Interactive Novel Feed

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.


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. 
 
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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.
 

Five Years Ago This Week, the Dreamslippers Series Was Born

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As founder of Brunette Games, I came to form this narrative design and game writing studio with more than a decade of experience in the game industry. But before the game industry claimed me, I'd racked up 15 years as a published journalist, short story writer, corporate history chronicler, and yes, even poet. That background is reflected in the Dreamslippers Series, a three-book saga (plus novella) about a family of psychic dreamers who solve crime using their ability to 'slip' into other people's dreams.

Solving crime that way is a lot tougher than you can imagine, as it's not like the culprit will dream of his guilt, pointing the erstwhile dreamslipper toward all of the clues. The matriarch of the family, Amazing Grace, supplements her sleeping skills with waking-life pursuits such as meditation and yoga. Young Cat McCormick, the hero of the inaugural book in the series, has an entirely different take. She bends and breaks the rules a bit, and she capitalizes on an emotional connection to solve a mystery involving a Midwestern, fundamentalist preacher and his (not-gay-at-all) right-hand man.

I released Cat in the Flock under my own imprint, Sky Harbor Press, in July 2014. It zipped up the Amazon sales charts, occupying the No. 1 spot in the Private Investigators category within the first year. It was praised by Kirkus Reviews, Midwest Book Review, Readers Lane, Book Fidelity, and countless other review sites, blogs, and institutions. I was contacted by a Hollywood producer about rights, and later, by more than one game studio interested in making an interactive version. Cat in the Flock won me my first IndieBRAG medallion, awarded to only the top 20 percent of independently published books. I would also be awarded the IndieBRAG for the other two books in the series.

BRAG medallion ebook CAT IN THE FLOCK

I wrote, published, and marketed Cat in the Flock all while working full-time as manager of the narrative design team at Big Fish Games. It was a lot to do around not-your-average day job. But I made it work, with the help of a very supportive husband and stepson, not to mention a crackerjack team of narrative designers and strategy guide writers at Big Fish, who helped me bring my traditionally 12-hour days down to a more reasonable balance.

Bolstered by the success of the first book, and full of more Dreamslippers stories to tell, I followed up with Framed and Burning. This second book in the series is set in Miami amidst the high-stakes art world, and its prescience can be seen in the Jeffrey Epstein case today. Cat and Grace follow the clues to a murder frame-up, which takes them into the Darknet and the powerful players behind a child pornography ring. 

Framed and Burning was a finalist for the prestigious Nancy Pearl Book Award, and it was also nominated for a RONE Award, in addition to winning the IndieBRAG.

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The third book in the series, Bound to the Truth, is in a lot of ways my best. It continues the series' sex-crime theme, but back in Seattle, with an informed, fair portrayal of the Emerald City's sex-positive community. Cat and her grandmother visit a sex toy shop and a sex dungeon in their quest to track down the killer of a prominent Seattle architect. It was my answer to the huge disappointment that is Fifty Shades of Gray.

The cover is my favorite of the series, too. All three covers were created by Toronto designer Monika Younger, who's also the genius behind our very own Brunette Games logo.

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After that, I went back and tackled Amazing Grace's origin story in a novella, Work of Light. It's only found in the ebook boxed set. Set in the past, when Grace first discovered her powers, it follows her to an ashram in the 60s, where she uncovers the guru's true nature.

I'm grateful to the many BETA readers who gave me feedback on drafts of the books. My BETA reader program was based on the process we use in the game industry, where player feedback can truly make or break a game. We writers and designers are far too close to the work to judge it subjectively, especially the further into the drafting (or development) process we get. My BETA readers put on their "cruel shoes" and gave it to me straight, and I revised to the best of my abilities. I think it shows in the higher-than-average quality for not just an indie but for publishing as a whole.

Also deserving of recognition is Elisa Mader, who edited and/or proofread the books. The high marks I get for being error-free are entirely to her credit. You might also know her from some of our Brunette Games projects, as she sometimes freelances for us as editor, writer, and designer of games. I've mentored Elisa for years and also hired her to our freelance stable at Big Fish.

Join me in celebrating this important milestone for a body of work that is very close to my heart. On that note, it's time for an important announcement:

In honor of the fifth anniversary of the Dreamslippers Series, the ebook boxed set of all three books plus the bonus novella is entirely FREE wherever ebooks are sold, except Amazon, where it's only 99 cents (that is the minimum price we are allowed to offer through Amazon). So please tell your friends. And thank you for your interest in Brunette Games.

Handy book links here.

You Might Also Like:

'Bound to the Truth' wins indieBRAG, Third in a Row for Author Lisa Brunette

The Woman Behind My Book Covers: Monika Younger

Why I Write What I Write: Going Against Violence Porn and Magic Mush

 


What's the Motive in 'Psy High'? You Decide.

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Motive is the main concern in most fiction in the mystery genre, whether that's a TV show like Miss Fisher's Murder Mysteries or today's sophisticated novels in the domestic noir category. But when it comes to interactive fiction, where reader/player choice matters, motive is a little more up-for-grabs. If you were a nerdy kid like me in the 80s, you remember Choose Your Own Adventure books, with multiple endings and reader choice all the way through. This form enjoys a vibrant life these days, as evidenced by the many interactive novels we've worked on here at Brunette Games, such as released games Choices: Veil of Secrets and Sender Unknown: The Woods as well as three other titles currently in development.

We're big admirers of Choice of Games here at BG; though we've never designed a game for that platform, we enjoy playing them. So we reached out to Rebecca Slitt, author of the COG game Psy High. Here's her take on motive.

Rebecca Slitt:

What’s the motive in Psy High? It’s whatever you decide it is.

