The Right to the University

Without education, we are in a horrible and deadly danger of taking educated people seriously.
- G.K. Chesterton

I’ve certainly never made a secret of the fact that I didn’t particularly enjoy the process of getting an education. Wait, let me be clearer:

I hated school. I really fucking hated it. I didn’t want to be there. I wasn’t a popular kid, I was bullied for being whiny and bookish and weird. Gym class was, of course, the biggest terror: partially because I was terrible at most sports, partially because I was unable to brush off pain like a manly man, and most of all because I simply didn’t give a shit and resented being forced to jump about like a fucking monkey. I’m not talking about some mild dislike; just thinking about it makes me well up with anger. The idea that I, a conscious, thinking being, interested in literature and film and all kinds of things, had no choice but to endure the physical discomfort and social humiliation of “physical exercise” while getting shouted at by people who were only doing this job because they were too fucking dumb or lazy to do something better, was nothing short of enraging.

But the rest of school wasn’t much better. I enjoyed the occasional literary or philosophical discussion in English class, and once we had a history teacher who almost didn’t suck for a few months; I also had a very good Greek teacher in the last years of school. But I still hated most classes. I hated being there. I hated having to memorize things. I thoroughly hated homework, and didn’t do any at all for the last three years of school or so. Just thinking about homework made me feel like a vampire was sucking out my soul.

I wasn’t a bad student. I was actually one of the best. Somewhere around seventh or eighth grade (I think) my grades plummeted; a teacher made the mistake of seating me next to the class clown in hopes of getting him to calm down, which had exactly the opposite effect than intended. But that was good, that was excellent. Even though my failing grades and growing inability to keep up were a source of major stress at home, I became more relaxed as a person. Before that I’d been… I don’t know, overly earnest. I was Anakin Skywalker in Episode I. (It is not unrealistic at all for a child like that to turn to the dark side, let me tell you.) It must’ve been quite annoying.

My grades eventually got better again, especially after I received some help from a private tutor. Turns out my terrible maths grades had more to do with the teachers than with me. Within less than six months I went from getting the next-to-worst possible grade in a test (1 point out of 15, yes the German grading system is bizarre) to the best. The teacher was quite confounded. My physics grades never got better, alas. I understood all the concepts involved – hell, I even read up on physics-related matters in my spare time – but figuring out when the falling sausage will impale the koala that’s been thrown at a 35° angle is something my brain just refuses to do. Same with chemistry, which is kind of a shame, because otherwise I would have seriously considered studying biology.

I was weird in school. Oh, I was certainly smart. And in a sense I was more adult than most, because I had absolutely no interest in performing adultness. I didn’t want to be cool. I just wanted school to be over. I wanted to be free to do my own thing. Phenotypically speaking I was antisocial, but really it was more tension than anything else. I just needed it to be over, and anything that made time stretch out was bad. But in retrospect I realize that I pretty much screwed up my last few years in Greece by not being relaxed enough. I was getting along better with people than before, and maybe if I’d made an effort to engage more, to get less outraged at petty matters, to just have some fun… those years could’ve been pretty nice. But all I could think of was how to get it all to pass as quickly as possible. I felt like a prisoner. That I knew I’d be leaving the country soon and would never be able to come back and live there made it all doubly surreal.

On the last day of school, after our equivalent of the prom, everyone went to some kind of club to celebrate. Apparently it all got very teary and emotional. I was one of three people who just went home. Not to make a point or because I hated people – though I do hate nightclubs; I prefer taverns or pubs or, frankly, quiet beaches – but because I just didn’t care. It was over. I was free. What I felt was not sadness at the end of an era, but an overwhelming sense of relief.

It is very telling, I think, that to this day I have only one really frightening recurring nightmare: that I’ve forgotten about some obscure regulation which means everyone has to go back to school for a few more years. I’ve dreamt of alien invasions and being hunted by Arnold Schwarzenegger, but that’s one of the few dreams that genuinely upsets me. (Another recurring nightmare is that I’m on stage and have forgotten or never got to rehearse the lines, a nightmare that apparently quite a lot of people who’ve done theatre share. It’s not scary, just frustrating. The only other one I can think of is the one where I’m in Greece but I’m leaving on the next day and I haven’t managed to get enough out of my stay. That’s the only nightmare where I don’t feel any happier after I wake up.)

