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1eyedking Gyre: Maelstrom (meaningful c&c, procedural narrative, transhumanism, parkour, ex-Bioware)

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Bubbles

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There are more ex-Bioware employees in the industry than there are stars in the night sky.

But Evodant is actually a well-established studio that has already developed and shipped nearly a dozen titles.
 
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Sacred82

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That's why I'm talking about (art)works, not stories. A single Star Wars movie is a single work - you can easily watch only one and be done with it. Or you can just as well only read one book. They don't need each other to be finished works. In theory if you watch/read/listen to only one part of a transmedia work, you won't be getting a complete experience.

I get it, but I have doubts about the concept. The transition e.g. from book to audio/ video can be jarring, even with works that only continue the story. But actually stopping in the middle of things and changing to some other media sounds not great.
 
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Bubbles

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What's really the point of a "Ex-Bioware producers: 1" counter besides looking retarded?

It also tells people that the writing is going to be retarded.

There's not going to be any "writing" in the commonly understood sense of the term, since the entire narrative will be procedurally generated.
 
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vonAchdorf

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What's really the point of a "Ex-Bioware producers: 1" counter besides looking retarded?

It also tells people that the writing is going to be retarded.

There's not going to be any "writing" in the commonly understood sense of the term, since the entire narrative will be procedually generated.

Just wanted to add that - they don't even do what "Bioware" recently stands for (to their fan-base). So it's double stupid.
 

vortex

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Narrative
The narrative is powered Evodant Interactive’s proprietary Toska Engine to dynamically generate a unique story for every player. Toska is a first-of-its-kind procedural interactive narrative engine. The engine’s goal is to generate an engaging narrative dynamically during gameplay that is contextually appropriate to the game. In doing so, every player experiences a story that is uniquely their own. Your choices during the game have meaningful impact on not just the middle of the story, which is commonly reserved for scripted branching plot lines, but also on the foundation stones of the story and the ultimate resolution of the entire narrative.
How does this Toska engine work? Does the computer generated script create quest tree structure ?
 
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Bubbles

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Narrative
The narrative is powered Evodant Interactive’s proprietary Toska Engine to dynamically generate a unique story for every player. Toska is a first-of-its-kind procedural interactive narrative engine. The engine’s goal is to generate an engaging narrative dynamically during gameplay that is contextually appropriate to the game. In doing so, every player experiences a story that is uniquely their own. Your choices during the game have meaningful impact on not just the middle of the story, which is commonly reserved for scripted branching plot lines, but also on the foundation stones of the story and the ultimate resolution of the entire narrative.
How does this Toska engine work? Does the computer generated script create quest tree structure ?

Here's a brief description of Toska's character:

Written from Meatspace 54°14′ N, 62°3′ W

The perfect may be the enemy of the good, but we wanted to get as close as possible when it came to naming the Toska Engine. This was something new and there is magic and power in the naming of a thing and Toska merited a name with no less magic or power.

First, there were things it could not be. It could not be banal. It could not be derivative. It could not be unsearchable. (Aging alternageek that I am, I still listen to a lot of The The and do you have any idea how hard it is to summon that band in iTunes on my Mac?)

As with the naming of a child, you try to accommodate the twin governors of hope and fear. Whether or not to reference a favoured grandfather. Whether or not the name invites a cruel rhyme found exclusively among the hothouse taunts of a playground. Whether or not the kid will develop a complex from having to correct people on his name’s spelling for the rest of his life. (I once met a guy named Phredd.) There is a respect for the past, pride of the present and anxiety for the future. And to those of you without kids, this process is harder than you think, as evidenced by the legions of kids getting discharged from hospitals with placeholder names BB and BG.

But it’s tough to invest emotionally in a placeholder name. Dwayne and I spent far too long referring to “the software” or “the engine” or — Heaven help us — “the plugin.” We needed a name. The perfect may be the enemy of the good, but with funding secured and production greenlit, it was time to pull the damned trigger.

Latin? We’re not afraid to go there, and we did, but the fruit from that particular tree felt a little runty. Esperanto? Maybe. There are worse crimes in game development than naming something new after a term found in an artificial utopian language invented to unite mankind. But nope. No treasure on that map either.

