Normal service has been resumed

I apologise for the lack of updates and comment-approvals. WordPress has refused to let me log in to the blog for the best part of a month. Having tried all the regular orifices I’ve finally forced my way back in through the ribcage, have performed some open-heart surgery on bits and bobs, and we should be back to normal.

What have I missed? Well, The Extraordinary Adventures of Baron Munchausen has been rereleased. The limited-edition hardcover looks gorgeous and has sold out at the publisher, so if you see a copy then snap it up. There will be a launch event for it on Wednesday next week (29th October) at 01Zero-One in Soho, in collaboration with pervasive-gaming mavens Sandpit and as part of the London Games Festival Fringe—doors 6.30pm, all welcome, free entry and booze.

The day after the Munchausen launch I’m running an all-day workshop on tabletop game design and paper prototyping at the same venue, 01Zero-One. You need to register in advance for this, but it’s only a fiver and should be fun. I’m hoping that by the end of the day we’ll not only have shared pearls of wisdom but we’ll also have a complate playable prototype of a game. This event is also part of the LGF Fringe.

And then on Friday 31st October—yes, it’s a busy week for me—I am speaking at Playful: Game Design London which is (oh yes) another part of the LGF Fringe. I asked for a nice quiet mid-afternoon slot so I could do something a bit technical about methods of generating narrative through gameplay. Instead I discover to my horror that I am the first speaker. This will be… interesting. I’m not quite sure what I’ll be talking about, but it’s unlikely to be self-generating narratives. Luckily I will be followed by the awesome Roo Reynolds, the double-awesome Russell Davies, the Hon Bros, Tom Armitage, Matt Biddulph and Alex Fleetwood, to only mention the speakers I know personally, so it should be a terrific day. Cheap at £25.

The Dragon Warriors rulebook is at the printers. And I am discussing a very interesting project with some major publishers, but for obvious reasons I can’t say a word about that yet.

Busy! Lots to catch up on. More to follow.

Gaming the System #1

Back in 2003 I mentored a team of trainee solicitors through a three-month business simulation, teaching them how to run a company. Other mentors were called in from big City finance and legal companies: KPMG, Freshfields, that ilk. I, by contrast, had just cashed out on Hogshead Publishing. At the start of the exercise I was not even a blip on my team’s radar, much less a potential employer.

We won the game. We didn’t just win it, we aced it. Destroyed it. I believe we were within a few points of the maximum possible score. I have a picture of me in a smart suit with the team, accepting first prize from the Attorney General, Lord Goldsmith. It was a few days after he had advised the Blair government that there were legal grounds for invading Iraq. I was tempted to punch him in the teeth, but felt that on balance it would have overshadowed my team’s moment of glory, and the evening was really about them.

What were the winning business principles I passed on to my team? Mostly how to reverse-engineer a data-set and create a spreadsheet that will show you what inputs will optimise the results. In other words I taught them not how to play the game, but how to play the meta-game. Examine the structure, the rules and values that constrain the other participants, and work out how to take advantage of them.

Good businesses already do this. Bad political parties do too.

All of which is a preamble for this clipping, which comes from Wikipedia’s entry on Aqua Regia via the admirable Mike Daisey:

When Germany invaded Denmark in World War II, the Hungarian chemist George de Hevesy dissolved the gold Nobel Prizes of Max von Laue and James Franck into aqua regia to prevent the Nazis from stealing them. He placed the resulting solution on a shelf in his laboratory at the Niels Bohr Institute. It was subsequently ignored by the Nazis who thought the jar—one of perhaps hundreds on the shelving—contained common chemicals. After the war, de Hevesy returned to find the solution undisturbed and precipitated the gold out of the acid. The gold was returned to the Royal Swedish Academy of Sciences and the Nobel Foundation who recast and presented the medals to Laue and Franck. 

Work out the system, then work within it to defeat it.

This is how you win games.

Scrofulous

Here, in three short Q&As, are what annoys me about the Scrabulous mess.

Q1. What is the difference between Scrabble and Scrabulous?
A1. The name has been slightly changed. That’s it. The rules are identical, in meaning if not in wording. The tile-distribution is identical. The board-design is identical, right down to the colours used for the special squares. Scrabulous is not a knock-off, a derivative design, an homage or an iterative improvement on an existing model: it is Scrabble.

Q2. Should Hasbro and/or Mattel have the right to close down Scrabulous?
A2. If you listen to the internet, no. People give many reasons, from half-understandings of trademark and copyright law, to the fact that Scrabulous is a better internet implementation of Scrabble than Hasbro and/or Mattel has so far produced. But almost nobody is saying that Hasbro/Mattel is in the right to do what they are doing. This includes a number of games designers for whose opinions I previously had some respect, and who seem to be treating the whole thing as an exercise in speculating whether it’s now safe to produce unauthorised supplements for D&D4e.

