Showing posts with label close reading. Show all posts
Showing posts with label close reading. Show all posts

Thursday, June 30, 2022

Zugzwang as a pole dance upward unto heaven





This post details my process and intent for making my new release Zugzwang (pronounced in German like /ts'OOK-ts'VAHng/) a tactical sex dungeon roguelike cum ritual game.

I first prototyped it back in 2019, but I didn't really know how to finish it. This marks its true public release, with finished graphics, gameplay, tuning, more sex, and finally an ending.

SPOILER ALERT: This post spoils what happens in the game. It also spoils a bit of Bioshock Infinite (2013) because why not.

CONTENT WARNING 1: I mention a suicide from a century ago.

CONTENT WARNING 2: the game is rather explicit, but I've kept the imagery in this post relatively tame, at a semi-NSFW / soft-R rating.

Sunday, June 21, 2020

Hard Lads as an important failure



This post “spoils” what happens in my new game Hard Lads. If you care about spoilers, you should play it before reading. It takes about 5 minutes to play once, and maybe 20 minutes to play it to 100%.

In 2015, a phone video of young muscular White British men hitting each other with a chair went viral. Why make a game about this meme now? Some might characterize all my output derisively as "meme games", which is fine, but personally I’ve tried to avoid doing it on purpose. First, my games themselves should strive to be the original meme, and not merely a fan reproduction. Second, many memes are steeped in internet gamer culture, the only circle jerk I want to avoid.

However. I think British Lads Hit Each Other With Chair is one of those classic internet videos that merits special attention. It does so much in a single minute, and it's not about video games at all. So that’s why I made Hard Lads.

Saturday, August 18, 2018

Grinding as repetition as savefiles as insistence


In "Portraits and Repetition", Gertrude Stein argues that repetition is better understood as "insistence":
"... there can be no repetition because the essence of that expression is insistence, and if you insist you must each time use emphasis and if you use emphasis it is not possible while anybody is alive that they should use exactly the same emphasis." (PDF)
This rings true to me for basically any activity. Woodworking, cooking, dancing, guitar-playing, painting, writing, welding, negotiating, swimming, typing -- everything requires practice, and in practicing, we insist on the continued value of that activity each time. We can never repeat any performance or action exactly, by virtue of memory and time. Each repetition always means something slightly different, and changes the meaning of all the repetitions before it.

Game design theory formalizes this repetition as a "core gameplay loop" or "mechanic" or whatever, but let's keep following Stein's insistence on insistence for a minute:

Monday, March 5, 2018

Level With Me, BioShock 1 (2007) complete


Last week I finished playing through all of BioShock 1 for my weekly level design let's play series Level With Me. My playthrough wasn't without its problems -- I was playing lazily and haphazardly, which means I relied on the same combat tactics all the time, and I also actively avoided exploring audio diaries / optional areas / player upgrade systems for the sake of brevity. Playing on easy mode also meant the boss encounters lost their pacing, and side areas remained unexplored instead of desperately scavenged for supplies.

Most people fondly remember BioShock for its narrative and setting, but I was consistently surprised with how much ol' fashioned game design went into it. Lots of classic hub-and-spoke level design, and several chains of fetch quests about looking for parts and materials -- remnants of an abandoned inventory / crafting system according to former BioShock dev JP LeBreton, who occasionally graced the broadcast with his presence and offered interesting trivia or context. I also played through the famous Fort Frolic chapter by BioShock 2 lead Jordan Thomas and felt strangely disappointed -- its scripted sequences and theatrical flourishes were interesting, and it made novel use of BioShock's "camera" mechanic, but the critical path overall felt a bit weightless. Again, I couldn't really play leisurely and explore the other 50% of Fort Frolic that was purely optional, so maybe also take my reactions with a grain of salt.

Friday, February 2, 2018

Video killed the video star: on "Un Pueblo De Nada" by Cardboard Computer

This post spoils Un Pueblo De Nada as well as a few parts of Kentucky Route Zero.

The newest Kentucky Route Zero interlude Un Pueblo De Nada is a "transmedia" narrative consisting of a 30 minute live action movie styled like a public access TV broadcast, a functioning real-life phone hotline to call, and a short tie-in narrative video game. I think it works as a transmedia narrative because it's so deeply concerned with this technology, especially the old deprecated media technologies like broken radios, rusty switchboards, forgotten overhead projectors, and dusty VHS cassette tapes.

