Unwritten: That Which Happened is a new turn based strategy game from Joe Houston and the team at Roxlou Games. Houston worked as a Senior Software Engineer on the hugely successful Dishonored and has now taken his new project to Kickstarter seeking $75,000. Check out the alpha gameplay footage and exclusive interview with Joe Houston below.
Unwritten features exciting turn based mechanics along with a strong focus on permanent decision making. Bringing some of the ideologies that made Dishonored such an incredible experience, Houston and the team at Roxlou have created Unwritten to be a dynamic and personal experience that reacts to player choice.
In Unwritten players will guide a nomadic clan to meet its God “on a one-way journey across a dangerous wilderness”. Along the way “decisions (and death) are permanent,” and will ultimately affect the fate of the clan. The game features randomly generated maps, units, abilities, and enemies which makes for great re-playability.
While making “decisions that become a part of your personal ‘story’, affecting your ability to barter and ally with rival clans” players will make “the trek to ‘God Mountain’, a place of final judgement and potential glory.”
A clan is made up of ‘hunter gatherer’ or combat-style units (among others) that are affected by stats like Hunger, Health, Strength, Movement and Vision. Each clan in Unwritten begins the game with the following, “at least one hunter and gatherer unit, some quantity of roxlous (a llama like animal that acts as currency in the game), some quantity of food” and “at least one story fragment representing the preexisting history of the people.”
Players then progress “through a series of zones, laid out on a grid of hexagonal tiles. In each zone the goal is to guide all your units from the starting point to the map exit. At this point you will be presented with a map of your current route, and will be given the choice of which way to go next.” To check out the full break down of the gameplay details head over to the official Kickstarter Updates page.
We recently caught up with Joe Houston from Roxlou Games to talk to him about how his experience with Dishonored inspired some of the mechanics in Unwritten as well as to get a more in depth look at how the game plays. Houston also answers a few questions about permadeath, shadow puppets, meeting your maker and more.
JHS: What is “Unwritten: That Which Happened” for those that don’t already know and what sets it apart from other games in the genre?
Joe Houston: Unwritten is a randomly generated, turn-based strategy game where you guide a nomadic clan to meet its god. It’s a game that combines permanent consequences (and death), infinite variety, and Balinese shadow puppets to create something altogether unique. It’s a sort of mash-up of tough “rogue-like” games like FTL or The Binding of Isaac, and deep strategy games like Civilization. It that sense it creates a new experience that is both familiar feeling and unlike anything else I’ve ever played.
JHS: You were the Senior Software Engineer on Dishonored, winner of The Jace Hall Show: Game of The Year Award 2012. What motivated you to create an indie game like Unwritten?
Houston: Dishonored was an important project for not only my career, but also my development as a person. One big moment came about a month before we shipped. I was sitting there playing the game, trying to get a sense if what we made was any good. I know that sounds funny now that the game has garnered as much praise as it has, but when you’re that close to the product you really have no objectivity anymore.
But even at that point what I could see was that the game was going to be particularly special to a certain kind of fan, the kind that wanted something different and hadn’t quite been getting it for the last several years. Right then I was really proud to have been a part of Dishonored, but I also knew that moving forward I wanted to go and talk to fans like that all the time. I wanted to hear what they had the say, and I wanted to make games just for them.
And so here we are.
JHS: What’s it like going from a big budget AAA project to an indie crowd funded one?
Houston: It’s awesome and it’s terrifying. There’s really nothing between you and the wolf at the door (scary when you have a wife and a baby like I do), but at the same time you are constantly coming into contact with all these wonderful, fascinating people. Your successes are sky-high, but your mistakes are very dangerous.

Of course meeting our funding goal would dial back the intensity on the situation a whole lot. I take the trust of our fans very seriously, but we also need just a bit of room to breathe we can keep being creative for them.
JHS: What are some of the more important things you take from your experience at Arkane Studios into this new project?