Q3. So what you’re saying is that my work as a game designer should have no protection at all? If I design a game, anyone can take it, produce an exact copy of it and make money from that—money reckoned at around $US25,000 a month in the case of Scrabulous—without acknowledging my existence? In other words my work should have none of the protection given to authors, journalists, artists, graphic designers, industrial designers, clothes designers, architects, photographers, film-makers, programmers, cartoonists, bloggers and anyone else involved in any area of design or creativity? I should have less protection and control of my work than Siegel and Schuster had over Superman, or Jack Kirby had over any of the characters that he created and that went on to make billions of dollars for Marvel Comics? I am lower on the creative food-chain than work-made-for-hire? Is that actually what you are saying? Oh how the internet howls when someone dares to steal a Flickr feed or a blog template, or a cartoon on a tee-shirt, or a couple of paragraphs of someone else’s text. But games? Games, it seems, are fair game.

Q4. Well?

Addendum: My wife, an avid Facebook user, just came into the bedroom where I am lying with what I think is tonsilitis though I’ve had no tonsils since I was five, and asked what I was writing. I gave her a rough outline of the Scrabulous affair. “Oh” she said. “I play Scrabulous. I thought it was by the people who make Scrabble.” Point to our side, I think.

n00b World Reorder, part 2

(This is a continuation of the essay started here and synopsised on video here.)

I note that my previous post has sparked some academic debate in certain circles relating to the validity of my research techniques and data. Therefore before we embark into a new area of discussion, I must address some of the comments addressed to my previous data. Specifically these relate to two areas: (1) is Azeroth, the World of Warcraft, spherical or flat? And (2) if it’s spherical, how can we accurately gauge how large a sphere it is?

To address point (2) first: there are two existing illustrations of Azeroth as a sphere: the globes that can be seen at various locations in the World of Warcraft, including in Dire Maul and Moonglade:

and the view of a planet assumed to be Azeroth that can be seen from Shadowmoon Valley in Outland:

...or is it?

Both give an equivalent view of Azeroth-as-sphere: the known continents occupy a roughly 180-degree arc of the surface, with the remaining area (in the Moonglade globe) filled with ocean and occasional small islands. That is the premise that underlay my initial observations and measurements.

But all this is moot. Other empirical evidence demonstrates clearly that the world of Azeroth is flat, the maps and globes are wrong, and the view from Shadowmoon Valley is an optical illusion. To illustrate this, here is a picture of a troll standing on a thin pathway that divides the Great Sea from the edge of the world. If the existing maps of the World of Warcraft are to be believed, this should be somewhere off the eastern coast of Dustswallow Marsh, between Kalimdor and the Eastern Kingdoms, and well south of the Maelstrom.

Since no sphere can have an edge with an apparently bottomless drop, this means the World of Warcraft is fucking flat, all right?

The pathway at the edge of the world shown above does not run around the entire perimeter of the world or even around Kalimdor, or we could have used the walking-measure described in part 1 to work out the size of the rectangle around the continent. But from visual observation, we have to report that Azeroth seems to exist on the end of a very tall pillar; possibly two or even three very tall pillars, one for each continent. In other words, please disregard pretty much everything I wrote in Part 1 because it’s balls.

We can make no firm statements about the length or breadth of the World of Warcraft, or its density, which leaves too many variables unknown to calculate the height of these pillars. We are not sure why the sea doesn’t fall through the side of the pillar, since it does not seem to be solid. We are also not sure what the bottom of the pillar is resting on, but it may well be a turtle. This is all so improbable that you should ignore the last three sentences of this paragraph, including this one.

However, we still have to accept that Azeroth (a) is flat, (b) is quite small, and (c) does not rotate relative to the stars around it. Point (d) is that its sun and moon behave in a manner that makes no gravitational sense. Azeroth has a single sun that rises in the north-west and sets some hours later, also in the north-west. Shadows cast by it point persistently south-east, though this does not seem to affect vegetation that grows in this perpetual shade. Azeroth also has a single moon, which also rises in the north-west and sets in the north-west. If it has phases and eclipses then none have been reported.

It is hard to explain this movement of Azeroth’s celestial bodies unless we assume that they are acting under the influence of gravity itself—rising above the horizon, reaching a zenith, and falling back below the horizon, where something reverses their momentum and propels them back upwards, once every day. Our personal theory is that beneath the level of the horizon is a very large giant juggling very slowly, but we have no hard evidence to support this.

