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      GameDev.net and CRC Press have teamed up to bring a free ebook of content curated from top titles published by CRC Press. The freebook, Practices of Game Design & Indie Game Marketing, includes chapters from The Art of Game Design: A Book of Lenses, A Practical Guide to Indie Game Marketing, and An Architectural Approach to Level Design. The GameDev.net FreeBook is relevant to game designers, developers, and those interested in learning more about the challenges in game development. We know game development can be a tough discipline and business, so we picked several chapters from CRC Press titles that we thought would be of interest to you, the GameDev.net audience, in your journey to design, develop, and market your next game. The free ebook is available through CRC Press by clicking here. The Curated Books The Art of Game Design: A Book of Lenses, Second Edition, by Jesse Schell Presents 100+ sets of questions, or different lenses, for viewing a game’s design, encompassing diverse fields such as psychology, architecture, music, film, software engineering, theme park design, mathematics, anthropology, and more. Written by one of the world's top game designers, this book describes the deepest and most fundamental principles of game design, demonstrating how tactics used in board, card, and athletic games also work in video games. It provides practical instruction on creating world-class games that will be played again and again. View it here. A Practical Guide to Indie Game Marketing, by Joel Dreskin Marketing is an essential but too frequently overlooked or minimized component of the release plan for indie games. A Practical Guide to Indie Game Marketing provides you with the tools needed to build visibility and sell your indie games. With special focus on those developers with small budgets and limited staff and resources, this book is packed with tangible recommendations and techniques that you can put to use immediately. As a seasoned professional of the indie game arena, author Joel Dreskin gives you insight into practical, real-world experiences of marketing numerous successful games and also provides stories of the failures. View it here. An Architectural Approach to Level Design This is one of the first books to integrate architectural and spatial design theory with the field of level design. The book presents architectural techniques and theories for level designers to use in their own work. It connects architecture and level design in different ways that address the practical elements of how designers construct space and the experiential elements of how and why humans interact with this space. Throughout the text, readers learn skills for spatial layout, evoking emotion through gamespaces, and creating better levels through architectural theory. View it here. Learn more and download the ebook by clicking here. Did you know? GameDev.net and CRC Press also recently teamed up to bring GDNet+ Members up to a 20% discount on all CRC Press books. Learn more about this and other benefits here.


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About jbadams

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  1. With the growing maturity of open standards such as HTML5, WebGL and others, and dwindling support for the Flash player on various platforms, there has been plenty of discussions around the idea that 'Flash is dying'. As of yesterday, it's official. Adobe has announced in a blog post that they will stop updating and distributing Flash as of the end of 2020, and will be encouraging content creators to migrate their content to open formats. The flash player will continue to receive updates for security and compatibility until that time. Click through for full details in Adobe's announcement, or read what their partners have said in their own announcements: Apple Facebook Google Microsoft Mozilla View full story
  2. With the growing maturity of open standards such as HTML5, WebGL and others, and dwindling support for the Flash player on various platforms, there has been plenty of discussions around the idea that 'Flash is dying'. As of yesterday, it's official. Adobe has announced in a blog post that they will stop updating and distributing Flash as of the end of 2020, and will be encouraging content creators to migrate their content to open formats. The flash player will continue to receive updates for security and compatibility until that time. Click through for full details in Adobe's announcement, or read what their partners have said in their own announcements: Apple Facebook Google Microsoft Mozilla
  3. Assuming I'm understanding your description of the game properly, your project would likely take an experienced developer at least a year. Tweaking and fine tuning procedural generation to get a satisfying randomised world can take a lot of fiddly work, and you'll also have a reasonable amount of content creation to do, along with all of the basics that make a game. That being said, I don't think it's an unreasonable project to work towards at all, and it's certainly something a solo developer could tackle with a bit more experience. Like Eck, I would recommend working up to it with smaller projects so that you can develop your skills before tackling your dream project. Breaking it down into smaller components is actually a great idea, and there are some parts of your idea that should be reasonably easy to achieve with a bit of work. I see that you've started on some artwork (take a look at The Total Beginner's Guide to Better 2d Game Art for some tips you can apply to any 2d project!), but do you have an engine or framework in mind for creating the game itself? Moving this topic to For Beginners for now, as you don't seem to have any specific design questions right now and are more looking for general 'getting started' advice.
