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Grads In Games Awards Finalists 2020

Good Luck to TT Games and Arthur Parsons

TT Games are UCLan nominees and finalists in both the Industry Collaboration Award and 
Graduate Employer Award with Grads in Games 2020 for their outstanding support and 

encouragement to our students on the UCLan Games Design courses and for employing so many 

of our graduates.

We would particularly like to thank Arthur Parsons for his unwavering support.

Also wishing all the best to Jakob MacDonald

UCLan graduate of both the BA and MA Games Design courses, Jakob is currently working with UCLan DigitalPlus on a variety of high-tech creative projects.
Jakob is a finalist in the Games in Grads 'Student Game award' for his innovative VR game that's designed to help raise awareness for national antibiotic awareness week 2019. In an aid to help educate younger audiences, the dangers of antibiotic resistance and the practices of over prescribing antibiotics in the UK.

You can read about the game in the following link: 

BacteriAR

The best of luck to our UCLan BA and MA Games Design graduate, 

Simon Ashcroft

Simon is a finalist for the 'Student Hero' Award. Over the year Simon has worked on numerous group projects as both a team member and lead. He has engaged many other students to take part in collaborative projects and has rallied those who are confident and also those who need some support and encouragement. His enthusiasm and passion for games has fostered gatherings of students to work and play and design together in a friendly creative spirit. Most recently he co-organised and participated in the Global Game Jam 2020 where he was the lead of the team that created the game 'Karting ways' which attracted interest from various sources.

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Harlequins: Making It Work

Chopping up yo faces.

So.. my last post about Harlequins might have been a little too negative.  Don't worry though, just because I'm talking real sometimes doesn't mean I'm going to give up.  You guys have to remember that even though I'm a competitive player, I'm not WAAC.  Think about it:  I've been playing pure Kabal Dark Eldar since 3rd.  I have never owned a single Coven unit because I don't like the playstyle and I despise the fluff.  So what does this mean?  That means that I'm going to be playing boatloads of Harlequins and trying to get them to work on the table.

I've been constructing a lot of lists in the last couple of days with the new book and I've had a lot of thought experiments.  Here are some of the topics that I've thought about the most the last couple of days:

• How viable is Harlequins as a standalone army?  They're so expensive and it's really difficult to get them to work from a raw points-effectiveness standpoint.  The more Harlequins you take, the less other "good stuff" you can take from allies.
• Speaking of allies:  What makes a good ally for Harlequins?  Do you take them with Eldar or do you take them with Dark Eldar?  What about both?  Do you even have enough points to take both?
• There are a TON of Strategems that I think Harlequins generally depend on.  Your model count is low, so you really need to spend CP on them every chance you get to make them worth it.  I think Harlequins might be one of the most CP-heavy armies in the entire game from what I've seen.
• For my playstyle, I'm going to keep the army mechanized because I need to be able to preserve the fragile assault units inside while delivering them across the table.  However, I did think about big units of Troupes a few times because of all the overlapping and stacking buffs.
• What is the best Form that I should take with my army?  I'm mainly thinking about Soaring Spite right now because my forces are mostly mechanized, but I'm also eyeing Frozen Stars for damage, Midnight Sorrow for tieing things up, and Silent Shroud for practicality with Eldar shenanigans.
• I'm still working on the best layout for my Troupes, mainly because I'm focusing on 3 key design principles:  The Form matters, but cost-effective units matter more.  The Troupe must be able to be a melee threat to all targets.  The first Fusion Pistol is a must, the rest is luxury.

With that said, I got started working on some basic list principles:

• Build with as much CP as possible because you should be using Harlequin Stratagems at every chance to keep the army alive.  This means double-Bat is a must-have.
• Build with some kind of Black Heart so you can bring in Cunning and introduce Vect so you can repress enemy bull-shittery while having a CP-farm on your side.
• Build as many threats as possible:  Keeping your Troupes alive so they can make a cost-effective return means you have to introduce some serious threats on your side of the table.

Should I take more Dark Eldar?