Then there was university. University was a mixed experience, really. I went in excited, ready to plunge into the depths of English literature. I’d been reading the classics of my own volition (my plane read on the way to Germany was Paradise Lost, which strikes me as profoundly ironic) and was looking forward to being challenged and gaining a wider as well as deeper understanding of the history of the written word. Instead I got hit with Freud, Adorno, and other proponents of unadulterated bollocks. Classes on culture and history consisted of long sermons about the evils of white privileged men, which substituted obfuscatory terminology and name-dropping for logical argument or historical analysis. Books were read in psychoanalytical terms, even if doing so contradicted half the book’s content; I tried in vain to argue that denying the reality of the ghosts in The Turn of the Screw actually robs the story of meaning. That was my first encounter with identity politics, even though I’m not sure I had a name for it back then – a much older female student (in retrospect, almost certainly someone who’d failed at their previous job and decided to become a teacher because “children are easy” and “I have a natural empathy for children”) complained to the teacher about me because I used arguments from the text and that meant I was an arrogant sexist. Ironically, her own (unsupported and unsupportable) interpretation of the text reduced the female protagonist to a self-deluded, sexually repressed cypher instead of the strong, complex human being Henry James actually wrote.

University was characterized by waves of enthusiasm, or at least attempted enthusiasm, followed by waves of frustration and disappointment. I didn’t want to become an academic, but I (correctly) thought that exposure to literature and criticism would help me become a better writer. I was willing to engage intellectually to the greatest degree. I was willing to read, to expand my horizons. Instead I got homework, which I resented no less than I had done in school. At one point I had to do a “library quiz” – apparently the university’s idea of teaching people how to use the library. I actually dropped out of the course and almost out of university itself just over that. I just couldn’t believe it. A quiz? Are you fucking kidding me? How about you just rewrite the library’s search engine so it doesn’t totally suck and leave me the fuck alone with your library quiz. What is this, third grade? Are we gonna sing a song and paint a picture of de Saussure now? For fuck’s sake.

There were good things, too. Though I’d gone to university expecting to focus on the classics, I was quickly drawn to postcolonial studies, where I ended up spending the majority of my time. Here I encountered many interesting works of fiction and non-fiction that really did expand my horizons. And while I also encountered a lot of postmodernist nonsense, I gained a variety of intellectual tools that remain helpful in analyzing the world, even from a Marxist perspective. I was particularly lucky to be taught by a couple of notable academics: Frank Schulze-Engler, who exposed me to many ideas about the transcultural, as well as to many excellent novels from Canada, Africa and the Caribbean, and Bernd Peyer, who exposed me to a great deal of Native American/American Indian fiction and nonfiction, the history of the Chicano Movement, and other topics that remain very important to me.

The knowledge I gained from such classes helped to expand and consolidate my understanding of the struggle for equality.

But I never finished my studies, to the intense frustration of my parents (who had spent a great deal of money to support me, money that was not easy to come by in Greece). Why? I know more about postcolonial studies than some academics, I’m a good academic writer, pretty much every paper I wrote got excellent grades… well, actually, there you have it. Exams. Homework. All that brain-numbing tedious shit that I absolutely didn’t need to do. If they’d just let me write my PhD, I wouldn’t have had a problem. A PhD is real work, not homework. I’d rather write a thousand pages that mean something than three pages that don’t.

OK, maybe I would’ve had a problem. I was intensely irritated by the degree to which the humanities have been taken over by wank disguised as sophistry disguised as serious thought. It’s not even real sophistry, it’s just pure relativistic shite that serves no purpose except to make sure no-one ever actually thinks about anything. Even in postcolonial studies, a huge number of academics do nothing but publish utterly meaningless bollocks with no intellectual validity whatsoever. No, using the word “epistemological” does not give your argument weight. More syllables does not mean more logic. Theory is not an artform. Fuck off and die.