We could invent a word! Something that sounds the way we feel! Something that sounds the way it’s spelled! No good. But I’m prepared to admit that we might have pursued that unicorn on an unimaginative day. Or week. But none of our candidates seemed to have been born under a lucky sign.

Confession time: one of our first candidates to have legs was the acronym “PINE.” Procedural Interactive Narrative Engine.” Right? It works! As an ex-military officer with a repugnance for square peg/round hole “backronyms,” PINE was a natural fit, right? It worked!

Except…

Ugh. There’s a reason why the figureheads mounted on ships of legend were carved to inspire beauty and derring-do and to help the soul of the ship navigate to auspicious beaches. Figureheads were more than just hunks of wood. You mounted a mermaid to your ship, dammit, not a, I don’t know, a picnic table. PINE might technically qualify but we both agreed it lacked inspiration, something like a soul. PINE lasted a month before we accepted that it wasn’t melting our butter. We went back to “the software.” “The engine.”

Mythology was a fruitful exploration. Many promising candidates that we both favoured were stricken from the list unwillingly. “Chimera” would have faced a hockey sock full of competition in Google page rank. “Siren” had some energy but it was more heat than light. Norse mythology is a wonderful source of legend but all those soft F sounds and “heim” suffixes courted fears that potential customers (even our especially educated and literate customers, wink) might miss us due to an inability to spell the engine’s name correctly. This was disappointing. I have friends who are the descendants of Vikings and are tougher than a handful of coffin nails. Would it have killed them to use more K’s in their words? Sheesh.

In conversation about the pros and cons of nouns vs. adjectives, we spoke of how we needed a concept more than a word. We spoke of the character of languages and the ethnocentric prides of its most fluent native speakers. How Italian is a language of beauty, Spanish is a language of art, French is a language of philosophy, Russian is a language of literature and English is a language of technology with plenty of exceptions to the contrary across the board. We investigated those words that lack adequate translations into other languages. My first exposure to the concept of “duende” came through a spoken word lecture by Nick Cave. Could we find a word like “duende” or “saudade?”

Dwayne stumbled on the Russian word “Toska.” Here’s what Vladamir Nabokov had to say on the subject:

“No single word in English renders all the shades of toska. At its deepest and most painful, it is a sensation of great spiritual anguish, often without any specific cause. At less morbid levels it is a dull ache of the soul, a longing with nothing to long for, a sick pining, a vague restlessness, mental throes, yearning. In particular cases it may be the desire for somebody or something specific, nostalgia, love-sickness. At the lowest level it grades into ennui, boredom.”

Thanks Vlad! Now we’re cooking with gas! “Toska” was immediately promising. It’s spelled the way it sounds and it’s an empty vessel, devoid of expectation and pre-conception, at least among non-Russian speakers. But when we both like something, we have to force ourselves to play the devil’s advocate. We agreed to sleep on it for 24 hours, then red team the hell out of the word.

After 24 hours of playing with the word, we had two concerns, a major and a minor.

The minor was whether or not it will be a red herring distracting people into thinking about Puccini’s opera “Tosca.” We don’t think so. Can we measure this? Nope, not really.

The major is whether or not this beautiful untranslatable word communicates too much negativity when translated into English. This is not something we can casually dismiss. It merited a thoughtful defence. And here’s where we ended up:

First and foremost, I’m less troubled Toska carries with it shades of despair, of melancholy, of yearning. This is part of why it’s untranslatable. It’s the English understanding that isn’t doing the word justice because the translation is stripping out the fact that there is a kind of beauty to those feelings.

Secondly – and the non-narrative folks in the room might find this a little hairy – stories are about conflict. Most games obviously go for the low-hanging fruit of martial combat as their conflict of choice, but in all media, stories are about conflict of one kind or another. No conflict, no drama. This sounds like a negative too, doesn’t it? But if conflict is a descent, then the story is about the ascent. Story is the climb back up.

I am actually heartened by the “negative” associations with this word. Our procedural narrative engine is about observing and analyzing player behaviour, seeing those dots like stars in a constellation and then interpolating the story among the dots. The nostalgia, the heartbreak, the yearning, the striving is the space between the stars, the lines between frames in a comic, the desire to fill the void.

