Mystery Feed

Redemption Games’ Scoops: From Fan Favorite to Fan Fiction

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Official Google Play Store art.

By Dexter Woltman

What’s not to love about an adorable penguin who makes ice cream? When Redemption Games’ phenomenal Sweet Escapes first launched, the story centered on a bunny, Joy, doing her best to fix up some sweet shops that have hit hard times. Joy quickly met various friends to help her on her journey, one of whom is Scoops, a sweets-loving penguin.

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Nearly a year of content later, Joy’s world is brimming with colorful characters and a plethora of delicious sweets. Along the way, Scoops grew from a humorous companion character to a sensational fan favorite. He’s played an active part in almost every storyline, and audiences just can’t get enough. Some fans have even gone the extra mile and written fan fiction about him. But what was it that made our lovable penguin friend so popular? Surely, it’s not just his fancy scarf?

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From the very start, Scoops was always a scene-stealer. His obsession with sweets and humorous antics stole the hearts of many. Add Redemption Games’ adorable character design and goofy animations, and the game became an instant fan favorite. But along the way, Scoops’ character started to show a lot of promise beyond cracking jokes. By the time I was involved in writing content for the game, I recognized a lot of potential in our goofy penguin. I didn’t just see him as the comedic relief who likes to make jokes about all the sweets he can eat. I saw him as the heart and soul of Sweet Escapes, and I capitalized on it.

While most characters in Sweet Escapes appear every few regions of content or so, Scoops has had the privilege of maintaining a consistent presence in the game. He’s been there from the start, and, well, he’s still there. So, when it came time for me to write for him, I knew there was more we could do with him. I took a look at his quirks, his many jobs and love of sweets, and I expanded on them. In my eyes, his very specific tastes didn’t just have to translate to sweets. They could apply to all sorts of things. Scarves, occupations, proper lighting—Scoops is ahead of it all. For me, it wasn’t just about dialing up the jokes. It was about making the world his joke. And from that, Scoops' role in the story grew. He's there to contribute conflict, growth, and mystery.

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So now, more than a year later, Scoops is still a highlight of the game. He gets personal story arcs as he searches to find his role in the group. He doesn’t just make jokes. He’s a real character with flaws and skills. Sure, he has a great eye for decor, but he’s also going to make a fit when that painting is two inches too far to the left. And yes, he’s a penguin who holds a great love for the sea, but that doesn’t mean he knows how to swim with it. That alone leaves his various pirating exploits land-locked for the time being. Scoops is remarkably complex, yet very simple all the same. He just wants to be happy. And in the end, isn’t that what we all want?

Over the last year since the game's release, Scoops has grown from comedic relief to comedic sensation. Audiences love him, and so do we here at Brunette Games. It’s been a long journey, but luckily for fans, that journey is far from complete. So, if you haven’t gotten the chance to see our lovable penguin in action, it’s never too late! Download Sweet Escapes on the Apple App Store and Google Play Store now!

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For more information on Redemption Games' Sweet Escapes, visit the official website here!


Now in Soft Launch: Kuuhubb's 'Tiles & Tales'

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We're really excited to see the soft launch of a project we've been working on for the past year with Helsinki-based studio Kuuhubb, as it continues our march at the forefront of the visual novel genre. This will be our studio's fifth visual - or "interactive" - novel and the third mobile novel app project we've helped bring to market. 

Here's the official press release:

TORONTO, March 19, 2020 (GLOBE NEWSWIRE) -- Kuuhubb Inc. (“Kuuhubb” or the “Company”) (TSX- V: KUU), a mobile game development and publishing company targeting the female audience with bespoke mobile experiences, is pleased to announce the successful soft launch of its newest game, “Tiles & Tales”. The new mobile game app will be a unique combination of two very popular genres within the female gaming community; match-3 and visual novels.

Jouni Keränen, CEO of Kuuhubb commented, "Tiles and Tales is our flagship second-generation game and Kuuhubb’s key focus in calendar year 2020. I am extremely proud of our talented development team for all the dedication, hard work and love they have poured into the game. I am confident that this is the beginning of a new long-term franchise and a important growth driver for Kuuhubb in the future”.