I worked in the English Department’s Writing Center for years. I was there from the day it was founded. And you know, I met some of my best friends there. I have fond memories of endless conversation with Ivo about music and poetry and politics and games (that continue to this day), poking affectionate fun at Cornelia’s Southern heritage (I still do, y’all), and collapsing in a heap of laughter with Linda (which doesn’t happen often enough, sadly). Good people. The work itself… well. The project was the brainchild of an American lecturer, who left after a year or so, utterly baffled by the low standards of the university and the impossibility of getting daycare for one’s children. She was a very nice person, highly motivated in a somewhat oddly American way, but what she was trying to do didn’t really gel with how Goethe University worked. And to make matters worse, none of the students actually understood that there was a difference between language skills and writing skills. Still, we struggled bravely, and accomplished a few good things – like forcing lecturers to standardize their essay requirements, so people didn’t end up getting terrible grades just for doing what they’d been taught the previous semester. We taught people not only the basics of academic writing, but in some cases even how to think for themselves. It’s amazing how hard it is for people to shake the idea, popular in German schools, that “you shouldn’t write your opinion.” We spent months working with some people. We worked some difficult cases, too. People who burst into tears. People who would fail their exams if they didn’t acquire a lot of skills in just a few weeks. People who had to be kindly told that their language skills were so sub-par they couldn’t write a single correct sentence. I, being the veteran, was assigned the cases other people were scared of, like the angry older woman (another teacher-to-be) who wouldn’t listen to advice, which made us wonder why the hell she came to the Writing Center in the first place.

But despite all the fun, there were some things that just kept wearing me down. Seminars I would get excited about would turn out to be terrible. We did a seminar about reading Tolkien from a postcolonial perspective and the lecturer turned up dressed as an elf. At the end of that seminar I was scolded for intimidating newbies by using precise arguments. They’d based their presentation on reading the internet instead of the books, so 90% of what they presented was cobbled together from various role-playing games that weren’t even related to The Lord of the Rings. I was also accused of “writing too much like an academic even though you’re just a student.” Yeah.

In the end, though, it was the homework that did me in. I just couldn’t face writing twenty pages of pointless drivel just to get a grade. I got seriously depressed just thinking about it. And by depressed I mean depressed, not slightly miffed.

So, given all these experiences and more (I haven’t even mentioned my brief time in Theatre/Film/Media Studies, which would make an excellent Python sketch), I understand why a lot of people criticize universities. There’s a lot that is wrong, some of it deeply. Culturally, politically, socially – universities could be improved in a lot of ways. But I’m very, very wary of the tendency in certain sections of the identitarian left to reject higher education per se, i.e. “universities are run by privileged white men” or “universities only exist to brainwash people into supporting the system/patriarchy/whatever” (that the entire terminology  used by these individuals comes from middle-class academics working at universities is tragically ironic; the “radical” part of the internet sounds exactly like a cultural studies class). Because it’s just not that simple – not even remotely.

To a large degree this anti-university discourse originates in the sociopolitical conditions of the United States, where economic rights were never as advanced as in other parts of the world and where what few rights existed eroded much longer ago. Britain, too, has a tendency for posh universities that few working-class people attend; but even those institutions are not purely the bastions of the ruling order that some imagine, or they wouldn’t have been quite so savagely attacked by people like Margaret Thatcher.

But even if universities in the US and UK were as profoundly dedicated to capitalism as people claim they are, that does not make these attacks on the university system as a concept any less problematic. There are two simple reasons:

1) The US and the UK are not the world.

2) Education matters, and the university system is good at providing an education.

