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sábado, 28 de marzo de 2020
Suzy Cube Update: March 23, 2018
#SuzyCube #gamedev #indiedev #madewithunity @NoodlecakeGames
A very late and very short update...
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Storium Theory: Don't Count Yourself Out
Today, I'd like to spend a bit of time on something that I've seen here and there on Storium - cases where a person perhaps goes a bit too Weak with a Weakness play...and takes themselves out of a scene.
It feels right - it feels better than right, doesn't it? Isn't it a great expression of a Weakness to not just suffer a setback, not just suffer some kind of injury, but actually get knocked out or otherwise removed from play for a bit?
Well...it is, and it isn't.
Let's start off with the good: This is, undoubtedly, an example of a player being very willing to show his character suffering for his Weakness. That's great, and that's an attitude that I hope people learn on Storium.
But actually taking yourself out...getting knocked out, getting poisoned to the extent that you can't move, draining yourself so much of energy that you're too exhausted to go on...there are times these things are appropriate, but they need to be used with restraint.
Otherwise, they can mess with the flow of a story.
I've seen it happen: A battle happens, one part of a longer sequence of events all taking place in a short period of time. One player plays a Weakness card and portrays themselves as exhausted, or poisoned, or just plain knocked out cold. Then the battle ends.
Now a few things can happen:
Now...you can make this work. You can. A good narrator who is used to letting the players have heavy story control, especially, can make this work out great. Maybe the group has to stop to allow the player character to recover, but in the process, the problem they're trying to address worsens. Or maybe that's the next challenge: Can they find things to help the player quickly enough that the next challenges don't worsen in the meantime?
But the thing is, even though you can make this work...it just oftentimes ends up more trouble than it is worth to put in this strong of a Weakness play. You can get some great, great character moments and a strong feeling of struggle and danger and fading hope from injury or tiredness that still leaves the character able to go on to new fights.
Sometimes, that can be even stronger. If a character is knocked out, the group might stop to deal with that and then go on once he's recovered. If that happens, the knockout doesn't add as much tension to the story. If a character is injured or tired but still goes on, though, we see that in everything they do for the next few scenes - they're in a bad way, one arm too hurt to hold up their shield, or dragging themselves forward in the battle. It's powerful.
Stopping the story's progress can add some tension if managed properly, but continuing despite your wounds always adds tension.
I'm not saying that you should absolutely avoid major consequences as part of Weakness plays, mind! There are times when it is appropriate, entirely appropriate. Particularly late in the story, particularly when the narrator has told you this is the final battle, you might pull out these powerful Weakness plays. Because there - there - it won't make the story pause or lose momentum. It'll emphasize just how bad things are currently, just how much of a struggle it is for the characters...but there's nothing ahead that the players need to address.
Keep yourselves within the bounds of the challenge, but that is when you should be safer using some of these powerful Weakness concepts.
Before that? Before that, earlier in the story, don't go that far! Go lighter with what goes wrong...but use what goes wrong more. Pick up some kind of injury and carry it with you for the next few scenes, showing your character struggling with it. Show the tiredness that you're feeling, even as you struggle to move on.
Or almost encounter one of those points...and leave things open. Let someone else save you from them. Those can be amazing moments in a tale too.
Weakness plays don't have to be about solid, absolute consequences for your character. They can be about the threat of those consequences. They can be about what might happen if the battle isn't turned around. If you knock your character out, he's knocked out. That's certain. It's done. But if you put in the possibility, you're giving someone else the chance to write. And that's what Storium is all about - working with each other to write interesting or fun stories.
So I suggest pulling back from the solid a bit - work with possibilities. Get hurt and need help. Or, need help to avoid getting hurt. Get tired and struggle. Need someone's shoulder to lean on. Need someone to fight by your side. But unless the story really, truly demands it, don't get taken out entirely. That cuts off possibilities - like bluntly leaving in the middle of a conversation.
And if you're going to take yourself out at all, try not to do it while you still have card plays left for the scene! Hopefully narrators are taking my advice to not use up all their points, but still, it's useful if players keep open the option to play all their cards if needed.