A photo accompanying this announcement is available athttps://www.globenewswire.com/NewsRoom/AttachmentNg/2740ee3d-946b-4384-828b-b0ab168a7475

Match-3, or tile-matching games are a multi-billion-dollar market and are the most popular genre with female gamers by a significant margin, with some titles generating USD 25-50M in monthly revenue. According to HubSpot, 69% of match-3 players are women. The growing match-3 market is estimated to generate over USD 5B annually and of 20 games that have lifetime revenues exceeding USD 1B, five are match-3’s (Disney Tsum Tsum, Candy Crush Saga, Puzzle & Dragons, Gardenscapes and Homescapes) (Source: Sensor Tower). Recent consolidation within the match-3 segment has seen Playtika and Zynga acquire the Helsinki-based Seriously Digital Entertainment Oy and Small Giant Games Oy for ~USD 275M and ~USD 650M, respectively.

Where puzzles and stories meet - a unique combination

Tiles & Tales is the first game in the market to merge match-3 games and interactive visual novels. While the audiences of these two genres have traditionally been considered separate, market research conducted for Kuuhubb  showed considerable overlap among players, making this game ideal for specifically catering to both groups in addition to holding significant cross-over appeal.  The unique match-3 and visual novels combination has the potential to enhance the respective audience sizes and enables fans of one type of gaming to broaden their horizons by introducing them to another popular genre.

Unique gameplay - wide audience appeal

In addition to the unique genre mash-up, Tiles & Tales introduces new game mechanics that set it apart from other match-3 games: throwing pieces to make matches, rather than simply tapping them, shakes up the traditional gameplay in a way that will get even the most experienced puzzle enthusiasts excited.

From solving a murder to enjoying a romantic vacation, a wide variety of genres and art styles ensures that there is something that will appeal to every player. The well-stocked library has plenty more stories and adventures to come. One of the stories available was written by award-winning author Lisa Brunette, who has contributed to other major story-based games such as Choices and Matchington Mansion, among many others. Brunette is also the founder of a leading narrative design studio, Brunette Games.

Tiles & Tales is the latest example of Finland’s game industry innovation and is the first game developed entirely in Kuuhubb’s Helsinki Game Studio using an in-house developed match-3 engine. The Company is focused on the expansion and diversification of its product portfolio through the creation of its second-generation games, and anticipates that the Kuuhubb game engine will significantly reduce the resources and time required to bring new titles to market.

Availability

Tiles & Tales is currently in soft launch and available for both iOS and Android devices in the following countries: Finland, Croatia, the Netherlands, Philippines and Australia. Global commercial launch is anticipated for H2 2020.

Download Tiles & Tales:  https://linktr.ee/tilesandtales
Tiles and Tales on Facebook:  https://www.facebook.com/tilesntales/
Tiles and Tales on Instagram:  https://www.instagram.com/tilesandtales/

About Kuuhubb
Kuuhubb is a publicly listed mobile game development and publishing company, targeting the female audience with bespoke mobile experiences. Our Mission is to become a top player in the female mobile game space. We believe in empowering women by creating games and apps that will have our female audience relax, express and entertain themselves every day. Through our games and partnerships with select developers, we explore new lifestyle trends that can be converted into games and apps which will bring value to our users, employees, and shareholders. Headquartered in Helsinki, Finland, Kuuhubb has a global presence with a strong focus on U.S. and Asian markets.

Cautionary Note Concerning Forward-Looking Information

This press release contains forward-looking information. All statements, other than statements of historical fact, that address activities, events or developments that the Company believes, expects or anticipates will or may occur in the future (including, without limitation, statements relating to future revenue and development, growth of the Company’s business and the closing of the Proposed Financing) are forward-looking information. This forward-looking information reflects the current expectations or beliefs of the Company based on information currently available to the Company. Forward-looking information is subject to a number of risks and uncertainties that may cause the actual results of the Company to differ materially from those discussed in the forward-looking information, and even if such actual results are realized or substantially realized, there can be no assurance that they will have the expected consequences to, or effects on the Company. Factors that could cause actual results or events to differ materially from current expectations include, among other things, risks related to the growth strategy of the Company, the possibility that results from the Company’s growth plans will not be consistent with the Company's expectations, failure to execute the definitive documentation in respect of, or complete, the Proposed Financing, the need to satisfy conditions precedent with respect to the Proposed Financing, the possibility that the completion of the Proposed Financing may be delayed or that the terms of the Proposed Financing may change, the early stage of the Company's development, competition from companies in a number of industries, the ability of the Company to manage expansion and integrate acquisitions into its business, future business development of the Company and the other risks disclosed under the heading "Risk Factors" in the Company's annual information form dated November 7, 2018 filed on SEDAR at www.sedar.com. Forward-looking information speaks only as of the date on which it is provided and, except as may be required by applicable securities laws, the Company disclaims any intent or obligation to update any forward-looking information, whether as a result of new information, future events or results or otherwise. Although the Company believes that the assumptions inherent in the forward-looking information are reasonable, forward- looking information is not a guarantee of future performance and accordingly undue reliance should not be put on such information due to the inherent uncertainty therein.