Right now, universities and university students are playing an important part in the struggle against capitalism. Because, you see, in other parts of the world – which are no less important – the idea that free education is a right hasn’t been lost. People take to the streets to fight for the right to a higher education. After all, a proper university education is considered a must in the job world – not because people in Europe are rich, but because until recently their political systems were considerably more social. Universities are centres of political organizing and dissent. A great many of the people you see being beaten by riot police on the streets of Greece, Spain or Egypt are students. And you are not doing them a favour by saying that universities don’t matter, or that universities should be rejected. Portraying universities as a lifestyle choice rather than as a fundamental right plays directly into the hands of those who want to turn universities into exclusive clubs for the financial elite.

Universities are centres of learning, and learning is a required tool in the struggle for systemic change. Even the stuff you don’t agree with is useful – as we taught people in the Writing Center, dismantling your opponent’s position can be a useful way of illustrating yours. Yes, schools and universities are flawed. The solution is to fix them, not to give up our claim on them.

Let’s leave aside the revolutionary stuff for a moment, though. And let’s leave aside the temperamental artistic bollocks for a moment, too. Most people go to university to learn stuff and get a decent job so they can live a happy life. There’s nothing wrong with that. They don’t go there with visions of altering society or having a spiritual communion with Milton, and why should they? The essentially elitist lifestyle-based contempt some people express for “normal people” is deeply reactionary, even if it is presented in radical-sounding terminology. Not everyone has some grand vision, and they shouldn’t be required to – forcing people to conform to our quasi-spiritual cultural desires is not what the struggle for equality is about; if anything, this kind of thinking is an individualist distraction from meaningful mass action.

In the end, you’ve got to admit that people like me are kind of ludicrous. No, I don’t think I should live in a society that makes me suffer. But a lot of the problems I faced at university are silly compared to the real struggles going on in the world. Yeah, I didn’t want to do my homework. Maybe I think I’m smarter than other people. Maybe I even am. Who gives a shit? My problems with the tediousness of writing essays are a fucking joke compared to the millions of people struggling to get an education, fighting to keep the educational system accessible to all. Oh, the role academia had to play in allowing things to get where they are, that we can talk about. But the problems of an artistically-minded misfit who gets depressed about homework? For fuck’s sake, I’m the guy who’ll take an hour of walking over five minutes of waiting for the bus. You shouldn’t reject education because of people like that. The struggle for democratic rights is significantly more important than the struggle for my personal identity. Yes, I’d love to live in a world without gym classes and library quizzes. But giving up the right to education in the name of ideological purity is another step towards a world in which we don’t have libraries for quizzes to be written about, or classes for me to whine about.

The universities are ours. Let’s reclaim them.

Making Numbers Go Up, or Games and Selfishness

I’ve heard the argument repeated a number of times that games are an essentially capitalist artform. This argument takes several shapes, and focuses particularly on the types of games that are all about “making numbers go up”:

1. Games have developed at a time in human history when capitalism is more in control of the culture than ever before.

2. The modes of gameplay we know are therefore inherently capitalist, especially as they are all about greedily improving our characters, gathering loot, etc.

3. The fact that we enjoy this proves that selfishness is inherent to humanity and so capitalism is the only system that can ever really work. / We cannot overthrow capitalism without games that don’t use these forms of gameplay.

The first point I can’t really disagree with, as I’ve made it myself at times. As one of the most recent artform, games developed long after the destruction of organized labour movements and their associated intellectual heritage. Context matters, and the context in which games have evolved – especially in the United States, which have such a powerful cultural influence on the rest of the world that people tend to forget there is a rest of the world, and it’s fairly huge – is one of extreme individualism. It’s not a coincidence that what counts as “progressive” in gaming today is identity politics and postmodernism, movements that have propped up capitalism by focusing on non-systemic change for decades now. We’re beset by subcultures, fandoms, identities – and not only by the idea that this type of “branding” is useful, but that there is no other way in which progress and equality can be approached.