Here is the first list I came up with after some tweaking:

Soaring Heart
2000 // 13 CP

Soaring Spite Bat +5

HQ:
Troupe Master, Caress, Fusion = 86
Troupe Master, Caress, Fusion = 86

TROOP:
5x Troupe, 5x Caress, 2x Fusion = 118
Starweaver = 99
217

5x Troupe, 5x Caress, 2x Fusion = 118
Starweaver = 99
217

5x Troupe, 5x Caress, 2x Fusion = 118
Starweaver = 99
217

ELITE:
Solitaire = 98

+++

Black Heart Bat +5

HQ:
Archon, Agonizer, Blaster = 91
Cunning, Living Muse

Archon, Agonizer, Blaster = 91

TROOP:
5x Warriors, Blaster = 47
5x Warriors, Blaster = 47
5x Warriors, Blaster = 47
5x Warriors, Blaster = 47
5x Warriors, Blaster = 47
5x Warriors, Blaster = 47

PARTY BOATS:
Raider, Dissie = 80
Raider, Dissie = 80
Raider, Dissie = 80

HEAVY:
Ravager, 3x Dissies = 125
Ravager, 3x Dissies = 125
Ravager, 3x Dissies = 125

>>>

Firepower:
12 Disintegrators at BS3+
24 Splinter Rifles at BS3+
6 Blasters at BS3+
2 Blasters at BS2+
6 Shuriken Cannons at BS3+
6 Fusion Pistols at BS3+
2 Fusion Pistols at BS2+

The list design here was really easy because I think all the right notes.  I originally had Razorwings in the army because I really like having some kind of air, but I didn't have enough boots on the ground for me to be truly influential.  When I first began army list construction, I noticed that I was hesitant to turn my Black Heart Spearhead into a Battalion.  I kept finding that second Archon as a bit of tax, but then I remembered just how many times I'm going to use Harlequin Strategems throughout the game.  While the firepower of the list looks pretty small, one can't remember the absolute monster that is Harlequins in melee once they get there.  With all 5 Players in a Troupe having 4 S5 AP-2 attacks, things are going to get all kinds of disgusting once you actually get in there.  To make things more exciting, I'm planning to make one of the Troupe Masters The Great Harlequin for that tasty re-roll 1s to Hit bubble.

Or should I take more Eldar?

Alaitoc Soaring Heart
1999 // 14 CP

Soaring Spite Bat +5

HQ:
Troupe Master, Caress, Fusion = 86
Troupe Master, Caress, Fusion = 86

TROOP:
5x Troupe, 5x Caress, Fusion = 109
Starweaver = 99
208

5x Troupe, 5x Caress, Fusion = 109
Starweaver = 99
208

5x Troupe, 5x Caress, Fusion = 109
Starweaver = 99
208

+++

Alaitoc Bat +5

HQ:
Farseer Skyrunner = 135
Doom, Mind War

Warlock Skyrunner = 70
Protect/Jinx

TROOP:
5x Rangers = 60
5x Rangers = 60
5x Rangers = 60

FLYER:
Crimson Hunter Ex, Lances = 175
Crimson Hunter Ex, Lances = 175

+++

Black Heart Spearhead +1

HQ:
Archon, Huskblade, Blaster = 93
Cunning, Living Muse

HEAVY:
Ravager, 3x Dissies = 125
Ravager, 3x Dissies = 125
Ravager, 3x Dissies = 125

>>>

Firepower:
9 Disintegrators at BS3+
4 Bright Lances at BS2+
2 Pulse Laser at BS2+
6 Shuriken Cannons at BS3+
3 Fusion Pistols at BS3+
2 Fusion Pistols at BS2+
15 Ranger Long Rifle at BS3+

This one is a bit different and I might be stretching myself too thin.  I've already dropped the Solitaire (which hurts my heart greatly) to make room for some Eldar allies, while greatly decreasing the amount of DE I have in the army.  The Black Heart detachment has been reduced to a small footprint just for the CP farm and fire support, but I've introduced fighters back into the mix with 2x Crimson Hunter Exarchs to give some heavy lances while the Doomseer and Jinxlock go do their thing.  I still have Rangers to be backcap but otherwise, I find this list a bit light on boots on the ground.  Missions might also be a problem, which is why I'm slightly in favor of the first list.

