2017 was . . . an interesting year. Aside from the dumpster fire, I went from four years of reliable, steady work to juggling chainsaws.
Don't misunderstand me. Before Torment, I had no work at all, and our enormous family was slowly hemorrhaging money. Torment was literally (in the literal definition of literally) a Godsend, and although freelancing has been bumpy as hell this year, the connections I've made in the last five years are the only thing that has made any of it possible.
So! Looking back at 2017:
1) Torment was released. Not unlike the first one, sales have been unimpressive (so I hear; it's not like I see any financial reports), but the critics love it as do most of the people who have played it.
If history is any indicator, we can expect its successor to be the next crowd-funded success in another fifteen years.
2) I worked for Nexon . . . and now I don't. I realize now I didn't talk about this much on the blog, but yeah, I was doing game writing (and a little design) for a prototype for Nexon which the high-ups ultimately passed on. They not only passed on the prototype, but also the whole team, which unfortunately included me. But hey, I got paid for several months and had time to write on the side, so I ain't complaining.
3) I became a professional editor. I have begun editing for both private clients as well as the online editing firm Scribendi. The combination of these has made for steady work (private clients aren't always there, but they pay great and are super fun; Scribendi is always there).
When I started, I was somewhat hesitant about my editing abilities. I knew I had great attention to detail and a lot of experience with plotting and world-building, but I felt like there was a lot I didn't know about the editing world. Now, thanks in part to Scribendi's training courses, I super know what I'm doing. I edit. I'm an editor. And I love it.
4) I started streaming. Thanks to the magic of the internet, I've been able to play games I've been meaning to play, hang out with my family, and meet other gamers all at the same time. Streaming is a lot of fun, and I expect to keep doing it for a while. (I wish I could do it more, but making money on streaming is a lot more work than advertised.) If you'd like to join us, I stream most Sundays here or you can catch up on previous streams here.
As wacky as this year has been, I'm pretty happy with the state of my life. Torment was fun and amazing and I regret almost none of it, but I also essentially ignored my family for four years with a single credit to show for it. As a result, I learned important things about freelancing that have resulted in me making more money (or "enough" money, which really is better) with less time.
With that, here's a quick look at what 2018 might look like:
It starts with a lot of work. Like too much. But it's all awesome work, and some of it might lead to more work, and most importantly it means I don't have to worry about money for a while, which is always nice.
Cunning Folk. I've been talking with publishing folks about a book that long-time readers will recognize. I recently read my first draft and . . . yeah, I definitely wrote it a long time ago. There's a lot of dust to blow off it, and a lot of pieces that need a writer more experienced than past-Adam was, but there's also a definite possibility to publish some version of this book. I'm looking forward to that.
Blogging. Perceptive readers will notice that I've posted regularly for six weeks in a row now. Will this return to the glory days continue? Stay tuned to find out!
Streaming with my parents. My parents come to visit us a few weeks every year. This year, I'm going to see about introducing them (and myself) to a little game called Portal, and you can watch the fun.
Sea of Souls? The outline's on the editor's desk. We'll see.
Post-Apoc Ninjas? Also on editors' desks, but keep in mind it's been there for a while.
Gamebook? There are some unknowns here, so I can't say much about it. More news when there is news. (But, man, is it fun to write!)
So how are you all? Highlights from 2017? What are you looking forward to in 2018?
A Look at 2017 and the Alleged 2018
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January 01, 2018
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Freelancing (and Mini Work Update)
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December 25, 2017
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Based on a true story. (And my apologies to Alex Norris whose schtick I have borrowed.)
If all goes according to plan, I will have a novel, two novellas, and a large RPG rulebook to edit, plus I may have a new part-time game design gig. I realize this is a good problem to have, but I'm looking at where I'm going to fit everything in the next 2–3 months.
I can fit everything. It's just a question of how much my unpaid projects suffer—I suspect quite a lot.
Also, this is exactly the time of year my parents are coming to visit.