The second point is more problematic, since it contains two fundamental errors:

a) The assumption, typical of identity politics, that the product must be judged (solely or primarily) by the producer or the context of its production. This leads almost inexorably to destructive ideas such as that the work of “straight white heterosexual men” cannot contain revolutionary potential; or to the idealist notion that to create revolutionary work, we must “drop out” of capitalism, as if capitalism was a lifestyle rather than an economic system.

b) The suggestion that the drives these games are built on – to collect, to build – are somehow inherently “capitalist” and thus bad. This (historically, if not always consciously) ties into the postmodernist rejection of ideas such as progress (one of those dreaded “grand narratives”) in favour of relativistic, essentially faith-based, inwards-looking, to-change-the-world-you-must-change-yourself individualism dressed up in a layer of pseudo-radicalism that only threatens the most extremely conservative members of the existing social order while providing essential support to the socially liberal elements of the status quo.

The third point, in both of its interpretations, builds on these errors to come to equally erroneous conclusions. Both are based on the premise that what we enjoy in art must somehow reflect what we enjoy in everyday life – note that the emphasis here is on mechanics rather than on meaning (i.e. the equivalent of “the problems of factory workers cannot be altered by changing how factories work, but only by no longer having factories and living free from capitalism”). So either we enjoy these games because we are all secretly capitalists, or we must stop enjoying them because we’re not.

But you know what? Capitalism is fun! So is shooting people! Except these things are only fun when enjoyed as a childish fantasy. In real life, both are horrific – but so are swordfights, and even though I love a good swordfight in the cinema, I’m not particularly looking to get stabbed or to stab someone. Yes, we may make a few snarky comments about how children play “cops and robbers” and how this reflects a society intent on upholding existing property relations… but I suspect that children would play something similar even in utopian communism, because it’s fun. And to believe that making children hold hands and sing Kumbayah (or the modern equivalent) instead constitutes some kind of radical attack on capitalism is precisely the sort of thing that has kept capitalism going for so long despite its catastrophic effects on our planet and our species.

But I have to go back to the second point, because that is the root of the problem. You see, unlike various ideology-based movements and despite what propagandists may claim, socialist theory doesn’t actually demonize capitalism or its achievements. Socialism wants to alter the ownership of the means of production, not abolish production itself; it wants to realign the methods and purposes of industry, not return to the woods; it aims to put technology in our hands and allow us to use it rationally (i.e. productively as well as sustainably) rather than alienate us from it with vague anti-scientific “epistemological” sophistry. Socialism recognizes that capitalism was, at certain times in its history, a progressive force that demolished old systems and contributed, despite its flaws, to the development of our species. It’s not the Enlightenment values of capitalism that have failed, but simply the fact that capitalism is too unstable and too destructive in the long term to be able to maintain those values – which is why it now requires the very people who question those values to uphold it by telling us that progress is a fantasy.

How does this relate to games and selfishness? It’s simple: I believe that the types of gameplay that are often derided as selfish or capitalist aren’t actually that at all. I don’t think they’re socialist, either. I think humans simply enjoy making numbers go up. We enjoy building things, fixing things. Our entire history as a technological species is characterized by the question “How do I make this better?” Sometimes we stand to gain from it, sometimes it’s pure curiosity, sometimes it’s just the feeling that if something can be improved, it should be improved. As you can tell by our fingers, we’re a species of tinkerers and meddlers, compulsive optimizers. That’s something a lot of games tap into, especially RPGs and strategy games. The reason RPG elements are so popular in games is because humans get a thrill out of the idea that they worked and made something better. You know how sometimes you’ll come up with a great idea for how to reorganize your room, and you’ll spend an hour excitedly moving around furniture? When that works out, the feeling you get is magnificent. “I made it better!”

And that’s how the whole world we live in was built. That’s why we have houses to keep us warm, and clothes to protect our skin, and medicine to keep us from dying of a cold when we’re three. And that’s why our lives, no matter how many problems we have, contain infinitely less suffering than those of our ancestors a million years ago.

But context does matter, and much as with technology, the question is what use we put these impulses to. What stories do we tell, what meanings do we attach to our mechanics? To put it crudely: do you upgrade the CEO’s bonuses or the people’s living standards? Do you shoot the Iraqi insurgents or the White Army? Some people would argue that it’s all the same, but that’s precisely what maintains the status quo. The revolutionary violence of the oppressed is not the same as the genocidal violence of the oppressor, and industry in the service of the people is not the same as industry in the service of profit; it does matter which side you’re on, and “dropping out” is tantamount to support for the oppressor.