This is what the Toska Engine does. It creates the story in response to these mute appeals made visible by player behaviour, layering conflict and choice upon each other. We have our name picked out, we’re teaching it and feeding it, investing ourselves in its values and virtues.

It will have a shot at being the agent that nudges up against the boulder of the world. It is another chance for change.
 
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Funny thing is, I don't think it would work well. On the on hand, we have Dwarf Fortress emergent storytelling, especially in Legends mode. On the other - some IF makers are already exploring very novel dialogue systems. But I think even if we reach true AI somehow, even if it can pass Turing test (with game plot restrictions in place it could be easier), we still won't reach even old Bioware quality, not to mention Black Isle. Such dialogue engine could've benefited something more akin to Morrowind and other open world RPGs, but a story-driven, transmedia experience? Eh. I'm skeptical.
 
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Bubbles

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This is their ex-Bioware guy:

I got my start as a writer, tackling branching character dialogue for "Baldur's Gate", the classic role-playing title that defined BioWare's identity and transformed the company into a major player within the global video game industry.

I then served as Lead Designer on "Neverwinter Nights", a wildly innovative, critically acclaimed, and commercially successful product that was a decade ahead of its time. Under my strategic direction, we were able to support robust story-driven multiplayer gameplay, a powerful toolset for user-generated content, an ecommerce market for subsequent downloadable content, a dedicated social network, a live team to provide ongoing support, and an active fan community. The game also revolutionized our hiring process for the Design Department and resulted in the formation of a dedicated Tools Programming team, two competitive advantages that have served BioWare extremely well in the years since.

Since that time, I've had the honor and the pleasure of serving as a Producer and Online Strategist within the company. With a clear passion, a compelling vision, and strong organizational skills, I've worked extensively with internal and external teams to push the envelope and carve out a space for digital delivery, downloadable content, patch support, multiplayer gameplay, community engagement, and new economic models across all our titles.

Dragon Age: Inquisition (2014) (Associate Producers)
Dragon Age II: Mark of the Assassin (2011) (Producers)
Dragon Age II: The Black Emporium (2011) (Project Manager)
Dragon Age II: The Exiled Prince (2011) (Project Manager)
Dragon Age II
(2011) (Production Designers)
Dragon Age: Origins - Leliana's Song (2010) (Producers)
Dragon Age: Origins - The Golems of Amgarrak (2010) (Producers)
Dragon Age: Origins - Witch Hunt (2010) (Producer)
Dragon Age: Origins - Feastday Gifts (2010) (Lead Designer)
Dragon Age: Origins - Feastday Pranks (2010) (Lead Designer)
Dragon Age: Origins - Return to Ostagar (2010) (Lead Designer)
Dragon Age: Origins - The Darkspawn Chronicles (2010) (Lead Designer)
Dragon Age: Origins - The Stone Prisoner (2009) (Lead Designers)
Dragon Age: Origins - Warden's Keep (2009) (Additional Design)
Dragon Age: Origins (2009) (Additional Design)
Jade Empire (2005) (Additional Design)
Neverwinter Nights: Hordes of the Underdark (2003) (Designers)
Neverwinter Nights: Shadows of Undrentide (2003) (Designer)
Neverwinter Nights (2002) (Core Game Design)
Baldur's Gate II: Shadows of Amn (2000) (Additional Design)
MDK 2 (2000) (Story Development)
Baldur's Gate: Tales of the Sword Coast (1999) (Design)
Baldur's Gate (1998) (Design)
Baldur's Gate (1998) (Writing / Dialogue / Story)

Old school, deep cut.
 
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vonAchdorf

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This is their ex-Bioware guy:

I got my start as a writer, tackling branching character dialogue for "Baldur's Gate", the classic role-playing title that defined BioWare's identity and transformed the company into a major player within the global video game industry.

I then served as Lead Designer on "Neverwinter Nights", a wildly innovative, critically acclaimed, and commercially successful product that was a decade ahead of its time. Under my strategic direction, we were able to support robust story-driven multiplayer gameplay, a powerful toolset for user-generated content, an ecommerce market for subsequent downloadable content, a dedicated social network, a live team to provide ongoing support, and an active fan community. The game also revolutionized our hiring process for the Design Department and resulted in the formation of a dedicated Tools Programming team, two competitive advantages that have served BioWare extremely well in the years since.