  4. FYI, we also shared this on our Facebook page, looks like it was quite popular.
  5. Very cool, thanks for sharing Alan! Please keep anything like this to our Your Announcements forum in future - we'd love you to also join in some of the discussions, offer advice, or look for feedback in the Music & Sound forum though.
  6. To make this story work, you need an incentive for people to have left the existing population centres and/or an incentive for them to go elsewhere. Nuclear devastation (as you suggested) could certainly work for this, as the radiation would render old population centres uninhabitable, but are players then able to access those locations, or are they still radioactive? Likewise, if the threat was "nano plagues", what has caused them to no longer be active? Of course, you could also actually work that into your story and game mechanics. Perhaps old population centres can be accessed, and might potentially contain valuable resources, but are also risky because there might still be radiation limiting the amount of time spent there or types of units that can safely enter, or because there's a risk of unleashing a nano plague, or both. ToadstoolTyrant's suggestion is interesting, but there's not really any compelling reason people would leave the existing population centres: rebuilding from something is probably still better than rebuilding from nothing, and there would still be some resources available. You could also look at a normal plague. It could have evolved naturally, it could be a bioengineered weapon, or perhaps a lab specimen of something like smallpox got out. Perhaps global warming released a virus from the tundra. People in the less populated area had less chance of being infected and perhaps didn't have to compete as much with other survivors for limited resources.
  7. Expanding on this point a little and looking at your specific examples: Inc. refers to "incorporation" - the creation of a legal entity. Ltd. refers to a "limited company" - to do with the liability of members, and often a specific type of legal entity, depending on your local laws. You probably don't want to tack those on just for aesthetics if they don't actually apply to your business.
  8. In my previous post, I took a look at the various level designs lessons gleaned from Super Mario Bros. 3’s first world. A lot of them naturally dealt with introductory tutorials, but I wanted to take a slightly different approach with this article. The elegant introduction of new mechanics is still present throughout SMB 3. In this example, the first appearance of a Chain Chomp is marked by two columns that indicate its range and allow the player to safely observe its behaviour. SMB 3 is filled with great levels, so I decided to pick out a bunch of clever, fun or simply unique moments from the game that originated with its architecture. I skipped over a lot of possible examples trying to keep the list down to 30, but I think I came up with a good collection that complements the original post. 1) World 2 Fortress It’s a common technique to place falling obstacles side by side on the ceiling so that the player can “narrowly” dodge them while running underneath. Of course once the first hazard is avoided, it’s easy to figure out that the others won’t pose any threat. In order to sustain tension, the above Thwomps are positioned at different heights, each one closer to the ground than the last. Although it’s still possible run underneath them, the player can’t be sure he’ll make it until he’s all the way through. It’s also worth noting that the other fortress levels often work to build a similar feeling of suspense (even when they’re actually not any more difficult than the regular stages). 2) World 2-3 The end-level pipe is covered with a mound of Brick Blocks patrolled by a couple of Koopa Troopas. It’s unlikely that the player will choose — or be able — to dispatch the enemies without stomping on them and sending a stray shell rocketing into the bricks. This causes a chain reaction where the shell destroys many of the blocks, but this is far from a randomized event. Some of the bricks are deliberately turned into Used Blocks when hit, penning the shell inside and ensuring that it clears a path to the exit pipe. The lone brick that survives the destruction also proves to be a Coin Block, rewarding the players that risk activating it. 3) World 2 Quicksand The Angry Sun doesn’t scroll with the rest of the background, immediately making this level feel unique. When the player gets past the Tweester, the sun detaches from its static position and begins swooping down on Mario. The entire level is designed with this dodging gameplay in mind as its layout is fairly flat and it doesn’t contain many enemies. 4) World 2-4 The top-left corner of the level’s starting position shows a narrow gap plugged up with a bunch of Brick Blocks. This draw the players attention and guides him to discover that he can fly and smash through the entire column without losing any elevation. Once at the top of the platform — which contains a neat-looking enclosed pool — the player is given a chance to discover another fun continuous-flight mechanic: bumping a horizontal line of Brick Blocks that all dispense coins. 5) World 2 Pyramid These tight tunnels are filled with one-off brick walls. Although it’s possible to destroy them with Raccoon Mario’s spin-attack, the plethora of Buzzy Beetles ensures that the player has many chances to use the enemies in order to carve a path through the level. 