Regardless of which list works out to be better, both lists have a sizeable Harlequin presence with a lot of melee pressure.  The Caress' across the entire army really puts out some good threat, as well as the 22" moving and shooting Shuriken Cannons and Fusion Pistols without BS penalty.  Hell, I even have a pet unit in the first list because I think the Solitaire is the coolest thing ever.  With CP/Ravager farms in both lists, Warrior/Blasters in the first list, and Crimson Hunters in the second, which list do you guys like better?

The Summoning: A Laden Swagman

 

As if I needed another reason to think of Osama bin Laden yesterday.

         

As you scurry around pushing levers and balls, testing teleporters, fighting enemies, filling and drinking healing potions, and filling in the map, The Summoning gives you lots of time to think. And what I thought about during my most recent sessions was a typology for how games structure their worlds. This is what I came up with:

1. The open world. We tend to think of open-world games as recent, but they really go all the way back to the first Ultima (1981). In this model, the player has a fairly large space in which to operate, and that space is seeded with both safe and dangerous places--cities and dungeons, usually. The player may pick a particular city as a "home base" (and modern games encourage this by literally letting him buy a house), but he doesn't have to use a particular place. Excepting some episodes, he has full control over how long he stays in each area, and he can transition between them at will, using any number of locations to regroup, by and sell equipment, level up, and rest and heal. Phantasie, Curse of the Azure Bonds, Baldur's Gate, Ultimas IV-VII, and The Elder Scrolls IV: Oblivion all follow this model.

2. The hub-and-spoke, also known as the "expedition-and-return." In this model, there's one safe place, often at the center of the kingdom, and the player does all of his adventuring from it. Each mission takes him to a new place, and he often has no control over how long he spends there, but when it's over, he returns (often automatically) to the safety and resources of the hub. Examples would be Starflight, Quest for Glory, Planet's Edge, and the two Buck Rogers games.

           

Here's a shot of an NPC named Khamillia warning me about gazers. You'll see why in a bit.

          

3. The airline dive. In this approach, you have a safe surface location, from which you repeatedly depart to explore the depths of a dungeon, keeping a constant tether back to your base. A key aspect of the game is how far and long you're willing to risk exploration before following your lifeline home; judge it poorly and you run out of oxygen. Almost all of the PLATO games fit this model, as does Wizardry and the Dunjonquest series. The goal is ultimately to get strong and skilled enough so that you can reach the farthest location, where you usually find the endgame.

     

4. The highway. The game is linear and one-way, with set "rest stops" (cities, leveling, healing, shops) at set intervals along the way. You don't always know how long it's going to be before the next stop, but you know it will come eventually. The Final Fantasy Legend and The Lord of the Rings fall here, although both allowed some limited backtracking. Icewind Dale II is another.

    

5. The "Waltzing Matilda." There are no "safe spaces," except perhaps the occasional dark corner after you've cleared an area of enemies. You have no "hub." All of your resources are in your tucker bag. You level up on the road and heal when you find a potion. It doesn't really matter if the game world is open or linear because you still have to travel the whole thing, and there are no rest stops. This is most roguelikes, Dungeon Master and its derivatives, and The Summoning. 

             

A partly-completed level.

          

Some of the most tense moments I have playing games is when I don't yet know which model a game is going to adopt. Games often begin with a constrained sequence, and until it's over, you don't know if the game is going to automatically move you to the next area or "open up." Then, if it does open up, you don't know until you start exploring if you're going to be returning to the starting point frequently or if there will be numerous potential hubs as you explore the world. It takes a few hours into Fallout 3 before you realize it's fundamentally a hub-and-spoke game (a player could approach it differently, but most use Megaton as a base of operations); when Fallout 4 began, I thought it would be the same, but it's much more of an open world. Often, a game surprises you by switching to another model for a particular sequence or expansion. Baldur's Gate II is a hub-and-spoke that becomes a highway in Throne of Bhaal. The Lonesome Road expansion to Fallout: New Vegas is a Waltzing Matilda tacked on to an open world.

