Zane: Let me start the formal interview process by thanking you for taking the time to have this chat. I really appreciate it.

Joe: I definitely appreciate your time.

Zane: Founding a studio and creating a game of this scope aren’t small tasks by any means. What made you decide to become an indie developer, and found your studio?

Joe: Well I basically learned to write code about 19 years ago or so and started with writing BBS door games and moving on from there. I’ve worked at a few studios here in Toronto and in San Diego but eventually found myself working in other industries. The core game and ideas for Empyrios is actually a design I’ve been toying with for probably 4-5 years before the actual start of development and something that I’ve wanted to build for a long time.

Zane: Ah! Admittedly, I was curious which came first: Empyrios, or Creoterra.

Joe: Creoterra was really born in order to focus attention on building the types of games that we really wanted to play, to be honest. The core ideas and gameplay definitely predate us striking out and founding the studio, and we had a lot of world design and gameplay mechanics to start with. Once we found Jove—our artist—and he came on board with the project, is when things really started to come together from both a design and aesthetic point of view

Zane: Your aesthetic does have that old-school fantasy game feel. There are a number of areas where you’re doing things differently. For instance, I notice you’re not going with the traditional fantasy races. Even the dvergar as ‘dark dwarves’ in concept are very rarely seen compared to, say, dark elves.

Joe: Well that was one thing that we really spent a lot of time on because we really wanted to create a new world for the game to take place in. We do have a human race, the Aduro, and then the Dvergar as you mentioned, but we really wanted to have a fresh feel rather than sticking with ‘old proven’ so we’ve tried to come up with a lot of different concepts. Jove was also a big part of this and we worked very well going between art and design. One example would be the ‘Shade’ race, which our original design had more as a traditional type of undead. Jove wanted to try something new and he took the backstory of them being outcast for refusing to stop playing with necromancy and other dark arts, and tied it into the overall race. So now instead of having, say, the usual skeletal minions you might see elsewhere, the shade are basically a humanoid spirit, but with various parts of different types of living beings kind of moulded together.

Zane: Even the Aduro have a unique feel compared to the tried-and-tested staple of Humans. It’s great to see all these unique options. I can’t resist, though: are there any races that are developer favourites?

Joe: We’ve really tried to give all races, and the entire world for that matter, a really unique feel both through art style and ability design. Regarding favourites I can say that the Lithos are quite popular and we usually feature the Brute character out of game, but beyond that everyone seems to have their own favourite to play. I play a lot of the Caelum (avian race) myself and would definitely say they’re one of my personal favourites. Some people like sticking mainly with one race in their team composition, but a lot of people actually like to select from various races in whichever faction they’re playing.

Zane: I’m glad that you came to the topic of factions. You probably get this question a lot, but what is the Prophecy of Flame, and how does it relate to the two factions and their agenda?

Joe: Well the Prophecy of Flame actually stems from the Aduro race but has ramifications across the world. The human race in this part of the world started to have visits from very strange humans from other lands. They spoke of Pyrios, the god of flame, and began to recruit others into their religion and follow their beliefs. This had huge ramifications as once the Aduro Nation became the largest sect, they went from a passive view to being more aggressive, and banning and outlawing various forms of magic. This is what led to the Shade, as they are actually exiled Aduro who wanted to continue their research and practice into the darker arts. Whether that was a good idea or not is yet to be seen. I can’t go into the actual prophecy itself, as I don’t want to spoil the plot of either campaign, but it encompasses the entire world and story.

Zane: No worries! We wouldn’t want to spoil any surprises. The two factions, the Mystic Covenant and the Shadowlord Pact, they’re then centred around the Aduro and Shade, and their positions regarding Pyrios and his word?

Joe: Well their battle is one component, but every race actually has their own goals in mind, and they the factions are alliances of purpose and convenience. One example is how during their exile a high mage of the Shade actually created the Lithos race through necromancy and spirit magic. This impacts the Dvergar as you now have these wild destructive creations born in the mountains who start attacking the mines and trade routes. On the other hand, you have the Caelum who have forged a pact with the Sylvan to protect the wooded lands, and by making it seem as if the Reptilis attacked them first they’ve drawn the Sylvan into their battle. The Prophecy of Flame also foretold of the ‘beasts from the desert’ which later emerge as the Az’Modai, something the story goes into in more detail. So really the factions are actually created out of necessity, trickery, or something in between. They are much looser than say a conventional alliance where different races are friends for no reason, and it’s always been that way.