Since that time, I've had the honor and the pleasure of serving as a Producer and Online Strategist within the company. With a clear passion, a compelling vision, and strong organizational skills, I've worked extensively with internal and external teams to push the envelope and carve out a space for digital delivery, downloadable content, patch support, multiplayer gameplay, community engagement, and new economic models across all our titles.

Dragon Age: Inquisition (2014) (Associate Producers)
Dragon Age II: Mark of the Assassin (2011) (Producers)
Dragon Age II: The Black Emporium (2011) (Project Manager)
Dragon Age II: The Exiled Prince (2011) (Project Manager)
Dragon Age II (2011) (Production Designers)
Dragon Age: Origins - Leliana's Song (2010) (Producers)
Dragon Age: Origins - The Golems of Amgarrak (2010) (Producers)
Dragon Age: Origins - Witch Hunt (2010) (Producer)
Dragon Age: Origins - Feastday Gifts (2010) (Lead Designer)
Dragon Age: Origins - Feastday Pranks (2010) (Lead Designer)
Dragon Age: Origins - Return to Ostagar (2010) (Lead Designer)
Dragon Age: Origins - The Darkspawn Chronicles (2010) (Lead Designer)
Dragon Age: Origins - The Stone Prisoner (2009) (Lead Designers)
Dragon Age: Origins - Warden's Keep (2009) (Additional Design)
Dragon Age: Origins (2009) (Additional Design)
Jade Empire (2005) (Additional Design)
Neverwinter Nights: Hordes of the Underdark (2003) (Designers)
Neverwinter Nights: Shadows of Undrentide (2003) (Designer)
Neverwinter Nights (2002) (Core Game Design)
Baldur's Gate II: Shadows of Amn (2000) (Additional Design)
MDK 2 (2000) (Story Development)
Baldur's Gate: Tales of the Sword Coast (1999) (Design)
Baldur's Gate (1998) (Design)
Baldur's Gate (1998) (Writing / Dialogue / Story)

Old school, deep cut.

So he at least has some track record - when I first read producer, without any examples, it sounded like a 3rd tier job at Bioware.
 

Rob Bartel (Evodant)

Evodant Interactive
Developer
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Messages
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Hey gang - yeah, that's me in a nutshell and no, I haven't been involved in any of the previous BioWare spinoffs.

I consider Neverwinter Nights my high water mark at BioWare (at least in terms of vision and community involvement -- Baldur's Gate will always have my heart for story and gameplay) so take my notes about multiplayer and downloadable content in a NWN context. I still believe we could have achieved something amazing if we had chosen to build that up as a proper franchise but it fell victim to the company's transition away from the D&D license.

I had a good run and, after 15 years, I was pretty happy to be retired and out of the industry but the team at Evodant caught my eye just because what they're trying to pull off is so damn audacious. Are we going to make the Kodex Krew happy with every decision we make on Gyre and every little detail we're able to implement with Toska? No, probably not. And even with some old school RPG'ers at the helm, that doesn't mean we're building an old school RPG. But I'm glad you guys found us and we're looking forward to getting some more information out there.

The proof will ultimately be in the pudding. We get that and we accept it.

I promise you something interesting, at the very least.
 

Neanderthal

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Are tha bloke who did that interesting script for NWN where things get trippy an you are cursed by a disease or something? Or were it Witches Wake mod that I remember your name from? Wonder what happened to that, looked fairly cool.
 

vonAchdorf

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Messages
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I had a good run and, after 15 years, I was pretty happy to be retired and out of the industry but the team at Evodant caught my eye just because what they're trying to pull off is so damn audacious. Are we going to make the Kodex Krew happy with every decision we make on Gyre and every little detail we're able to implement with Toska? No, probably not. And even with some old school RPG'ers at the helm, that doesn't mean we're building an old school RPG. But I'm glad you guys found us and we're looking forward to getting some more information out there.

The proof will ultimately be in the pudding. We get that and we accept it.

