For this post I thought I’d write about something close to my heart – puns. I love puns, and wordplay of all kinds, and whilst I’m generally pretty modest I will claim to be pretty good at punning. Whilst not strictly game design related, puns are something I’ve tried to work into almost every game I’ve worked on (assuming they’ve not already been designed in as standard). Games tend to need a fair few things naming (levels, achievements etc.), and if the tone of the game doesn’t preclude making puns then each of these names is an opportunity to amuse the player, which is kinda the point of making games in the first place. This is especially pertinent for me now, because I intend to throw as many puns as possible at STOMP.

However whilst I love my punning, I’m still not entirely sure why some puns are better than others. So I thought I’d take a look at some puns I’ve come up with for the games I’ve worked on to see if I can make any insights.

I’ll start with the last game I worked on at Blitz as a designer – Puss in Boots (I genuinely believe we made a really good Kinect game with this – if you’ve got kids and a Kinect I recommend it). The puns for PIB were mostly for achievement names, and sadly THQ dismissed some of our better ones – partly because of copyright worries (even when invalid – “A Tale Of Two Kitties” was perfect and Dickens is out of copyright) and partly because I think they didn’t understand them. However one that did make it was “Well Balanced” which was an achievement for crossing a tightrope perfectly. This one pleases me. It’s not funny. It’s not that clever. It’s just an existing phrase that also happens to perfectly describe what you’ve just done. There are no loose ends though, and that helps it a lot. Often a pun doesn’t quite “fit” the situation you’re using it in and that’s unsatisfying. I used “Prevent the meat death of the universe” in my STOMP trailer. I love the wordplay, but it doesn’t fit the scenario well enough – you’re just trying to rescue Earth’s cows – if you fail there will still be lamb and pork and squirrel and all the other critters folk eat around the world. This inaccuracy bothers me, and if I didn’t like the notion of “the meat death of the universe” quite so much I wouldn’t have used it (I’d have saved it for later though – there’s almost certainly a game in there somewhere).

There’s one pun for Puss In Boots that got rejected that I loved to bits though, and again that’s because it fit so neatly. In each of the game’s levels there was a fragment of golden egg to collect. When you collected all of them you’d get an achievement. I understand why my idea wasn’t picked for a game with a worldwide release, but I still resent that achievement not being called “They think it’s all ova – it is now!”.

One of the first games that made me appreciate that puns are a force for good was Fuzion Frenzy. This was a party game for the original Xbox, and the puns here were used for naming the individual minigames. However the minigames for Fuzion were handled by two different teams, and the other team didn’t want to play ball, so around half the minigames were named with puns, but half weren’t. So the game ended up being a bit schizophrenic in this regard. We had games called Tailblazer, Blast Man Standing, Rubble Alliance and Twisted System (I love a (somewhat obscure) pop culture reference), and theirs were called functional names like Collector and Bumper Race. I don’t get why you wouldn’t try to spice them up a bit. (As a side note, one of our minigames involved catching falling sparks from fireworks. I don’t think this was one of my names, but up until weeks before mastering this minigame had the placeholder name “Up the glitter”. Eventually we explained to our American producers about cockney rhyming slang, and changed the name for something a tad more acceptable.)

The last game at Blitz that I provided achievement names for was Ace of Spades (I didn’t work on the game, but was called on for the punning), and I like to think some of these are pretty good despite them having to be done at short notice – Turret Syndrome, Mountain Casualties, Butte Hurt… There are two I thought I’d expand on though. The first is “Pillar Assault” – awarded for shooting out a number of pillars in a certain bit of architecture. I have no way of knowing how many people actually spot the loose homophonic reference to Lot’s wife here, but I love including less-obvious stuff in the hope that a few folk do at least notice it. Once again, the punnish element isn’t funny, and is in no way relevant to the game, but it’s a little extra something for those that happen to catch it. And the name fits the achievement like a glove, so the irrelevance isn’t compromising the functionality at all. The second is another that I’m not entirely happy with, but it was just too good not to use. It’s an achievement for tea-bagging enemies (it would take an entire blog post to explain fully why I love this achievement). The name was “Plumming the deaths”. I sniggered to myself for quite a while after coming up with that one, I must admit. But I’m not actually that happy with it. It’s so close, but it’s just far away enough to be unsatisfactory. It wanted to be “Plumming the dead” to make sense really, but “dead” is far too far from “depths” to make the phrase work. Even “deaths” is a little bit more of a stretch than I’d like (that “p” is really important in the word “depths”), so it sits in an uneasy middle ground of not being ideal in either direction – it doesn’t quite sound close enough, and it doesn’t quite mean what it should, but it’s as close as I could get it. If the verb “plumming” didn’t amuse me quite as much as it does I’d have come up with something else instead.