Oh no.
I'm grateful though, for real. Among other things, I feel less guilty about taking a week off for the holidays. It's been a long time since I've taken a guilt-free vacation. I'd almost forgotten that was a thing people did.
So! How are your holidays going?
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Games I Loved in 2017
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December 18, 2017
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Here are a few games I absolutely loved this year. You should check them out.
As with previous posts in this vein, these are just games I played in 2017. I don't have enough time or money to decide the best games published this year. Also note that this list is intentionally skewed toward games you might not have heard of. Mostly.
MAGES OF MYSTRALIA
A Zelda-like action adventure where you play a young mage living in a kingdom where magic has been outlawed. The art style is sweet, and the world and story are lovely (created by Ed Greenwood of Forgotten Realms fame), but what really makes this game awesome is the core mechanic of programming your own spells with the rune system.
I mean, it's not full programming, and there are definitely some runes that are more gimmicky than useful, but there's a lot of depth and exploration to the system, and I never got tired of playing around with it.
OVERCOOKED
A fast-paced couch co-op in which you and up to three friends try to serve up as many orders as possible. This game is no good single-player, but it's one of the most fun and chaotic party games I've ever played.
My only complaint is that managing a kitchen full of my own children is indistinguishable from managing them in real life.
ABZU
This is what the kids call a walking simulator (swimming simulator, actually). You start the game floating off the shore of a coral reef, uncertain who you are or why you're there. As you swim through the game's levels, you begin to learn about the civilization that fell and your part in it.
There's not a lot of game here other than exploration, but everything about it is gorgeous: the graphics, the world, the visual storytelling, the music. If you play games as a break, and Overcooked sounds stressful, then try Abzu for a super-relaxing, wonderful time.
MR. SHIFTY
A fast beat-em-up game in which you play a teleporting thief—basically Nightcrawler without the blue skin. You are infiltrating a high security corporate tower that very quickly becomes alerted to your presence. You have no tools except for super strength and the ability to teleport a few feet at a time.
This is one of the most fun, visceral games I've played in a long time. Everything about the game feels awesome, from taking out ten armed men in two seconds to Mr. Shifty's cool, slow walk as he leaves a scene. Even the elevator music between levels somehow serves to make you feel more like a badass.
THE WITNESS
This is the most engrossing, challenging, and satisfying puzzle game I've played since Myst—better than Myst, really. You start the game in a dark tunnel beneath a mysterious island, and for a long time that's literally all the information you get about what's going on. The game teaches you nothing directly, asking you to figure everything out on your own a piece at a time. I spent over 50 hours on this island ferreting out every secret I could, and I enjoyed every minute of it.
Warning: This is not a story game. The Witness is very much about the journey, not the destination. As a direct consequence, you don't want to use a walkthrough on it; you will only disappoint yourself.
So what did you play this year? Anything I just have to try?
As with previous posts in this vein, these are just games I played in 2017. I don't have enough time or money to decide the best games published this year. Also note that this list is intentionally skewed toward games you might not have heard of. Mostly.
MAGES OF MYSTRALIA
A Zelda-like action adventure where you play a young mage living in a kingdom where magic has been outlawed. The art style is sweet, and the world and story are lovely (created by Ed Greenwood of Forgotten Realms fame), but what really makes this game awesome is the core mechanic of programming your own spells with the rune system.I mean, it's not full programming, and there are definitely some runes that are more gimmicky than useful, but there's a lot of depth and exploration to the system, and I never got tired of playing around with it.
OVERCOOKED
A fast-paced couch co-op in which you and up to three friends try to serve up as many orders as possible. This game is no good single-player, but it's one of the most fun and chaotic party games I've ever played.My only complaint is that managing a kitchen full of my own children is indistinguishable from managing them in real life.