(The cosmic physicist Doctor Myles Corcoran suggests that Azeroth could be an Alderson Disk, a large or infinite plane with holes of sufficient size through which the sun and moon oscillate back and forth endlessly. This implies two things: that at some point the plane of Azeroth, if such it is, loses its atmosphere and becomes frictionless vacuum; and the deity, intelligent designer(s), Old Gods, Titans or whatever other beings may have been involved in the creation of Azeroth are massive SF geeks. Frankly we prefer our theory with the giant.)

Despite the comparatively low surface gravity, it is clear that the atmosphere of Azeroth is much thicker than Earth’s. Without this density of gas the various giant insects and spiders would not be able to breathe, and the dragons, wyverns, hippogriffs, other large flying creatures and surprisingly small zeppelins would never get airborne, let alone carry large passengers. The ratio of gases in the atmosphere is unclear: the same flame that can set a massive stone creature or water elemental ablaze in an instant is unable to make the slightest impact on a tree, wooden building or field of dry grass. Ordinary fires will also burn underwater, which implies something very interesting but I’m not sure what.

The apparent density of the atmosphere also explains one of Azeroth’s more puzzling features: the fact that it is difficult to see clearly for more than a few hundred metres in any direction. While visibility over short distances is clear, large objects such as buildings and geographical features are either indistinct or completely invisible at distances of more than a few hundred metres. At closer range objects, mostly other living beings, come into sharper relief as the viewer approaches in a manner that suggests that either every inhabitant of Azeroth is strongly myopic, or there is something in the air that causes this effect. I will return to this subject in the third part of this paper, on the ecology of Azeroth.

Meanwhile my esteemed colleague Professor Sulka Haro of the University of Habbo has observed that the majority of the zones of Azeroth have no wind. In fact only one zone experiences wind, the desert region Tanaris, and that only sporadically, which may be due to factors other than climate. This must indicate, he hypothesises, that there is absolute thermic entropy in Azeroth. This is supported by the fact the lava one sees coming out of the volcanoes is so that characters can could safely walk on it (though this may be an artefact of the frictionless pads on their feet—see above). It may also go some way to explain how zones of intense volcanic activity can sit a few hundred metres from zones of perpetual snow without the former turning the latter to slush.

(Prof. Haro expands his thesis to cover insect life—”I haven’t seen any pollinators around, yet people are able to farm. The Azerothians crop must hence all be self-pollinating. But how is this, with no wind? Most baffling”—and the small animal life—“I’ve also come to the conclusion that the Azerothian rabbits are either herbivores that reproduce by seeds, or are parasites” but here we begin to impinge on the subject of the third part of this paper, the ecology of Azeroth, and we should hold back to let your minds digest the meat of this instalment, in much the way that the stomachs of WoW’s wildlife don’t.)

I am disappointed at the small number of essays I have received so far. More application and less fieldwork, class!

(Part 3 of the ‘n00b World Reorder’ series is now online here.)

Munchausen, Dragon Warriors have a flaming future

Magnum Opus Press is proud to announce that it has signed contracts with Mongoose Publishing Ltd to release new editions of the renowned classic RPGs Dragon Warriors and The Extraordinary Adventures of Baron Munchaunsen, as well as other properties to be announced in the future. The games will be released under Mongoose’s Flaming Cobra imprint, which is already home to hits such as Cthulhutech and Spycraft 2.0.

Full announcement here.

(For those wondering what this has to do with the relative density of Azeroth, I run Magnum Opus Press.)

Current fun

In certain circles there’s been a lot of excitement about the Current Cost, a meter that clamps to your mains electricity cable and measures how much power your household is using, comparing usage over time with numbers and little graphs. Evidence shows that having a device like this can save you 15% on your electricity bills. Plus it’s, you know, data.

What sets the Current Cost apart from its competition is the fact that on its underside is what looks like an RJ-45 port. This is entirely undocumented—neither the manual nor the website acknowledge that it exists—but geeks being geeks, there has been a flurry of enthusiasm and people bodging together cables to get the data off the machine and onto PCs and the web.

There’s no official software for this. We know the device spits out an XML packet every six seconds, and people have been grabbing that and feeding it into Google Charts or homebrew solutions. The Current Cost website gives a demo of an interesting-looking app which is apparently under development but not released yet. And it’s only a matter of time before people start aggregating their data using a service like AMEE, and then things get interesting.

The chief stumbling block till now has been the lack of a cable to physically get data from CC to PC. People have created their own—apparently it’s TTL to RS232,3.3V, running at 2400 baud—but I bring the glad tidings that you can put down your crimpers and Maplin catalogue because Current Cost sell data-cables to those in the know. Send a cheque or purchase order for £11.12 per cable (£7.95 + VAT and shipping) to:
Current Cost Ltd (attn: Steve Allen)
1 The Mews
Wharf Street
Godalming
Surrey GU7 1NN

And in the UK you can buy Current Cost from here, £28 plus shipping.