Zane: Wow. Suffice to say, there’s been a lot of preparation and fore-thought. All of this no doubt creates a rich back-story to set the current campaign’s events against.

Joe: Each faction’s campaign story isn’t actually just a linear point A to point B narrative. Sometimes you might have 2-3 options open to you on the map and you have to make a decision. Do you help the Dvergar town or the Aduro town, or do you ignore both to support the Sylvan on the front lines in the forest? Each campaign is different depending on the choices you make and the outcomes of the battle.

Zane: Strategizing well is clearly a big part of the game, and using your environment to your advantage is a core component thereof. What are some of the key elements of Empyrios’ tactical combat?

Joe: Well you hit on one key component which is trying to take tactical advantage by using the environment. Some units can set traps or alter the environment in small ways. To that effect. map control and positioning is pretty big. Another is that each unit has a set of 3 skills that vary in power cost, so you have to decide on whether you want to use ability X now, or wait and use something that costs less until you can get into a better position for a larger ability. Ouside of the battles the units in your army gain levels, have a skill mastery tree, and even one additional customization system that we’re still working on. So just because an enemy is using a Lithos Brute, you can’t be sure if he’s using it as a traditional ‘tanky’ type build, crowd control, or focussing on raw damage. And of course setting up team synergy and combos and planning your strategy is something that gives a nice edge.

Zane: Wow. Multiple campaigns with non-linear story-lines and player controlled outcomes, and then full control in a tactical environment with a myriad of options…have to say, you guys have put a lot of thought, effort and passion into this project.

Joe: Yeah it’s actually been quite the undertaking! As I mentioned early the core game concept and ideas were coming together for years before development started (actually using HeroQuest miniatures on a cardboard map), and we’ve been in full production for quite an insane amount of time.

Zane: What have been some of the major challenges of going Indie and working on Empyrios?

Joe: Well the biggest challenge for me has been the switch over to production. I spent the majority of my career, both in and out of games, in software engineering and technical direction. So while I worked hand in hand with producers, artists, and designers, I was still heavily tech focused. I had a million and one things to learn, and a lot of mistakes to make, but having someone like Jove on the project was absolutely huge as he took care of the aesthetic direction and really helped bring this idea and story on paper to life. Also, scope was a huge issue as the amount of work was pretty staggering on all fronts, whether it be code, design, art, anything! Although on a positive note we knew going into the project that it wasn’t something we would be building quickly and that we were in for the long haul project… so it wasn’t like we were surprised or hammered by scope creep.

Zane: I can imagine with something like an RPG, where you have to cater for every individual player contingency, as well as test to ensure the combinations are compatible, that it’s a huge undertaking.

Joe: The testing is actually a major part, especially with the team composition and customization. I build a lot of in-house tools and we’ve basically had bots playing the game 24/7 against each other for over a year constantly collecting data. It was quite fun, actually, because the bots were building teams and combos based on statistical analysis. Quite a few times the AI created some monster teams where we immediately knew we had to go in and fine-tune some abilities. The bots came up with a few team compositions that we never would have dreamed of using… but if the AI found them, players definitely would have at some point.

Zane: In that case, mental note to self: only play against other humans. You mention a variety of game modes, including the campaign and multiplayer. What are the modes on offer for the release?

Joe: We have the campaign mode, which is has a full non-linear campaign for each faction individual faction. Then there’s online multiplayer, local multiplayer, and practice. With online games we have a full infrastructure and matchmaking system so you can play ‘ranked’ games or just friendly games against friends. There are even unlockables and achievements. Local multiplayer is just what it sounds like: multiple friends against each other, playing on the same device. Practice mode is essentially local multiplayer versus bots.

Zane: Whom we’ve just established might be much nastier than your friends, depending on your difficulty level (and friends).

Joe: Hehehe very true.

Zane: I know this is probably your least favourite question as a developer, but the journalist code of honour dictates that I ask. Without us forcing you to commit to it, do you have a rough release date in mind?