Now, one more note here: I've already said that late in the story you might be fine pulling out heavier, solid consequences as part of a Weakness play if that's your thing. There are points earlier in the story where you might do that too. The narrator might even set them up specifically. If he does...go with it, obviously! If the Weak outcome is "you're all knocked out," well, that's what the outcome is, so do the normal thing with a Weak outcome if you get it and write your spin on that outcome! You get knocked out.
The narrator, obviously, will have planned for that possibility since he put it in the outcomes, right?
Similarly, you might find a situation where it feels like the consequences should be higher - where the outcomes suggest this battle or event is more dangerous than normal, or where you're already portraying your character in a bad way and it just feels like they should have something more solid happen to them on your next Weakness play. And that's fine...I just suggest that you consider talking to the narrator first. Remember, you're writing collaboratively: Check, when you're thinking about having something this major happen to your character, and work with the narrator to figure out how it can happen but still keep the story moving (and not exclude you as a player).
This isn't a solid "don't ever do this." I want to be clear on that. What it is is a caution: Be careful of how and when you do this. When a hero is solidly defeated in battle or exhausts herself in the service of a cause, that can be a great story moment. It's just important to make sure that it's the right time - and that it doesn't derail the story's momentum or leave it short of players in the process.
It feels right - it feels better than right, doesn't it? Isn't it a great expression of a Weakness to not just suffer a setback, not just suffer some kind of injury, but actually get knocked out or otherwise removed from play for a bit?
Well...it is, and it isn't.
Let's start off with the good: This is, undoubtedly, an example of a player being very willing to show his character suffering for his Weakness. That's great, and that's an attitude that I hope people learn on Storium.
But actually taking yourself out...getting knocked out, getting poisoned to the extent that you can't move, draining yourself so much of energy that you're too exhausted to go on...there are times these things are appropriate, but they need to be used with restraint.
Otherwise, they can mess with the flow of a story.
I've seen it happen: A battle happens, one part of a longer sequence of events all taking place in a short period of time. One player plays a Weakness card and portrays themselves as exhausted, or poisoned, or just plain knocked out cold. Then the battle ends.
Now a few things can happen:
- Somehow, the player character recovers very quickly, and keeps on going, so the story can keep moving. That's unsatisfying, as it feels like a major moment is just brushed over and somewhat ignored.
- The narrator puts in a point where the group can rest for a while to make it seem more realistic that the player character takes time to recover from his state...but now the story loses momentum.
- The story goes on, and the player character is put someplace safe to recover in the meantime, which means:
- The player misses out on part of the story, or...
- The narrator has to come up with things that happen around wherever the player character was left that they can work with in their current state.
Now...you can make this work. You can. A good narrator who is used to letting the players have heavy story control, especially, can make this work out great. Maybe the group has to stop to allow the player character to recover, but in the process, the problem they're trying to address worsens. Or maybe that's the next challenge: Can they find things to help the player quickly enough that the next challenges don't worsen in the meantime?
But the thing is, even though you can make this work...it just oftentimes ends up more trouble than it is worth to put in this strong of a Weakness play. You can get some great, great character moments and a strong feeling of struggle and danger and fading hope from injury or tiredness that still leaves the character able to go on to new fights.
Sometimes, that can be even stronger. If a character is knocked out, the group might stop to deal with that and then go on once he's recovered. If that happens, the knockout doesn't add as much tension to the story. If a character is injured or tired but still goes on, though, we see that in everything they do for the next few scenes - they're in a bad way, one arm too hurt to hold up their shield, or dragging themselves forward in the battle. It's powerful.
Stopping the story's progress can add some tension if managed properly, but continuing despite your wounds always adds tension.
I'm not saying that you should absolutely avoid major consequences as part of Weakness plays, mind! There are times when it is appropriate, entirely appropriate. Particularly late in the story, particularly when the narrator has told you this is the final battle, you might pull out these powerful Weakness plays. Because there - there - it won't make the story pause or lose momentum. It'll emphasize just how bad things are currently, just how much of a struggle it is for the characters...but there's nothing ahead that the players need to address.
Keep yourselves within the bounds of the challenge, but that is when you should be safer using some of these powerful Weakness concepts.
Before that? Before that, earlier in the story, don't go that far! Go lighter with what goes wrong...but use what goes wrong more. Pick up some kind of injury and carry it with you for the next few scenes, showing your character struggling with it. Show the tiredness that you're feeling, even as you struggle to move on.