Not strictly games-related business, I know, but if we can turn data-gathering of this kind into a game-like behaviour, with status rewards for greatest improvement and so on, then energy-conscious behaviour ceases being a worthy chore and becomes something that you want to do. People used to game Last FM in the early days when it was still Audioscrobbler, running multiple simultaneous iterations of Winamp and iTunes to push their ‘tracks played’ total higher than anyone else’s, just to have the biggest number on the site. Pointless but fun.

If you engineer the same behaviour but use it to gather data that has a purpose, does it make it any less fun?

All That Glitters…

This curious package arrived this morning. I’ve had to keep the gold bar away from my daughter, who wants to chew it. I suspect it’s mostly lead.

Package of goodies presumably seeding an ARG

Letter in German

It’s a packet of seeds for an ARG, obviously, and by blogging about it I am doing exactly what the seeders want. Best of luck to them. I wish I could tell you more about it but I don’t speak German. But the fact that I’m now considered worthy of receiving seed-packets like this illustrates one of the things that’s been worrying me about ARGs for a while: how do you publicise them?

The central tenet of ARGs is TINAG: This Is Not A Game. As far as the characters in the game-narrative are concerned, what is happening is real, and parts of the gameplay will intrude into the real world. The people behind the game won’t do anything to break the illusion of reality, and the players are supposed to go along with the charade, or otherwise the whole thing falls apart. Pay no attention to the puppetmaster behind the curtain and all that. But how do you tell people that a new game is starting when admitting it’s a game undermines it?

The traditional route for seeding an ARG is to tip off the forum-masters at ARGnet and Unfiction, and send packets like this one out to journalists, prominent bloggers and movers-and-shakers. That can backfire spectacularly if you misjudge it: if the Crysis package described in the link was in fact an ARG seed, and if you assume that ARGs spawn communities and wikis online as a natural function of their being, then a few Google and ARGnet searches seem to indicate that literally nobody played the game.

And if you’ve got the budget or access, you also conceal the first clue or URL in something prominent like a cinema poster or trailer. But that method relies on enough people spontaneously finding the clue and being intrigued enough to follow it, and spawn the news of its existence. That was fine back in 2001 when these things were rare, but these days ARGs have become a standard part of a marketing strategy. I moved into new office space two weeks ago, and one of my neighbours immediately wanted to talk to me about putting an ARG together for an indie movie some friends of his are making. A week later the film company two floors down launched an ARG of its own. And it’s an open secret that I’m on an ARG project myself right now. That’s three ARGs coming out of one building—and while it may be in Soho, it’s not a very big building.

I describe the audience for traditional ARGs as following a gobstopper model. At the centre you’ve got a very small, very intense seed of players who propel the gameplay and crack the puzzles, and around them you have layers and layers of people following the progress of the ARG, reading the updates, staying in touch with the story and occasionally posting to the discussion boards, each layer progressively larger and progressively more distant from the centre.

The thing is, without that central seed an ARG will never develop a following, and will wither on the vine. These people don’t just drive the story forward, they’re also the game’s evangelists and the community-founders and leaders for the less-involved ARG players. But the number of people who can devote the time and commitment to being part of that seed is small, and finding new ones is hard. And the number of ARGs competing for their intention is increasing daily.

This is the big problem I have with the state-of-the-art in ARGs: it doesn’t scale for density. The more ARGs there are, the less successful each of them will be. There is a limit to the number of ARGs that one can play or follow at the same time. Even with the low-investment ARG-alikes such as Lonelygirl and Kate Modern, where the majority of players’ involvement doesn’t go beyond watching a few minutes of video a day, there’s only so many that people will want to follow. And then there’s the Jamie Kane model, where all the players have the same experience and the community aspects are limited, and the indicators are that simply doesn’t attract an audience.

ARGs are conventional now. People are used to looking at videos on Youtube or blog-posts claiming extraordinary things and not taking them at face value, looking for the concealed information. The attraction of a hidden clue that promises access to a secret world that brushes the edge of reality is no longer unique, or even special. The alternative is to spend a bunch of money promoting something that is almost certainly intended to promote something else, which may be fun but doesn’t make much marketing sense.

So if ARGs are a gobstopper, how do you sugar-coat yours to attract the necessary players to form a community? If it doesn’t work, do you then fake the community with stooges and falsified metrics, and hope that the story develops a self-sustaining momentum at some point? Or do you work out a way of generating the good points of an ARGlike experience—community, evangelists, strong narrative, interactivity, months of gameplay, variable levels of commitment, and TINAG—while dropping all the bad points? In short, is there a better model?

Buy me lunch and we’ll talk.

Oh, and if any of you speak German…?