A lot of transmedia narratives tend to focus on modern computing or the internet... but here, we're asked to imagine a vast archeaology of decaying technology. The iconic KRZ flat vector style evokes an era of older VGA games like Another World, the live action WEVP-TV broadcasts are styled as low resolution transfers from analog tapes, and I believe even the real functioning phone hotline seems to have extra static layered onto the voice recordings. Which is absurd, landlines used to be a vital communication technology... but to a filthy millennial like me, now it's just a salvaged material for making art. (As I dialed the phone number, I thought to myself, "how fun and quaint to dial a phone number on my phone!")

Thursday, March 16, 2017

Bleeding between alternate realities in Metal Gear Solid 5 and other open world games


I was playing the open world stealth game Metal Gear Solid 5: The Phantom Pain (2015) and I kept failing Mission 33 ("Subsistence: C2W")... The "Subsistence" label means it's a remix of a past mission, but this time you have to complete the mission without any starting loadout, and rely purely on whatever equipment you find after you begin the mission.

The goal of C2W is to destroy some buildings, but "Subsistence" means you don't begin with any explosives -- and once you start attacking the base, they call-in an enemy helicopter that will kill you very quickly. So your two options are (a) sneaking around and clearing out the base quietly so you can destroy the buildings in peace, or (b) finding some heavy weapons (conveniently, some nearby guards carry rocket launchers) and quickly blowing everything up and escaping before the helicopter kills you.

I kept failing with either strategy, so I decided to look up some tips. The online guide suggested a rather dishonorable trick... (1) destroy the nearby anti-air radar station while in "free roam" mode, outside of the mission; (2) then, finally start the mission, set your own helicopter deploy point right on top of your mission objective; (3) and basically kill everyone with the helicopter's giant overpowered chain gun, easily earning the top S-Rank rating for your performance.

My (wrong) assumption was that changing the world in "free roam" mode would not change the world in "mission" mode. In most cases, this was still true... except in this one instance, the radar station was leaked between alternate realities.

Monday, March 6, 2017

The melancholy of screen space in "Universal History of Light" by Stephen Lavelle


WARNING: This post somewhat "spoils" the 2014 game Universal History of Light.

Stephen "increpare" Lavelle's "Universal History of Light" is a highly symbolic "adventure" game released back in February 2014. Reviews at the time hinged on describing it as an "insane dog simulator" game, which doesn't really capture what the game does, so this is me trying to offer a more robust interpretation and understanding.

Universal History of Light begins with a short lecture about the dangers of using laser pointers with dogs. Because a small red laser dot is incorporeal and intangible, a dog can never actually "catch" it -- and they will never understand their inability to catch their "prey", which will supposedly haunt them and cause psychological damage for the rest of their lives.

You then play as the lecturer at the front of the lecture hall, and you point your laser pointer at a student's assistance dog / seeing-eye dog, thus inflicting catastrophic hallucinations upon the dog. The dog now enters the brilliant burst pictured above; what awaits the dog in a new dimension of pure light and knowledge?

Turns out, it is a world of monochrome trauma. In the distance, we see countless planes, searchlights, and anti-aircraft flak illuminate the night sky. As the dog, we are basically wandering the outskirts of London during the Blitz.

Thursday, January 12, 2017

"Pylons are my penis": a phenomenology of building in Offworld Trading Company and other strategy games


Game feel always has a narrative aspect tied to the player's in-game identity -- but in a top-down strategy game, who are you? Why do you know all this stuff, and why are you able to do the things that you can do?

I'm not asking for more bullshit handwave-y game lore ("it's the future, you're a space wizard") but rather I mean it in terms of interface and "raw experience". Even in strategy games with fog of war, there is still a fantasy of absolute certainty involved with your command. If you see a unit, it's almost definitely there; if you order a unit, they will definitely try to obey your order. If your unit dies, it is definitely dead.

These are all myths and abstractions away from how a real-life military often works, where commanders must constantly act on incomplete information, even about the state of their own forces. Few popular real-time strategy games let troops ignore an order, be routed, or be "missing in action", because maybe that's too unfair or it would weigh down the game a lot. (Some notable exceptions: hardcore military sim games often simulate supply lines and unit morale, the overburdened 2011 game Achron had time-travel and alternate universes of troop movements, while the admirable 2010 experiment R.U.S.E emphasized military intelligence and decoys.)