Or almost encounter one of those points...and leave things open. Let someone else save you from them. Those can be amazing moments in a tale too.
Weakness plays don't have to be about solid, absolute consequences for your character. They can be about the threat of those consequences. They can be about what might happen if the battle isn't turned around. If you knock your character out, he's knocked out. That's certain. It's done. But if you put in the possibility, you're giving someone else the chance to write. And that's what Storium is all about - working with each other to write interesting or fun stories.
So I suggest pulling back from the solid a bit - work with possibilities. Get hurt and need help. Or, need help to avoid getting hurt. Get tired and struggle. Need someone's shoulder to lean on. Need someone to fight by your side. But unless the story really, truly demands it, don't get taken out entirely. That cuts off possibilities - like bluntly leaving in the middle of a conversation.
And if you're going to take yourself out at all, try not to do it while you still have card plays left for the scene! Hopefully narrators are taking my advice to not use up all their points, but still, it's useful if players keep open the option to play all their cards if needed.
Now, one more note here: I've already said that late in the story you might be fine pulling out heavier, solid consequences as part of a Weakness play if that's your thing. There are points earlier in the story where you might do that too. The narrator might even set them up specifically. If he does...go with it, obviously! If the Weak outcome is "you're all knocked out," well, that's what the outcome is, so do the normal thing with a Weak outcome if you get it and write your spin on that outcome! You get knocked out.
The narrator, obviously, will have planned for that possibility since he put it in the outcomes, right?
Similarly, you might find a situation where it feels like the consequences should be higher - where the outcomes suggest this battle or event is more dangerous than normal, or where you're already portraying your character in a bad way and it just feels like they should have something more solid happen to them on your next Weakness play. And that's fine...I just suggest that you consider talking to the narrator first. Remember, you're writing collaboratively: Check, when you're thinking about having something this major happen to your character, and work with the narrator to figure out how it can happen but still keep the story moving (and not exclude you as a player).
This isn't a solid "don't ever do this." I want to be clear on that. What it is is a caution: Be careful of how and when you do this. When a hero is solidly defeated in battle or exhausts herself in the service of a cause, that can be a great story moment. It's just important to make sure that it's the right time - and that it doesn't derail the story's momentum or leave it short of players in the process.
lunes, 23 de marzo de 2020
Gobliins 2 - Won!
By Ilmari
Last time, Prince had just been possessed by a demon, and the wizard goblin suggested using water from his fountain. The water did separate the demon from the prince, but this wasn't just a good thing.
Prince was gone, wizard was of no use and I had no idea what to do. It was back to testing random things - and mostly enraging the wizard in the process. I quickly found a pencil, and if a goblin tried to draw with it on wizard's portrait, the wizard would throw a boomerang, which the other goblin could catch. If then a goblin would pour water on the wizard, the wizard would throw a toothpick, which the other goblin could catch with the boomerang. The toothpick could then be used on the teeth of the skeleton, which would open its chest cavity and reveal a bottle which would fall down on the floor and break, leaving only a wet puddle.
I also tried to use the pencil to draw a caricature of the wizard on the blackboard. The wizard wiped it away a few times and finally threw his sponge on the floor. I could then use the sponge to clean the puddle of water. If I then blew the pipe to make some smoke and used the wet sponge on smoke, a portal appeared. Yep, the puzzles have become a bit arbitrary at this point of the game.
The portal took us to the kingdom of death, where the demon Amoniak was the holding prince in his arms. It was again time to test the various hotspots with both of the gobliins. One "button" particularly threw out eye balls, which a goblin could ride to get to a part of the screen where he could catch a mouse.
The mouse could be used to lure a crocodile to lift its head from one of the holes. Jumping on the crocodile would make the goblin fly through the air. The demon would try to catch the flying goblin, which would allow me to throw a boomerang at a nearby stalactite and hit the demon's hand with it (yet another tight spot requiring quick timing). At this point, Amoniak lost his grip and the prince ran off.
I had achieved one goal, and I could now pause and decide what to do next. I was still in the realm of death, with no obvious exit. This was again a time for random experimentation. After a considerable amount of false leads, I noticed that I could drop my wet sponge on a rock and then throw the prince with the eyeball machine on it, making the rock wet in the process. I could then use my pencil to draw something on the rock (yes, the puzzles have become a bit arbitrary).
