Leaderboard

So, the first game I played that was made by Obsidian was Knights of the Old Republic 2. It was to be representative of the early productions of the studio. Yes, admittedly, it was rushed, technically very flawed and was clearly lacking content that was cut to make the deadline. But it was still a gem, inserting shades of grey in the normally two-toned world of the Star Wars universe, and in doing so making the world feel that much more real and worthwhile. The characters were believable; they didn’t just exist simply to further the story, but they each had their own agenda, and they were all tied to the player character in their own unique way, as was slowly revealed throughout the story. And this is what I feel Obsidian so often manages to add to a world, whether it’s an Obsidian original, or borrowed from another’s intellectual property. They take their narratives seriously; they build their worlds to be believable and they allow their characters to live their own lives and not simply be window dressing for the main characters. I remember going through Mask of the Betrayer, the Neverwinter Nights 2 DLC, for the first time and being awed by the gravity of its story. This was a story of mythological proportions, pitting you against the laws of its universe and death itself, and in a way where you were never quite sure what exactly was the right choice to make. The ending did not offer simple black and white choices, a hallmark of the sort of Obsidian games that I hold dear, and of which I cherish fond memories. I kept following Obsidian throughout the years, and each time I would look forward with anticipation to whatever the studio would come up with next. Fallout: New Vegas was a huge success, of course. And when the studio started doing Kickstarters for their own IP, there was absolutely no doubt in my mind to throw some money their way. It did not leave me disappointed, both Pillars of Eternity games wove exactly the sort of deep narrative, rich with lore and worldbuilding, that I have come to expect from the studio. Remarkably, the studio has not lost its soul throughout the years, as exemplified by the 2022 release of Pentiment. Set in the fictional town of Tassing in historical 16th century Bavaria, this game plays like a detective story. But the catch is that actual detectiving is a fool’s errand. Whoever you end up picking as the culprit, you never have enough evidence to be certain that you have picked the right perp. Not that the powers that be mind very much; they’re happy so long as someone is seen to be executed for the crimes. You could say that the true objective of Pentiment is to unravel the underlaying plot, and to eventually confront the real thread spinner that has immersed the quiet town of Tassing in a state of chaos. But I don’t think that’s quite right. For me, the real objective of the game is to, if only for a moment, make it possible for you to transport yourself to a different time and a different place, and to contemplate what life was like for people in those days, and what kind of choices they were confronted with as the last vestiges of the old were being blown away by the winds of modernity. And now, it will not be long before their next much anticipated game will come out. I will be honest, when I first heard of the studio working on what was then still considered to be the studio’s answer to Skyrim, I was sceptical. It seemed like they might be biting off more than they could chew, and I felt the sort of formula behind Skyrim didn’t seem to play to the studio's strength. But now that I’ve seen the first previews, I’m glad to see that it’s actually nothing like Skyrim. It seems smaller in scope, less focused on a large open world, and actually aiming more for a smaller, more intimate experience. A lot has been made about the combat, and luckily the latest news seems to be that there’s been a lot of improvements on that front. But what I find more interesting is that once again Avowed looks to have characters with their own voices and their own agendas. And once again there seems to be a rich story with plenty of mysteries to unravel. I honestly can’t wait, and I’ve always taken the week after the release free from work, so I can fully enjoy it without any distractions. I’m sure I’ll have a great time.