Following up from the obscure reference to Lot’s wife, perhaps the most obscure reference in one of my achievement names happened completely by accident. In Powerup Forever there’s an achievement called “Bully” awarded for squishing 111 tiny enemies in any given level. Why 111? Why not? Round numbers are boring, and people tend to use them without thinking. I think nothing in game design should be done without thinking – you should have a reason for everything. As I said at the start, all names are a chance to amuse the player. Numbers can be too (see 42 and 69 for easy examples). So why 111 exactly? I’m English and I love a bit of cricket. 111 is the English bogey score – superstition dictates that English batsmen tend to get out more often on a score of 111 (or multiples thereof). This score is known as Nelson. Most of the world will take nothing from the total being 111 (or will be confused, which is a positive in my book – anything to make the world a weirder place…), but the few who do recognise what I intended may be ever-so-slightly amused. If I’d have used 100 no-one would have cared either way, so this is a net gain. Anyway, we now have an achievement called Bully where you need to score a Nelson. Result!

So that brings me up to STOMP, where I’m free to indulge myself to the full. Another pun I used in my first trailer was “That really takes the brisket”. I think this one deserves groans. I try not to use puns that deserve groans (people often groan at puns regardless of whether they deserve it or not – but I will admit this does deserve it). In fact, in the trailer the cows were originally in a green grass field, but I changed it to brown dirt so that if I had time I could have added a tumbleweed pass after the “brisket” pun – that’s how bad I think it is. The thing is the pun was originally a potential level name – “Taking the brisket”, and I don’t think that’s anywhere near as bad. I’d happily name a level that. And this is what puzzles me – why am I happy with that, but not the version I actually used? Is it just the attitude? “Taking the brisket” feels kind of passive – it’s just sitting there minding its own business, whereas “That really takes the brisket” feels much more cocksure and in-your-face, and that bothers me.

One final pun – or rather two takes on the same device, and some thoughts upon them. Amongst my very favourite puns for STOMP is a level called “There’s something about dairy”. I am really happy with that one. However I first came up with the dairy/Mary swap for “Dairy Poppin’s” – which will probably still lead to me creating a new game mechanic (or at least some background graphics). But despite these two using the exact same device, “Dairy Poppin’s” is nowhere near as good as “There’s something about dairy”, IMO. I think the main reason for this is expectation. With “There’s something about dairy” you have expectations of how it’s going to end that are then confounded when the switch takes place, but you’ve been given so much to work with that it’s effortless. With “Dairy Poppin’s” the switch happens at the start meaning you’re expecting something to follow naturally from “dairy”, but then have to work backwards once you’ve heard the lot to make sense of the thing. There’s also the fact that “There’s something about dairy” immediately makes sense as a sentence in its own right where “Dairy Poppin’s” doesn’t – and I think even if I do get exploding cow bombs in the game to illustrate the concept it still won’t ever be as strong.

That’s probably enough for now. I may well revisit the topic again though – whilst I have well over a hundred cow puns lined up for STOMP (I’m hoping I get to use them all), and I’m still coming up with new ones all the time, and I would love to figure out what really makes the difference between good and bad ones.

I <3 3D

Later than intended (I took an impromptu holiday) here’s a quick post about why I love making 3D games (or games with 3D assets at least).

One of my favourite things about working in 3D is that it allows me to monkey around with the camera angle really cheaply. As mentioned in my WIP for Super Critter Kill, that game started life as a different game entirely, and all it took was a camera switch and a fake arm to make it look like a completely different genre using exactly the same assets. I’ve also done it in another old project that I’ll hopefully do a WIP for in the near(ish) future. So it’s only natural that at some point I’d have a play with the camera in STOMP too, and so far I’ve done 3 different things.

The first thing I tried really early on was simply to make the camera more dynamic by making it look-ahead of the player – the faster they’re moving the further it looks ahead.


