A Disease Of Invaders

Pandemic has taken Settlers of Catan's place as the foremost gateway into hobby gaming, and with its simple yet challenging design, engaging cooperative theme, and deep market penetration, it's earned it. In an effort to get the game to even more tables, Pandemic's publisher has re-skinned the game in a plethora of different flavors, changing the threat to a flood in Rising Tide or Lovecraftian horrors in Pandemic Cthulhu.

We've only played Pandemic once or twice, and never got around to buying a copy for our game library, so we decided to pick up the Fall of Rome version, which replaces spreading disease vectors with invading armies of barbarians intent on sacking ancient Rome. Since we have little experience with the original Pandemic we can't really compare the two, but that might be better as we can look at this version of the game on its own merits.

It's easy to see why Pandemic has been such a successful game. The rules are simple but allow for a good amount of meaningful decision making, and watching the board fill up with counters representing the barbarian hordes gives the game a great sense of drama. Players can command Roman legions to fight off the barbarians, but the real strategy is in collecting sets of cards that can be turned in to make peace with individual barbarian tribes. This doesn't stop them from attacking, but it makes it possible to convert barbarians into Roman soldiers to help fight off their former allies.

Players are also given a handful of special cards that offer great advantages in the game, but at a price. Each time one of these cards is spent for its more powerful effect, it moves the decline marker closer to the eventual collapse of Roman society from within, which gives the game another clock to race against.

The engaging game play is coupled with some terrific artwork that helps sell the idea that these are cultured Roman citizens fighting off invading armies and their own decline, rather than just colored cubes on a piece of cardboard.

Rating: 4 (out of 5) A robust and well-designed game that we will play often, and it's usually an easy sell to our non-gamer friends and family too.

• Pandemic: Fall of Rome official website
• Pandemic: Fall of Rome on BoardGameGeek

Kickstarter Concluded

It's over.

Thank dread Cthulhu and His one-hundred-and-eleven slimy green tentacles!

Now, I can breathe a sigh of relief before diving back into the writing side of self-publishing.

What am I referring to?  Only the greatest Kickstarter comeback in the history of everything.  That's all.  Yes, Cha'alt: Fuchsia Malaise secured just over $13,000.  Less than I dreamed, but more than I realistically expected after the first 20-25 days where we seemed to be irrevocably stuck at about 7 grand. 

If you decide you want in, don't worry.  You didn't miss out on your chance to secure a luxury, signed, numbered, off-set printed hardcover edition of Cha'alt: Fuchsia Malaise (or it's predecessor... Cha'alt).

I can't keep this eldritch, gonzo, science-fantasy, post-apocalypse campaign all to myself, now can I?  Simply email me and we'll get you squared away: Venger.Satanis@yahoo.com

This past week, I ran three playtest sessions.  Two on Roll20, and one face-to-face.  I'll be blogging about them either tomorrow or the next day.

Besides saying THANK YOU to all my supporters, backers, fans, and fellow gamers, I'm done here.  ;)

VS

Against Awards Shows

Image by Marco Recuay. Filed under Creative Commons. Some rights reserved. Source: Flickr

Another day, another controversy explodes on the Internet. Controversies, and the obsessive social media coverage that they receive have become almost synonymous with award shows. Why, with Kayne's arrogant interruption of Taylor Swift, Miley Cyrus desperately trying to shock at the Video Music Awards, Ellen DeGeneres making an awful transvestite joke about Liza Minnelli at the Oscars, or Sofia Vergara's irony at the Emmys taken too seriously, we tend to forget that these shows are about the awards. It seems almost routine that these shows always provoke some controversy to tweet or blog about ad nauseaum. It's just so fascinating that in a post-Madonna age, liberal and conservative alike can still be offended, and even "outraged" (a terribly misused term), by a woman shaking her ass on TV.


I have the misfortune (or fortune, rather) of missing out on these controversies that will distract journalists from otherwise newsworthy stories, because I don't watch award shows. I don't see the point. They're really a waste of time, if you think about it, and I'm briefly going to articulate exactly why.