Games also occasionally create tension and release by subverting their own designs. A common practice in airline dive games is to make you lose the line via teleporters or one-way doors. Hub-and-spoke games often defy predictability by sending you on a mission that turns into a Waltzing Matilda, straining your inventory space, exhausting resources that are normally renewable in town, and making you long for a place to rest or train. When you're finally able to break out and return, the sense of relief is magnified. 

    

I would have to say that the "Waltzing Matilda" is my least-favorite approach, partly because it's the hardest to pick up again when you haven't been able to play for a while. When you finally restore after an absent week, you're in the middle of a dungeon somewhere, with equipment you can't remember the reason for carrying, unsure if you were working on any puzzles and, if so, what they were. Meanwhile, the lack of a central depository means you have to anticipate what you'll need down the road. This is particularly difficult in a game like The Summoning, where numerous readers have warned me not to throw away any pearls or any spell scrolls (despite not needing them mechanically), and having been given the relatively useless advice to try to keep hold of at least one of everything because you never know what is going to be needed to solve a puzzle.

        

The reason for the game's name becomes clear.

       

I originally wrote, "The Summoning is taking long enough that I frankly wouldn't mind a 'walking-dead' excuse to wrap it up with a rating." The problem with that sentence is that it isn't taking that long--at least, not yet. I'm only into it for about 14 hours. It just feels very long because the nature of its construction is to never give you a break. I think this has less to do with its "Waltzing Matilda" approach (what seemed like a cute name is losing its charm as I keep typing it) and more because of its Dungeon Master paternity. Other games feature long corridors and large rooms just to fill in their grids, but games of the Dungeon Master line use all of their available space for puzzles. The Summoning is no exception. Any relief that you feel at finally getting a locked door opened almost immediately withers in the face of another locked door. It doesn't really make a difference that most of the puzzles are easy--which they are, far more so than DarkSpyre--but that they're endless.

     

My most recent sessions with the game involved the completion of a section of levels each named "Broken Seal." There were six of them, but a few of them had large basements, so it seemed like more. The ultimate goal was to find six wedges of a broken seal and assemble them to open the way to the next section of levels, which all seem to begin with the name "Elemental Barrier." A linear description of the levels would be boring and hard to relate given my fractured approach to playing and me recursive approach to exploration (more below), so I'll just cover the highlights:

         

• Broken Seal Three had a puzzle that required me to rescue a man named Duncan from a prison. His friend Tristan rewarded me with a bunch of runes for the task, but more important, Duncan told me that Shadow Weaver intends to use the Staff of Summoning to bring the God of Magic back to the world, defeat him in combat, become the new God of Magic, and remake the world.

• On Broken Seal Two, I found a woman dying of poisoning. The game strewed apple cores around her room, suggesting that she'd been keeping herself alive with Apples of Vigor, which was a cute touch. To cure her, I had to find a special antidote in Broken Seal One. As a reward, she gave me a magic mirror that protected me from the attacks of "gazers" (nothing like the Ultima enemies, but rather zombies holding decapitated heads that turn you to stone), which I encountered later in Broken Seal One.

    

The game brought up a little cinematic window as I administered the potion. It does that occasionally, which is a nice addition.

          

• Later, I learned the hard way that you have to actually equip the mirror when you meet the gazers.

       

Another cinematic shows Jera turning to stone.

            

• New spells found were "Poison," "Cure Poison," "Restore," "Fire Shield," and "Fireball." I also found additional scrolls for spells I already knew; it's nice that the game offers backups in case you miss the originals. The "Restore" spell is supposed to restore endurance; I've also found a couple of potions that do that, but so far nothing in the game has affected my endurance. Come to think of it, the manual suggests an entire "fatigue" system that if it actually exists hasn't been perceptible in gameplay.

              

This, alas, just shoots a small ball of fire.

     

• The game is very fond of closed doors that you need the "Kano" spell to open. Some of them are very hard to see as doors. I assume they're walls until I later see them on the automap.