6) World 3-2 This is an example of an interesting Starman mechanic: the Wooden Block dispenses the invincibility powerup, and if Mario is invincible while bumping certain other “?” Blocks, they will also release Starmen instead of coins. Although quite challenging to time, this allows the player to blaze through the level instead of following the more exploratory route. 7) World 3-3 In addition to changing Brick Blocks into collectible coins, the P-Switch can also be used to make level traversal much easier. In this case, rows of coins are turned into platforms that allow Mario to avoid various hazards lurking below. These makeshift bridges carry on to the end-level pipe and provide a much safer route if the player is quick enough to take advantage of them. The end-level pipe is also interesting as it’s not located on the very right edge of the map, but instead roughly 2 screens to its left. If the player travels past the pipe, he’ll discover a secret 1-Up Mushroom. This is a great example of making something feel novel by enforcing a certain pattern (end-level pipes are always on the right side of the map) and then simply breaking it (the end-level pipe is now closer to the middle). 8) World 3 Fortress 1 This hallway with numerous doorways introduces large-scale branching and looping design. Most doors drop Mario into a pool of water, but two have unique destinations: a bonus coin room, and the actual path to the level’s end. Since working out which doors lead to where is a matter of trial and error, it’s easy for the player to start feeling a little tense as the timer continues to tick down. 9) World 3-4 Perhaps the greatest slide in all of SMB 3; not only does it let Mario barrel through a bunch of Goombas, but it can also launch him over a lake and onto higher ground. It’s almost like a Sonic the Hedgehog segment, albeit not quite as thrilling. If the player misses the jump, there are also a couple of invisible “?” Blocks over the lake that create an alternative path to the top. 10) World 3-8 In this level Mario is constantly harassed by Boss Basses while the whole map dips in and out of water. Thankfully the stage also contains a few Beanstalks that allow the player to climb up and “ride out the storm.” This is notable as these elements were all encountered in previous levels, but an entirely new dynamic was introduced by putting them together. 11) World 4-1 Probably the most beloved of SMB 3’s worlds, Giant Land features unusually large enemies and objects. Despite their size, most of them behave the same way as their smaller counterparts (although there are a few differences such as not being able to destroy giant Brick Blocks with a spin-attack). Giant Land levels actually mix large objects and enemies with the regular-sized versions, but it’s the behemoths that are the ones remembered. The sense of wonder they evoke is similar to the “Honey, I Shrunk the Kids” effect, and it works so well because the player had 3 previous worlds (and perhaps other Mario games as well) to get used to the standardized dimensions. When most everything is suddenly blown up — regardless of actual impact on gameplay — it leaves quite an impression. 12) World 4-3 This is a small but notable example of difficulty ramping and an alternative use of objects. Wooden Blocks are usually a boon to Mario as they stop enemies and occasionally dispense powerups. However, in this case they make navigating the triangular platforms much more difficult. Instead of providing a reward, the blocks stop Mario’s jump and actually push him back, sending him skidding towards a bottomless pit. 13) World 4-4 Air bubbles emanating from the pipe indicate a water current that’s impossible to pass without the somewhat rare Frog Suit. This is actually one of the few areas a Raccoon Mario can’t reach, and its end-point is a neat bonus room with two P-Switches. This is unusual as P-Switches are typically limited to 1 per level, but there there are 2 of them here (side by side, no less). This is possible as the 2 P-Switches actually serve 2 different functions: one changes a wall of bricks into coins, while the other summons a wall of previously invisible/non-collidable Silver Coins. 14) World 4-6 This level is actually split into 2 nearly identical maps, with a single door joining them together. The main difference between the 2 areas is that the first contains large enemies, while the second contains regular enemies. The effect makes the door feel like a gateway to the “normal” part of the game, in turn accentuating the surreal, alternate-universe nature of Giant Land. All this is also achieved with no extra art resources, and it comes across as quite unique since it’s never repeated in any other levels. 