One of the primary reasons I continue to be drawn to Obsidian Entertainment, reaching back to the days of Black Isle, has been its commitment to great storytelling. This has been a quality that I believe has and continues to set it apart in the creative venture to tells stories through the gaming medium. I would like to delve into their artistic storytelling by highlighting just three examples that display their unique approach to narrative design. For me, I was hooked by their stories back in 1990s. When I discovered the stylised ‘isometric’ game of Fallout. It illustrated to me the importance to establish a foundation for narrative depth and complexity. In these early days, I believe Fallout telegraphed this hallmark of Obsidian's later works. The game's post-apocalyptic setting, moral dilemmas, and branching storylines captured my attention to the extent that much sleep was lost and it set my expectation quite high for storytelling in video games. And it all began with a water chip … Though the post-apocalyptic genre has always captured my geeky imagination, it has always been the fantasy medium to which I have been drawn. Some of the first books I dove into, as I discovered the power of the written words, were Tolkien’s and the vastness of Middle Earth. As I shared this passion with so many, Obsidian’s first foray into the genre, particularly through Gary Gygax’ D&D worlds, from Icewind Dale to Neverwinter nights, was amazing, but Obsidian’s ability to create its own IP was when they went to the next level. For me, the evolution of Obsidian has been their ability to create immersive worlds that come alive in dynamic ways. At the launch of the first Kickstarter for Pillars of Eternity, I knew that something amazing was happening in the maturation of the company’s ability to weave tales. The dedication to illustrating rich and detailed environments had me lost for hours. The world of Eora, which I believe will be further expanded in Avowed, exposed me to a living, breathing world with its own history, cultures, and conflicts. The depth of the lore and the complexity of the characters means my choices unfolded in meaningful and engaging ways. Beyond just the first title in the franchise, with Deadfire it was clear to me that my choices had consequences. This is a recurring theme in Obsidian's games, where my agency as a player is paramount. The storylines are often not linear path, but they present multiple divergent paths that lead to different outcomes. This approach not only offers opportunity to replay (if one had the time!) but it allowed me to feel like I was the agent helping the story unfold. Deadfire’s narrative, as an example of Obsidian’s narrative commitments, was further enriched by its well-written dialogue and memorable characters. The last example that I will touch on in this blog is the storytelling that shines in The Outer Worlds. If Fallout was post-apocalyptic, this recent addition to their creative library involves a journey through a dystopic future where the rich and autocratic corporations’ rule and individual freedom is intentionally oppressed. The story unfolds with satire on capitalistic greed. The satire presents a story that unfolds with a nimble wit and dark humour, which I believe is an essential component of Obsidian’s taletelling. As with their other stories, I felt I could become the Stranger. The character offered me a blank slate that allowed me to become the Stranger as I realised my choices would affect the fate of entire colonies, need alone my companions in dramatic ways. The writing is clever and thought-provoking, with plenty of twists and turns that kept me up much too late far too often! Let me conclude this musing, by focusing on Parvati’s Companion Quest. This component of Obsidian’s storytelling is what hooks me every time. Their ability to weave storytelling to liberate the player to see more widely through an artistic medium allows me to commit to the outcome of the story. Parvati’s relationship with Junlei is rich, human, and inspires me to see outside of the box. It allowed me to feel like I was hanging out with Kaylee from Firefly, recognising that in this dystopic future, love endures. The human connexion and emotion this questline evokes are profound, standing as a powerful challenge to the very real-life struggles we face outside the immersion of great gameplay. If a creative story can stir our hearts and show us options that translate into how we might aspire to be better human beings to one another, then those are the games I will passionately continue to play. And that is the true power of storytelling that I continue to experience from Obsidian after over twenty-years of my relationship with them.