A bit of a letdown, I have to say. Oh well, I'll return next week with the ratings.
 |
| Prince is auditioning for the role of Arthur Fleck (BTW, notice the picture showing wizard goblin with his friends from the first game) |
Last time, Prince had just been possessed by a demon, and the wizard goblin suggested using water from his fountain. The water did separate the demon from the prince, but this wasn't just a good thing.
 |
| Captured again |
Prince was gone, wizard was of no use and I had no idea what to do. It was back to testing random things - and mostly enraging the wizard in the process. I quickly found a pencil, and if a goblin tried to draw with it on wizard's portrait, the wizard would throw a boomerang, which the other goblin could catch. If then a goblin would pour water on the wizard, the wizard would throw a toothpick, which the other goblin could catch with the boomerang. The toothpick could then be used on the teeth of the skeleton, which would open its chest cavity and reveal a bottle which would fall down on the floor and break, leaving only a wet puddle.
I also tried to use the pencil to draw a caricature of the wizard on the blackboard. The wizard wiped it away a few times and finally threw his sponge on the floor. I could then use the sponge to clean the puddle of water. If I then blew the pipe to make some smoke and used the wet sponge on smoke, a portal appeared. Yep, the puzzles have become a bit arbitrary at this point of the game.
 |
| Surprise, it's the same demon we defeated once! |
The portal took us to the kingdom of death, where the demon Amoniak was the holding prince in his arms. It was again time to test the various hotspots with both of the gobliins. One "button" particularly threw out eye balls, which a goblin could ride to get to a part of the screen where he could catch a mouse.
 |
| Yes, it's a flying eyeball |
The mouse could be used to lure a crocodile to lift its head from one of the holes. Jumping on the crocodile would make the goblin fly through the air. The demon would try to catch the flying goblin, which would allow me to throw a boomerang at a nearby stalactite and hit the demon's hand with it (yet another tight spot requiring quick timing). At this point, Amoniak lost his grip and the prince ran off.
 |
| You can see a monster trying to stop the prince and another eyeball convincing it to let go |
I had achieved one goal, and I could now pause and decide what to do next. I was still in the realm of death, with no obvious exit. This was again a time for random experimentation. After a considerable amount of false leads, I noticed that I could drop my wet sponge on a rock and then throw the prince with the eyeball machine on it, making the rock wet in the process. I could then use my pencil to draw something on the rock (yes, the puzzles have become a bit arbitrary).
 |
| A doorway! |
 |
| Bye |
 |
| This is it, this is the ending? |
A bit of a letdown, I have to say. Oh well, I'll return next week with the ratings.
Session time: 3 h 5 min
Total time: 23 h 15 min
viernes, 20 de marzo de 2020
Download Counter-Strike: Global Offensive For PC
Download Counter-Strike: Global Offensive For PC
| Counter-Strike: Global Offensive [ Danger Zone ] | Steam Backup |
Platform: PC
Game Size: 9.6 GB
Type: Online, Network
File Type: .RAR
Game Language: English
Publisher: Valve
Price: 5$.
Minimum System Requirement:OS: Windows® ۷/Vista/XP✔
Processor: Intel® Core™ ۲ Duo E6600 or AMD Phenom™ X3 8750 processor or better✔
Memory: 2 GB RAM✔
Graphics: Video card must be 256 MB or more and should be a DirectX 9-compatible with support for Pixel Shader 3.0✔
DirectX: Version 9.0c✔
Storage: 17 GB available space
Processor: Intel® Core™ ۲ Duo E6600 or AMD Phenom™ X3 8750 processor or better✔
Memory: 2 GB RAM✔
Graphics: Video card must be 256 MB or more and should be a DirectX 9-compatible with support for Pixel Shader 3.0✔
DirectX: Version 9.0c✔
Storage: 17 GB available space
Download Link
jueves, 19 de marzo de 2020
The Pokémon Sanctuary Project
Alola! Welcome to my new writing project!
I've been a Pokémon fan since I picked up Pokémon Red in 1998 just before my 18th birthday. Over the years, I have toyed with the idea of building a comprehensive Pokémon zoo of sorts. It's a huge undertaking that grows with every passing generation of Pokémon game that adds more Pokémon to collect. I've started and failed a few times over the years to create a comprehensive collection of Pokémon to carry forward into future generations.