I rather like this, but  I’ve had it disabled ever since because it needs more work (it’s a tad harsh), and needs testing with finished levels to assess whether it affects gameplay negatively. In its current, 2-lines-of-code, implementation it also suffers from a big problem which is if you smack into a wall at speed it instantly slams the camera back to default which is really jarring – so if I keep this it’ll need some easing applied to fix this (which would help smooth it out generally too). Also camera shake values that work well for the fixed camera are pretty brutal with this one.

The next thing I tried was more of an experiment – fixing the camera to the player’s ship so it rotates with them. This causes the world to rotate around the player, with the player’s ship remaining vertical on screen always – like in the (top notch) arcade game Assault (there’s another future WIP subject here). I don’t have any video for this, sadly. I thought this would be unplayable, but actually it wasn’t *that* bad. It was a little strange, and fairly tricky to find “up” so that I could hover, but I could actually play it. The biggest issue was that because the camera was tightly tethered to the ship, and because the ship turns fast and stops turning instantly, and because you’re constantly making adjustments to your heading, the scenery whips around constantly, spinning and stopping in a really harsh fashion. It should be possible to alleviate this with easing again – but I wonder if that might feel a bit woolly. It should be fairly quick to try though, and if it works it may well make it into the game as a bonus.

The last thing I tried – and I’m amazed it took me so long to think of giving it a go – was to make the camera 1st person (okay – it’s strictly 3rd person – but only so you don’t get weird fragments of ship obscuring your vision). This again is really quick to implement – quite literally 2 lines of code. But this time I was right – I thought it would be largely unplayable, and it certainly is. Largely. However it does look kind of cool.

Obviously the turn speed is far too quick for comfort, the lack of awareness of your surroundings is a killer (maybe a rearview mirror would help), and knowing which way gravity is acting is really tricky (it’ll be so much worse when I start switching gravity around later in the game). It also shows up the fact that the scenery is “sliced vertically” and that my skybox has no proper roof on it, but those are minor concerns. However I may still try to find a way to get it in the game. Even if I just throw it in as an easter egg the player can give it a pop with invincibility turned on if they wish.

W.I.P. 5 – Maps and Legends

OK, here’s a look at the hobby project I was actually working on when I got made redundant and decided to go Indie – Maps and Legends. The name once again was very much placeholder (and REM fans may recognise it as the title of a nice track from the album “Fables of the Reconstruction”). Maps and Legends (MandL as I tend to call it) got shelved immediately since there wasn’t a chance it would be completed before I ran out of money, and I’m not entirely sure how easy it would be to make money from it. Here’s a screenshot:

mandl04A quick disclaimer on the graphics – I really don’t like how it looks. The whole game is really rough tbh, but specifically the island graphics are rubbish. The thing is it’s largely unimportant – the game could be in lushly textured 3D, plain old sprites in 2D or even ASCII – it’s just a map at the end of the day – the gameplay is all in the text.

Another disclaimer – having said that the text was all first draft too. The examples I’m posting could all do with work.

Also, once again there’s no playable version. As it stands it’s awful – largely unfinished, with most of the existing content actually disabled, and what’s left in there happening all the time. When making a game built almost entirely of random events you soon learn that you want the ones you’re currently working on to happen all the time, and everything else to GTFO.

So first a quick overview. MandL got a quick mention in my first WIP – the game was born as an entry for a coding competition back at Blitz Games with the theme being procedural generation. I decided to procedurally generate an island populated with tribes and NPCs that the player could explore with the intent of creating a game a bit like Strange Adventures in Infinite Space or The Wager. There would be no combat – the game would be all about decisions and consequences. It soon became clear that this was far too large for the monthly competition, so I split that away and made Super Critter Kill for the competition, and kept MandL as my main project at home.

As a brief overview of the game, the player takes the role of a Victorian explorer and would start having made landfall on a mysterious island shrouded in darkness. The choice of Victorian explorer gave me a very clear voice to write with and lots of character, but also led to me adding a faithful manservant who would accompany you, which opened up lots of opportunities for humour.

The player explores by moving one square at a time, and when they enter a new square they might encounter a tribe or an NPC who they could talk to, or they might get a random event, which could be based on their location or the time of day, or any number of other triggers. These events could be chances to gain cash, useful items, extra resources etc. but could also be much more complex, or just be for fun. Below is one example where the player can lick a frog to see if it has any special effects (they can also get their trusty manservant “Branston” to do it instead).