Psy High is an interactive novel: on the border between a book and a game. As in all of the titles from Choice of Games, you the reader direct the action at every turn: you decide what the main character does and why. Not only that, but you get to choose the main character’s name, gender, orientation, personality, and goals. 

The story in Psy High is a mixture of mystery, romance, and supernatural elements, inspired by “Veronica Mars” and “Buffy the Vampire Slayer.” You play a teenager with psychic powers – clairvoyance and telepathy – who uses their gifts to solve mysteries. When an old friend asks you to investigate why your classmates are acting strangely, you discover a plot that could put the whole school at risk. You have to maneuver around your teachers, parents, and even your friends while using your magical abilities to uncover the truth – not to mention going to class, trying out for the drama club play, and finding a date for the prom.

The culprit has their own motive, but you figure that out – along with the culprit’s identity – fairly early. The more complicated question is: what's your motive? When you discover what's really going on in your high school, what do you do about it, and why? 

Maybe you’re motivated by altruism: you want to do what will help the most people. That’s a noble goal, but it’s not always easy to figure out how to reach it. What helps one person might hurt another.

Maybe you’re motivated by affection: you see how all of these issues are affecting your friends and want to help them. Maybe you want to help your boyfriend or girlfriend, or do whatever it takes to make them happy, or just spend as much time with them as possible. The prom is coming up, after all, and what could be more important than that?

Maybe you’re motivated by power. There’s plenty of power to be had, both magical and otherwise, and plenty of secrets to uncover. Do you care about that more than you care about your classmates? More than going to college? More than anything?

Maybe you’re motivated by a desire to fit in. In high school, what’s worse than being different? You can try to reject your magical power, act like every other kid, keep your head down, study, and try to lead a perfectly ordinary life. 

Or, maybe you think that the villain isn't such a villain after all. Maybe you realize that you share their motive: you think that their plan will make the school a better place, not worse. That’s possible, too. You can team up with them and use your magic to help them.

What this all means is that you get to choose the kind of story that you’re participating in. It can be a story about love conquering all: You can find your true love and draw on the strength of that bond to triumph over whatever challenges come your way. It can be a story about discovering deeper truths about yourself and the world: learning what you truly care about, what your values are, and how far you’ll go to defend them. It can be a story about rebellion: breaking every rule, fighting the power wherever you find it, showing the world that you’re your own person. It can even be a story about failure: No matter how strong or noble your motives are, there’s no guarantee that you’ll succeed – so if you fail, what meaning will you draw from that?

There are dozens of stories to be told inside the mystery of Psy High, each with its own motive. You get to choose which story you want to tell.

Download and review Psy High.

Follow Rebecca Slitt on Twitter.

  RLS photo

Rebecca Slitt is an academic-turned-game-designer who uses her knowledge of medieval history to make sure that dragon battles follow the principles of chivalry and time travelers go to the right places in medieval London. She is an editor and author for Choice of Games, and has contributed to the tabletop RPGs Timewatch and Noirlandia

Note: This post previously appeared on Cat in the Flock.


Kippis, the Kuuhubb Way

Window

We recently signed a new client: Kuuhubb, based in Helsinki, Finland. To kick off our new project together the right way, they flew me to HQ for a couple days' work with the team. Their office is in the city proper, where buildings like the one above - taken from their conference room window - line every street. I'm a huge fan of architecture from the turn of the last century, and since Helsinki experienced boom times then, there's plenty for me to admire.

The project we're working on together is a Match-3/interactive novel hybrid called Tiles & Tales. You can read more about that at our press release here. But I wanted to take a moment to talk about the Kuuhubb team...

Kuuhubb sign

...because they're awesomesauce! They put me through my paces with excellent questions, one after another, and what a treat to talk over the various trials and techniques of the rapidly changing mobile interactive novel genre with a crew of talented, thoughtful designers.

They've already put in a lot of groundwork on this new game app, which launches later this year. Three books are currently in development, and mine will be the fourth. I fell in love with the game app the minute I played the in-development build and am honored to be a part of the project.

Team

Kuuhubb is a new studio, and its crew came from such stellar origins as Rovio Entertainment, RedLynx, Armada Interactive, and Koukoi Games. They all have extensive experience in developing casual free-to-play games.

What really struck me about them as a team was the blend of experiences - from writing to art and animation to programming - and how these aren't regarded as separate territories but fair game for anyone on the team, if they've got the drive and skill.

This same recognition of the overlapping skills set necessary for games is one of the reasons why here at Brunette Games we use the title "writer/designer" rather than just writer, or even narrative designer. Game "writers" have to be designers, too. All our writing is done in tandem with design, and increasingly, we're coding and making art and animation and sound decisions as well.

True to their Scandinavian culture, the corporate offices exuded a bit of hygge in the comfortable couches and lovely logo pillows. 

Pillow

As comfy as the pillows are, we adjourned at the close of the first day and met back up later for drinks. Happy hour in Finland is called "afterwork," and we spent ours at a video game-themed bar called 8-Bit Brewing. Their menu is in retro video game display style, above the bar.

Beersign

I chose a beer with a high bitterness rating called the HOP BOMBERMAN IPA, and it did not disappoint. I was looking for something that exhibited a tendency toward the sour side of the palate, which seems to be a common theme in Finnish food and drink, and I got it.

Beer

After a day of intense discussion about our project in specific and games in general, it was great to kick back and learn about each other's cultures. Describing the weather in your home temperature standard is super tough when you're on Fahrenheit and they're on Celsius... how to explain the Midwestern swings of 40 degrees within one week? I learned that the Swedes ruled Finland for about 600 years, and the legacy of that can still be felt. I listened to the men's army tales. They all had one, since conscription is mandatory for male Finns.

But best of all, I learned the Finnish toast: Kippis!

Kippis