Your Dream Game

I’ve been streaming on Twitch. I’m making a game. Here’s kind of a list of stuff about it.

What is the game?

Well, I’m not saying it’s Legend of Zelda: Breath of the Gameboy.

My game dreamers (dante, roxas, and wraithind,) want three things:

  1. Freedom to explore and experiment.
  2. An involving story.
  3. Awesome, action-packed combat.

My basis is a top-down adventure game with simple controls similar to Link’s Awakening. I love the elegance of the control-system: two buttons, but unlike the original Zelda where one is your sword button and the other gets an item, your sword is an item and you can map each button to whichever item you have. The freedom to mix and match is super-elegant, and having an item for running and an item for jumping makes L:A extremely active and mobile.

That’s just a framework. If we layer some simple, intuitive combos with things like parrying and different weapon types, we’ll have the first step to the dream game: a small combat game where you can pull off super-cool combos. Maybe a two-player top-down fighting game. Hmm.

Step two: a physics/chemistry world. We’re using an ‘Entity System’ (or as I like to call it, Processing-Oriented Programming), which means making flammable objects react to flame and fires react to water and wind, etcetera, will be relatively simple (simple relative to procedural, object-oriented, and functional styles, that is), so let’s go that route: make a world that’s very interactive and explorable. Not Minecraft levels of malleability, but certainly Breath of the Wild levels.

That can be its own game, too. A small action/adventure game with a tiny world that’s fun to explore and a series of bosses to defeat for a victory condition. One might call it ‘Breath of the Gameboy’, though it’s totally not Breath of the Gameboy.

Step three is to take this basic framework and start making games that have broad and epic stories. Hopefully, by this point, I’m making money off these games and can invest my time and effort into turning them into epic oldschool Action RPGs layered over this totally-not-Breath of the Gameboy-engine.

Why stream?

  • Accountability. Streaming while I make the game is a way to reach out to people who might want to play it. Admittedly, it’s more a way to reach out to people who wish to make games. But my audience will know what I’m doing, why I’m doing it, how much effort it takes, and where I am in the process. They can check in on me even briefly to see that progress is happening. Incidentally, if I finish the coding and need to spend time creating world, story, music, etc, having a sample level available to play and a track record on twitch means I can throw a kickstarter and the potential backers will know in advance they can trust they’ll get what they ask for.  No hype-implosion such as Mighty No. 9.
  • Advertising. If you want to make a living with art, you need more than anything to find the people who want to experience the specific art you are making. Fun aside: established artists and game companies may need to worry about piracy, but new indies almost need to worry about lack of piracy. You’ve got to find a way to pay for your food, but if nobody is playing it, that means there will never be anyone to buy your work. Streaming on Twitch means I can lurk on twitch and hang out with the people who play similar games, which will make them more likely to give my game a chance — because they know me. Getting to know my audience means they’ll have more of an instinct to reach out to anyone they know who will actually like my game.

I don’t want mass sales. I want sales to people who love my game. I want to create something that will develop a life of its own because people love it. I want to create a series of games that will live forever because they are super awesome.


How to Fate 2: Telling a Story

Telling a story and making a hero are closely intertwined, especially in Fate, where your hero is made through a series of stories.

Remember the three components of making an interesting hero?

  1. Give a reason we should even care about the hero.
  2. Determine what the hero wants and doesn’t have.
  3. Determine what the hero is going to do about it.

Steps 2 and 3 are a story.

Jim Butcher and his teacher, Debbie Chester, list this as the SPOOC formula.

  • Situation: Something happens that kicks the hero into action.
  • Protagonist: Whose story is this?
  • Objective: What is the hero’s plan of action?
  • Opposition: Who is opposing the hero?
  • Climax: What overwhelming disaster does the hero face?

You will notice Situation and Opposition equate to #2 (the hero is caused to want something, and is not able to just take it), and Objective is #3.

