastic job of creating and running a high-quality, highly-inclusive game con. More than one person I met commented on the open, friendly, encouraging atmosphere and the extremely helpful takeaways.

Here are some pics!

The expo hall was overwhelmingly dominated by console games, but I stumbled upon an awesome mobile game by developer Bravendary (photo at top), and since I was tasked with judging games for the Select Award, I gave it my vote. Super Bobbert and the Infinity Tree is a "risk/reward collection game." You play by dragging your finger on the screen or tilting your device to move a pair of telescoping hands up a tree, rescuing kites, balls, and yes, cats–and avoiding collision with tree branches. I gave them some feedback about making the game more accessible to casual players, but I think it's super cute and has great potential. I'm excited to see two developers of color bringing something new to the table.

One of the most interesting talks I attended was the fireside chat between Leah "Gllty" Hayes, a Street Fighter e-sports champion and Jason Li, a longtime fan and competitor in fighting games. Hayes first learned to play in the arcades of her youth here in St. Louis and is from nearby St. Charles. I knew nothing about fighting game culture and found her insights into the differences between U.S. and Japanese subcultures fascinating. For example, in Japan, gamers might be somewhat hostile to those outside the homogenous Japanese culture, but they are very supportive of women learning to game.

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Here's a demo of a game in development called Stepsisters. It's based on the darker, Grimm's fairy tale version of Cinderella, so the object is to, um, get your toes cut off in order to fit your foot into the glass slipper, marry the prince, and win the game. I feel kind of conflicted about it, but I was schooled on feminist references to classic fairytales in the style of Angela Carter's The Bloody Chamber. What do you think?

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Created by students from Bradley University. Pictured here: Warren Guiles, who's in St. Louis this summer interning with Graphite Labs, and Jake Velicer.
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Creepy, or cool? You tell me.

In the category of "That talk you wish you hadn't been late for" is Kevin Snow's presentation on accessibility in games, but I made up for it with a one-on-one afterward, and I managed to snap a pic of this super-helpful collection of resource links.

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Next is a couple of guys down from Chicago, reps from a student-run studio at DePaul University. I was drawn to their table because they had a bunch of books on display, and book/game crossovers are something I would like to see much more of at game cons. They used fish for controllers, so even though I'm not into fighting games, I had to play this one.

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Josh Delson of JDE, for Junior Development Experience.
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The game is called Sashimi Slammers.

One of the cool things about attending a game con in your own town is running into former students--which happened a lot! It was great to see so many game design majors from Webster University representing. Here's Sarah Brill, showing off a game she helped create through her summer internship with local developer Graphite Labs.

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Sarah created art for Compost Conundrum, an educational game about the value of garden composting.

Another Webster face in the crowd was my friend and former colleague Rob Santos, there showing off a unique game interface. You communicate with a spirit through a Quija Board to uncover a mystery in the game Good Luck. The planchette lights up over letters on the board, allowing the spirit to relate the tale.

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The creativity on display here is why students rave about Rob as a teacher.

I think I might have been the oldest presenter at this youthful con, but it's OK. I just told everyone the reason my hair is this color is because I'm a Targaryen.

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I chose "she" as my pronoun sticker only because "She Who Must Be Obeyed" wasn't an option.

Now attending this con was for me personally a surrealist series of flashbacks. Some of you know last summer I moved back to the Midwest after nearly 20 years away. This con was at my alma mater.

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My dorm from 1989-90. Back then it wasn't emblazoned with the school's name.
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I staffed this cashier booth when the garage first opened. It's now undergoing renovation, and maybe I am, too.

To conclude this pic-laden recap, I've presented at and/or attended big cons like GDC, Casual Connect, AWP, and PNWA. But this is one of my favorites for the inclusivity, friendliness, and hometown vibe.


An Interview with 'Lifeline' Series Writer Dave Justus

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Dave Justus is author of the first and many other games in the Lifeline series from Big Fish—including the eponymous original; Lifeline 2: Bloodline; Lifeline: Silent Night; and Lifeline: Halfway To Infinity—which have enjoyed nearly 7 million worldwide downloads to date. He is also the co-writer, with Lilah Sturges, of the comic books Everafter: From The Pages Of FablesPublic RelationsFables: The Wolf Among Us; and more.
 