Joe: Well our target is Q4 this year, but depending on development we may run into Q1 of next year. We’re actually 100% art complete at this stage (and we’re working on the first update actually), and majority code complete. Right now a lot of the work is in continuing to work on unit balancing, story/campaign, and heavy polishing across the board. Of course no promises with time as we want to make sure everything is extremely polished and as perfect as we can build it in our view.

Zane: That’s exciting news! Is there any way our readers can help show their support or keep up to speed with the latest progress reports and news?

Joe: Well we always massively appreciate support on Twitter and Facebook which we’ll be updating with news much more often. We’ve been ‘working in a dark cave’ for the last about 5 weeks while trying to get our latest alpha build ready and in testing so we haven’t had the stream of updates I’d like to see but there will be a lot more in the coming weeks. Also we’re hoping to have both the empyrios.com website and steam green light page online within the next 3-4 weeks or so. And of course players can check our company site where there is more information on the game and will be continually updated

Zane: Thank you very much, Joe. Do you have any final words of advice or inspiration you’d like to share with any aspiring indie devs who might be reading?

Joe: Well for me I think the biggest thing is that if you have a great game idea that you’d like to realize, you have to build it. In some cases, like with Empyrios, the design morphed from tabletop gameplay builds over the years, and writing the backstory as a hobby, into building out the entire game in production. Just be very mindful that if you haven’t produced a AAA or indie title in the past, you are going to learn a million new things, your time estimates will be derailed, and you’ll probably hit a host of unforeseen problems. As we’re wrapping up development on Empyrios I am definitely really happy with the overall process and what we’ll have achieved in the end, and I hope that players will feel the same way.

© 2014, The Indie Mine. All rights reserved.

Bernie is a young man just finished with school and starting out in the business of universe creation. Life hasn’t been plain sailing up until now, though. He’s the only child of a single working mother, his father having walked out on them after achieving fame for his universes. Despite being absent, his father’s shadow is quite large; he’s the only god to have ever won three awards for universes that he’s created. As if all this weren’t enough, Bernie is one of those gods cursed with a powerful Cloud – a chaotic force, much like a poltergeist, that vents his subconscious frustrations out on the world. Despite all these odds against him, working for The Business may just be the opportunity he needs to prove himself to his father and give his mother the life she deserves.

Events don’t go as planned, however, and working soon turns out to be plagued by the same sort of problems that occurred at school. It turns out that his first commercially constructed universe is not only plagued by problems with his technique, but that an old school rival is actively sabotaging his efforts. Due to his rival’s seniority and his own problems with authority figures, Bernie is forced to try and undo the damage on his own. So begins a guerilla war between gods to destroy or save a just-created planet. The stakes get upped when Bernie discovers the unthinkable: intelligent life has flourished on his world, without him creating any or even setting events in motion for life to flourish by itself. He’s no longer just fighting to save his family’s future, but also the lives of thousands of thinking, breathing bronze-age beings.

LeBel’s style is fluid and sleek, making it easy to devour this page-turner. Bernie is a likeable underdog protagonist and manages to attract a cast of outsiders and free-thinkers to his cause that are each as well-developed as he is. Lenny is an old school friend who has a fascination with the technology and superstitions of the civilizations the gods create, and is always seen carrying a primitive charm or piece of advanced technology to give him an edge. Then there’s Alcandor, one of the people on Bernie’s world who correctly works out that there’s a powerful being trying to protect them. He manages to contact Bernie, and together they make plans to save Alcandor’s world.

Another of Bernie’s allies is an old school friend, Suzie. She is the personal assistant to the head of human resources, and uses her charm to get Bernie as many second chances as he needs to succeed. She has a passion for worlds that challenge the inherent patriarchy in the Gods’ societies. Unfortunately, Suzie and the other female characters in the novel feel as though they exist solely as motivations for the protagonist or to further romantic subplots. Despite that, they’re still given defining traits and stay within character.

No mention of characters would be complete without talking about Billy, Bernie’s rival. He’s a cruel god who takes pleasure in inspiring his creations to war with each other, treating their lives and worlds as games for his own amusement. Bernie’s cloud left a scar on his face when they fought during school, something he’s never forgiven Bernie for. His uncle is Bernie’s departmental head, a fact that’s earned him many cronies. Even with all his friends at his side, Bernie has his work cut out.