I promise you something interesting, at the very least.

It doesn't always have to be old school - actually this market is currently being served anyway - admittedly with various degrees of success.

Since I can always go back and play the old titles again, something new and "damn audacious" is surely something I look forward to, especially, if it's not just graphics or VR. Toska sounds interesting, but I've read about "amazing and immediate breakthroughs" in AI for at least 25 years now, so I'll curb my enthusiasm. If it turns out like B&W in its first iteration and then the 2nd one doesn't follow B&W 2's steps, I'd consider it successful.
 
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Bubbles

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From the Maelstrom Mailbag...

Every creative endeavor builds upon the shoulders of the giants that have come before. We’re avid gamers here at Evodant and it’s clear that you are, too. Today’s mailbag tackles a bunch of questions and guesswork as to where we’ve found our inspiration for Gyre: Maelstrom.

Q: How did you come to choose your steampunk setting?

A: Steampunk is often recognized as a “super culture,” which means that it embraces several understandings of how it is best depicted. There are those who equate steampunk with brass Rube Goldberg machines, and general Maker culture and fashion fetishists who put gears on everything. That’s cool and all, but that’s not where we take our inspiration. We’re squarely in the Jules Verne camp, enjoying steampunk as a form of sci-fi and speculative fiction, as it was written in the late 19th century. Victorian-era England and France are two of the most common locations for that sort of steampunk story, and that was just dandy with us.

To be fair, all of the alt-history stuff we’ve been alluding to in the story of Lawrence and Libby is just background material that allows Gyre to have a cohesive foundation.

*Why* are the characters all androids? *Why* is it set in France? *Why* is the city shaped the way it is? *Why* are archetypal weapons called Jacks, is the prevailing energy source called Flux, is there a religion based on Ascension, etc? We've got answers for all these things because years of pre-production and thinking through the implications of the world of Gyre raised questions that needed answers. Many people are going to gloss over the details — but we feel the burden to have answers ready and instilled into the mechanics and the storytelling because, as gamers ourselves, and fans of RPGs, we feel it's what you guys deserve.

Q: If you had to compare the interface of the game to another computer RPG what would you say is the closest?

A: The interface itself - all of the different screens, buttons, menus, HUDs, etc. - is still very much in development. But, as a third-person action-RPG with an over-the-shoulder viewpoint for our camera, you’ll find similarities with Mass Effect, Dragon Age, Witcher, Assassin’s Creed, Uncharted… It’s all pretty familiar territory at this point - in these sorts of story-driven action games, you want to be able to see and identify with the character you’re playing.

Q: The art reminds me of Final Fantasy VII and BioShock… and that dude from Battleborn! Can we expect more in that vein?

A: Ironically, this is a real issue for us! "Too Bioshocky" is something we say in the studio quite frequently.

It's due to the fact that we seem to naturally gravitate towards the 1930s styles of Art Deco and Futurism. Bioshock is more of a reference as a game design than an art style since our game is motivated by the looks in vogue in the 1890s, which means more Gothic and Victorian, but with our alt-historical sci-fi steampunk twist.

A lot happened in those 40 years, even before we throw robots into the mix.

These styles — Art Deco and Futurism — are hard to avoid since they're so strong, so evocative. They have their own gravity. This is reflected in some of the preliminary concept art, but our current production art has largely left these directions alone since we're more disciplined now.

We have a fantastic art team. We think you're going to love it. We hope to start releasing more production art soon.

Q: So is Gyre kinda like a modern version of this gem? Arcanum: Of Steamworks & Magick Obscura?

A: Oh wow, that brings me back a ways! Thanks for the trip down memory lane - that was a pretty seminal steampunk RPG at the time, back when steampunk wasn’t as widely known as it is now. They took much more of a fantasy-influenced approach than we are (sorry, you won’t find any elves / dwarves / orcs in the Gyre) and also predated the move toward action-RPGs that came with the shift to 3D.

I would say we’re not a modern version of anything but ourselves, to be fair. We have our own vision and are marching to the beat of our own drum. So yes, we definitely fall within that broader canon of steampunk RPGs but I would say our interpretation leans more toward science fiction than fantasy.