I'm going to propose that top-down strategy games let players build their own identities, and part of that identity is a body, in the form of your "base."

Wednesday, October 21, 2015

"Psycho-material geographies" of 3D spaces, and The Beginner's Guide by Davey Wreden et al


This post gives vague conceptual SPOILERS for The Beginner's Guide, and spoils a few specific moments. You really shouldn't worry about it, I mostly just talk about me in this.

I was one of the people who secretly played The Beginner's Guide long before its public release. Why was I given access, and not someone else? Well, that's kind of what the game's about: a "Davey" who is talking through his relationship with another designer named Coda. Who did Coda want to play their games?

In her own excellent post about TBG, Emily Short argues that the game has a very spare "personality-light" kind of style compared to what Short regards as more distinctive contemporary experimental designers like "Stephen Lavelle, Michael Brough, Pippin Barr, [... or] Robert Yang." That shout out (thanks!) is what stirred my memory...

I remember playing this seven months ago (back when it was simply codenamed "The Author") and suddenly thinking... wait, is Coda supposed to be me?

Thursday, September 17, 2015

Rinse and Repeat as cup runneth over

This is a post detailing my process and intent in making Rinse and Repeat. It discusses in detail how some of the game systems work and what happens in the end, and IT SPOILS THE GAME. You are heavily encouraged to play the game and draw your own conclusions before reading what I think.



(Again, SPOILER WARNING...)

It started with Le1f's music video for "Soda." In it, two hunks spray themselves with gushing fluids, suggestively shooting up from the bottom of the frame.

The scene begins as a sort of aggressive competition of machismo and staring down each other, but then one hunk can't help but submit and opens his mouth to try to swallow some of the frothy fluid. I think what makes this "funny-sexy" is how the soda gets everywhere and how messy it seems. It's pretty brilliant and got me thinking about how sexy a fluid dynamics simulation can be, and how I could put such technology to use.

Wednesday, May 15, 2013

On focalization, and against convenient understandings of immersion / flow.


This post is significantly changed from a talk I gave at Different Games. It was prompted by Jon Stokes approaching me and helpfully telling me that my talk made no sense, so hopefully this post will be more clear. SPOILER WARNING: I spoil Brendon Chung's excellent Thirty Flights of Loving.

As a self-proclaimed developer of "personal games", one thing that puzzles me about these games and empathy is that no one really knows how emotional transfer between players and games works -- like, what's really happening when you control a character in a game? Do you sympathize directly with the narrative situation, or are you role-playing, or do you think more in strategic terms, or what's going on? These words -- flow, immersion, empathy, role-playing -- how much do they really explain or predict how we, as humans, experience video games?

There's very little actual research on this because, I think, the game industry isn't interested in funding it and finding out. About the only researcher I've heard of is Jonas Linderoth and he argues for severe skepticism, or that games don't actually teach you anything outside of games -- and that isn't something the game industry would want people to hear.

Monday, December 10, 2012

Tiny Soccer Manager Stories, by Pierre Corbinais


My very strong favorite of the TIGSource "Sports" compo is Pierre Corbinais' "Tiny Soccer Manager Stories." It's a 20 minute-ish puzzle game made in Adventure Game Studio that tasks you as a substitute junior high soccer coach, and your job is to balance the two teams to make sure everyone plays, even the kids who suck.

(INSTALLATION NOTE: To get this to run on my Win7x64 system, I had to change the settings to "Direct3D 9" windowed mode. Try that if it doesn't work for you.)
(HINT: If a particular puzzle gives you a lot of trouble, use the "Skip Puzzle" option in the menu. The game doesn't penalize you or limit you at all.)

I've whined before about how we should narrativize the sports genre, and I think TSMS does some really great things with game narrative using this roster mechanic -- it isn't the first sports mechanic that comes to mind, which just makes this all the more refreshing and novel. Here's why this game is awesome: (SPOILER ALERT)

Monday, November 26, 2012

Radiator Blog: Three Year Anniversary


Wow, I've been blogging here for about 3 years now. This blog is now approaching the end of its toddler years. Much like last year, and the year before, here's a "greatest hits" compilation of this past year's posts:

(Oh, and feel free to have some cake. Forks and plates are over there, on the table.)