• A common puzzle has been to need to push a rolling ball onto a pressure plate by using the temporary "Create Wall" spell to stop the ball when it gets to the pressure plate.

     

Like so.

           

• An exit from Broken Seal Two went back to the Antechamber at the beginning of the game. This is where I would have appeared if I hadn't gone through the "beginner" levels. A woman near this exit talked about the importance of speaking to magic mouths, which would have been odd advice this late in the game but timely advice for some cocky player who decided to skip the beginners' area.

• Gebo, Raido, and Thurisaz runes teleport the character to the associated "rune floor space on the level in which the rune was invoked." I've found a ton of them. I've been trying to remember to test them on each level in the even that I don't otherwise find those runes on the floors. I'm not sure I've gotten all of them, though.

          

Arriving in a secret Raido area.

       

• Towards the end of the Broken Seal levels were a couple of puzzles that required me to use knowledge of the game's lore. Each had one skull that asked a question (e.g., "Chesschantra's offspring") and three skulls that provided different answers, each with a portal behind it. The problem was that the "answer" skulls were arranged so close to each other that it was often unclear which one was speaking. Since the wrong portals dumped me into an exitless room, I had to reload a couple of times when I knew the answer but chose the wrong skull's portal. My favorite of these puzzles is when the "riddle" skull said "what you want" and the answers were "world peace," "glory," and, practically, "to complete this part of the maze."

          

One skill gives the answer as I face and am closest to a different one.

        

The automap does a good job, but it's annoying to consult. You have to remove whatever you have equipped in one hand, equip the "palimpsest" instead, use it, and then re-equip the previous item. So I've mostly been approaching each level by following the right wall, bypassing doors I can't open or puzzles I can't yet solve. If I've made three loops through the level and still haven't opened some doors (or found the exit), that's when it's time to sit up straight and start taking notice of things.

 

The problem with most of the game's puzzles (or perhaps I should say "challenge," as it's probably intentional) is that the game deliberately obscures their complexity. To illustrate what I mean, assume you walk into a room with four pressure plates, one lever, and a door in every cardinal direction. The "puzzle" could be as simple as the lever activates the pressure plates, and then the pressure plates open the doors in front of them as soon as you step on them. Or it could be as complex as the lever opens a portal to another section of the maze, where you have to solve four sub-puzzles to find four boulders to bring back to the main room to weigh down the pressure plates, which open the doors on the opposite sides of the room, and only one door can be opened at a time.

       

This one is pretty straightforward.

         

I've found that the best way to approach the game is to assume simplicity and to not start going crazy with the mechanics until it's clear that simple isn't working. You have to be goal-oriented in the game. If a room has three levers and one door, and somehow you get the door open without touching any of the levers, it's best not to worry about what they're for. There are plenty of times in which I've left an area suspecting perhaps there was more to find, but happy enough that I found my way to the next level.

New enemies on these levels included centaurs and the aforementioned gazers. Combats have been so easy that they're mostly incidental. I usually welcome them because the game generally uses combats in lieu of puzzles, so a room with mercenaries or skeletons is probably not going to have a lot of lever-and-pit nonsense. Most enemies die in a few hits, and if they manage to wound me direly, I just need to cast "Freeze," run a safe distance, and use "Liquify" to fill and chug Jera potions until I'm healed. Since I found the spell sequence for "Cure Poison," I don't even have to worry about that. The only enemies that have been problems were some ghouls, which none of my weapons and spells would damage. I'm just realizing now as I type this that I never fully "solved" that area, so I must have missed something. Whatever it was, it wasn't necessary to get through the Broken Seal levels.

          

Fighting a couple of centaurs.

           

By far, the biggest issue with the game has been over-encumbrance. You don't want to exceed your weight limit because it significantly slows down movement, including combat. But between runes, gems, potions, wands, coins, extra weapons, extra shields, and quest items, there's a lot in this game that seems pretty essential. At one point shortly after the end of the last session, I took a hard look at what I was carrying, made some tough choices, dropped a bunch of stuff, and was five pounds under-weight. It felt great for about five minutes, until I entered another room and found it loaded with stuff that seems essential. In most games with equipment breakage systems, you spend the game hoping that your items won't break. In The Summoning, you spend the game praying that they will, so that you can shed 8 pounds and swap in the next item.