15) World 5-2 Mario enters this level by falling down a narrow, walled-off tunnel. While descending, the player is shown a pipe and some blocks that inform him of an area he can’t yet reach. As the tunnel ends, a couple of platforms pop into view that — if the player is fast enough — can be used to break Mario’s fall. The platforms are Jump Blocks and their bounciness makes this a somewhat tense exercise, but successfully landing on them allows the player to get up to the pipe Mario just passed. If the player misses the platforms, though, he won’t lose a life. Instead, he’ll continue falling while collecting a few extra coins, and eventually take a slightly harder, alternative route to the level’s end. 16) World 5-3 The only level in the game where Mario can get a hold of the famous Kuribo’s Shoe. Although the powerup is fairly easy to miss — it disappears if the Goomba riding it is stomped or shot with a fireball — a helpful row of blocks allows Mario to bump it from below. This catapults the Goomba out of the shoe and lets the player take it for himself. Further on in the level Mario encounters a variety of enemies and obstacles that are usually harmful to touch. However, if he’s riding the shoe, Mario will be able to perform various hazardous tasks such as walking across Munchers and stomping Piranha Plants! This extremely satisfying twist stems from flipping a bunch of rules on their heads, and in the process it greatly empowers the player. It also feels all the more special as the shoe is only encountered in this one stage. 17) World 6-1 The first ice level contains a secret door in the sky that can only be reached by a flying Mario. The door leads to an icy room filled with Brick Blocks clogging a corridor, and a small passage just above them. Although Mario can use the spin-attack to get past the bricks, the upper path contains a P-Switch that can turn all the blocks into coins. Since only a super version of Mario can fly up to this room, the player must use a running slide to get through the narrow passage and reach the P-Switch. Once the P-Switch is hit, the cramped quarters make backtracking to the coins somewhat difficult (especially since the game always slides Mario to the right if he gets stuck under a block). However, the newly encountered ice provides less friction, which in turn makes sliding much easier. This relatively small difference is elegantly used to create a layout that would be frustrating (if not impossible) in other worlds. 18) World 6-5 This is perhaps the most puzzle-ish level in the entire game, and it requires very specific knowledge to properly traverse. Here’s how the level is completed: Mario must first turn into Raccoon Mario if he’s not already capable of flight. This is made fairly easy by a small room that can be entered from a pipe at the beginning or end of the map. This room contains a powerup-dispensing “?” Block that respawns every time it’s visited. Once Mario has the ability to fly, he must clear the ground of Buster Beetles and Ice Blocks to create a runway. However, he must not kill the Koopa Troopa while doing this. Next, Mario must stomp the Koopa Troopa, pick up its shell, and quickly fly to the upper-right corner of the map before the turtle wakes up. Finally, the player must toss the shell into some blocks and Nipper Plants. This is the only way to take out the Nipper Plants and open up a path to the end-level pipe. The reason for all these steps is that the Nipper Plants cannot be stomped, and their surroundings prevent Mario from spin-attacking them. It’s also impossible to get up to this part of the map with a Fire Mario, or to bring along an Ice Block as Raccoon Mario cannot carry them while flying. Finally, even if the player decides to “sacrifice” a hit to the Nipper Plants, he’ll instantly shrink and be unable to break the Brick Blocks that wall off the end-level pipe. The only way to reach the exit is to use a turtle shell, and this whole chain of events shows how a group of relatively simple objects and enemies can be combined to create a very complex obstacle. 19) World 6-6 Cheep-Cheeps are usually encountered in large bodies of water, but in this level they can also be found in small, one-tile-wide cavities. It’s a unique occurrence, but executed very well. The Cheep-Cheeps never miss their jumps — even when their starting and ending points are placed at different elevations — and their aerial acrobatics are fun to interact with and observe. 20) World 6-7 This autoscrolling level is filled with Donut Lifts that crumble and fall under Mario’s weight. The player can actually risk riding them as they fall to collect columns of coins and still jump off before it’s too late. In fact, this very technique is required to exit the level. Midway through the stage, the player can also obtain a Fire Flower. The level is easier to traverse with Raccoon Mario’s glide ability, but the Fire Flower allows Mario to melt a bunch of frozen coins at the end of the stage (a similar mechanic is later used with frozen Munchers). 21) World 6-8 The plethora of Ice Blocks and rows of enemies found in this level allow the player to set off numerous chain reactions that take out his foes in a single move. The cascading effect of tossing shells/blocks is always fun, and it provides extra points/1-Ups while clearing the path ahead. 22) World 6 Fortress 3 When Mario enters the penultimate room in this fortress, he finds himself dropping past a door near the ceiling. As Mario falls, multiple Boos surround him and the background begins to scroll down. This creates a unique and pretty tense situation as the player is forced to dodge the incoming Boos while waiting for the exit to descend. 23) World 7-1 The ability to loop around the edges of the screen was a staple of the original Mario Bros., and it’s also used at various points in SMB 3. In this case, it teases the player with a coin-filled room. Although it’s possible to get close to the room’s entry-pipe by looping around the screen, Mario cannot jump into it. Instead, he must drop to the thin horizontal pipe below, build up his P meter, and finally soar up and fly into the entry-pipe from below. 