The closest I came was in a Pokémon Emerald run I did in 2008 (roughly). I'm not sure if those creatures are still on a copy of Emerald, or stored in the Ruby/Sapphire Box on some Gamecube memory stick somewhere. I may try to hunt them down in the future, but for the purposes of this project I'm starting from scratch, and I'm starting where it all began. I'll be playing through the Virtual Console version of Pokémon Red.
I'm going to be documenting this journey in the form of a serial narrative. I hope to upload a short story every week as I progress through Pokémon Red with my created character, Fox, who aspires to be a world renown Pokémon collector and zoologist. In order to make his story more interesting to read, I will also be doing the initial playthrough as a Nuzlocke Challenge that I will detail below. As I handle the writing, my brother will be doing some original art for the series to spice up the adventure. I hope this will make the experience fun and interesting for personal friends and Pokémon fans alike.
The Nuzlocke Challenge
I've been a Pokémon fan since I picked up Pokémon Red in 1998 just before my 18th birthday. Over the years, I have toyed with the idea of building a comprehensive Pokémon zoo of sorts. It's a huge undertaking that grows with every passing generation of Pokémon game that adds more Pokémon to collect. I've started and failed a few times over the years to create a comprehensive collection of Pokémon to carry forward into future generations.
The closest I came was in a Pokémon Emerald run I did in 2008 (roughly). I'm not sure if those creatures are still on a copy of Emerald, or stored in the Ruby/Sapphire Box on some Gamecube memory stick somewhere. I may try to hunt them down in the future, but for the purposes of this project I'm starting from scratch, and I'm starting where it all began. I'll be playing through the Virtual Console version of Pokémon Red.
I'm going to be documenting this journey in the form of a serial narrative. I hope to upload a short story every week as I progress through Pokémon Red with my created character, Fox, who aspires to be a world renown Pokémon collector and zoologist. In order to make his story more interesting to read, I will also be doing the initial playthrough as a Nuzlocke Challenge that I will detail below. As I handle the writing, my brother will be doing some original art for the series to spice up the adventure. I hope this will make the experience fun and interesting for personal friends and Pokémon fans alike.
The Nuzlocke Challenge
- Any Pokémon that faints must be released.
- Only the first Pokémon encountered in each area can be caught. No second chances.
- All Pokémon will have personalized nicknames to make them more endearing.
These are the basic rules of the challenge and speaking retrospectively they really make the early game quite challenging and intense. I've never had more tense encounters in an RPG in my life. In addition to these rules, I have also decided that (for the sake of the narrative) I will not be using a starter Pokémon. The challenge starts for me when Fox catches his first Pokémon on Route 1 and then trades away the Charmander he used to catch it. I've run from all battles before that point and just rushed to a point where you can catch your Pokémon. So Rattata or Pidgey (no spoilers! don't look at the episode title!) will be the first and only Pokémon on my team leaving Route 1.
Addendum: I will not be catching an HM Slave. All HMs will be taught to actual members of the team unless I hit a roadblock. If the path forward requires an HM that I absolutely cannot teach without catching a new Pokémon, then an HM Slave may be caught. If that occurs, that Pokémon will only exclusively be used for the HMs and never for battle, but I will be trying to avoid this at all cost. Having one of four battle moves taken up by an HM adds to the challenge, but I won't accept it as a loss if I get to an impasse due to HM nonsense and am forced to catch an extra Pokémon.
Addendum: I will not be catching an HM Slave. All HMs will be taught to actual members of the team unless I hit a roadblock. If the path forward requires an HM that I absolutely cannot teach without catching a new Pokémon, then an HM Slave may be caught. If that occurs, that Pokémon will only exclusively be used for the HMs and never for battle, but I will be trying to avoid this at all cost. Having one of four battle moves taken up by an HM adds to the challenge, but I won't accept it as a loss if I get to an impasse due to HM nonsense and am forced to catch an extra Pokémon.