ABZU
This is what the kids call a walking simulator (swimming simulator, actually). You start the game floating off the shore of a coral reef, uncertain who you are or why you're there. As you swim through the game's levels, you begin to learn about the civilization that fell and your part in it.There's not a lot of game here other than exploration, but everything about it is gorgeous: the graphics, the world, the visual storytelling, the music. If you play games as a break, and Overcooked sounds stressful, then try Abzu for a super-relaxing, wonderful time.
MR. SHIFTY
A fast beat-em-up game in which you play a teleporting thief—basically Nightcrawler without the blue skin. You are infiltrating a high security corporate tower that very quickly becomes alerted to your presence. You have no tools except for super strength and the ability to teleport a few feet at a time.This is one of the most fun, visceral games I've played in a long time. Everything about the game feels awesome, from taking out ten armed men in two seconds to Mr. Shifty's cool, slow walk as he leaves a scene. Even the elevator music between levels somehow serves to make you feel more like a badass.
THE WITNESS
This is the most engrossing, challenging, and satisfying puzzle game I've played since Myst—better than Myst, really. You start the game in a dark tunnel beneath a mysterious island, and for a long time that's literally all the information you get about what's going on. The game teaches you nothing directly, asking you to figure everything out on your own a piece at a time. I spent over 50 hours on this island ferreting out every secret I could, and I enjoyed every minute of it.Warning: This is not a story game. The Witness is very much about the journey, not the destination. As a direct consequence, you don't want to use a walkthrough on it; you will only disappoint yourself.
So what did you play this year? Anything I just have to try?
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Difficulty Curves and Mega Man
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December 11, 2017
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Those of you who have been following me on Facebook or Twitter might know that I've been making my way through the Mega Man Legacy Collections.
These games are not easy, and it's made me think about game difficulty curves and why I like Mega Man so much, despite the fact that Mega Man's difficulty curve is super weird.
Before this is going to make any sense, we need to talk about what a difficulty curve is. The standard curve looks like this:
Here's how it works. A game starts out super easy, allowing the player to learn the controls and rules. It gradually gets harder until the first checkpoint, like a boss or increasingly strong monsters before a new experience level. When the player has overcome this obstacle, the game is a little easier for a time while the player learns the rules of the next level or their new abilities. This rise-and-fall continues, growing gradually more difficult overall, until the player reaches the final, most difficult boss/puzzle/whatever and wins the game.
This curve provides a balance between too easy and too hard, giving the player a healthy mix of facing difficult challenges and feeling super awesome about themselves. As such, this difficulty curve is used in most modern games.
Mega Man's weird, though.
Every Mega Man game follows the same basic formula. The player is initially faced with a set of bosses that can be defeated in any order. Upon defeating each boss, the player gains a new weapon, and over time they discover that each boss is weak to a specific weapon of another boss.
After the initial set of bosses, the player must make their way through Dr. Wily's (or sometimes a different Dr.'s) castle. The castle levels are designed knowing that the player has access to every special weapon, meaning the player will be called upon to use most weapons at some point. At the end, the player faces the initial bosses again, all at once, before facing a final boss (spoiler: it's always Dr. Wily).
This means every Mega Man game is difficult from the start, when the player has no special weapons, and gets gradually easier as they defeat each boss. The easiest time in the game is the final boss before the castle, when the player has nearly all the special weapons and can deduce which will defeat the boss. Then the castle levels get increasingly difficult again, leading up to Dr. Wily.
Mega Man is one of the most popular game franchises in history, spawning over 50 games and selling over thirty million copies worldwide. But the originals were freaking hard! My son sat down to play Mega Man 1 for the first time and got his butt kicked. He has yet to beat a single boss.
Why the heck does this work? Because Mega Man knew exactly where it fit in the gaming world. Not only was the original released in a time when difficult video games were the norm, but look at Mega Man's difficulty curve when we put it up against the normal one:
Mega Man's difficulty curve does not exist in isolation. For people new to the run-and-gun genre, Mega Man was rough, but for people who had played games like Contra, Rush'n Attack, Castlevania, and Metroid, Mega Man was just a different point in a curve they were already familiar with.