This event could lead to one of a variety of “drugged” status effects which would have all manner of repercussions (some good, some less so), or could do nothing at all, as below (where your manservant is now called Duckworth-Lewis – note to self: random generation makes coherent screenshotting very tricky indeed.)

The original idea was to create a game that could be played in a lunchtime, but would stand up to countless replays with the player always getting new adventures (hopefully). So there had to be loads of these events, and to keep them fresh they needed to vary each time you received them – hence numerous “drugged” effects coming from one event. However to go further I then decided to try and generate the description of the event itself – so that even if you happened to get the same event, chances are you wouldn’t have read the same words before. This would involve all sorts of techniques – random phrase selection, changing events based on the player character’s gender, what they were wearing and so on. So if you met an NPC whilst wearing a remarkable hat you might get different text than if you weren’t. Obviously this makes generating the events far more tricky and time-consuming, and in truth I’d barely scraped the surface on this aspect.

And the plan was even larger still – those “drugged” effects I mentioned earlier included “paranoid” which would stick with the player for the rest of the game and would affect a huge number of events – meetings with NPCs, dealing with tribe leaders, and probably most mentions of the player’s manservant. (If theres enough mileage in it I could also include the option of a paranoid manservant if you chose to get him to lick the frog instead.)

Another good example of the scope of the game (and the feature creep involved) was an event that would occur on the coast – finding a message in a bottle. This could turn out to be many different things – treasure maps, useful information, coded messages and loads of other things I haven’t even thought of yet. It could also simply be Victorian spam (note that this example is tailored to the player being female – with the player’s manservant (now called “Ives” – thanks again random number generator) being judged as satisfactory (the typo in “satisfying” has now been corrected, fyi):


But then I came up with the idea of it being an order for pizza. This led to me spending a fair while writing code to randomly generate pizza orders in a variety of styles – a basic list, a Victorian gentleman, a pirate etc. This involved creating daft names for pizza establishments and a full menu of pizzas, side-orders and beverages so that every order would be different. The text in the following example needs a ruddy good editing, but it’ll do as an example:


So when playing the game if you move into a beach tile there’s a smallish chance you’ll get an event. There’s a small chance that this event will be a message in the bottle, and then there’s a small chance that it will be a pizza order. This all adds up to the chances of you getting the pizza order event in any given game being basically very low indeed. Regardless, I spent lots of time making sure that if you happen to get it again in a different game chances are it will read entirely differently. That was my intended approach to many of the events in the game and there would have been hundreds and hundreds of them.

Furthermore, with the pizza example I figured if someone’s ordering pizza then somewhere there must be a pizzeria – so why not this island? So I added a chance of the island having a pizzeria. Now when the player gets the pizza order event they can choose to throw it back in the sea, take the money that’s included with the order, or take the bottle – each of which then allows the interaction with the pizzeria to change if they happen across it whilst exploring. The original low-odds pizza order event has birthed an entirely new set of events that now need to be written.

This is feature creep writ large – something that conventional game-dev wisdom is largely against – but here I’d argue it is critical to the game I was making. It’s something that one person on their own can afford to do, and in many cases should do – providing they can see that it’s actually benefitting the game.

An additional example of this is the pack animals. Along with your manservant, you’re also given a pack-animal at the start of the game. This is chosen at random (horse, donkey, ox etc.). It would then pop up from time to time in events with different outcomes for each (if a bear attacks it might scare off a pony, kill an ox, or be scared off by a horse as it lashes out with its hooves, for example). Also each type would generate its own events from time to time. Basically each pack animal was a significant amount of work, but only a small part of the game. So adding a new one should require a lot of justification – right? Nope! It needed me to think up just one pun about a goat.

To add the goat (an unusual choice of pack animal admittedly) I wrote a new intro that involved your intended pack animal being washed overboard from your boat on the voyage to the island, leaving you with a goat that was meant to be used for milk/food. This can’t happen often (not only would it get old fast, but also it would be a handicap for the player because the goat – crucially – can’t carry as much weight as the other critters), so you’ll be much more likely to get one of the other animals. At some point I’d then need to write all these goaty events and alternatives as they occurred (much of this isn’t yet implemented). Finally I then needed to add a very low-odds event where you stumble across a large stash of very heavy treasure.

All of this extra work is so that if you happened to get the slim chance treasure adventure whilst having the rare goat pack animal you’d find that the goat couldn’t carry all the heavy treasure. I was prepared to do all this extra work for the chance to use this line:

“We’re going to need a bigger goat.”