GAME ARCHITECTURE CRITICISM

COMMISSIONS
  • Level With Me, a post-mortem. A Portal 2 mod I did for Rock Paper Shotgun. The level design is some of my better work, and I like the idea of game journalism in the form of games, but it seemed somewhat cooly received. I have to conclude that it must simply be not as good as I think it is... or that Portal 2 players are super lame.
  • The Future of the FPS, written for PC Gamer UK in issue 240. A short essay and list of really cool indie FPS games and how they're changing the genre, kind of the basis for my later RPS series. Thanks Graham!
  • A People's History of the FPS. A three-part essay series for Rock Paper Shotgun that argues mods are transcending their video game bodies, becoming genuine culture that is increasingly independent of the products that they're meant to be "modding" and adding value to.

ON GAME NARRATIVE
  • The myth of psychological realism in narrative. Argues that thinking of fictional characters as "people" is meaningless for a writer. It is much more useful to write by thinking of a character as a vehicle for plot, and let the player fill-in character for themselves.
  • Dishonored fails as an immersive sim in its first minute. The simulation should be "immersive" -- meaning, the scope of it should be consistent and everywhere. Scripting special cases goes against this genre dogma.
  • Dishonored uses the Heart to lie to you. You'd expect the Heart to be an unreliable narrator of some sort, but it doesn't lie to you with narrative -- it lies to you through gameplay and psychological framing.
  • "Stair K": architecture criticism, Thief, and a coffee maker. Situates Thief as dialog on social class and urban architecture. (e.g. stairs are invisible to rich people who take taxis, not subways, and frequent buildings with abundances of elevators) It argues that in Thief, stealing is framed as an ethical act because the rich deny the truth and infrastructure of cities.
  • Thief 1's "Assassins" and its environmental storytelling. I really hate the type of analysis that just thinks of game narrative as a static text that you read -- game narrative is also a game design tool, a way to make the game better to play. Games tell stories, yes, but those stories tell games too.
  • What do simulations simulate? Argues that a simulation gap is important for framing a narrative.
  • The structure of Sleep No More (part 1, no spoilers) and (part 2, detailed and spoilery). You paid a lot to see this damn show everyone's raving about and now you're inside, on a timer. Are you going to spend your valuable time (a) reading faint scribbles on random pieces of paper under a dim flickering light-bulb or (b) follow the crazy naked people who have an interpretive dance orgy in a blood-smeared disco?

    I still think a lot of "game critics on Sleep No More" like the idea of it more than how people actually consume it -- unfortunately, reading is boring and performance is captivating. So I argue the readables function as set dressing to assure you of the production's expense, not to serve as barely coherent narrative in a familiar plot that's hundreds of years old. Of course, the dancing's fantastic, but I guess it's hard to argue for the value of dance to gamer culture.
  • Rule Databases for Contextual Narrative. On modding Valve's dynamic self-branching conversation system and using it to author dynamic self-branching narrative, and how Emily Short's already doing something like that, naturally. I think it's one of the more promising directions toward a holy grail of procedural narrative.
  • Balls and conversation: let's narrativize the sports genre. I really love baseball movies, but I'm really bored by the focus on statistics, which is probably why Moneyball sucked. There's a rich tradition of sports narratives in film and literature, but in video games it's conspicuously absent. Let's change that.
  • "Do you think shooters take themselves too seriously?" We watch blockbusters in a special way, I think, but the gulf between action films and action games is this: the films are structured to be human and sympathetic, but games are sociopathic and mean. This is a game narrative writing problem.

ON GAME CULTURE
  • Frog Fractions should really win something at the IGF.
  • On appreciating the UV texture flat as fine art. Here, I propose three aesthetic modes for enjoying texture flats on their own merits and glorifying them as authentic game art, rather than the silly concept art we parade as game art. I later re-wrote this piece for Game Developer magazine, as "Loving the Bones."
  • Desperate Gods and rules-forcing in games. Pretty recent, but I think it's a good summary of current thought on the issue -- if you can play a game of Starcraft in your head, and Starcraft exists fundamentally more as a mental construct than a product, then why can't we just argue the rules of Starcraft in the same way we interpret and amend the laws of board games.
  • On grad school for games / what studying at Parsons was like. Imagine a cohort of game developers from all around the world, and 50% are women, and 10% aren't straight people. Parsons is like the rainforest: diverse, beautiful, and vital to the global ecosystem -- but it's also humid, with lots of insects everywhere, and it's constantly in danger of deforestation. It's not for some people, while others will really grow to love it.