Does it always have to be about selfishness? Is that the only thing people enjoy? I think the answer to both questions is no. My experience as a game developer is that people enjoy helping others, even when there is no reward other than another person’s happiness. People do enjoy fighting for a cause, upgrading for a cause, even grinding for a cause. People understand that the relief of suffering is a good thing. People like to help. Albert Einstein wrote that “Man can find meaning in life, short and perilous as it is, only through devoting himself to society.” When people ask for their actions in games to have consequences, very often this is what they’re after: the feeling that what they’ve done has a social context and a social effect. They want to be able to see the family they saved from the wolves going back to their regular lives; they want conditions in the city they saved from the plague to noticeably improve. Some people mistake this for selfishness, but I think that’s foolish; what people are after in these cases isn’t personal gain, but a sense of having contributed – of having improved things. That a social act includes a feeling of personal satisfaction does not make it selfish to anyone but the most pedantic cynic.

So I would ask those who are serious about this artform not do dismiss such a vast part of what players enjoy – from the smallest upgrade-based casual game to something as big as Borderlands 2 – because some people associate it with an identitarian understanding of capitalism. If these games aren’t your type of thing, that’s fine.

But there’s nothing inherently wrong with making numbers go up.

YAY

Reposted from Indiegogo:

It is done! And you did it. All of you. Thank you so much! We are very, very grateful.

It’s amazing and heartwarming that not only will we get to make Ithaka of the Clouds, we will also get to go back and polish the previous Lands of Dream games so that the whole cycle works properly as one. That so many people would care – not thousands, not millions, but enough to make it happen – is genuinely inspiring. We’ll do our best not to disappoint you.

Now, a bit of organizational stuff. Those of you who ordered a perk that comes with a copy of The Sea Will Claim Everything will be getting an email from me later today. Some of you wrote in to change your perks; you’ll also be getting an email to confirm. Finally, those who ordered perks that include something of yours ending up in the game will also be contacted soon.

There’s only one problem, which is that (with stunningly precise timing) I have developed a terrible jaw pain and my dentist is on holiday. If there are some delays, that is the reason. But not to worry, we’ve got all your information and Bob the Spider will be tracking you down and- I mean, you will be getting your perks. Yes. Absolutely. No spiders involved.

And once again – thank you all so much.

Love,
Jonas & Verena & Cat & Chris

… and Bob the Spider!

Clearer Stretch Goals

I’ve been asked to clarify our stretch goals for Ithaka of the Clouds, so I’ve made a list. With numbers and stuff.

$13,500 – remake The Strange and Somewhat Sinister Tale of the House at Desert Bridge

$14,000 – update The Book of Living Magic, add minor improvements to The Fabulous Screech

$15,000 – remake The Museum of Broken Memories

$20,000 – remake Phenomenon 32

$50,000 – remake The Fabulous Screech as FPS/RTS hybrid

$100,000 – remake Phenomenon 32 five times

$500,000 – build a house out of cream cheese

$1,000,000 – remake Call of Duty as Marxist text adventure

$25,000,000 – make a pretty good science fiction movie

$99,999,999 – build working replica of Babylon 5

$1,000,000,000 – buy tuna for cat

This Is Actually Happening

This landscape does not have a description.

Enough people have gotten together and contributed money that a game about gay trolls based on the poetry of Kavafis is actually happening.

Seriously.

Wow.

I don’t know how many people are out there who want interactive storytelling rooted in literature and poetry and philosophy, with political undertones and bad puns… but there are enough.

Ithaka of the Clouds is a game that will exist.

We can’t thank you enough.

ohai

iz cute

(Because nothing says “thoughtful, intelligent art” like a lolcat. Right?)