Neither TSX Venture Exchange nor its Regulation Services Provider (as that term is defined in the policies of the TSX Venture Exchange) accepts responsibility for the adequacy or accuracy of this release.

For further information, please contact:

Kuuhubb Inc.
Jouni Keränen - CEO
jouni@kuuhubb.com
Office: +358 40 590 0919

Bill Mitoulas
Investor Relations
bill@kuuhubb.com
Office:  +1 (416) 479-9547


New Release! ‘RollerCoaster Tycoon Story’ for Atari and Graphite Lab

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Official Start Menu

By Dexter Woltman

It’s no secret Brunette Games works with amazing clients from all across the world, but this new release hits far closer to home. Developed by Atari and Graphite Lab, RollerCoaster Tycoon Story launched this week as part of the latest installment of the classic Atari franchise. Not only did Brunette Games write the dialogue and in-game text, but we had the honor of working hand-in-hand with Graphite Lab through every step of the script process.

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Official In-Game Screenshot

Like Brunette Games, Graphite Lab is centered right here in St. Louis. They have some amazing talent in their studio, and our two companies’ relationship goes beyond the walls of work. So much so, that one of their employees and I are actually neighbors! RollerCoaster Tycoon Story was one of my first big original writing projects, and getting to sit down and talk with their team face-to-face as we developed the narrative was an experience I’ll never forget.

St. Louis is slowly growing its own gaming community, one both Brunette Games and Graphite Lab are happy to be part of. We had the great opportunity to work together, and RollerCoaster Tycoon Story is the product of that collaboration. For the first time in the series, this new release has a rich narrative built around exciting Match-3 puzzles. Even more, Graphite Lab has evolved the typical Match-3 genre by including a rails mechanic never before seen in these types of casual games. A third St. Louis studio, Fat Bard, provided music and sound effect support as well, making this a truly homegrown effort all around.

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Official In-Game Screenshot

If that’s not enough to sell you on this new release, hear it from the developer themselves with the official App Store description:

Welcome to RollerCoaster Tycoon Story! The legendary Eagleland theme park has fallen into despair and it’s up to you to restore it to its former glory by solving exciting Match-3 puzzles. Based on the beloved RollerCoaster Tycoon franchise, RollerCoaster Tycoon Story uses an innovative rail match system to earn tickets that can be used to complete tasks such as repairing rides, cleaning up park grounds and rebuilding shops. Partner with Sam, your dependable mechanic and other park staff to help restore the land around the park, unravel hidden mysteries, meet interesting characters and become a true RollerCoaster Tycoon.

Features:

• Hundreds of Levels: Match three or more pieces using the rail match system to complete fun puzzles or earn powerful boosters. Complete more complex puzzles to uncover special items including the famous Screechin’ Eagle booster.

• Exciting Story: Finish each round to progress through the storyline and advance to the next level. As you continue to play, additional zones of the park will unlock revealing classic RollerCoaster Tycoon rides like the Log Flume water ride.

• Renovate and Decorate: Improve sections of your park by removing debris, adding decorations, and investing in research to further upgrade rides, attractions and more.

• Endearing Characters: Interact with multiple characters including Sam the maintenance worker, Maggie the mechanic, Tyler the panda mascot entertainer, and many others.

• Daily Rewards: Earn bonus rewards each day for restored rides and attractions. More rides, more money!

• Leaderboards: Top the global leaderboards and compete against friends.

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Official In-Game Screenshot

Also, did I mention you get to name a pet squirrel? Download now, and tell us here at Brunette Games what you think!

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For more information, visit the official website here!


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! 


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.