-- Ryan FitzGerald, Lead Designer
Evodant Interactive

Breaking: Gyre: Maelstrom is NOT the spiritual sequel to Arcanum!
 

ERYFKRAD

Barbarian
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Messages
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Strap Yourselves In Serpent in the Staglands Shadorwun: Hong Kong Pillars of Eternity 2: Deadfire Steve gets a Kidney but I don't even get a tag. Pathfinder: Wrath I'm very into cock and ball torture I helped put crap in Monomyth
Steampunk is so passé now. You'd expect hip ex-bioware enfants terribles to know that. My oh my, how gauche.

*Why* are archetypal weapons called Jacks, is the prevailing energy source called Flux, is there a religion based on Ascension, etc?

These are all good questions, but if the developers don't know the answers, why should we? Croque Monsieur!

Why not call the (war?)Jacks baguettes and the energy source Chocolate Mousse? Why not base the religion on L'Ascénsion, instead of on Ascension? C'est un mystère!
And when the baguettes revolt for lack of bread, tell them to eat cake? :philosoraptor:
 
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Bubbles

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Here are the other Q&As they've done recently:

Q: You call Gyre: Maelstrom a “Dystopian Steampunk RPG” - What kind of dystopia are we talking about? A Mad Max desert wasteland where everyone’s fighting over scarce resources?

A: You absolutely raise a good point. In fact, we went back and forth on how to best articulate this because "dystopian" is a reductive simplification. Such is the worry in a tag line.

To some, the world of Gyre: Maelstrom may actually seem like just the opposite. It’s a world of immortals where death is almost unheard of. As its citizens’ mechanical bodies do not need food, there is no such thing as starvation and hunger. Diseases of the flesh are unheard of and your ability to augment your senses and abilities is essentially unlimited. The Gyre itself is a walled city where the people and infrastructure work very hard to uphold the ideal that life is a perfect post-scarcity utopia.

But there are factions that disagree with that view and question whether something of the human touch may indeed have been lost. Or what impact the self-sustaining city of Gyre might have on the broader world beyond its walls. Or why those walls are even needed in the first place. Some of these factions choose to communicate their dissatisfaction through varying degrees of active resistance and the conflict and intrigue between factions will play an important part in the game.

Thanks to our Toska Narrative Engine, how these issues are communicated and even observed depends largely on the activities you choose to engage in as a player. How you view the city, whether as a utopia or a dystopia, will shape your experience. There isn’t a right or a wrong answer but there are decisions to be made and those decisions will have consequences.

Suffice to say that we have a love affair with quality science fiction. I'm currently re-reading "20,000 Leagues Under the Sea" and I just finished pre-ordering the next Expanse book by James S.A. Corey. We believe that good sci-fi offers a comment on modern politics which works on a level you don't need to engage in, but you can if you wish.

So, f'rinstance, is today a utopia? Many would insist this is the case. But, as William Gibson famously said, "The future is here; it's just not evenly distributed yet." To one of the disadvantaged or powerless, today may look as much like a dystopian wasteland as any post-apocalyptic tale proposes.

We're asking the question and offering no answers. We'll carry the water. You light the fire. At the end of the day, we're here to make a kick-ass game. Sure, we've got theme and procedural coolness like you wouldn't believe until you play the game a second time and *try* to make all the same choices only to see how much it still diverges... But if it's not fun, we’ve failed in our mission.

So whether you find it to be a utopia, dystopia or something else entirely, what’s most important to us is that you find it interesting, engaging and fun.

Q: When I see a game being promoted on Facebook, I usually assume it’s just another browser-based game or mobile app. But this is clearly something different. What can we expect in terms of platforms and gameplay?

A: Great question! We’re promoting Gyre on Facebook right now because that’s where where all of you are and, well... we think you’re pretty awesome. Our Facebook page is there to help get the word out about the game, start building a community, and give everyone an opportunity to reach out if they have questions or feedback.

As for what you can expect from the game, Gyre: Maelstrom is a AAA steampunk-themed single-player parkour-influenced action-roleplaying game for PC and console that’s played from a 3rd-person over-the-shoulder view. (Big breath. Phew!) Oh, and we’ve got robots. Lots of them. Including the player. But don’t worry, you’re robots with souls and feelings and existential angst and the need to beat the #$%@! out of everything sometimes. It’s all good.