24) World 7-2 If the player falls into the above ditch, he’ll quickly discover that it’s impossible to jump back out. Consequently, this will lead him to enter the pipe at its bottom. It’s a preferable choice to simply falling into a bottomless pit, but there’s a catch: like with so many later levels, this seemingly innocuous mechanic (entering a pipe) results in a hazardous situation. When Mario emerges on the other side, he’ll find himself floating underwater above a bottomless pit. To make matters worse, the pipe itself will spew out air bubbles that will push him ever closer to his death. It’s not too difficult to escape the current, but it’s a somewhat unexpected challenge that requires quick reflexes. 25) World 7-5 Although the above jump is possible, it’s quite tricky. Most players will not reach the ledge, and when they try to jump back up, they’ll bump into a bunch of invisible “?” Blocks (the blocks are only collidable when hit from the bottom). This technique is used in numerous levels, and although it slows down the player and forces him to backtrack, the unveiled “?” Blocks serve as helpful bridges the second time around. 26) World 7 Fortress 1 This unique fortress lacks any enemies and is another great example of a puzzle-oriented level. Its first room is constructed almost entirely out of Brick Blocks, with a single door on the far right. The door leads to an empty hallway (which is a little creepy due to the absence of Hot Foot, Stretch and Roto-Disc enemies despite the presence of objects they’re usually attached to), and another door that deposits the player in a lava room. The lava room contains a “?” Block that spawns a powerup and is bordered by a wall. The wall is mostly there to prevent a Mushroom (if that’s what the “?” releases) from escaping Mario’s reach. This is vital as the room is a dead-end and the player needs a super version of Mario to complete the level. Once the powerup is collected, the player has to backtrack to the beginning of the stage and smash some of the Brick Blocks positioned above his head. One of these Brick Blocks will turn out to contain a P-Switch, and when the switch is pressed, all of the bricks in the room will turn into coins. It’s easy to let Mario’s momentum slide him off of the P-Switch, or simply to jump and grab at the plethora of coins, but restraint is required to make progress; if the player falls through the newly materialized coins, he’ll simply find another door that leads back to the empty hallway. Instead, when the P-Switch is hit, an invisible door will appear close to it (so even if the player misses it, he’ll know about it’s presence). The hidden door leads to a secret room and a Tanooki Suit, and eventually back to the empty hallway. The lack of enemies in the level makes it easy to do all this backtracking without losing the suit, and its flight ability needs to be used in this section in order to reach the hidden exit pipe on the ceiling. 27) World 7-7 This is a unique implementation of the Starman powerup as the player is actually forced to use it in order to complete the level. The invincibility afforded by the Starman allows Mario to run across the flat row of Munchers, periodically hitting “?” Blocks in order to snag another Starman. Of course the distance between the “?” Blocks keeps increasing as the level goes on, and this creates a sense of tension as Mario is forced to continuously rush forward while recharging the temporary powerup. 28) World 8 Tank Brigade, World 8 Navy, and World 8 Airforce The auto-scrolling “military” levels are one of the defining features of SMB 3, and they do a good job of making the player feel like he’s plowing through an entire army. They also play off of each other quite well: The tanks in the first wave have animating treads that — when combined with the auto-scrolling nature of the level — make it seem like they’re slowly approaching Mario. The tanks are completely stationary, but the constant forward-push of the scrolling is a neat trick that makes ’em appear mobile. The second wave consists of battleships and a “rising tide” mechanic that has the whole map continuously dipping up and down. It’s another simple trick, but it does a great job of making the level feel as if it were a battle taking place on the open seas. Finally, the airship wave drastically increases the auto-scrolling speed, jarring the player from the ponderous pace of the previous waves and throwing him into a hectic chase atop floating platforms. 29) World 8 Hand Trap 1 Although the Hand Trap levels are somewhat random and optional, the first one is notable for its gauntlet of mini-bosses. It contains no regular enemies, just the numerous variants of the Hammer Bros., and ends with a single chest instead of a Goal Panel/boss fight. 