Stretch Goals

So, what would happen if our Indiegogo campaign got more money than we asked for? Our life would generally be easier, since we asked for the bare minimum required to make Ithaka of the Clouds, but that’s not all: we’d also use the money to go back and remake/update The Strange and Somewhat Sinister Tale of the House at Desert Bridge and The Book of Living Magic. But what exactly would that entail?

In the case of Desert Bridge, I would personally like to go back and completely recreate the game using the same tools as we used for the later games. There’s a variety of reasons for this: for one thing, the game doesn’t run on a lot of modern systems, though it does run on some. Remaking it would also be a chance to fix certain inelegancies and issues that the old version still has, bringing it more in line with the Lands of Dream as a whole. However, I wouldn’t really want to change the game’s style, which is intentionally much cruder than that of, say, The Sea Will Claim Everything. Gregory Weir captured the game’s intent very accurately when he wrote:

Remember when you were a kid and you’d just played Myst and Dare to Dream, and you found Hypercard on your school computers, and you decided to make an adventure game? And it was going to be the coolest game ever, with all sorts of secrets and jokes and you spent hours drawing the backgrounds in a wide-ruled spiral notebook?

No? Maybe that was just me. Anyway, this is that game.

Of course, Desert Bridge is also an entirely adult story about the relationship between the creator and the created, but these two layers aren’t contradictory. Quite the opposite – they require one another. The silly 3D buttons and the use of Comic Sans aren’t a flaw, they are a feature. Some people have gotten very angry about such things with the rise of indie games and their different aesthetics, but quite frankly it’s irrelevant to me; I predate the current indie games scene, and if you have a look at the games I made before Desert Bridge, you’ll notice this wasn’t exactly my regular shtick.

Am I nevertheless tempted to change the game’s style? Yes. I’d be curious to see Old Man Bill’s house in a new light. But how do you square that with a game where you have to help a character repair the interface? And how much of the magic would be lost? Because there really is something magical about these child-like drawings.

Which brings us to The Book of Living Magic. A game I’m very fond of, that contains some great moments, but which I sometimes feel is caught somewhere between looking like a child’s drawing and looking like a children’s book. This wasn’t an error on Verena’s part, but simply the way we were thinking at the time. It’s the influence of Desert Bridge, it’s us thinking that we want something that looks smoother but that doesn’t have a completely different style. So it’s somewhere in-between. It still has a magic of its own – there’s something about these rougher graphics that encourages the imagination – but it feels like it could be improved.

Certainly there were many aspects of the game that suffered due to the limitations of the medium – I was fighting to keep the filesize down, which forced me to make the game smaller than it had been intended. It was always meant to be shorter than Desert Bridge, but some of the cuts bothered me. Losing an entire screen of the Forest of Eyeballs deprived the world of dozens of unspeakably terrible puns, for instance. And generally speaking, there are various aspects of the game that could be improved, to create a smoother, richer experience. (If I get the chance to do this, the Flash version will also be updated. I am still very grateful to Jay is Games for their sponsorship of a game that most sponsors didn’t even want to touch. Trying to sell that game was a massively discouraging experience, and though Jay is Games couldn’t give me the kind of sponsorship the big gaming portals could afford, it still kept me going.)

An additional change I might be tempted to make would be getting Chris to compose an original piece of music for the ending of The Fabulous Screech. What’s there works really well, but the fact that it’s not original bothers me; and wouldn’t it be appropriate to have an in-game transition from Helen to Chris? (For clarification: since The Fabulous Screech came as something of a surprise for me, I didn’t really have the time to plan it properly. Most of the music in it was written for The Book of Living Magic, but since I didn’t have an appropriate piece for the ending, I used a very lovely piece of royalty-free music by Kevin MacLeod.)

I don’t think anyone has ever made anything quite like the Lands of Dream games. The way they interact with each other without being sequels/prequels, the way their themes and stories interconnect but are still separate entities, is (I think) fairly unique in the world of games, and probably my/our biggest contribution to the medium, at least in purely structural terms. It would be really exciting to be able to polish them all up so they can really appear as they were meant to, so you can point at them and say “this is the Lands of Dream cycle” without having to add anything about this one being old and that one being broken. They’re meant to coexist.