You're an observer, not a participant

I didn't get to vote in The Dark Knight for Best Picture. I didn't get to nominate Legend Of Korra: Book 2 for a Golden Globe. I'm not getting an award because I wasn't involved in any of the shows, nor are any of my friends and family. These decisions are all made by persons I'll probably never know. Of course, popularity can have an influence on the choices of those in charge, but the verdict ultimately lies with them. So why should I be involved? Why should I care? What good does it do for me?

Is it for validation? Can you only feel justified in liking art if it wins an award? I'll love Breaking Bad, regardless if it wins Best Drama. I'll abhor Gigi, even though it won Best Picture. I'll still listen to the Airborne Toxic Event, even if they never earn a Grammy. You should like art for reasons important to you, not to society, or those who claim to speak for it.

Or do you watch these shows to see artists that you admire finally get their due recognition? Well, that's fine and all, but chances are, you'll see other artists that you don't know or care about get their fair due as well. Think about it, do you really care about who wins Best Sound Editing at the Oscars? In most cases, the person or show you'll want to win, will only catch the spotlight for less than five minutes, and that's even if they win.

Yes, yes, and yes. I know that the People's Choice Awards, the Teen's Choice Awards, and the Kid's Choice Awards allow the public to vote online, and they deserve credit for that. However, that still doesn't fix the problem of sitting through so much boredom. (Well, the Kid's Choice Awards have slime, at least!) It's still people getting awards. No plot, no climax. Not to mention that you can't choose who gets nominated (as far as I know.) That being said, these viewer participation awards don't always select the best of choices, after all, One Direction won Favorite Band for 2014. It is also noteworthy that Whitney Pastorek of Entertainment Weekly suggested that public's participation may be more marginal than advertised,

"Let's be honest: As the very clear post-show disclaimer explained, a complex system of "E-Polls" and market research and extravagant math went into choosing the nominees you saw upon your screen. And that system led to a telecast in which praise was lavished on a crassly commercial cross-section of demographically advantageous properties starring celebrities who were willing to show up." ("The People's Choice Awards: You showed up? Here's a trophy!").

By the end of the day, you're watching people you'll never know hand each other awards for two to four hours. Awards that you, likely, had no real effort in giving.You're only real participation is as a view count.

Much of what's going on might not even be that relevant to you

Kelly Clarkson, Rihanna, Taylor Swift, Robin Thicke, Lady Gaga, Katy Perry, and Beyonce are among the musical artists most represented by the Grammys as of late. This is one of the reasons I can't watch the Grammys, I don't listen to any of the new artists. Spinal Tap sounds better than a lot of what reaches Billboard these days. Now I'm not one of those retrophiles who hates new music simply because it's new. I love Nujabes, Airborne Toxic Event, DJ Okawari, and I even think that Kyary Pamyu Pamyu is a little catchy. The singles "Rolling In The Deep" by Adele and "One Engine" by The Decemberists are excellent, while The Foo Fighters' Wasting Light was a great rock album. Simply because I don't particularly like any of the artists who often win Grammys doesn't make me better than those who do, it simply means that the Grammys aren't for me.

I referenced part of this problem earlier. Even if an artist I enjoyed was getting recognition, I'd have to wade through a bunch of other artists who I don't care for just to get there. The Video Music Awards may supposedly represent my generation, but they don't represent all of us. 

This even happens with the high-brow Academy. After all, how many of you actually saw Slumdog Millionaire, Nebraska, An Education, The Reader, or Michael Clayton before they were nominated for Oscars? Though, yes, these awards can help bring public attention to those lesser known films (which is a good thing), but again, is it necessary to watch the show just to get that? I think the press releases, critical reviews, and film festivals can get that much accomplished.

Don't even get me started on the Tony's. I know that I couldn't afford to see all of those shows on Broadway. Could you?

All of the results will be available online after the show.

I've hinted at this point before, but it needs repeating.