Get in!

I love puns, and think they’re worth celebrating, and will go to great lengths to do so. And whilst there will be a lot of extra work to get this one pun in, its all a bunch of opportunites to make even more good stuff that will benefit the game. And beyond that if anyone playing the game finds that as amusing as I do, chances are they’ll tell their friends about it, and that is worth an awful lot.

That there is one of the reasons I love this game so much, and also the reason I immediately put it on the backburner when I went indie. The scope of it allows me to indulge all my silly ideas, whilst writing about pirates and dragons and fairies and elves and anything else that I can think of, but it also means that as a job of work it’s an unkown size, certainly already very large, and would continue to grow if I worked on it.

A huge issue with it as it stands though is that it’s really inefficient to work on the way I currently have it. Every event is custom written, because every event is generated differently, and I never sought to mitigate this at all. Actually creating content for it is cheap and easy – it’s just text – but the way it’s currently implemented means getting it actually in-game, suitably randomised and generating the right number of player responses based on circumstances (if you’ve lost your manservant for example (snigger) then you can’t get them to lick the frog, obviously…) is much trickier than it needs to be.

However, I am currently looking at getting this back up and running in Unity as a side project. The main plan for it is to look at solving the issues with implementation to make it as easy as possible to add content, because if I can get that sorted, it’s an ideal project to have pootling along in the background. It just needs shedloads of text throwing at it, and that can be written anywhere and anytime. As mentioned at the top, the graphics are immaterial, so if I can build up the essential content to a point where it looks like a viable project I can start worrying about getting it to look the part so that people will be prepared to pay for it.

The Name Of The Game

I’ve mentioned before in my blog that I struggle with naming my projects, and STOMP is no exception. I’m still not sure what I feel about STOMP (Super Thrustforce: Orbital Meat Police) as a name. I settled on it because the game needed a name at the time, rather than because I felt it was a particularly amazing thing to call it. Obviously I’d love to have come up with something I thought was perfect for the game, but there came a tipping point where it was more important that the game had a name, than that it had the perfect name. STOMP was good enough.

Here’s how I got there.

I’ve always wanted to make a Thrust-style game, but until getting my paws on Unity I haven’t really had the tools I needed to do the job. (I did pitch a really nice Thrust-like game for Blitz Games Arcade division, but sadly it didn’t get picked up). I also had a stab at making one in XNA, but knew it was probably doomed to failure. The name of this project though was “Thrustforce”; a portmanteau word of the two main influences – “Thrust” on the C64, and Amiga classic “Gravity Force”. As expected I didn’t get far with this in XNA, but the name would return later.

So fast forward to Christmas 2013 and I’d been trying to think of a decent name for the game for a good couple of months on-and-off and failing. The cattle abduction theme had been in place for a little while now, but I was still thinking of maybe having different aliens which abducted different critters, so I needed something general. “Meat” then was the starting point. (I’m not ruling out other critters, but the cows are providing so much great material I don’t think I need them).

So then the idea of “Meat Police” popped into my head – it says what you’re doing in the game and I found the notion amusing. So then we just need to say where the meat policing is happening, and for some reason “Orbital” was the first word that popped into my head. Orbital Meat Police. Whilst I’m not going to say that STOMP as a whole is a great name for a game, I find something inherently pleasing about “Orbital Meat Police” as a phrase. Orbital Meat Police – it trips off the tongue nicely. It’s no “cellar door” perhaps, but there’s something there I like. I later tried replacing the “O” with “Off-World” (which would allow me to set a level in deep space, if I wanted, without being semantically incorrect), but it’s nowhere near as nice. (If I do set a level in deep-space I’ll happily let the name be wrong.)

So, Orbital Meat Police it was. However, the thing I really wanted from the game name was to tell the player what the game was. Orbital Meat Police tells you what the mission is, but not what you actually do. I wanted this specifically for fans of Thrust-style games. I’m one of them, and know I will happily jump on any new Thrust-style game I come across. I know if I read a name that suggests the game is a bit Thrusty (“Thrust”, “Gravity”, “Rocket” maybe…) then I will investigate it*. So that’s a thing that needs to happen, even though it almost certainly necessitates the intervention of a colon.