30) World 8 Bowser's Castle The treacherous last level contains various hazards, but it’s main notable point is the final confrontation with Bowser. Although it’s possible to dispatch him with the Hammer Suit, the traditional approach is to let Bowser stomp through the the bricked floor. It’s a very intuitive mechanic as it’s demonstrated for the player throughout the fight, but what really makes it interesting is how it contrasts Mario’s own abilities. Throughout the entire game, Mario destroys bricks by hitting them from below. Bowser, on the other hand, is capable of exactly the opposite maneuver: smashing blocks by stomping down on them. Despite this list being a top 30, it is not thorough (for example, a cool concept never mentioned is the P-Switch in World 4 Fortress 2 that outlines an invisible door with a bunch of silver coin). Taking what’s here, though, it becomes quite evident that much of SMB 3’s uniqueness comes from conditioning the player, and then pulling the rug out from underneath him. This isn’t as bad as it sounds as these “twists” are often optional and give the player time to adjust. They’re also part of a larger design choice that seems to be SMB 3’s main focus: variety. Beyond the clever architecture, one-time mechanics/dynamics, unique art assets, etc., the overall flow of the levels shows the importance of this goal. Even when the Worlds are themed — such as Ice Land — each of their consecutive stages use different tilesets and gameplay. The standard level is accompanied by multi-directional auto-scrollers, tense fortresses, sluggish underwater stages, battle arenas, one-off themed levels, labyrinth maps, bonus shops, airships, minigames, etc. Simply put, SMB 3 pulls out all the stops in trying to create a constantly stimulating experience that never feels repetitive. I’d like to take a closer look at how all this variety is stitched together, so for my final post I’ll focus on SMB 3’s “meta” aspects and how they tie-into the overall level design. Note: This article was originally published on the author's blog, and is reproduced here with kind permission. Check out his work at Incubator Games.
  9. It's a less detailed map than what you're using, but I immediately thought of when the map is zoomed right out in Supreme Commander. It uses these icons with different colours based on team. Your current icons don't really communicate anything other than location, and even for that, they don't stand out brilliantly from the background map. I would try using different shapes for different things so that they communicate a bit more information rather than just acting as a location marker. I'm not really sure how to make them stand out more other than playing with colours, I'm sure someone more artistically inclined would have better ideas though.
  10. Still working on this, but there should already be some improvement in the mix of post types, and some basic filtering to cut out some of the lower quality stuff that was getting through. Ultimately we're aiming to reduce the automated feeds down to a trickle in favour of properly curated quality content, but that transition will likely take some time.
  11. You may have noticed that some articles published prior to our recent update (June 2017) have some formatting issues: In particular, many of them are missing a lot of the new lines originally included in the content, and some older articles are missing content (image or video embeds) originally linked from outside sources. We're gradually working through to address these formatting issues, but if there's a particular article you would like to see prioritised please let us know by sending me a private message or replying to this topic. In the case of missing off-site resources, we unfortunately may not always be able to find a solution but will do our best to contact the original authors and try to restore the content as best as possible.
  12. Just for the record, our blogs section is very visible (i.e. people would see your entries), and people can post comments there.
  13. Maybe the nobles control some resource that the empire needs but can't easily replicate or take by force. Take for example the navigators in the Dune universe - due to their spice-induced mutation they're the only ones able to safely allow FTL travel, putting them in a position of power - War Hammer's Navigators work with a very similar principal, being born with a special gene. Likewise in the Dune setting, the house controlling the planet Arrakis controls the supply of spice which even the navigators require, again putting them in a position of power. I don't know many details of your setting, but if there are any similar resources or technologies available in your setting perhaps the noble houses control them. In the case of something like the mutation of Dune's navigators, you might have the genetic tie-in you were after. A couple of technologies they might possibly control are FTL travel, fast communications, and manufacturing capabilities. Alternatively, maybe the noble houses defend the empire against the hostile aliens. The noble houses stay in the empire for the additional resources and trade opportunities it affords them, while the empire allows them to maintain some independence to save spending more government resources keeping the aliens at bay.
  14. Fantastic, I've been hoping to see this one come back since the Kickstarter attempt!
  15. There will be some tweaks over the next week to both Facebook and Twitter, adjusting what is included in updates as well as the timings. There probably won't be less updates over all, but we'll be trying to spread them better throughout the day, and trying to ensure a more even mix of different content and trying to avoid showing some of the poor quality stuff that has occasionally got through. Give us at least the week and see if our experiments improve things. Thanks for the report!