For the 12 Days of Christmas I am going to post some of my favorite Fallen London things from 2021 that I am proud of – either my own work, or something from the team that I really admire.
January: Moulin Station shipped, which was the first large piece of content I worked on. A lovely thing about FL was the ability to start experimenting mechanically off the bat. Some things about Moulin filtered down into future things we did later in the year.
February. I make no apologies and have no regrets.
March: @JamesStAnthony's Parabolan War launches. Enormous, baroque, stuffed to the gills with beautiful writing. The kind of thing that can only exist in Fallen London.
April: The next-to-last Railway station, the Hurlers. Chandler Groover entirely knocked it out of the park, implementing a huge station and a deeper, denser mystery than we had done in some time.
May: Whitsun! We added some new beasties written by @babelfishwars. I love them very much.
Whitsun was also the first piece of live content that relied on the new world quality feature – though that was invisible to players, it was used to enable and disable all Whitsun content at once.
A week later, we launched a Bone Market update. I'm not sure how many players were already seeing the implications of the new tech...
June: A really big month for us; we concluded the Railway storyline with the release of Marigold station, and we started the new series of expanded and new zee ports. (Poster by @tghcook)
The new zailing experience with Zeefaring is the largest piece of content I've implemented for Fallen London thus far, a huge replacement for an older system featuring over twice as much content and the use of some entirely new engine features.
July: Biggest Fallen London month of the year for me, as Mr Chimes' Grand Clearing Out launched. The product of a lot of work from the entire team. I am very fond of @babelfishwars' spiders and @JamesStAnthony' bees.
I really feel like we changed Fallen London in a major way this year and Mr Chimes' is, for me, the central point of that change. It was also a one-off – I'm looking forward to figuring out what its successor looks like.
plus look at that poster! jesus christ
August was an 'uneventful' month by which I mean we released an Exceptional Story, refreshed the Fruits of the Zee festival, and added Hellworms as a buyable item.
I'm happy that we were able to make this kind of decision instead of falling down a sunk cost fallacy hole.
And, importantly, I'm happy our community responded to it without vitriol. 🫀
September: Several small updates, but I really enjoyed that after so many years we finally released a conclusion to the Spirifer/Pianist storyline. @JamesStAnthony somehow managed to write a conclusion that wove everything together again.
October: I love Hallowmas! In 2021 year we deviated mechanically from what we've done in the past and I feel it also opened up some new narrative space, which @JamesStAnthony used to awesome effect.
November: Besides making a long-overdue change to how Social Acts work and the monthly Exceptional Story (@JamesStAnthony's The House of Silk and Flame), we didn't ship any major updates in November.
Which is, honestly, good. I'm glad we've built up the trust that going a month without news or updates isn't the start of a long content drought, and I'm glad we are able to take our time as necessary – the content schedule for a live game can be brutal otherwise.
December: I can't go without bringing up @JamesStAnthony's The Poisoner's Library again, one of my very favorite stories of the year.
And that poster! Dear lord.
There's a lot of stuff we did this year that I didn't mention - if I wanted to go over everything I'd be posting into February, not even going on all the behind-the-scenes work that we keep doing to prepare further content or make it easier to build new content.
And don't worry. We have big plans for 2022.
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The reality is that these dev cycles are simply too long. Five years is too long to be working on one project, it's too long from a creative or conceptual standpoint, it's too long to move in step with the culture. This is a low interest rate phenomenon.
Most careers in game development aren't long enough to stick with a project like this from preprod through ship. Even for the minority of people who become actual industry veterans, you're talking about a huge chunk of someone's life working on one thing.
The creative and career risk that people are asked to take to work on these things is kind of catastrophic. Games get stuck in production hell for six, seven, eight years. People go from junior to senior level all working on one thing that's under NDA.
Two years ago I embarked on what was (up to that point) the most ambitious project I'd done for Fallen London, Mr Chimes' Grand Clearing-Out. A live event held over the course of a week, with an evolving story and twists and turns and broad player participation, etc
We'd never done anything like it before in FL. When designing anything, but especially when designing something new, you really need to set goals (we often call them pillars or 'player experience goals'). Things you want to make sure that you deliver.
For the GCO and subsequent events, that north star was the idea of creating a you-had-to-be-there moment.
The thing about the new zelda is that 'physics-based games' are almost always games in which the physics are a joke, we've sort of been conditioned by the Garry's Mods and Goat Simulators and Gang Beasts of the world to think of physics systems as inherently slapstick
And TotK does have plenty of slapstick but it's set apart from most physics-based games in that it actually expects you to do practical things by manipulating its systems, it expects you to have real grip over those systems.
Things are subtly tuned to ensure that! You can build a car and it will actually not flip over, for example. The zonai wing is preternaturally stable in the air. They gave you a 'stabilizer' gadget that works like the reaction wheels in Kerbal Space Program but you hardly need it
I got some pushback on this saying that the people who are leaving Blizzard over their insane RTO policy are "easy to replace." Let me go over why that isn't really the case.
Video games are not standardized at all as an industry. Every game is different, and everyone has a ton of domain-, game-, and pipeline-specific knowledge. Two people can have identical titles (eg, Senior Gameplay Programmer) and very little skills overlap.
Often, especially in a long-running game or series (Like, say, WoW or Diablo), you rely on knowledge that has never escaped the bubble of your own company. If someone is a high level programmer on a complicated project like WoW, there are no drop-in replacements.
got to the fire gorilla monster in wild hearts and decided I'm not playing this game any more
the quick building mechanic very quickly turned into a thing where enemy attacks can exclusively be countered with very specific sequences of inputs, which quickly turns into a nightmare of memorization
this game does streamline the overly complicated monster hunter mechanics but it adds complexity in the back end and some of the 'streamlinings' are kind of draining the mechanics of flavor while making them no less complex
so when I was prompted if I wanted to play Metroid Prime on 'casual' difficulty I assumed that was an easier mode that Retro added in the remaster, because 'casual' is not a word from 2002
I figured I wanted to play the game mostly as it was back then, so I picked 'normal'
And I assumed that, 'casual mode' being a late addition, you'd be able to switch to it later if the game's original intended difficulty had era-appropriate annoying difficulty spikes