GAME CONFERENCE / FESTIVAL NOTES
  • Why Indiecade is the best games conference / festival I've ever been to. It might sound like hyperbole but it really isn't.
  • I spoke at Games for Change this past year, on LGBTQ attitudes and developers in games. It went great. I began with "I'm Robert Yang, and I'm a practicing homosexual" -- and the entire auditorium erupted in applause and cheering. It was an amazing feeling.
  • Notes on the Games for Change industry. Fun fact: I got into an argument with a G4C speaker in the comments. His stance -- yeah the games suck, but people want to put a lot of money into this, so just accept it. My stance -- art should be a free or reasonably available public good, not a product.
  • How the worst part of the game industry uses PAX East to teabag your entire face with its cancerous scrotum. I encourage everyone to go to at least one big mass market game convention, because that's when you will know what "indie" really means and you'll realize how small, puny, and insignificant we "video game intelligentsia" really are. The sheer amount of money being thrown around in this industry is insane -- the money spent on a 20-foot tall Blops booth-complex, blaring out noise at a regular interval, is a huge contrast to the humility and humanity of indie game culture.
  • What were the main trends of GDC 2012? A look-back on what happened and what stuck out as significant.

    UNITY TUTORIALS / RESOURCES
    • Shader-based worldspace UVs ("triplanar") in Unity. The worst thing about BioShock's environments is the cookie-cutter feel of the game architecture, the result of modular building in game engines today. The scale and proportions don't feel human or plausible. To me, one answer is to embrace old school BSP construction techniques with procedural UVs so that you can scale your primitives to arbitrary sizes without texture stretching.
    • How to integrate Unity and Twine. Notes on Unity's web player JS hooks, and how that can feed into Twine's JS, or any webpage's JS, really.
    • How to dig holes in Unity terrains. How to use depth mask meshes to selectively mask geometry, then disable the terrain collider temporarily.
    • The best Unity tutorial writer in the world. He really is. I'd pay him to write a book, in fact, but unfortunately I'm poor.

    Monday, July 2, 2012

    A short history of non-monoplanar first person movement.


    I'm working on a new game that reuses a lot of Souvenir's code, so lately I've been doing more research into non-monoplanar first person movement, meaning you're not limited to primarily moving along the X and Z axis / traversing across a single, fixed, designated "ground" plane.

    Traditionally, "noclip" flying / spectator modes have been the most common form of non-planar first person movement. However, I'm not a fan of it as a movement mechanic because you're always "right side up" above a ground plane. Your idea of space never really changes because that's not the point.


    Shattered Horizon (2009) was a multiplayer FPS in space, where astronauts shoot each other while hovering around asteroids. From what I can grok in gameplay videos, players can rotate and hover freely, but they almost always maintain the same common "ground plane" as if there's a "right side up" in space. Common map layout terminology and directional lighting also reinforce the idea of a "top" of the map.

    Tuesday, June 12, 2012

    7dfps, halftime report


    Hey! I've been chugging away on my 7 Day FPS entry, "The Leaden Circles," a single player squad FPS based on Virginia Woolf's novel Mrs. Dalloway. I was planning on cross-posting all my updates here, but I decided it would've been too much, so read all my daily dev posts over there.

    I also want to draw your attention to some other entries I've been watching:

    "Table For One" tasks you with being an utter glutton, re-imagining Dinner Date as a physics puzzle with a playful Natural Selection-ish skulk cam perspective (best. view model. ever.) because hey, don't we see with our mouths sometimes? The current build is absurdly difficult, at least to me, so I hope he makes it easier!

    "Europa Concept" looks like some sort of high fidelity sci-fi survival thing about crash-landing on one of Jupiter's moons (Europa is one of Jupiter's moons, right?) and managing your inventory and crafting and shooting, or something. The developer's quite a Unity veteran, so I'm sure this'll be pretty slick in the end.

    Tuesday, April 17, 2012

    Why game architecture matters, and the reality / unreality of de_dust.


    (This architecture criticism post was cross-posted to my department's research blog, Game @ Parsons. In general, I post my architecture criticism stuff there.)