Now, a climax has a requirement to give a proper payoff. It needs to be a choice that reveals something about the hero. The hero must have two very important values, and the villain must force the hero to sacrifice one for the other. He must make a decision that, no matter how he chooses, he will hate himself.

So, a good way to phrase SPOOC is:

  • Situation: When fate contrives to make Our Hero want something…
  • Protagonist: …Our Hero…
  • Objective: …sets out to get it by taking specific action. But will he succeed when…
  • Opposition: …a fascinating and nasty supervillain…
  • Choice: …forces him to choose between the two things he holds most dear?

How does this apply to Fate? Well, you use this story to create an Aspect. That Aspect will often come from the fateful choice in the climax.


  • Situation: When she runs out of food and money…
  • Protagonist: …superhero sidekick gone solo Cherry Bomb…
  • Objective: …sets out to get the scoop on an evil death cult, thereby securing a living as a paranormal blogger. But will she succeed when…
  • Opposition:  …the nefarious leader of the cult…
  • Choice: …gives her the choice of watching her best friend die in a ritual that will probably summon Yog Sothoth, or else taking their place as a more potent sacrifice that will definitely summon Yog Sothoth?

Now, there is a lot of material that would make for good aspects here if we’re playing Fate.

Since this is in the character’s background, we have to assume that she escaped and the world didn’t end. From this, we could get aspects like…

  • Amy Hope: Paranormal Journalist Extraordinare
  • Yog Sothoth has it in for me.
  • Always sticking her nose where it’s not wanted.
  • High Quality Ritual Sacrifice

But the choice, ah… the choice has the most punch. Does she take the selfish way out and risk the world and refuse to switch places with the sacrifice? Does she take the pragmatic way out and refuse to switch because the world is more likely to survive if her mortal friend dies? Does she sacrifice herself because she will not let an innocent die in her place? Does she sacrifice herself because she can’t bear the thought of living in guilt over her friend’s death?

No matter which choice she makes, Cherry Bomb will be fundamentally transformed. Refined. Defined. Here are some possible aspects.

  • I will avenge you, Maria!
  • I’ll never let anyone else die.
  • Self-Sacrifice is Second Nature.

But wait! There’s more!

Once we know what choice Our Hero makes, we need to bring Our Hero to the brink of despair. The choice goes wrong. Even what he thought he’d accomplished, he failed to do. He is going to lose everything.

Cherry Bomb determines that she will not let her friend die… but she can’t let Yog Sothoth in either. Her last, best plan is to switch with her friend, but kill herself before the ritual is complete. Using her illusion powers, she hides one of her grenados on her person, lit and set to go off.

The cultists tie her up next to her friend. The cult leader laughs. “Did you really think I’d let her go? Two sacrifices is better than one!” He also takes the bomb right off her, unfooled by her illusion.

Then, we, the writers, figure out how to pull the hero’s nads out of the fire without being super-cheap.

As the ritual begins, otherworldly gates open, and monsters start to come through, Cherry Bomb’s friend notes something: the cult leader stuck the bomb in his pocket.

Using the last ounce of her power, Cherry Bomb sets off the grenade. The cult leader dies in pain, the ritual is interrupted, and the monsters turn on the cultists. Cherry Bomb’s friend is able to catch the knife that was about to slit her throat and cut herself and the superheroine free. Chaos ensues. The world is saved.

And that’s how you get yourself set up in Fate.

How to Fate, Episode 1

My local group started a game of Dresden Files RPG last night. There were a lot of people who were new to the system. Oh, some of them knew how skills and aspects and powers work, but almost none of them knew how to make characters.

So, let’s do this crazy thing. Fate, as I’ve written before, prioritizes drama over tactics. That means good character design techniques for Fate are the same as good character design techniques for writing. And indeed, I use it as a tool for such.

Here are the things you need to make your hero.*

Continue reading

Drama Vs. Tactics

To quote Spock, “Logic is a wreath of beautiful flowers that smell bad.”*

There are three questions that constantly plague role playing games:

  1. Do the rules trump the story, or the story the rules?
  2. Is killing the villager really a Chaotic Neutral action?
  3. Who are we forcing to play the cleric?