I suspect this is why ridiculously difficult games like Dark Souls and Cuphead are as popular as they are, too. They aren't targeting the casual gamer; they're targeting people who have traversed the curve so many times that they don't mind jumping ahead to the hard bit (plus bragging rights are pretty cool, too).
Thoughts on this? Reminiscences about how awesome Mega Man was? What other games have weird difficulty curves? To the comments!
When you think all the fictional names you come up with are crap, remember there is a character in Mega Man named Bombombomb. pic.twitter.com/0W6qAyvkna— Adam Heine (@adamheine) October 20, 2017
These games are not easy, and it's made me think about game difficulty curves and why I like Mega Man so much, despite the fact that Mega Man's difficulty curve is super weird.
Before this is going to make any sense, we need to talk about what a difficulty curve is. The standard curve looks like this:
Here's how it works. A game starts out super easy, allowing the player to learn the controls and rules. It gradually gets harder until the first checkpoint, like a boss or increasingly strong monsters before a new experience level. When the player has overcome this obstacle, the game is a little easier for a time while the player learns the rules of the next level or their new abilities. This rise-and-fall continues, growing gradually more difficult overall, until the player reaches the final, most difficult boss/puzzle/whatever and wins the game.
This curve provides a balance between too easy and too hard, giving the player a healthy mix of facing difficult challenges and feeling super awesome about themselves. As such, this difficulty curve is used in most modern games.
Mega Man's weird, though.
Every Mega Man game follows the same basic formula. The player is initially faced with a set of bosses that can be defeated in any order. Upon defeating each boss, the player gains a new weapon, and over time they discover that each boss is weak to a specific weapon of another boss.
After the initial set of bosses, the player must make their way through Dr. Wily's (or sometimes a different Dr.'s) castle. The castle levels are designed knowing that the player has access to every special weapon, meaning the player will be called upon to use most weapons at some point. At the end, the player faces the initial bosses again, all at once, before facing a final boss (spoiler: it's always Dr. Wily).
This means every Mega Man game is difficult from the start, when the player has no special weapons, and gets gradually easier as they defeat each boss. The easiest time in the game is the final boss before the castle, when the player has nearly all the special weapons and can deduce which will defeat the boss. Then the castle levels get increasingly difficult again, leading up to Dr. Wily.
Mega Man is one of the most popular game franchises in history, spawning over 50 games and selling over thirty million copies worldwide. But the originals were freaking hard! My son sat down to play Mega Man 1 for the first time and got his butt kicked. He has yet to beat a single boss.
Why the heck does this work? Because Mega Man knew exactly where it fit in the gaming world. Not only was the original released in a time when difficult video games were the norm, but look at Mega Man's difficulty curve when we put it up against the normal one:
Mega Man's difficulty curve does not exist in isolation. For people new to the run-and-gun genre, Mega Man was rough, but for people who had played games like Contra, Rush'n Attack, Castlevania, and Metroid, Mega Man was just a different point in a curve they were already familiar with.
I suspect this is why ridiculously difficult games like Dark Souls and Cuphead are as popular as they are, too. They aren't targeting the casual gamer; they're targeting people who have traversed the curve so many times that they don't mind jumping ahead to the hard bit (plus bragging rights are pretty cool, too).
Thoughts on this? Reminiscences about how awesome Mega Man was? What other games have weird difficulty curves? To the comments!
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Success You Can Control
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December 04, 2017
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When we start writing, a lot of us do it, at least in part, to be "successful" (maybe just me, but I'll assume a lot of us because it makes me feel better). By successful, I mean like famous, best-selling, award-winning, rich, amazing whatever. And we know, we KNOW we can't control it, but it so feels like we can. Shoot, I've been writing professionally for almost a decade and have been rejected more times than the 45th US president has lied on record, and I still feel like I can control it.
(Sad that this had to get political? Me too, man. *heavy sigh* Me too.)