    Last July, the German new media artist Aram Bartholl secured funding from Rhizome to begin building de_dust, a popular video game level, as a 1:1 scale model cast out of solid concrete. It would be a crime to paraphrase his concisely argued rationale, so I’ve pasted a large chunk of it here:
    “Computer games differ from other mediums such as books, movies or TV, in that spatial cognition is a crucial aspect in computer games. To win a game the player needs to know the 3D game space very very well. Spatial recognition and remembrance is an important part of our human capability and has formed over millions of years by evolution. A place, house or space inscribes itself in our spatial memory. We can talk about the qualities of the same movies we watched or books we have read.

    Thursday, August 4, 2011

    The Stanley Parable, by Davey Wreden

    I'm a bit late on the trolley here, but here's the latest postmodernist / poststructuralist artsy Source mod to hit the scene -- it's Davey Wreden's "The Stanley Parable." Relatively spoiler-free critique follows:
    • Tree of life. There are lot of branching points in this game. Do they matter or not? You'll see. I will say, though, that critiquing the Branch as a ludonarrative structure is becoming increasingly misplaced these days because no one is defending it. Take the Landsmeet in Dragon Age 1, or Deirdra Kiai's "Chivalry is not Dead" -- there are so many branches and interactions, they're more "bushy" than "branchy," to the point that you can just barely distinguish between branches -- and if it's in both an AAA console action game and an indie PC-only notgame, it's safe to say that bushiness is a growing design practice.
    • Them thematics. The level design says a lot. Some of it has been said before (and maybe with more subtlety) and some of it is novel and predicts your reactions uncannily. I hate to call it a "trick," but the level design has a lot of tricks, much like Ian Snyder's "Feign" or Alexander Bruce's "Hazard: The Journey of Life" "Antichamber" or even the stuff I do in Radiator. These devices work once and only once... Which is okay. Tricks aren't bad.
    • Sotto voce. There's a lot of voice acting involved here, and (at least to American ears) the British tone is incredibly resonant and charming. To be fair, some of the credit should go to Wreden for writing a decent script too. It's all very well-done and probably the stand-out feature of this mod, though it's important to NEVER press "Escape" to go to the menu or it'll desync a lot of the dialogue.
    • Theme songs. I didn't like his choice or use of music. It was a missed opportunity to do more with the sound in general. I suspect Wreden was still learning the toolset (more on that later) because this type of thing is ripe for soundscapes and fun setpieces that might've interacted with the voice acting.

    Wednesday, July 6, 2011

    Love letter to a bridge


    Mention the "bridge in de_aztec" to any Counter-Strike player and they'll nod knowingly.

    Sure, you might have Aram Bartholl wanting to build a 1:1 scale model of de_dust "in real-life", but why no love of any similar magnitude for Chris Auty's vaguely Mesoamerican masterpiece? Throughout the entire map cycle, The Bridge has no equal in terms of elegance and genius, I'd argue.

    As a service to our younger gamers, who, upon being asked, "what's your favorite CS map?" will respond incredulously with, "isn't CS that really old game?" then blow a large bubble gum bubble in your face and go back to texting a fellow bro -- here, you little shit, here's why The Bridge is great.

    Tuesday, June 7, 2011

    Close Reading: "Noveria," Mass Effect 1

    I wanted to airlock Ashley Williams as soon as I met her. The vehicle physics are awful, like a shopping cart coated with Vaseline. The PC equipment menu interface still sucks. The squad AI is foolish. Tech skills seem rather worthless. Biotics are overpowered. Shops don't sell anything better than what you find. And so on.

    ... But the scripting and level design in Noveria? It's quite good.

    Spoilers below, but only about the first 75% of the quest.

    Wednesday, November 24, 2010

    So... I Played a LARP: "Ghost Engines in the Sky" by Nick Fortugno

    low-res photos ripped (under Fair Use) from the New School Free Press article on the same game
    ... apparently not all LARPs are about throwing lightning bolts.

    It was Nick Fortugno's "Ghost Engines in the Sky", set on a mysterious train in 1850. You're one of many passengers -- stricken with short-term amnesia, of course -- and you have to find out what happened / who should get blamed for it. Overall it was pretty cool, but I felt like there were some issues with the facilitating, signposting and the procedural rhetoric...

    (*extensive* SPOILERS after the jump)

    (this LARP relies heavily on fresh, unspoiled players -- like, literally, if you read anything more, then consider yourself banned from playing this game *forever.* If I could adequately critique this game without spoiling it, I would... But I can't, especially when it defies the popular conception of a LARP.)