It's not as if, if you miss the show or forget to record it that you'll never get the results. You could easily save hours out of your evening and just get the results from Google. That's what it's all about, isn't it? The results: who won and who lost. Still want to see acceptance speeches or performances? Fine, look them up on YouTube. See how much time you've saved.

Again, I don't see the larger point in watching these award shows, you really get nothing out of it, aside from a chance to drool over your favorite celebrities. There's a channel for that, it's called TMZ, but I wouldn't recommend that you watch it.

I recognize that this essay has been rather, well, short, compared to my others, and I suppose it's because I don't feel the need to waste too much ink on convincing the Average Joe that watching celebrities congratulate each other is something that we see every day. No need to turn it into a televised event. That's just masturbation.


Bibliography:

"One Direction Wins Favorite Band At People's Choice Awards 2014" Perez Hilton. January 9, 2014. www.perezhilton.com

Pastorek, Whitney.  "The People's Choice Awards: You showed up? Here's a trophy!" Entertainment Weekly. January 8, 2009. popwatch.ew.com

Hiring: Project-based 3D Artist

Title: 3D artist
Focus: Polishing environments and props
Type: Full-time, project-based (approx. 1 year)
Last day to apply: 4th of November 2018


After 3 years of hard work, we are now close to finishing one of our new games. We want it to look amazing, and to accomplish that we need more (hu)manpower.

This is where you come in.

We are now looking for an experienced 3D artist, who will focus on environments and props for our upcoming horror game. Our ideal person loves horror, and is able to convey atmospheric environments and terrifying scenes through 3D art. The position is full-time and project-based, lasting for about a year until the new game is ready to be shipped.


What will you work on?

We are quite a small team, but we consider that our strength. As an environment artist you will get to work on every level of the game, ranging from small props to whole levels. This means your contribution will greatly influence how the final game looks, plays, and evokes emotions.

Here are some of the things you will be working on:

• Creating basic models that make up the levels, such as walls and floors
• Modelling props of various complexity, both with and without the help of concept art, and often having to take gameplay concerns into account
• Constructing particle systems, both by drawing textures and using parameters in our editor
• Combining various techniques to create special effects, such as flowing water or fire.

If you want to know more about Frictional work practices, you can check out the introduction post of Rasmus, who will be your closest teammate.


What are we looking for?

You have to be a EU/EEA resident to apply.

The person we're looking for is creative, driven and most importantly self-sufficient.

Since the position is project-based, we are looking for a person who can start as soon as possible, end of November the latest.

Here are some essential skills we require:

• Excellent skills at adapting to a style and taking it to a finished state
• Strong self-drive and ability to organise your own work
• Interest in and ability to do research for interesting prop and environment solutions
• Love for working on a variety of tasks
• Fluency in English
• Team communication skills
• Knowledge of game design
• A Windows PC that runs recent games (such as SOMA) that you can use for work (unless you live in Malmö and will work from the office)
• A fast and stable internet connection.

And here are some more techie skills:

• Excellent skills in 3D software. Modo preferred
• Familiarity with Zbrush/Mudbox/similar
• Excellent skills in Substance
• Excellent skills in Photoshop or similar software
• Familiarity with issue-tracking software
• Experience in classic/non-PBR workflow.

If you want to impress us:

• Love for horror and narrative games
• A major role in completing at least one game
• Great free-drawing skills
• Experience in level design
• Strong game design skills
• Experience kitbashing/working with modular sets.

For this position you can work from home. We have a central hub in Malmö, Sweden, which you can use if you wish.


What we offer:

• Flexible working hours, a no-crunch approach
• Opportunities to influence your work flow
• Variety in your work tasks, and ability to influence your work load
• Participation in Show & Tell of games, having a say in all aspects of the game making
• An inclusive work environment
• A possibility to become a permanent employee.

How to apply?

If all of the above piqued your interest, we would love to hear from you! Send us your application 4th of November the latest - but the sooner, the better.