The action is exciting and fast-paced. The narrative alternates between Bernie and the other gods, and the lives of the people on his besieged world. This helps establish a context to the consequences of Billy and Bernie’s actions. It makes for fascinating reading, and succeeds in making you wonder whether or not we have our own Bernie. If you’ve ever played any simulation or strategy games, it also makes you hanker to get back into one of those while simultaneously making you question whether or not all the soldiers you send to their doom had families and lives outside of your dictates.

The plot experiences minor repetition towards the third quarter of the book. By then we’ve seen Billy create problems, and Bernie fix them several times. There are enough new developments along the way to keep the story fresh, but this point in the plot is a no-man’s land between old and new developments, where we see much of the same thing happening.

Even with the above, this is a read that’s sure to please and guaranteed not to disappoint. If you’re looking for a great new indie book to sink your teeth into, it’ll be this one.

You can buy The Universe Builders on Amazon, or follow further details about the universe at Steve’s website.

© 2014, The Indie Mine. All rights reserved.

Ambush? No, of course not…would you believe me if I said I was selling these fine leather jackets?

Players can choose to create either male or female Mukashi, ultimate warrior-scouts chosen for their supreme combat and exploration ability. They’ll journey to Kanoko Island in search of the Scrolls of Hope, which are rumored to contain the location of a safe haven where their people can escape the rising ocean that threatens to destroy them all. Mukashi are customisable with items picked up in game or gained through completing quests.

In an interesting move, the developers have announced that they intend to keep the title as an OUYA exclusive, at least initially. The console supports indie developers and has an extensive list of experimental titles which they feel would be a perfect fit for the type of game they’re trying to create. OUYA is itself an indie console successfully funded through Kickstarter, and a platform the developers are keen to support. The game will be developed using the Unity 3D engine, a tool traditionally popular among indie developers for its multi-platform support. Once a fixed term of exclusivity has passed, Mukashi should then be available on other platforms.

Mukashi and the Scrolls of Hope is currently set for a release early in 2015.

[Editor's Note: As of August 20th, the game has now shifted to a PC exclusive.]

© 2014, The Indie Mine. All rights reserved.

The cover and title says it all.

The Ice Cap and the Rift is the second novel in Marshall Chamberlain’s the Ancestor Series of Adventure Thrillers. John Henry Morgan, director of the United Nations’ Institute for the Study of Unusual Phenomenon (ISUP), is still reeling from the events in the first novel (The Mountain Place of Knowledge) when a combo-quake of unprecedented size occurs without any prior warning. The situation escalates when a team in Iceland detects the presence of strange, hidden structures within the newly formed rift that pre-date the birth of human civilisation. Morgan has encountered evidence of advanced, ancient technology before, and recognises these structures as having been built by mysterious beings they’ve named the Ancestors. He has to secure a UN presence at the rift, and balance conflicting international interests as different nations scramble to secure the technology within the rift for themselves.

Hounding Morgan at every step is Dick Murray, director of the CIA. Murray only cares about results and the protection of his country, a man desperate for success after being outmanoeuvred by the Chinese the last time they discovered Ancestor technology. Morgan needs his help, but every bit of assistance Murray offers is a double-edged sword. Thankfully, Morgan isn’t alone. Doctor Mary Ellen, his colleague, friend and partner, was also witness to the capabilities of Ancestor technology before, and uses her extensive scientific knowledge and force of personality to help ISUP succeed against the odds. Operating from within the shadows is Ling Soo, the Chinese Minister of Intelligence, a dangerous and canny opponent. Using deception and the co-operation of international allies, he proves an adept opponent equally capable in both the political and military fields.

The dual UN-Cambridge team investigates the rift in the ice cap while trying to prevent too much information from leaking out to the various international factions eager for a piece of the pie. What they find is a fully operational habitat, with several flying vehicles that are still in top condition. The flying vehicles are saucer-shaped crafts, and raise questions about humanity’s origins, and whether our history is as complete or short as we’d been led to believe. Before the full implications of the discovery can be worked through, the Chinese manage to secure the information about the rift’s contents and execute a daring plan to steal one of the flying saucers. It’s up to Murray and Morgan to set aside their differences in order to track and recover the stolen craft.