It's not just writing either. This is true in basically every creative industry and probably a fair number of non-creative ones as well. But what do you do when success doesn't come? Like, for years and years and years and . . . nothing?
There are lots of ways to deal with it, but I think they all boil down to these two: either give up or redefine success.
Now, when I say "redefine success," I don't mean give up on your big goal-dream of making it big; that's just giving up. I mean redefine your goals to be something in your control so that you're not just pulling yourself out of bed each morning, but rather you're jumping out of bed because you have another successful day ahead of you.
This is what I've been doing lately. I've still got big dreams, and I'm working hard toward them: I have a novel outline in the hands of a Big 5 editor. I have a mobile gamebook in the works. I hope to carve time to write some more novellas. But my happiness isn't resting on those things. They're way too far out, and too much of it is out of my hands. Saying my book has to sell or my game has to hit it big is just begging for depression.
So where is my happiness? Partially, I'm still trying to make myself truly believe these things, but here's where I want it to lie:
(Sad that this had to get political? Me too, man. *heavy sigh* Me too.)
It's not just writing either. This is true in basically every creative industry and probably a fair number of non-creative ones as well. But what do you do when success doesn't come? Like, for years and years and years and . . . nothing?
There are lots of ways to deal with it, but I think they all boil down to these two: either give up or redefine success.
Now, when I say "redefine success," I don't mean give up on your big goal-dream of making it big; that's just giving up. I mean redefine your goals to be something in your control so that you're not just pulling yourself out of bed each morning, but rather you're jumping out of bed because you have another successful day ahead of you.
This is what I've been doing lately. I've still got big dreams, and I'm working hard toward them: I have a novel outline in the hands of a Big 5 editor. I have a mobile gamebook in the works. I hope to carve time to write some more novellas. But my happiness isn't resting on those things. They're way too far out, and too much of it is out of my hands. Saying my book has to sell or my game has to hit it big is just begging for depression.
So where is my happiness? Partially, I'm still trying to make myself truly believe these things, but here's where I want it to lie:
- In making enough money each day to feed my family well and maybe take them to a movie every once in a while.
- In spending time with my family.
- In having time and purpose to create something that I love.
- In having time to play a game or watch Netflix every so often.
I have so many freaking projects that if I put my happiness in any one of them -- or all of them all at once -- I'd end up working 28-hour days only to have the project flop while simultaneously missing out on what makes these projects worth doing at all.
So I'm trying to take things slow, one day at a time and enjoying my family at each step. How about you? What does success look like for you?
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The Importance of Being Mercenary
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November 27, 2017
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A thread I posted on Twitter that is important enough (and I think about this stuff often enough) to post it here.
Stop me if you've heard this one, freelancers (or don't, because I'm also tweeting this to remind you and me that we're not alone). 1/— Adam Heine (@adamheine) November 8, 2017
So, this gamebook I'm working on is super fun, but I keep struggling to make time for it because it's effectively on spec. 2/— Adam Heine (@adamheine) November 8, 2017
And I'm constantly shouting at myself, "It's okay! Stop feeling bad! You have no contractual obligations! Paid jobs come first!" 3/— Adam Heine (@adamheine) November 8, 2017
But I feel guilty anyway, because I really, really, really, want people to be happy with my work. 4/— Adam Heine (@adamheine) November 8, 2017
I literally dream about the cheap/good/fast triangle. The gamebook folks clearly opted out of fast, so I'm giving them cheap and good. 5/— Adam Heine (@adamheine) November 8, 2017
And I tell myself that's okay, but it never feels okay. 6/— Adam Heine (@adamheine) November 8, 2017
Freelancers who are in the same boat, listen: Take care of you. Honor the commitments that are honoring you with money first. 7/— Adam Heine (@adamheine) November 8, 2017
Working on spec is fine; just make sure it's not the only thing you're doing. 8/— Adam Heine (@adamheine) November 8, 2017
(He says, even though that's exactly what he did for three months before Torment turned into a paying thing.) 9/— Adam Heine (@adamheine) November 8, 2017
"But what if this unpaying gig becomes the next big thing?" Hey, if you have flexibility to take that risk, go for it. Otherwise, maybe think twice. 10/— Adam Heine (@adamheine) November 8, 2017
Like, I had that flexibility when Torment came around (also a lack of other work). I don't have as much flexibility for risk now. 11/— Adam Heine (@adamheine) November 8, 2017
Remember: Anything can fall through at any time. If on-spec work falls through? More free time! If paid gigs fall through? Starvation! 12/— Adam Heine (@adamheine) November 8, 2017
This PSA brought to you by my conscience and self-esteem, both of which are looking at me like this. END/ pic.twitter.com/RJLWhekUt7— Adam Heine (@adamheine) November 8, 2017
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Got Me a Jorb
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September 21, 2017
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Last month, as you'll recall, I lost my game design gig. For the past several weeks, I've followed every lead I have and pulled together pieces of several jobs. Unfortunately, none of them are big enough (or steady and consistent enough) to serve as a Family-Providing Job.