Lifeline games are games, but they're also novels. Part of the growing "interactive fiction" genre, the games are entirely text-based, with the reader making choices throughout. It goes like this: A stranded astronaut contacts you, asking for help in the form of a person to talk to as well as ask for advice. Sort of like if "The Martian" were a game instead of a movie, and you got to talk to Mark Watney the entire time he's stranded on Mars. 
 
Lisa: How did you get involved in writing the Lifeline series? Did you have any background in the game industry? What was the genesis for the first game?
 
Dave: I came to Lifeline in a sort of roundabout way. The original game was being developed by Three Minute Games, a tiny three-man skunkworks within Big Fish. They'd had some minor successes, but they'd come up with the concept for Lifeline and wanted its release to coincide with the release of the Apple Watch. They offered the job to my friend Daryl Gregory -- who is one of the best writers I've ever read, and I thought as much before I ever met him -- but he was too booked to do it, so he very kindly suggested me for the position. Three Minute took a chance on me (I'd barely been published at that point), and gave me tremendous freedom under a very tight deadline. They knew they wanted about three days of gameplay, a sci-fi story with a nongendered protagonist in a "choose your own adventure" style, and they needed it in five weeks. Beyond that, I was free to do whatever I wanted... which was both amazing and daunting.
 
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I had no background in games whatsoever, but I honestly think, in this case, that worked to my advantage. I'd been an avid NES gamer in my childhood, had spent plenty of time with Infocom games like Hitchhiker's Guide (whose DNA you can certainly see in Lifeline), and had played several Playstation games growing up, but the last one I'd really sunk any amount of time into was Tomb Raider 2, back in college. Once I graduated, I had very little "mad money," and I chose to apply that to comics (which I've been collecting since I was eight) rather than video games. But in the case of Lifeline, I think it worked out very well, because I wrote the game purely as a conversation. I wasn't thinking in terms of "power-ups" or acquiring weapons or typical video game structures; rather, I wanted it to feel as much as possible like the Player was receiving texts from a real human being. And the feedback we've gotten has largely indicated that that's exactly what people feel when they're playing: They're not controlling a sprite, they're talking to an actual person.
 
Lisa: How much text is in these games? As much as a typical novel, say 80,000 words, at least? Or far fewer? Also, you say they wanted three days of play, but I note there are breaks when Taylor is busy. What's the breakout between "idle" time and actual play? How did you figure out how long the breaks should be? What's the longest? The shortest?
 
Dave: The first Lifeline game is a little over 50,000 words -- more in the range of a novella, or possibly a YA novel. Because of the way I ended up structuring the game (in that I didn't really know what I was doing and wanted to give people the most bang for their buck), a Player who makes it to the end of the game alive will actually have seen the bulk of the game's text. Hopefully no passages that contradict any others, obviously... but I wanted to put as much info as possible on the screen.
 
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Lifeline 2: Bloodline had almost twice as many words. It was very freeing for me, because I felt like I could go into so much more depth on Arika's character, her world, and her quests... but it was a lot to ask of the team on the other end, specifically in terms of translation to other languages. For subsequent games, we've looked for a happy medium in terms of word count: not so much that it causes panic attacks at the Big Fish offices, but enough that the authors can stretch their legs a bit and the Players can, we hope, feel satisfied with the end result.
 
The "idle" time was essential to Three Minute's concept of a real-time conversation; it takes time for the characters to walk to a new location, or to eat a meal, or to rest for a bit. The first "long" break in the original Lifeline comes when Taylor sleeps on the first night -- the Player must give Taylor some information that creates a life-or-death scenario overnight, and we wanted Players to be tense, anxious to see whether their advice had been Taylor's doom or salvation. I believe that the longest break is six hours (for a character to sleep); delays can be as short as a couple of seconds, if we want to employ them to help with the timing of a joke or something. I originally feared that the breaks would be a turn-off to Players, that no one would want to wait an hour while Taylor walked around a crater. And indeed, after one death, the games give you the option to switch off the "real-time" mode and play with no delays whatsoever. But what we found was that, overwhelmingly, the majority of Players chose to switch back to "real-time" after trying "fast" mode. The preference for the delays is considerable.
 