The Ice Cap and the Rift reads like a story-driven political thriller with a sci-fi twist. In style it’s reminiscent of Tom Clancy in that Marshall explains the workings of his world in great detail. His research into a variety of topics lends this text believability and weight. You get a very real sense that he knows what he’s talking about regarding the way the various organisations and modern technology works. The unfortunate trade-off, however, is that the narrative flow gets interrupted by lengthy exposition.

The blending of the science fiction into the real-world setting is handled very well, with a careful reverence that’s not often experienced in novels. The mystical and spiritual nature of the Ancestors is well defined because of this, lending a strange metaphysical feeling to everything centred on their works. From the get-go he manages to arouse intrigue as to what we have in the rift, and who its mysterious architects were.

The man himself

Unfortunately, this reverence seems to disappear when the aura of mystery vanishes. The UN team has no great difficulty in getting into the newly revealed habitat, and spend more time sweeping the area for CIA bugs. Once inside, the descriptions of the habitat’s controls give it a strangely ‘Fisher-Price’ feel. Scientists don’t spend much time puzzling through symbols or controls, and in fact have no hassle deciphering how everything works. The fact that much modern human technology within the novel’s setting seems on par with that of the Ancestors – virtual environments, advanced invisibility cloaking technology, satellite mounted lasers – makes the discovery in the rift feel a little underwhelming. There are even two chapters within the novel where we are treated to modern, living Ancestors as the viewpoint characters in order to understand their motives. Had the sense of mystery been preserved, then we’d be able to maintain the sense of wonder the Ancestors are supposed to engender.

One of the other stumbling blocks for the novel is the sheer volume of characters. Aside from Morgan, Murray, Ellen and Soo, the cast of characters is extensive. With so many individuals, running the gamut from pilots, secret agents, terrorists and academics, characterisation is kept brief of a necessity, with most characters getting a short introduction and a single defining characteristic. In the worst examples the supporting characters are ethnic or occupational stereotypes. This makes many of them feel more like caricatures than actual flesh-and-blood individuals. Fewer characters performing many of the same roles, or more face-time for some characters, would really strengthen the impact they make.

Chamberlain’s descriptions are stronger than his characters, but inconsistent. At times he paints a scene vividly using multiple senses; I’m still stuck remembering the nutty smell of a cup of coffee Morgan has towards the final chapters. At other times, it feels like Chamberlain is watching a movie and describing it to us, his readers, with a certain level of dispassion. This creates a distance, something dangerous in a novel that requires reader investment in order to get swept up in the action. The worry is that the weak descriptions far outweigh the good ones. Despite that, the tension of the final chapters prompted further reading, the reader trying to work out the intricacies of the Chinese plot alongside the protagonists.

There’s much to recommend in The Ice Cap and the Rift. Chamberlain lends his world both a sense of credibility and mysticism. However, the presence of many weak characters hampers our involvement. Sacrificing descriptions for exposition in order to preserve the fast pace of his novel created further distance between readers and the action. If you’re looking for a light adventure novel with global conflict and alien artefacts, then this might just be the book for you.

With a release date of 15th October 2014, you can pre-order the ebook on multiple platforms, or start with the first book in the series.

This book was reviewed using a copy provided by the publishers for that purpose

© 2014, The Indie Mine. All rights reserved.

A unique twist on a classic tale – Christ uses the Holy Grail to curse the Apostles with Vampirism

The novel starts strong, the prologue putting a unique twist on Christ’s words to his Apostles on the night of the last supper. It leaves us hungry for more, and open to a fresh interpretation of the vampire mythos. From Bram Stoker’s conception of the undead, to Anne Rice and Stephanie Meyer’s more recent renditions, vampires and their powers and weaknesses are as varied as their origin stories. In Batiste’s novel, vampires are ageless, heal fast, and the only sure things that kill them are fire, losing a head or getting stabbed through the heart. The characters are quick to point out that they don’t sparkle in the sunlight, though when they ‘shift’ into vampiric form they have their fangs elongate and their eyes turn violet. The narrative implies that every time a vampire feeds, the human in question dies, a choice rife with moral ambiguity for an audience used to vampires that can choose whether to kill or not.

