The inkle blog
We dig into its clever real-time, multi-character conversation system, and talk about how it plays and (maybe) how it works, before our own conversation branches into dialogue systems in general. Take a listen and see what we thought, spoiler-free.
In this week's inklecast we get lost in an intractable problem of all creative work: what to call your game once you've finally made it.
Is it possible to sum up potentially years' of work in two to three words? Or should you just put two other words together to make a new one? Have a listen to the inklecast, and find out.
Meanwhile, if you'd like to see a little Sorcery! in action, including some good commentated demonstration of the combat, we've been enjoying SplatterCatGaming's Let's Play series.
To celebrate, we've recorded a special episode of the inklecast talking about how the game. We cover how the game came to be, how we developed it and how it changed along the way.
Welcome to the inklecast, bite-sized snippets of game design. This week: how do choices help you roleplay, and are Bioware games just a quiz with the answers already pencilled in?
This one's gone up a day early, as cast-master Tom is at the Global Game Jam in Oslo tomorrow.
And with next week seeing the release of Sorcery! for Steam, so we're considering a Sorcery! special. Let us know in the comments or via Twitter if you have questions. (But, please, no "how do you visit the Gardens of Briar"?)
Welcome to the inklecast, episode two! This week's bite-sized chat is about choices - are they worth it, or are "analogue" controls in a game always better?
We teased this a few days ago, and now it's ready to go live - the first episode of the Inklecast is up! (And on iTunes!)
We've been meaning to do this for ages - at least, since Tom Kail joined the company and insisted that we should. The idea is simple - we get around a table, talk about interactive fiction, narrative games, game design or whatever else comes along, then cut out the best bits and put it up in bite-sized chunks.
For our first episode, we're talking about games that encourage players to rebel against the rules. Enjoy - and let us know what you think!
And here's an RSS-feed for those of you who like such things.
With writing on Sorcery! 4 now at fever-pitch, we took a little time out to talk to Rock, Paper, Shotgun about Sorcery!'s past and present. A few minor spoilers for Sorcery! 2 here and none for Sorcery! 4, but if you're interested to hear a little about the history of the project and how we go about designing it, this might be an interesting read.
As designers, we’re incredibly restless. We like trying new ideas, and in a way Sorcery has turned into our prototype testing pot for new concepts. As soon as we realised that Steve and the fans are happy for us to take it to new places, it’s been really fun to build on things.
The full article is here.
In other Sorcery! news, we've just had the final mix of Sorcery! 4's theme music from the composer and it's... jaw-dropping.
With Sorcery! 4 well underway, we're looking ahead to our next big project. After four years of adapting books - interactive and otherwise - into great, interactive reading experiences, we're looking to expand outwards a little.
A new game is a precious, fragile thing: this game doesn't have a name, and any mechanics and systems it might contain could be flung away at a moment's notice if a better idea comes along. 80 Days went through ten or so major iterations before reaching its final combination of cities, journeys, trading, health and conversations.
The Pillars of the Game
But there a few things we're certain of - the pillars of the game, around which we hope to build our temple.
It's going to be made in Unity. After so long making iOS-first games, this is quite a change for us, but we want to be releasing our games across as many platforms as we can.
It's going to use a next-generation version of our ink writing engine. We'll talk a bit more about this in the coming months, but ink2 takes all the best parts about ink1 and adds more flexibility and power.
It's going to use dialogue. A lot of dialogue. In every game we've made, we've found dialogue is what works the best - so much so, that we told 80 Days entirely through one character's voice.
It's about a partnership. Two characters are better than one, especially if your game is about dialogue! We discovered this the moment Jann the Minimite first appeared back in Sorcery!, and the combination of Passepartout and Fogg is at the heart of 80 Days.
It's going to be beautiful.
It's going to take you somewhere you have never been before. For the first time, we aren't adapting anything, but starting from scratch. That's exciting, but also terrifying - what if people don't like the world we've created?
That's what we know for certain so far. Discovering the rest of the game is like caving - exploring dark passages, retreating from dead-ends, and occasionally holding one's breath to swim through a flooded, darkened chamber in the hope of coming up on the other side...
We'll tell you more, once we get there.