Unlike other RPGs, however, Gyre’s got no grinding, no fetch quests, no fluff or filler. Thanks to the fact that our proprietary Toska Narrative Engine is constantly monitoring and adapting to your behavior, every quest is created dynamically in response to your choices and the dramatic needs of your personal story arc. So that’s what really sets us apart.

As for platforms, you’ll definitely be able to find us all over Steam and we’ve also got a fresh build running on our shiny PS4 Dev Kits as we speak. And, as we’re building Gyre and Toska on top of the multi-platform Unreal engine, we’ll be able to explore plenty of other opportunities as well - it will all depend on what we have time and resources to properly develop and test.

As a studio, we cut our teeth on award-winning mobile games, augmented reality experiences and transmedia storytelling. In some ways we’re similar to other small, agile developers with limited portfolios, such as Hello Games (No Man’s Sky). That’s how Blizzard was when they released WarCraft, too. For us, Gyre: Maelstrom is a very special labour of love and the by-product of 8 years of cutting-edge research and development where we’ve been quietly prepping the studio for AAA RPG production. We've now built up a very talented team that blends fresh ideas with Emmy Award-winning art and senior experience on AAA titles such as Baldur’s Gate, Neverwinter Nights, Dragon Age, Mass Effect, Mortal Kombat 2, Warhammer 40K Dawn of War, and more. Kind of like peanut butter and chocolate all wrapped up in a hazelnut ganache.

We’ve got a lot of work ahead of us, to be sure, but we're no stranger to that and we're very excited to introduce all of you to truly revolutionary new RPG experience! As development continues, our goal is to open up the game to a significant, transparent beta testing period where subscribers to our Maelstrom list can experience the game and get involved (hey, you helped find Libby - it's the least we can do!). Again, thanks to Toska creating a unique story for every player and every playthrough, we’re confident that we can run a spoiler-free beta and keep you coming back for more. ;o) So we feel pretty good about where we’re headed and the benchmark we're setting. Thanks for being a part of the magic.

Q: The game sounds great! Any chance I’ll be able to play it on the Xbox One?

A: We celebrated our PS dev kit's arrival with a Facebook post because official dev kits are tightly controlled resources in development-land. We look forward to continuing our conversations with Microsoft on the future of having Gyre on Xbox.

Internally, we've had some conversations about whether or not we're open to being an exclusive for one console or the other, but nothing firm has gone forward. Our preference, of course, would be to launch for both PS4 and Xbox One so we can get it into as many of your hands as possible and on the console of your choice. We just always have to balance those benefits with the accompanying costs of development.

Q: What about Mac or SteamOS support?

A: For now, console and PC are our highest priority. Every platform added increases the development effort and we want to ensure we spend our efforts wisely in creating a great experience on the initial platforms first.

When we head into the beta testing phase, however, we’re going to be revisiting our platform selection and exploring the feasibility of other options like Mac, SteamOS and others.

We are using the Unreal Engine, which is quite robust and makes exporting to different platforms far less onerous than it used to be. That’s certainly one of the reasons we chose to develop on it.

Q: I want to play! When can I get my hands on it?

A: We're not fans of the trend towards three year-long hype cycles but we also don't want to take the cake out of the oven too early. With that in mind, we’re currently projecting a 2017 release. It’s aggressive, particularly for a AAA multi-platform roleplaying game, but we’ve got some tricks up our sleeves to make the impossible possible. Building on a well-understood engine like Unreal is one of them and our AI-driven approach to the physical and narrative environment that underpins the game is another (thanks, Toska!).

Ultimately, however, the release date is going to be a strategic conversation with the publisher -- they have the best understanding of the retail cycle, what else will be hitting the market and when, etc. But as a small Canadian game development team taking a crack at our first AAA game and bringing brand new intellectual property to market with Gyre, I’m willing to bet that we won’t try to release during the fall or early spring to go head to head with the big dogs releasing the latest sequels in their longstanding franchises. We’re bold, we’re brash, we’re scrappy but we’re also shrewd enough to pick our battles.
 
Self-Ejected

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