Wednesday, 30 May 2018

Why Make a Game About Shredding Books?

The Book Ritual, which I blogged about a couple of months ago, is starting to take shape. Since the preview video I’ve made some fairly major changes, and have been getting feedback from the first sets of players. I took it to A MAZE Berlin to show as part of the Open Screens, where a lot of paper was shredded! At the time of writing I’m on my way to Feral Vector for its second public outing.

I’ve also been showing it to a handful of developers and friends to get their feedback. Over time I’ll be expanding this handful to get more feedback from more people, and eventually releasing it to the public. Watch this space!

Me after a 3-hour demo at A MAZE, with a papery souvenir of players' experiences!

What is the Book Ritual?

The Book Ritual is an interactive art-piece played using a real-world book of your own choice. As an installation it’s played with a real-world shredder connected to the computer, but this is optional and the piece can be played at home without one.

The book is talking to you from the screen and wants to learn about you, getting you to do creativity exercises inside its pages. To keep on talking to it, however, you need to tear pages out and put them through a shredder. As your connection to the book grows it reveals more about who it is and why it wants to understand you.

The story is about dealing with loss and accepting change. It is about coming to terms with decisions that can’t be undone, and the souvenirs which will lose their meaning to time. It’s about guilt and regret. My hope is that the book can a prompt to get people to think about why they value what they do, using a tangible book as a way for people to act out these feelings in a physical way.

Tuesday, 3 April 2018

The Book Ritual

So this is one of the things I’ve been working on recently! The Book Ritual is a story told using a physical book, in the real world. The player is given writing and drawing tasks that get them to interact with the book in different ways. They write in it, draw maps, and tell it about their thoughts and feelings.

The player also needs to tear out pages, and shred them, to progress.

It’s very much more of an interactive art piece than a game in the traditional sense, and talks about ideas of accepting loss and change.

Having worked with physical games and props for so long I’ve felt that the emotional weight we apply to physical objects is ripe for exploration. People don’t want to shred books. Why is that?

Thursday, 28 December 2017

The Incredible Playable Show: Everything Learned from the First Year

My 2017 was all about The Incredible Playable Show, and what a year it’s been. I’ve performed it in Sweden, Belgium, and Germany, and it went on to win the Jury Choice Award at IndieCade in Los Angeles.

It’s been incredibly rewarding, and I'm very proud of the reception it's had. I've loved creating and performing the show, so seeing audiences respond so well with it fills me with joy. In a lot of ways it's a culmination of the ideas I've been exploring throughout my career so far, and one of my favourite things I've made.

I wanted to wrap up the year by writing down the lessons I’ve learned along the way. This is a very long article, cut down from a leviathan first draft, so bring a coffee or read it in parts, and thanks very much for taking an interest!

For context, here’s the trailer shot at the Bristol Improv Theatre, in December 2016.

If there’s one major lesson I’ve found in the show it’s to be unafraid of things breaking. Often the lessons came out of changing part of the show on a whim, or to figure out why part of it wasn’t working - and understanding why the changed worked only came from comparing all the attempts that led up to it. None of the lessons learned came because I got things right first time.

But before getting onto that, let’s start with the most important question:

Monday, 20 November 2017

Nintendo Hard

When developing games for the NES, Nintendo designers used to have a concept of Nintendo Hard. Most kids didn’t have a lot of pocket money and games were expensive in the Eighties, so Nintendo wanted to ensure their games stood out as good value for money that provided a lot of play-time. To do this, they didn’t just make games hard; they made them Nintendo Hard. They’d do the normal three difficulty levels - Easy, Medium, Hard - and then they’d make a fourth difficulty called Nintendo Hard which was too hard for the developers to beat. Then they’d just shift everything down a space in the menu. So Easy would actually be Medium, Medium would actually be Hard, and Hard would actually be Nintendo Hard. So was the genius of Nintendo.

The above story is absolute rubbish.

There’s a thousand reasons why it makes no sense. Indeed, one of the things that makes Nintendo’s first party games stand out from other games from the same era is how intuitive, accessible and forgiving they are.

But it was told to me in a pub by a drunk guy who was very insistent and I think he liked the idea that he was imparting valuable knowledge to a so-called professional game developer. Who am I to take that joy away from him?

Thus, this is an article about what it really means to be Nintendo Hard.

Monday, 13 November 2017

Winner: IndieCade 2017 Jury Choice Award

The past few months have certainly been busy! I flew to Japan to show Codex Bash at Tokyo Game Show, followed by a trip to IndieCade in Los Angeles to perform The Incredible Playable Show, and then after a couple of weeks off I was in the air again, on my way to Hamburg to perform at Play17.

The big big news is that The Incredible Playable Show was awarded the Jury Choice Award at IndieCade 2017!

The Jury Choice Award is eligible by all games chosen for the Official Selection, and is voted on by the judges, jury and production team of the festival.

The Incredible Playable Show was part of the Night Games selection, exhibited on the second night of the festival. I was allocated the main lecture theatre to perform in, and a window of four hours. Having flown over 5000 miles to be there I thought I should make the most of it, and did three one-hour shows. I'm glad I did, as the audience were really up for it, loads of people came to see it and honestly the show was the wildest and funniest it has ever been.

In fact, I was so buzzed from performing that I only slept two hours the following night!

It really is an honour to receive the award and I'm so happy that the team at IndieCade were so impressed by it. The Incredible Playable Show is something that I have worked very hard on - it's brought together everything I've learned from all the previous games I've made, but has also challenged me to learn performance skills and fearlessness. It's a piece of work I'm very proud of and so to know that people have been so entertained by it means that that work has paid off.