Please attach all the following:

• Cover letter (why you should work with us, what do you bring to the table)
• CV
• Portfolio (link or PDF)
• Examples of works that have inspired you or blown you away.

Please notice that you need to send all of the applications to be considered.

Send your application to apply@frictionalgames.com!

Privacy Policy

By sending us your application, you give us permission to store your personal information and attachments.

We store all applications in a secure system. The applications are stored for two years, after which they are deleted. If you want your your information removed earlier, please contact us through our Contact form. Read more in our Privacy Policy.

Hiring: Tools Programmer

Title: Tools programmer
Focus: Engine
Type: Full-time, permanent
Last day to apply: 30th of October 2018


Tired of the constraints of Unity, Unreal and other big engines? Want to be in control and get down into the nitty gritty of engine coding? Come join us at Frictional Games, one of the few companies that still makes their own tech, and get all up in our HPL engine!

We are now expanding our tech team and looking for a tools programmer who will help make the HPL engine better, prettier, and more intuitive. Your work on the engine will be crucial to the rest of the team, but it will also be seen by our modding community.

The position is full-time and permanent. Ideally we would help you relocate to Malmö, Sweden to be close to our core team, but this is not a necessity.


What will you work on?

As a tools programmer, you will be working together with a small tech team that is mainly responsible for our HPL engine, but also tech support for the games.

Here are some of the things you will find yourself working on:

• Creating and maintaining the level editor for our proprietary engine
• Making intuitive user interfaces
• Creating small specialised tools
• Working with low-level systems such as IO, AI, rendering, sound, and physics
• Working with Xbox and PlayStation versions, as well as possible future platforms
• Internal support for a team of developers
• Post-launch support.

We also encourage working outside of your area of expertise, and always learning new things. The more areas of development you are willing and able take part in, the better!

If you want to know more about Frictional work practices, you can check out the introduction posts of Peter and Luis, who will be your closest teammates.


What are we looking for?

You have to be a EU/EEA resident to apply.

The person we're looking for is creative, driven and self-sufficient.

Here are some essential skills we require:

• Well-versed in C++, C#, Java, or similar
• Knowledge in AngelScript, Python, Lua, or similar
• You have created an engine or tools for development for at least one game
• Strong low-level programming skills
• Familiar with linear algebra
• Knowledge in working with Widgets / Custom GUI
• Fluency in English
• Skills in team communication and support
• A Windows PC that runs recent games (such as SOMA) that you can use for work (unless you live in Malmö and will work from the office)
• A fast and stable internet connection.

These will be considered a plus:

• Experience in engine development
• Skills in 3D modelling or texture applications
• Knowledge in UX design
• Lover for tech and messing with the low level parts of the engine
• Excitement for creating fast pipelines and making it easy to create awesome art
• You live in Sweden.

What do we offer?

We are a small team, which means you will be able to work on a wide variety of things and contribute to our future games in a meaningful way.

We also believe a healthy balance between work and life reflects positively on your work. We offer a variety of perks for our full-time employees, especially who live in or relocate to Sweden. We also don't encourage crunch.

Here's what we offer:

• Flexible working hours
• Opportunities to influence your workflow
• Variety in your work tasks, and ability to influence your workload
• Participation in our internal game Show & Tell sessions, so you'll have input into all aspects of the game
• Social security and holidays that are up to the Swedish standards
• An inclusive and respectful work environment
• An office in central Malmö you can use as much as you please
• Fun workmates, game and movie nights, and other outings!

How to apply?

Did the position pique your interest? Are you the person we're looking for? Then we would love you hear from you!

We will be looking at applications until 30th of October 2018.

Please send us your:

• Cover letter (why you should work with us, what do you bring to the table)
• CV
• Portfolio (or links to your works)

Send your application to apply@frictionalgames.com!



Privacy Policy

By sending us your application, you give us permission to store your personal information and attachments.

We store all applications in a secure system. The applications are stored for two years, after which they are deleted. If you want your your information removed earlier, please contact us through our Contact form. Read more in our Privacy Policy.