Another interesting ability the vampires in this world have is the ability to have normal off-spring by having regular sex with mortal men and women. Kellan is the offspring of one such union, and his task is to do the same with Nicole. The chapters alternate between these two primary viewpoint characters, with the occasional chapter devoted to secondary characters like pursuing demons. Kellan is a movie-star lookalike living the high life with the accumulated wealth of centuries. His love and loyalty for the Apostles is well established, but the turning point is clear when his love for Nicole overrides his better judgement. Of the two, Nicole is the stronger character and just feels more real. Her actions and motivations are the clearest from the get-go, and her story is the most compelling of the two. You find yourself rooting for her and wanting to know that she’ll come out on top. Indeed, the supporting characters of her story arc often feel more rounded and better developed than many of the established characters that make recurring appearances in Kellan’s narrative.

Ultimately, the difference in the strength of the characters in the two narratives seems to rest on the vampiric nature of all the characters in Kellan’s story arc. Batiste does some brilliantly subtle characterisation in some places – Simon doesn’t like blasphemy, demons refer to vampires as mosquitoes – but then undermines it later. The Apostles are indistinguishable from a group of golf buddies or business colleagues, apart from the mention of blood drinking. Kellan is Simon’s son, and their interaction is just like that of two family members. Kellan has a habit of getting his way and is never disciplined, despite going against the will of a fraternity of beings a millennium older than he is. The fact that a human dies every time they feed is barely examined and quickly handled with a justification that vampires only feed on evil people now. There are so many opportunities to deepen the setting or examine the implications of decisions, but these are glossed over and moved aside so that the romance and the action can proceed.

To Batiste’s credit, the romance and action are the novel’s strengths. The interaction between Kellan and Nicole is electric, and the nerves on their first dates complement their later passion. The action sequences are equally well crafted, with the writing fast-paced and exciting. The writing style is fluid and engaging, and the pace never flags or gets bogged down. Despite that, The Vitandi suffers from being two separate genres in one – a paranormal romance, and a supernatural thriller. While both the romance and thriller are handled very well separately, jumping between the two styles compromises the text as a whole. Maintaining some mystery could have saved for the insertion of exposition in otherwise tense scenes, whereas foreshadowing could have stopped some other reveals from feeling too deus ex machina. The romantic confessions and revealed motives feel melodramatic and contrived when set against demons and vampires battling.

All in all, The Vitandi is easy to read, and neither the romance nor the action disappoint. The concepts at the core of this novel are intriguing and exciting, but many are poorly handled. Though the writing is good overall, the occasional block of exposition or lack of foreshadowing let it down. Batiste shows promise, but better characterisation of the vampires and a deeper examination of the vampiric condition would have made for a more immersive novel.

Should you be intrigued by Batiste’s original ideas and want a different spin on your paranormal romance, you can purchase The Vitandi on Kindle or Nook.

This book was reviewed using a copy provided by the publisher for that purpose.

© 2014, The Indie Mine. All rights reserved.

The film focuses on six game designers from around the world. The countries they hail from run the gamut from game design hotspots like Japan and the United States, to the lesser known burgeoning industries of Chile and Ghana. Industry heavyweights like Mark Healey, Robin Hunicke and Tetsuya Mizuguchi will sit down and talk about the process of ideas generation and how they go about refining these initial seeds into the games that reach our screens.

This ambitious project stretches beyond just the documentary, however. Each of the interviewed creators will supply an idea – be it a character sketch, music, or abstract concept – to be taken in hand by one of six game design teams in France. Each team will then create a unique game within 48 hours with this idea at its heart. Anyone with game design can apply to be part of this game jam on the Pixel Heart website.

The final stretch goal of the project is a travelling exhibit to accompany the documentary and game releases. Six additional games will be developed exclusively for the exhibit. These games will be of a more experimental nature and are intended to showcase games’ abilities to push boundaries through creative application using hardware like the Oculus Rift.

The project is being crowd-funded through Ulele, similar to Kickstarter. Check out the promotional trailer below, then head on over to the project’s official website to read more and see the stretch goals and rewards.

© 2014, The Indie Mine. All rights reserved.