The Music of the Lands of Dream – Part I

Here’s an update from Chris Christodoulou, the amazingly talented composer of The Sea Will Claim Everything and now Ithaka of the Clouds:

Hi, I don’t believe we have met before. Allow me to introduce myself. I’m Chris and I’m your travel age— sorry, I mean I’m the composer of Ithaka of the Clouds. Some of you may know that I’ve worked with Jonas and Verena before on “The Sea Will Claim Everything”. What most of you might not know though is that TSWCE turned out to be one of the best projects I’ve ever done. I loved it so much that when I learned that Jonas is making a new Lands of Dream game I didn’t wait to see if he would contact me for the gig, instead I immediately sent him an e-mail asking for it (more like demanding actually). As you can see my strategy was successful!

For this crowd-funding campaign Jonas and I thought it would be nice if I made a small video about the music of the game. After all some of the money—your money—is coming to me, not to mention that many of you will be getting the soundtrack of the game once it’s released. It’s only fair if you have an idea of what’s going on behind the scenes, music-wise.

But what would the content of said video actually be?

I really didn’t want to stand in front of the camera and talk about music. I could do that… Believe me, I could do that all day long, but there would be no point to it… Instead, I thought I’d get a bit more practical and actually write a piece from scratch for all of you lovely people helping us out.

So, in the video below (and the next one or two… or one, we’ll see…) you’ll get a glimpse of what goes into writing a Lands of Dream piece—or rather, a part of a piece. If you can’t read music don’t worry about it, you can just listen. And if at any point things get a tiny-bit too technical, fear not. Just let the little black dots do the talking.

Thank you for watching, thank you for the support and see you next time,

Chris

P.S. By the way, if any of you have questions about the music do leave a comment here or on YouTube and I’ll get back to you with another comment or in the next video.

The video is really worth watching, even if you don’t know anything about composing. I don’t, and I thought it was amazing.

Support Ithaka of the Clouds on Indiegogo!

A Q&A with Joseph Kyranzes

Check out this wonderful video with our intelligent, kind, erudite and entirely real producer, Joseph Kyranzes. Who is not fake. At all. Really.

Ithaka of the Clouds – An Update

My favourite piece of concept art.

The first few days of the campaign have been amazing. We freaked out a little when Paypal suddenly stopped processing contributions for almost a day (just our luck), but once everything was fixed we saw that quite a few people were actually supporting us. It’s slowed down now, but we’ve already reached more than $7000! Which is amazing. Seriously. Wow. Thank you. THANK YOU!

We’ve also made it into the press – RPS, PC Gamer, Adventure Gamers, IndieGames.com, even Eurogamer. At this point it looks like Ithaka is getting more attention than The Sea Will Claim Everything!

It’s still a long way to reaching our goal, though, and we could really use your support. Not just in the form of contributions, but also in spreading the word. There are a lot of websites out there that have never heard of the Lands of Dream, or that can’t imagine that games like these could have fans. There are also many people who might hugely enjoy Ithaka of the Clouds, but who don’t generally think of themselves as gamers and who normally would never hear about a project like this one. You can do a lot to help make Ithaka happen by tweeting about it, sharing links on Facebook, and letting your favourite sites that haven’t covered it know that it exists. Don’t spam anyone, but retweet/share/submit buttons do exist for a reason. (They do, right? Because otherwise I may have been doing it all wrong…)

We’d like to do a video giving you a bit more information about the various perks, but before we do: does anyone have any questions? We’ll gladly answer them, in the comments or in the video. We’ve put a lot of care into making each of these perks as cool and unique as possible, because we really don’t want to feel like we’re ripping you off. If you’re going to pay a lot of money, you should at least get something special.

We will, of course, also answer questions not related to the perks! Several people have asked when the game is set, for example, to which the answer is “a long time before any of the other games”. So you will be returning to many of the locations you’ve seen before, but they will be quite different.

Ah, I’m rambling again. Do feel free to ask if there’s anything you want to know, and see you in the next update.