 

I finally gave up. My character's maximum weight is about 85 pounds, but I'm lugging around close to 115. As we enter a new area, I drop enough chests to get below the threshold, explore for a while, then return and pick them up. (This is similar to Tygr's solution of using the first room of each level as a "warehouse.") Although the system basically works, I keep hoping that I'll eventually use or break enough stuff to get back under the threshold, but that goal gets more distant with every item that I find.

    

A decent part of my encumbrance (in space, if not weight) is made up of gold coins. So far, the only place that I've found to spend them is at NPCs who offer to heal you for a donation. Normally, I'd welcome these NPCs, but self-healing is so easy that I can't imagine ever having to use them. I wonder if there's any other purpose to the game's "economy."

One of Shadow Weaver's warriors, encountered I think on Broken Seal Three, gave me a preview of the rest of the dungeon. He said that Shadow Weaver opens all the seals every six months to allow the horde to come and go from its campaigning, but between those times you have to really work at it to pass through the various areas of the fortress. Beyond Broken Seal are three Elemental Barrier levels, then a series of levels "controlled by the five ruling knights." Each has a medallion, and all five are needed to actually enter the citadel, which I assume also has multiple levels. 

          

Well, this is depressing.

         

As I entered the Elemental Barrier levels, I ran into an NPC named Duncan--a different Duncan than the one I rescued from prison. He said that to open the "elemental barriers," I would need to bring him three spheres, which he would then somehow "activate." (Shadow Weaver drops the barriers whenever the horde marches to and from war, but that only happens every six months or so.) I don't know why spheres are such a big part of every game I play lately. Anyway, he said that in the years since "Balthazar" had placed Duncan in his position, no one had ever brought him a sphere, so he wonders if his job wasn't meant as a joke.

    

Anyway, that suggests that I still have a lot of game to go, which makes sense given the slowdown in leveling. Jera has reached "Adept" in edged weapons (7/10), "Skilled" in clubs and hacking weapons (5/10), "Average" in pole-arms (4/10), and remains a "Beginner" in missile weapons (1/10) because I haven't had any reason to use them. She is "Adept" in healing magic (7/10) and "Skilled" (5/10) in the rest. Her overall level is "Cavalier" (8/12). These all represent gains of only a level since the last session. 

    

I've given the impression of a game that I don't like, but it would be more accurate to say that it doesn't fit well with the available time I have this month. My enjoyment improves in long sessions when I can build a certain rhythm. I'd shelve it for a month except that strategy never really works. Even if it's a game I like (e.g., The Magic Candle III), I still somehow find myself loathe to pick it up again. So I'm going to power through with The Summoning even if it means I can't post about it that often. Next up, we'll probably have a BRIEF on Projekt Ikarus because I can't make heads or tails of it.

    

Time so far: 14 hours

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Lost Secret Of The Rainforest - Abducted!

Written by Reiko

Adam's Journal #1: "We're finally here in Peru! I'm so excited to be able to help my dad with his project of setting up sustainable industries for the native peoples here. I wonder what kinds of animals I'll get to see while we're here? The rainforest is full of so much variety. I can't wait to get started!"

This guy's totally shady.

Adam and his father Noah have just landed in Peru, but of course we have to go through customs before we can start exploring. In the introduction, I forgot to mention that the shady surveyor's character has a couple of actual voiced lines, which is an interesting contrast to most of the other dialogue, which is only text. He says, "This place is a sewer" and, after bumping into our ride, "Watch the suit!" before brushing himself off and stalking away to the right.

When it's Adam's turn, I open the passport in his inventory and show it to the customs officer [10 points], who stamps it, waves Adam through, and then promptly puts his head down on his desk and appears to take a nap. Nobody else is waiting in the customs line, after all.

Our ride is waiting for us.