- Episode 1 - Tabula Rattata
- Episode 2 - Nibbles & Kiwi
- Episode 3 - The Lone Wolf
- Episode 4 - A Trainer's Resolve
- Episode 5 - Monumental Heartbreak
- Episode 6 - Battle for Boulder Badge
- Episode 7 - The Dread Rocket Raticate
- Episode 8 - The Nugget Bridge Rematch
- Episode 9 - Something Oddish in Cerulean
- Episode 10 - Kanto Underground
- Episode 11 - All Aboard the S.S. Anne!
- Episode 12 - A Tremendous Chop to the Team
- Episode 13 - The Team Surges Forward
- Episode 14 - A Wild Side Quest Appears
- Episode 15 - Putting a Pin in Lavender Town
- Episode 16 - Quiet Gardens of Celadon
EU Switch Release For Arc Of Alchemist Is Now Set For February + Meet The Creators
As previously mentioned, Arc of Alchemist will be heading to North America on January 30, 2020 and in Europe on January 31, 2020 for the PlayStation 4 and Nintendo Switch. The North American release date for both platforms and the European PS4 version will still release on January 30 and January 31, respectively. However, the EU Nintendo Switch release date is now set for February, instead of January 31. The launch date for the EU Switch version will be provided soon.
This week, we also have the last website update that provides more background on the world, the creative minds who were involved with
Arc of Alchemist, as well as free Twitter Icons and wallpapers. Check the links below!
- World: Glossary, Background
- Info: Creators
- Special: Twitter Icons, Wallpapers
The North American version will release digitally for both the Nintendo Switch and PlayStation 4. The European version will release digitally for the Nintendo Switch, and the PS4 version will have a physical and digital release.
The North American and European releases for the Nintendo Switch and PS4 include updated system features and the ability to choose and play between 7+ possible characters.
lunes, 16 de marzo de 2020
domingo, 15 de marzo de 2020
Rust Memory Optimization
One of my goals this year is to learn new things that take more than a few weeks to learn. I've been learning Rust. One of the claims I saw is that Rust's borrow mechanics allow it to optimize better than C++ does. I wanted to see this in action so I ran some simple examples through godbolt. Here's some C++ code that reads from array A and writes to array B:
int test(const int* A, int* B, int i) { int x = A[i]; B[i] = x+1; int y = A[i]; return x+y; }
This C++ code compiles to assembly, with -O2:
movsx rdx, edx lea rcx, [rdi+rdx*4] mov eax, DWORD PTR [rcx] lea edi, [rax+1] mov DWORD PTR [rsi+rdx*4], edi add eax, DWORD PTR [rcx] ret
Note that it is loading DWORD PTR [rcx] twice and loading DWORD PTR [rsi+…] once. That means it's accessing A[i]'s memory twice and B[i] once. It knows that A hasn't changed and it knows i hasn't changed but it doesn't know that A[i] hasn't changed. It's possible that A and B overlap. That means it has to load A[i] twice, even though it's marked const.
Here's the Rust version:
pub fn test(A: &[i32], B: &mut [i32], i: usize) -> i32 { let x = A[i]; B[i] = x+1; let y = A[i]; return x+y; }
and the output (some parts omitted):
push rax mov eax, DWORD PTR [rdi + 4*r8] … lea ecx, [rax + 1] mov DWORD PTR [rdx + 4*r8], ecx add eax, eax pop rcx ret
This code has only two DWORD PTR accesses. It knows that A is a shared reference (so there are no other writers), and B is a mutable reference (so there are no other readers). That means it can conclude that A and B can't overlap. Once it's read A[i] from memory it doesn't have to read it again. Cool!
C (but not C++) has the restrict keyword for this. You can tell the C compiler "trust me, these don't overlap", but C doesn't check. Rust checks this at compile time.
So far I'm enjoying learning Rust. It has many of the things I wanted in a language since the mid-1990s. I don't know if I'll actually use it for a real project, but that's not my goal right now. My goal is to learn some new things that challenge my brain, and Rust is doing that for me.
jueves, 5 de marzo de 2020
Addicted!
What's going on everyone!?
Today was spent the same as usual lately by loading up the truck so I can get some more stuff moved to our new place.
All day I couldn't stay away from the Zombies in my pocket app and played 15+ games of it today losing most and winning few but having a blast playing
I seem to be heavily addicted to the game in my free time like I used to be long ago, lol.
As always, thank you for reading and don't forget to stop and smell the meeples! :)
-Tim
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