Today, I’m going to talk about the first question. The answers to the others are “no” and “Why me?”

Continue reading

Wren’s new Title graphic


I find I’m better at drawing on paper than on a screen, although the tablet is still good for coloring in the resulting pic.

Wren is one of those tiny women who will be carded long after her hair turns gray. One might assume she has a Napoleon complex, but her attitude is really the result of trying to live up to her brothers, Javic and Jay.

The Ten-Year overnight success

For those following this blog (hi mom!), you may have noticed that there’s not really anything going on.

Which is not quite true. It takes a lot of time to build worlds, design stories, and build a fan base. I intend to make my living writing fun stories and fun games. But it won’t happen right away.

When the stories start coming out, the site and its follower (hi mom!) will already be here. Each story will draw more people, and each person will draw more people.

Here’s my plan: I’m going to write an awesome novel for Nanowrimo 2017, I’m going to put that novel up on Amazon for 99¢, and a ton of my fellow nerds, geeks, and assorted anime and fantasy fans will download it, read it, and love it. But that successful launch almost eleven months in the future begins now, when I don’t have any readers, and my fans consist of a couple of cousins, a brother, and my wife.

Step one was establishing my existence online. Step two starts in February, when I release my first short stories after learning Stenotype via Plover… I’ve taken a week off from my day job to try and get up to my current typing speed.

It takes time to build content. By March, I want to start really drawing a crowd of people I who will love my work, and I need to have the foundation of this site already established when I do. So, the stated goals of this site aren’t going to be fully online until then… but at that point, they had better be online.

Nearly every overnight success you’ve heard of happened over the course of several years. In a way, I’m aiming to speed up the process and have an overnight success after only a year of hard work.

On the other hand, I’ve been honing my writing craft since I could put pen to paper, so if my evil plan works out, one might call me a fifteen-year overnight success.

If you’re reading this, thanks for helping build my foundation. And, as always, be awesome!


One of the things I want to use this site for is to track the lore of my books and world, with a ‘members only’ section that has tons of maps and extra stories. The members’ section will be free.

Here’s an example of lore that applies to stories and games set in Theria, Pendra, and AVATAR.


The groob is sort of the generic cannon-fodder therian. In games, it stands still or hops around slowly, and takes only one hit to kill. While groobs look and behave in similar fashions, however, they are not a single therian species. There are at least three, associated with three genus genes.

  1. Bug Gene dominant groobs serve as larvae for most insectoid therians.
  2. Shroom Gene dominant groobs serve as the hatchling form of many fungal therians.
  3. The Slime Gene is the result of a failed attempt to create Glymr via mystic arts, and groobs with a pair of Slime Genes serve as the basis for evolution trees that mirror gelatinous cubes, slimes, and jellies from other fiction worlds. Slime Genes are super-recessive, acting as a copy of the other species gene when not paired with another Slime Gene with the exception of the Glymr Gene, which recedes even beyond the Slime Gene.

Despite the three major groob varients, the appearance on the bottom-right is most prevalent. It is difficult to know which type of groob you are dealing with without further evidence — e.g. there’s a good chance it’s a bug groob if you found it in a Vermic hive.

Groob Evolution

Groobs often undergo mitosis while evolving to their next stage. Fungal and slime groobs will have a percentage chance of evolving into two identical individuals provided there is room in their environment to do so. Female bug groobs will often evolve into a matched pair — e.g. a pair of scouts, a pair of soldiers, or a princess and a soldier.

Groobs are also known to evolve sooner than other therian hatchlings.

Sentinel Usage

Sentinels rarely bond groobs, preferring more powerful therians. Those that do cite the earlier evolution, mitosis, and the ability of some adult Groob forms, like Vermic Queens, to reproduce at an accelerated rate. Simply put, if you want to assemble a large army of therians quickly, bonding a groob is an excellent first step.