Lisa: Let me return to what you said about wanting players to feel as if they're talking to an actual person instead of "controlling a sprite," and how your lack of game-industry experience felt like an advantage to you. This might rankle seasoned game writers and narrative designers, since we're quite serious about our craft and its tradition beyond power-ups and what's "typical." Have you since become part of the game-writing community, instead of a sort of self-described outsider? Or do you still see yourself that way? I'm asking because text adventures in particular have a history and set of best practices that predate what we think of as video games today.
 
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'Lifeline' Fan Art
 
Dave: Please believe me when I say that the last thing I intended here was to cause offense. When I say "typical" structures, I only meant the things that I, personally, thought of as aspects common to NES and arcade games, based on my own history with them. As I mentioned, I'd also played many text games back on my old Apple IIe, and I was primarily drawing from my (admittedly fairly hazy) memories of those while trying to construct Lifeline.
 
I would definitely still consider myself an outsider when it comes to game writing. I'm in Texas -- nowhere near Big Fish or Three Minute, out on the West Coast -- and I don't wind up getting to attend all the expos and conventions with them. I would be very interested if you could point me to resources for the best practices that you mention -- I perpetually feel like I sort of stumbled into success with Lifeline, and I keep waiting for someone to tap me on the shoulder and say, "We know you're just faking it. It's time for you to leave." That day is going to suck.
 
Lisa: Great answer ;). I'll send you some links later on so you can join the game-writing party! Next question: Older players or those younger who've discovered the series anew might compare Lifeline to the Choose Your Own Adventure books, which were first popular in the 80s (I was a huge fan). Were those an inspiration for you?
 
Dave: They absolutely were. I was a voracious reader as a child -- the sort who would read the back of cereal boxes, just because they had words on them. My parents and grandparents, much to their credit, always indulged this behavior, so I had shelves and shelves of books, including probably two dozen or so Choose Your Own Adventure titles. The one that stands out in my mind, to this day, is Inside UFO 54-40, credited to Edward Packard -- it was a terrifying science fiction story, bleak to the point of nihilism, in which all paths led to defeat, and the best ending could never actually be reached. And it blew my tiny mind. It was the bridge between kids' books and adult literature for me. Once that book had broken me, I could not have cared less about Beezus and Ramona; I was ready for the Overlook Hotel and moon monoliths and Nadsat.
 
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More 'Lifeline' Fan Art
 
Lisa: I first came across your work back when I was with Big Fish, as manager of the narrative design team. How did the relationship between Big Fish and 3-Minute Games come about, in as much as you can share with readers?
 
Dave: I'm probably not the best person to answer this one. My understanding is that Three Minute were operating as a skunkworks under the auspices of Big Fish, coming up with all sorts of games like Feed Your Monster and Poll Party. Basically, they were testing different styles of games, different pay structures, seeing which combinations worked best. They had the idea for Lifeline -- from its style to its pay structure to its length, everything came from them. They had done the work in order to make the determination that this was the best admixture of elements... and they got it very, very right. How much I contributed to that, it's hard to say; they had laid the groundwork for me so well, all I had to do was step in and not completely fall on my face. I'm grateful every day that they set me up to succeed, and I'm happy that I was able to deliver something that achieved what they were hoping for.
 
Lisa: Let's talk about the structure for a Lifeline game. Branching choices can quickly lead to a very complex structure unless you create small branches that loop back to a main narrative, and/or employ the use of stats to track choices. How do you plot out the varying narratives in Lifeline
 
Dave: The "complex structure" that you mention is something I ran into very quickly when I was working on the first Lifeline. Even when you only provide binary choices -- which, so far, is all we've done -- those branches can quickly grow out of control as each one doubles, then doubles again, until from a single node you've created a mountain. I had to train myself to weave the elements back together, to keep things from ballooning out of control. When I took on the original assignment, I thought, "Oh, this will be just like writing a short story." But it's not; it's like writing thousands of very, very short stories, of a few sentences each. It took me a painfully long time to make that distinction, but once I did, I was able to realize where I'd gone wrong, and start to plot out "nodes" where the threads were drawn back together. That made my work so, so much easier.
 