But that's the past! I am now officially a remote editor on the roster for an online editing and proofreading firm.
Okay, that sounds super boring, but let me tell you why it's exciting IN LIST FORM!
Other theoretically more exciting updates, in no particular order:
In the meantime, how are you doing? What are you playing? Or watching? Or whatever you do for fun?
But that's the past! I am now officially a remote editor on the roster for an online editing and proofreading firm.
Okay, that sounds super boring, but let me tell you why it's exciting IN LIST FORM!
- It's a steady job! Game design is super awesome, but it's hard to consistently find contracts for a remote designer/writer/whatever I am.
- It's ridiculously flexible! I can stay on the roster as long as I edit a minimum 10,000 words a month, which is like a day of work for me. That means that I can still do game design contracts, freelance editing, and writing gigs as they come up, and this editing firm will still be there when I'm done.
- It'll make me a better editor! I get tons of practice, advice from professionals, and even free training, so every job I take for these guys improves my skills for my private clients as well as my skills as a writer.
- I set my own hours! Do I need to make extra money one month? I can work crazy hard and do that. Do I need to take a week off suddenly without asking for permission? I can do that too. Nobody cares, so long as I meet my minimum (and feed my family, which my family cares about, I guess).
- I work to a task rather than to an arbitrary number of hours! On Torment, I was paid monthly no matter how much I worked -- and I worked a lot. I don't regret the time I put into that game (the opposite, actually; I wish I could have put more time into it), but it wasn't really sustainable. On the other hand, most projects pay me only for the hours I do, which is more fair but gets tricky when they don't have enough for me to do or when there's too much for me to do in the hours they've budgeted for me. I much prefer to get paid for a task and then be left to work at my own speed. I don't have to stress about working too slow (within reason), and if I work fast then I get bonus freetime.
- As I said on Twitter a few weeks ago, I freaking love editing! I get to help people! And clean things! And make money doing it!
Other theoretically more exciting updates, in no particular order:
- My Sea of Souls outline is still in the hands of the person who will decide its fate. That's publishing, man.
- I'm working on a gamebook for a mobile game company. It's no steady job (and no contract has been signed, so I can't say anything concrete), but it's pretty exciting. Gamebooks are basically my prestige class.
- I'm doing some proofreading and editing for Monte Cook Games and enjoying every minute of it (and not just because I get to read all this awesome stuff before anybody else). I love all my clients, but MCG might be my favorite.
- On Sunday nights (US time), I'm currently streaming Ori and the Blind Forest, which is one of the prettiest most explory-fun games I've played.
- I might MIGHT be able to breathe new life into ye olde Cunning Folk (which could be exciting for the two of you who've been reading this blog since forever).
In the meantime, how are you doing? What are you playing? Or watching? Or whatever you do for fun?
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