Nearby, there's a native holding a sign saying Noah and Adam Greene, so he's clearly waiting for us. I talk to him [1] and he introduces himself to us as Nicanor, from the Ecology Emergency Network, the organization that Noah is working with. He says there's a problem with the supplies, and takes out a list, while Noah goes over to check what's there. This leaves Adam at loose ends.

I look around and find two women supposedly selling fruit pops at a stand nearby, but they say they're on break and rudely shoo Adam away. I can't go into the town yet, either, because Noah will call Adam back, but there's really nothing else in the area to do. It takes me an embarrassingly long time to realize that there's an exit off the right side of the screen (where the shady surveyor disappeared earlier).

In the second area, a grungy dock, after Adam walks in, I overhear a conversation between the shady surveyor and another guy, Gonzales. The surveyor orders him to get "the stuff" loaded so they can get out of there. Then he disappears onto the ship moored at the dock. There's also an old guy fishing on another pier near where I entered, and two other guys having a hushed conversation behind some crates. I also see a run-down warehouse and a large pile of logs from the rainforest, along with a flatbed truck loaded with more logs. I can't seem to get close enough to talk to the guy fishing, even though he doesn't appear to be all that far away.

Right, "fresh off the boat" is exactly what we don't want to be.

If I walk into the area far enough, another guy appears from the same direction I came from, and accosts me, carrying a bird on his arm. He offers to sell me the bird if I give him the money I have. Adam asks how much, and the guy asks how much money he has. Adam wisely says, "I don't think I should tell you that." The guy just shrugs and says I should give him the money I have if I want to buy the bird.

I have the option to refuse, but I decide to go ahead with it, and give the man my money [5]. When the man hands over the bird, Adam immediately releases it, telling it to fly home. The man is aghast, but Adam reminds him that he sold the bird. The man shrugs and wanders off, and that seems to be the end of it. Probably I will encounter the bird at some point later, though, and it will be grateful that Adam freed it.

Who's "Mr. Slaughter"? No one I want to meet!

I then discover almost by accident that I can climb up on the crates and eavesdrop on the nearby conversation. One guy seems to be trying to recruit the other one for Cibola, the company that the shady surveyor mentioned. They mentioned someone they call "Senor Slaughter," which may well refer to the surveyor guy himself.

The nearby ship, which reads "Cibol" (Cibola) has an arm with a rope net that is periodically raised and lowered. I can make Adam walk over onto the net, which causes him to get caught in it when it's raised next. The guy loading the ship gets us out, but tells us to beat it, or we'll get sent to "Mr. Slaughter". Guess he's the one to watch out for.

Here's a way to stuff educational content onto the screen without lecturing.

I don't see anything else to do here, so I go back to the original screen. Noah calls Adam over and says he found something mailed to him. I open the package [5] and find some kind of handheld computer which Noah explains is an environmental scanner prototype. It's called an Ecorder, and Adam's supposed to test it out. Noah suggests there's something about the launch I should scan. As part of his explanation, he already scanned the nearby canoe, so I'm not sure what he means by "launch".

Picking up someone else's garbage. It won't be the last time.

I also notice another shady guy lurking by the now-abandoned fruit pop stall, but I can do nothing with him. So I return to the dock to see if there's anything I can scan there, and find a tourist taking pictures. Even though he doesn't answer when I try talking to him [1], I get a point for some reason. Then I notice that he's dropped something. I try to pick it up, but Adam says he doesn't want that garbage, and I should bag it instead. I use the recycle icon on it [5] to get rid of it.

I go into the ecorder to see what all it does. The previously-scanned item was Town Runoff, about the garbage from the town that ends up in the rivers. I also try playing the "test myself" game, which randomly shows pictures from the database along with two choices. I get most of them right even though I haven't seen any of them in the game yet, and I get a bunch of points [46] when I finish the game.

I go back and forth again, and realize I can use a plank walkway to get to the end of the little pier where the man is fishing. I talk to him [1], and he talks briefly about how he doesn't like the way the fish look, and how there used to be so many more fish in the river years ago, before all the people came.

The scanned result of the ship's leak.