I'm not a coder by nature. I use Twine as the basis for these games (and then a lot of proprietary processes happen afterward, most of which are beyond my comprehension), and in that program I do my best to branch and reconnect smoothly. It's a tremendously useful GUI for people like me, people who need their hand held throughout the process. No matter how carefully I've plotted things in advance, every Lifeline game has led me in unexpected directions; the story that wants to be told is, without exception, better and more interesting than the story I lay out at the beginning. I trust those feelings, trust that when Taylor or Arika or whomever pulls the narrative in an unintended direction, that I'm getting a real sense of what the story should be, instead of forcing it down avenues that aren't true to the characters. (This, by the way, is a fantastic way to drive the rest of the development team insane.)
 
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Lisa: What's an example of a node? Also, did those driving the process have a sense of what came before so you weren't all reinventing the wheel? What you're describing here reminds me of the awesome discussion over at Choice of Games, where they do a great job of teaching newbies how to avoid this kind of ballooning while preserving the need for meaningful choices. 
 
Dave: I think of nodes as "have-to" moments in the game. If, say, by the end of a day, Arika has to learn a certain piece of info, encounter a certain prop, have an opportunity to eat, and fight a specific foe, then I have four nodes for that day. If she can't move on without acquiring an object or having a conversation, then I know that, no matter how wildly things balloon, all roads must lead back to a single point. The order in which they're encountered may or may not matter, but generally speaking, these are the crucial passages; the Player's decisions upon hitting these nodes will have a major effect on what follows in the game. 
 
Lisa: How many different endings could players get in a typical Lifeline game? How do you make sure those endings make sense for the previous choices made in the game?
 
Dave: Generally, there are a few deaths along the way. These are paths where the Player has made an egregious mistake, or else has willfully decided not to aid the protagonist. Those are, of course, the "bad" endings -- no one should be proud of killing their hero. Then there are the "good" endings, where the Player has done most things right, and has achieved an ending that is satisfactory, although not the best one could hope for. The hope is that the Player will feel good about these... but will still have a nagging sense that they should return to the game, and work for the best possible ending. And we'll tell you when you've achieved that; we want Players to know when they've gotten all the items, or defeated all the villains, or done the best they can. I write stories with Pyrrhic victories, sometimes -- blame Inside UFO 54-40 -- but there's always a "best" ending, and that's the canon ending that leads to the next game in the series.
 
Lisa: Does this ever backfire? It strikes me as different than most casual gameplay, where player character deaths are generally avoided. Do you lose some players by opting for Pyrrhic victories?
 
Dave: I had that fear at the outset, but to the relief of all of us, the Player reactions to character deaths seem to be a deepening of involvement, not an abandoning of the game. It seems to largely be the case that, if a Player loses Taylor by pushing the character too hard or by supplying incorrect information, there's generally a sense of culpability in the death that makes the Player want to try harder the next time. I've seen dozens, maybe hundreds, of people on social media expressing genuine grief and sadness over character deaths in the Lifeline games. 
 
Halfway-to-infinity
 
Lisa: (This last one's for my stepson, who loved the first game when it went viral at his high school a few years ago.) You set up Taylor as a gender-neutral character, an interesting choice. Can you talk about your reasons for that? My stepson notes that most of his classmates assumed Taylor was either female (most of the women did this) or split evenly between male or female (mostly guys).
 
Dave: The gender-neutrality of Taylor's character came from Three Minute Games, but I thought it was a fantastic idea. At that time, it was easier than I thought it would be to write such a character -- when gender signifiers are removed, you realize how similar a kick-ass male and female protagonist actually are. It's grown increasingly difficult, as Halfway To Infinity introduces a doppelgänger Taylor, to keep the pronouns correct -- but I'm happy to face down that challenge. Seeing so much fan art for the character has made me realize just how much room we've left for interpretation. I don't consider that there's a "right" answer at all. People who know me have told me that they see a lot of me in Taylor... but for every argument for "male," I see another one, just as convincing, for "female." I love that I don't have a definitive answer. I hope that I never do. I hope that I can continue to write a character that resonates with everyone who reads it.
 
You can download the game to your favorite device. See the Big Fish Lifeline page for more info.
 
Note: This post previously appeared on Cat in the Flock.