One thing that nobody warns you about when you get a job in the gaming industry is just how many meetings there are. There’re daily standups, gate reviews, sprint meetings, post-mortems, sign-offs, bridge meetings, war rooms, and the list goes on and on. But one of the most important meetings is called Triage. It generally occurs on a daily or weekly cadence, depending on what part of the dev cycle you are in. This is where Production, Design, Engineering, and QA get together and discuss the latest bugs. We go over each bug written since the last Triage and decide as a group how important the bug is, who is going to fix it, and when they need to fix it by. There are three main ways that this is measured. Severity: How bad the bug is, in the eyes of the user. Priority: How soon a bug should be fixed. Repro Rate: How hard, or easy, is it to run into the bug? How likely are players to see it? This is usually measured in attempts. For example, a crash bug could happen 100% of the time, or it could only happen under very specific conditions. And one thing that is easy to forget when you’re lost in a sea of bugs, is the scale of the audience. Sure, only 10% of the testers may experience a specific issue. But 8% of the modern AAA audience is hundreds of thousands of players. You would think, with that in mind, anything that affects at least 5% of players would be treated as a serious concern. But what if I told you that while only 0.5% of women are color-blind, 8% of men are? And how many modern games have color-blind filters? The answer is not nearly enough. Accessibility features are about giving players the tools they need to enjoy the game in whichever way works best for them. If you can add color-blind filters (https://colorblindgames.com/2021/03/29/colorblind-gaming-101-the-basics/) that’s roughly 5% more potential sales. According to the Entertainment Software Association, 85% of Americans under 18 play video games at least once a week. That comes out to 205 million players in the US alone. Five percent of which, comes to 8,000,000 people. Multiple that by $60 and we’re talking serious money. So why, in a world where the dollar drives everything, are accessibility features not standard? Why are so many developers leaving so many potential players behind? It would be easy for me to blame big bad CEO’s or shareholders for the problem. But the reality is, it’s not malicious. Like most issues in life, it’s more ignorance than anything else. People just aren’t as informed on the subject as they could be. But that is starting to change. The industry is starting to come around and they are making serious investments in multiple ways. (alt text: Ishihara test was invented to measure color blindness. The image above uses different shades to create the image of Toadstool from Super Mario Bros) source: Obsidian has been leading the way for longer than most. Well before it was “cool” to make accessible games, titles like Pillars of Eternity (2013) were giving players multiple color-blind filters, detailed difficulty options, and a large suite of audio/video settings to let players decide what “good” looks like. Back in 2020 Grounded introduced the Arachnophobia filter. A setting that is now becoming default in many horror/survivor games. Hogwarts Legacy added it, but only after NorskPL released a community mod for the setting. My favorite is actually from the most recent version, Grounded 2. Can you detect the feature? It’s one of the first things you see when you start the game. (alt text: Screenshot of Grounded 2 main menu showing custom face button graphics used to inform the player where on the face the button is located.) Many of you probably pointed to the Accessibility shortcut. And that is a great example of mindful design. How do you expect people to turn on the accessibility features if they need the accessibility features enabled to get to the accessibility features? But that’s not my favorite. My new favorite is the A and Y buttons. Notice what’s different? I bet you Xbox Certification noticed that these are not authorized representations of the face buttons on an Xbox controller. But I love that they saw through the rule to find the intent. Instead of confusing players, these actually provide more information. It’s a tiny change that can have a big impact. Heck, I’m not even color-blind and these helped me after I spent the previous few weeks playing Zelda: Tears of the Kingdom, where the A and B buttons are swapped. And that’s the key to accessibility features. Not telling players how to play, but providing the options for them to play how they want to play. And they are not alone. The industry as a whole has finally seen the benefits of expanding their games and tearing down walls. For example: the Entertainment Software Association (a trade association representing the major video game developers and publishers across the industry) recently rolled out their Accessible Games Initiative. They are leading by example and starting with updating their storefronts to include Accessibility Tags. Much like you can browse by genre or feature, now you can filter games by which ones support the accessibility features you care the most about. (alt text: A black background with brightly colored stickers in the shapes of Xbox icons and accessibility products like prosthetic legs, wheelchairs, and seeing eye dogs.) And they are not alone. A whole market is forming around consulting, reviewing, and teaching about accessibility. People are getting together and demanding “Never about us, without us.” From Accessibility Labs, a startup in Tempe, AZ of former QA professionals passionate about Accessibility testing. To Microsoft’s Xbox Accessibility Guidelines, requirements that titles they publish must meet. But Tommy, I’m a developer and I want to do better. How can I make sure everyone is able to enjoy my hard work? Well, I’m glad you asked, imaginary developer person. Because while I’m passionate about the subject, I also acknowledge I’m just as ignorant as most. But together, we can work towards fighting that ignorance, in our own minds, and in others. Even the smallest changes, like the button prompts above, can have a huge impact. Bring on Accessibility experts during your design phase, don’t wait until you’re about to launch. Don’t be like so many others before you