Photo from @seraphki on Twitter 
I'd like to send a massive thank you to the IndieCade team for the award, and also to all the staff and stewards, the sound desk operators and the Japanese American National Museum for the fantastic venue - my work can often be complicated to set up and run, so having so many helpful people behind you helping accommodate it makes a massive difference!

I'd also like to send a massive thank you to everyone in the audience who came along, who joined in the games, who made lots of noise, who told their friends about it, and who simply enjoyed the show. Having an audience who is excited to get stuck in is what makes the show work, and so I really do mean it when I say you made it a success.

Monday, 11 September 2017

Tokyo, Los Angeles, Bath, Hamburg!

Lots of exciting announcements, and a very busy end of the year ahead for this game developer!


This Thursday I'll be jetting my way to Japan for Tokyo Games Show. Codex Bash has been selected for the Indie Game Area and will be playable at booth A36 from 21 - 24 September.

Los Angeles

Then in October I'll be making my return to IndieCade in Los Angeles, where The Incredible Playable Show is an Official Selection. I'll be performing as part of the Night Games event on Saturday 7 October. I'll also be giving a talk about the creation of the show at 12 noon on Sunday 8 October.


Closer to home, I'll be performing The Incredible Playable Show in Bath as part of Bath Digital Festival, at 7pm on Tuesday 17 October. Entry is free with a festival ticket, which can be purchased here.


Finally, November sees me returning to PLAY Festival in Hamburg, where I'll be running The Incredible Playable Show from 2 - 4 November, in Markethalle Hamburg. I'll also be performing a special surprise skit at the opening party, for audience members who like to give their vocal cords a good workout!

Tuesday, 25 July 2017

Codex Bash Selected for Out Of Index 2017

More exciting news! Codex Bash has been chosen for the Out Of Index 2017 Official Selection in Seoul, South Korea.

Out Of Index is an annual festival of experimental independent games, with a mission statement of exposing unusual and surprising works and making them visible and available to a wider audience. 98 games were submitted to the selection from a grand total of 22 countries, of which 12 made the final shortlist.

The exhibition will be this Saturday 29 July, and it marks the furthest Codex Bash has travelled from its birthplace in Bristol - narrowly beating Los Angeles by a mere 200 miles!

The developer presentariona can be live-streamed at 9am BST on the Out Of Index Twitch channel

Friday, 7 July 2017

Breaking Sonic 2: The Marathon

Earlier in the year I gathered together some friends to try to beat as much of Sonic the Hedgehog 2 (1992, Sega Mega Drive) as we could using some of my hardware and software hacks. We didn't get very far, but it was a lot of fun!

Four players, one controller

First off we tried using the Mega Cooperator - a four button co-operative controller where each player controls one of the Mega Drive's buttons. The buttons change what they do every thirty seconds and the only way to find out what they do is to press them!

Part 1: Emerald Hill Zone
Part 2: Chemical Plant Zone
Part 3: Aquatic Ruin Zone
Part 4: Casino Night Zone

I love way the kit forces everyone to communicate with each other. You need to listen as well as speak, wait as well as act, and unlike Codex Bash - my codebreaking installation which I adapted the hardware from - you have to act in tandem.

Jumping between moving platforms, for example, requires a lot of attention to what the other player is doing. Are they running fast? Are they tapering their speed?

When the game breaks as you play

Then we tried to do the same with the self-glitching emulator I made. I set up a script in the emulator to glitch random bytes of level data every time Sonic collected a ring.

We skipped around levels this time to see what other effects could come up.

I love the way this setup forces you to play the game differently. You play to avoid rings rather than collect rings, and sometimes you have to abuse the way the game's physics work to launch yourself over level geometry that was never meant to be there.

Wednesday, 28 June 2017

Homunculus - Lyst Summit 2017

Earlier in the month I was at Lyst Summit in Copenhagen. While I was there I worked on a playful performance called Being There, which I’ve talked about in an earlier blog post.

At the same time, this happened…

I say “happened,” because unlike the other games made during the weekend, Homunculus emerged practically fully-formed.

The rules of Homunculus are simple. A participant dons a morphsuit and becomes the homunculus. The player closes their eyes, while a volunteer chooses a “pleasure point” on the homunculus - a hand or an elbow, for example, or an ear. All other parts of the homunculus’ body are “pain points.” I call this “programming” the homunculus.

The player opens their eyes, and must find the pleasure point by touching bits of the homunculus’ body. The homunculus must, through physical movement alone, convey whether the point they have touched is a pleasure point or a pain point.

As you can hopefully see from the video the experience is both awkward and hilarious! Witness, for example, Sabine Harrer (PhD student and member of Copenhagen Game Collective) in stitches watching a player grope around for a pleasure point on a homunculus’ belly.

Wednesday, 21 June 2017

Being There: An Interactive Performance for Lyst Summit

A couple of weekends ago I flew to Copenhagen to take part in Lyst Summit, a symposium and game jam about love, sex and romance in video games. During the event roughly forty creatives from disciplines inside and outside games collaborated to make experimental games and playful experiences.

I teamed up with Maya Magnat, a performance artist from Tel Aviv, and Anders Børup, a sound designer from Copenhagen, to create Being There - an audio-led role-play for two people.

About Being There

Being There is played by two participants, who each take a headset loaded with an audio track. The two participants start the audio at the same time, and have to follow the actions described to them by the audio. The two tracks start similar, but over time the perspective offered by the two narrators changes. One participant’s view of the events will become increasingly different to the other’s.

The story that participants act out is the story of a relationship from first date to break-up.

If you want to try the prototype version we made during Lyst, the mp3 files are below for you to download and try out. And below them, a bit of an explanation and discussion of the process, if you don’t mind the magic being spoiled!

You will need to hug, hold hands, and have your phone on you to take a photo with.

Download: Participant A
Download: Participant B

The voices are provided by myself, and by writer Jordan Erica Webber.