Finally I realize "launch" means the ship moored at the dock. The ecorder lights up when I move it over a hole with liquid spewing out of it, and records the "River Traffic" item [10]. Looks like the ship has a fuel leak, which is also contributing to river pollution.

I knew that other guy was shady too.

When I return to see if Noah and Nicanor are ready to go to town yet, suddenly the shady guy that had been lurking nearby runs over, grabs Noah's suitcase, and runs off toward town. Uh-oh, he's a thief!

Noah decides he's going to have to go to the embassy to get a passport, so Nicanor takes him there, leaving Adam to watch the supplies. (How old is he again?) Adam is tired from the trip, so he gets into the nearby canoe and falls asleep.

Adam's not being a very good guard for the supplies...

Suddenly, things get weird. Two creatures that look like otters, who address each other as Orpheus and Morpheus, appear in the water. One chews through the rope holding the canoe, and while Adam sleeps, together they push the boat away from the dock, along the river, and into the rainforest. Apparently Adam sleeps all night, since the screen darkens and then brightens again. At one point, a monkey appears and peers at the canoe with the sleeping child, then wanders off again. Finally, Adam wakes up, and the animals begin to address him directly.

Animals seem to know that Adam will help them.

Morpheus says that the Forest Heart needs help from a human child, and he looked like a good one, so they picked him. Orpheus has a gift to give us, but he's shy and needs persuading, so Adam needs to do something to coax him out.

First I scan the screen and find the Understory, Littering, Forest Floor, Stilt Root, and River Otter items [5]. So I was right about the creatures being otters. Then I talk to Orpheus [1]. Adam apologizes for being loud, and Orpheus swims a bit closer. I talk to him again [1], and Adam reassures him that he won't hurt him or anything.

The amulet brought by the otter.

Then Orpheus swims right up to the side of the canoe and waits for me to take the necklace around his neck, which I do [5]. It's a beautifully carved amulet, which the otters inform me is Forest Heart's amulet, and Adam needs to journey to her village to find out more. The otters disappear into the water after pushing the canoe the rest of the way over to solid land.

Now what? Well, the Littering item was clearly because there's quite a lot of junk scattered around. I trash five items [5] and also find a sticky leaf to take [5].

That's all for that screen, so I move to the right and immediately encounter the monkey I saw earlier, who accuses me of cutting down trees. Adam assures him that he's by himself and hasn't done anything to the trees, and asks about those who have. The monkey calls them yellow hats and says they turned his home and food into smoke. Then he angrily stalks away. Apparently the logging operation that generated all those logs I saw earlier has done some significant damage to the forest.

As hostile as this sounds, I'm glad the monkey didn't do anything to Adam while he was sleeping.

New scanned items: Buttress, Cecropia Tree, Logging [3]. The tree that fills most of the screen is huge, with twisty roots. Nearby there's a recent campfire still leaking smoke, with a small stump and a chopped up log. The huge tree looks very climbable, but insects swarm Adam when I make an attempt. I use the sticky, sap-covered leaf on Adam [5], which causes him to rub the sap all over himself, commenting that it's stinky, so the bugs should leave him alone. Now I can have him climb the tree to another screen above.

Next time we'll find out what's up there and how that gets us closer to the Forest Heart. Adam seems very calm at having woken up in a different place than he went to sleep in, and at basically having been abducted by otters and left to his own devices deep in the rainforest with no supplies. Maybe he figures he can always get animals to help him if he needs something. It wouldn't be so easy for the rest of us.

Score: 121/1000
Scanned items: 10/82
Inventory: passport, Ecorder, Forest Heart amulet, leaf with sticky sap

Session Time: 1 hour 15 minutes
Total Time: 1 hour 15 minutes

Note Regarding Spoilers and Companion Assist Points: There's a set of rules regarding spoilers and companion assist points. Please read it here before making any comments that could be considered a spoiler in any way. The short of it is that no points will be given for hints or spoilers given in advance of me requiring one. Please...try not to spoil any part of the game for me...unless I really obviously need the help...or I specifically request assistance. In this instance, I've not made any requests for assistance. Thanks!