that designed fully fleshed out UI’s that rely on a cursor to navigate. Only to find out down the road this is not very accessible for people with fine motor issues. Making these changes during the design phase will save you thousands, if not millions, of dollars down the line. Embrace your lack of knowledge and seek out the experts. There are resources available to developers of all shapes and sizes. Are you a small developer that wants to do better, but just doesn’t know where to start? Support other independent gamers like Accessibility Labs. Have a good idea of what you want to do, but want to make sure you aren’t forgetting anything? Check out Microsoft’s Xbox Accessibility Guidelines. Want to support the effort in other ways? Reach out to AbleGamers, who have been fighting this fight for over 20 years. Enjoy this article and want to know more? Check out Derek Gruber on Seattle Indie’s Accessibility Awareness Month episode. The last thing I want to do is trivialize game and UX design. Accessibility is just one of countless aspects that must be considered when designing a game and it’s UI. What’s most important is that you are making the effort. Instead of asking why you should add an option, ask why you shouldn’t. When in doubt, trust the player to decide what is best for themselves. Not every feature is going to be a home run. But as long as we, as a community, are working towards improving, the rising tide will raise all ships. Sources & Resources Game Developer - Nintendo, Microsoft, EA and others unite to make accessibility messaging a priority Washington Post - Accessibility option in survival game ‘Grounded’ turns my arachnophobia into a thrill Colorblind Games - Colorblind Gaming 101: The Basics Mashable - Video games taught me I was colorblind but it's not always a friendly lesson Nexus Mods - Arachnophobia mode Seattle Indies - Accessibility Awareness Month Interview Series: Steve Saylor and Derek Gruber Able Gamers - Combating Social Isolation Through Play Accessibility Labs Microsoft - Xbox Accessibility Guidelines Entertainment Software Association (ESA) - Entertainment Software Association Introduces the Accessible Games Initiative to Provide Players with Information About Accessibility Features in Video Games

This is a story about sacrifice. It is also a story about nostalgia, but more than anything, it is a story about the sacrifices gamers make. We travel back to a time of low pixel count and greenish screens – specifically the summer of 1992. The radio that summer would blast SNAP! Rythm Is a Dancer and my cousin and I, shortly before our 13th birthdays, were in summer camp on the German island of Norderney. In the evening, after lights out, with eight kids per tent, obviously nobody slept. In our tent we did two things. Firstly, one of the boys had brought terrible horror novellas, and we read those. Over thirty years later I still have nightmares. Mostly because the story did not make sense – you can’t hide a whole labyrinth inside the walls of a bell tower! The second thing was eating chocolate and other sweets. And this is where this becomes a story of sacrifice. You see, the eating was predominantly done by the other six. The two of us would initiate it, but then we’d spend the night selling our stash to the others in the tent. In retrospect, we should have found a way to expand business to the other tents, but we were not even thirteen. There was a reason to this, which had little to do with entrepreneurial spirit. The camp organizers had permitted each kid a 50DM allowance per week for the two weeks of camp. Incidentally, as my cousin pointed out, 50DM was roughly the price of a new Game Boy game. Not eating chocolate but watching others enjoy my stash was not a choice. It was a sacrifice that only gamers will understand: others would eat so I could game. Everything went well. Until the very last day. It was hot. We were on our last excursion in town, killing time until we had to get the ferry. In the (heat of the) moment we decided to grab an ice cream. The worst 3,50 I ever spent. Also, one of the worst ice creams I ever had and most likely the reason why I still do not eat lemon ice cream. It almost put me off lemonade as well. An hour before we left, I dropped to 46,50. One, horrible tasting lemon ice cream was the reason I couldn’t pay for Gargoyle’s Quest solely through the chocolate black market. Mind, the entire process did turn Gargoyle’s Quest into one of my favourite games, even though it wasn’t really my thing – too dark in tone, too much jumping around spikes. In the end, the cool green daemon on the box cover turned out to be red! That was an unexpected plot twist. It highlighted something though about descriptions and plot relevance: how often do authors abuse the fact that in written format you do not have information until they give it to you? In comics, movies, and games, you see things from the start. Unless it is a greenish Game Boy screen and after hours and hours some NPC tells you: your skin is red. Two things I remember about Gargoyle’s Quest: how I made the money to buy it and how surprised I was finding out the protagonist was red. Also, the many spikes. Three things I remember about Gargoyle’s Quest: how I made the money to buy it, how surprised I was finding out the protagonist was red, the many spikes, and the gnarly trees, the inextinguishable flames, the different breath weapons… Among the many things I remember about Gargoyle’s Quest is that it is a game literally worth it’s weight in chocolate.