The first thing that occured to me though is that I’ve now painted myself into a corner. Orbital Meat Police gives me “OMP”. Whatever I add now really has to make the best of that, because you don’t get a free OMP too often, and so wasting it on something meaningless like AOMP, DOMP or VOMP would be unthinkable. So let’s look at the alternatives – POMP, ROMP, WHOMP, STOMP… “Hang about, I’ve already got a T”.

Thrustforce: Orbital Meat Police. Sorted!

The “S” is a no-brainer. I’ll happily stick “Super” on the front of any name – it’s probably harder to get me to leave it off, to be honest. “Super” is a great word. It isn’t trying anywhere near as hard as “Hyper” or “Mega” (I personally would probably only ever use those in parody). It’s enthusiastic without being obnoxiously so. In certain circumstances it can come across as charmingly naive, which is a lovely thing to be (One of my very favourite uses of it is in the shoot-em-up Gundemonium Recollection, where the 2nd level is called “Super Train Robbery”.)

So, STOMP it is. As I said at the top I’m still unsure what I feel about it as a name, but it has a good stab at explaining what you are and what you do and that I’m really happy with. It also gave me “STOMP” which is as good an acronym as I could hope for, but may well also inform some parts of the game (I already have a model of a shiny STOMP badge that could be used to represent this gung-ho squad of militaristic space police should I decide to push that angle).


*I will also be disappointed when said game doesn’t turn out to be Thrusty. /Gives Gravity Rush got a particularly withering Paddington Hard Stare./

The Plan

The plan is changing on an almost daily basis. The current plan is as follows:

The program I used to make my website named all the pages weirdly meaning I didn’t want to tell anyone about the release of AVC. I’ll get this fixed – manually if need be – tell people about it, and then park the website for a bit whilst I work out what went wrong/find something better to use.

The Works-In-Progress will be done via my blog initially – maybe moved over to the webpage later if I think there’s merit in that. I’ll try my best to get the first one out this week.

Game development is switching to Unity. I love XNA, but I need everything on my side – and that means as few barriers to entry and as much flexibility as possible. I’d tried using Unity before but the sample game it tends to push as a demo – Angry Bots – is a big old brute and not a pleasant way in to learning the package for me. My reluctance to move on from XNA and unfavourable first impressions meant I wasn’t looking forward to diving into learning Unity, but after a lot of procrastination I finally sat and watched all the beginner tutorial videos whilst having a bit of a play with the editor itself, and by Crikey! – now I’m a convert. I reckon I can do really good stuff with this. Absolutely cannot wait to get cracking. If the website and the works-in-progress don’t show up for a little while then Unity will be to blame. These games aren’t going to make themselves.

A new plan

Well things have changed somewhat.

I was working for Blitz Games when I made my first post, and as of last Thursday it ceased trading, so now I’ve got to find something else to do instead.

Time to give the indie thing a pop for real then.

To that end I’ve just released the one project that I’ve ever finished as a freebie, and then it’s on to new stuff. It’s a simple PC game called A Vicios Circle, knocked up in a matter of days, fittingly for a coding competition at Blitz. You can get it at www.bearcatgames.com

I still plan to do the Works-In-Progress, but they will have to fit in around my current new project which is intended to be my first commercial game. The first was almost good to go though, so it shouldn’t be too far off.

Introducing Works-In-Progress

For this the first blog post by Bearcat Games I’d like to outline my current focus – a series of works-in-progress. One of the hardest things to do as a game developer is finish a project, and this holds true for me too. However, I’m also guilty of getting bored and starting something new mid-way through a project – meaning I’ve got a lot of work sitting on my hard-drive going nowhere, and seen by no-one other than me.

So a short while ago I decided that perhaps the best way to deal with this is to start releasing these to the world in their current state (maybe with a few tweaks here and there to kick them into a state where they can be shown, and more importantly played). So in the coming months I will be releasing a new one every week or so on my website (www.bearcatgames.com) along with some accompanying notes – these might include topics such as how it came about, design decisions, implementation, planned features etc. These works-in-progress will be in varying states – some of them have had many months of development, some were knocked up in 3 or 4 days.

Each new game will be accompanied by a blog post here, and I’d really appreciate feedback in the comments thread for each game. One of the things I’m hoping to get from this is motivation to get back to some of these projects and push them towards completion.

First up (hopefully coming in the next few days) will be Super Critter Kill (working title) – a cartoon FPS game about shooting endangered species for their skins.