In some ways the whole idea of Unwritten came from my experience on Dishonored. One of the big challenges when making a game with meaningful player choice (like in Dishonored) is that you have to do two things: you have to make the player’s choices change the world, but you also have to tell the player whenever the world is different. For example, player’s nowadays just expect the world to be linear and “scripted”, so they won’t assume that a rat is sitting there as a direct result of them poisoning the distillery (or whatever). You end up needing to tell them “there are more rats around, because some guy poisoned the distillery”, and even then they don’t always realize that they could have done it differently, that the result wasn’t predetermined.
I was thinking about this while I was brainstorming our new game. I thought to myself, what if the decisions in the game literally turned into items that the player then used? The player doesn’t need to be told that they’re making a difference on the world: they’re using it to play the game itself.
That was the seed concept that became Unwritten, and working on a game with flexible player choice like Dishonored made it possible.
JHS: What games do you and the team at Roxlou games use as inspiration for Unwritten: That Which Happened?
Houston: Our pet name for the project on the team is “Civilization meets Oregon Trail, if it was hardcore”. So deep turn based strategy games like Civ are big ones. We’re also heavily influenced by the recent rogue-like games, or rogue-like-like as I call them since they’re getting farther and farther from that old formula. These are the games that have permanent consequences and randomly generated content: games like Spelunky, FTL, and The Binding of Isaac.

JHS: The gameplay in Unwritten has a strong emphasis on player choice. What are these permanent, critical decisions and how do they affect the destiny of the player?
Houston: There is no quick saving and loading in Unwritten, so in that sense every decision is permanent and critical. If you die, you’re dead. However, on top of that we have these “story events” that bring up tableaus that talk about what happened to the clan on that day. These lead to a crucial decision, which affects your ability to form relationships with others on the tundra.
For example, you may meet an old man and his son, alone and hungry. Maybe you decide to leave them to starve. Maybe you trade them the life of one of your livestock, but only in exchange for the son… as a slave. Maybe you take them with you, but at the risk of other clans in the area thinking that you’re foolish and weak.
JHS: “The People begin walking. They will call out as they walk. They will tell their stories to those they meet along the way. They will do many things. They will gather more stories.” The story events/shadow puppet world sound very interesting and unique for the genre, can you elaborate a little more on them and how they affect the overall experience?
Houston: “Story-telling” is a central theme in Unwritten. It affects the way we design the characters, and it’s the reason we decided to choose our shadow puppet style. There is this interplay between the real world and the story-telling world, where the game takes place in some version of “reality”, but major events are retold over and over by the leader of the clan.
This is a core part of the gameplay, thanks to our “story fragment” system. As mentioned before, you encounter “story events” that bring up the shadow puppet segments. Say you find the old man and his son: if decide to take them with you to safety that decision turns into a token called a story fragment. You then use those fragments for various things, but their most important use is in “story bouts”, diplomacy mini-games where your clan leader tells the history of all your past deeds to gain the friendship of another clan. Winning story bouts is vital to getting precious resources, which is the only way to survive and make it to “God Mountain”. In this way every decision you make has consequences that you get to experience directly.
JHS: In the Kickstarter campaign video we see some pre-alpha gameplay” footage. Can you talk a little about the art in the game and how the final product will compare to the pre-alpha footage?
Houston: In some cases things will just feel more physical. For example in the shadow puppet segments you see blood represented by ribbons on sticks that are hand animated. However, in the final game we’re using physics to make the ribbons move dynamically, making the puppetry feel more “real”, and therefore more strange and exotic.
In other cases, like in the game screen you mention, the art you see now is just placeholder. We’re currently working with Amanda Williams (environment artist for the great indie games Waking Mars and Spider) to create the “real world” of Unwritten. We’ll be showing the result of that collaboration on the Kickstarter page in the next couple of days, but we’re looking to make it more grounded without losing the weirdness that we love about the game. So far the results are really promising.
JHS: On Kickstarter you mention that “each area map feels a bit like a dungeon in the classic role playing game Rogue.” Can you talk a little bit about that?
Houston: In dungeon crawlers you tend to have this progression where each slice of gameplay is divided up into something smaller. Usually that’s a single floor of a dungeon, meaning you get to feel the accomplishment of fully exploring the space, but you also have someplace to go when you’ve finished that (down the steps to the next floor).
Unwritten plays similarly in that you have an overarching goal (your clan is going to “God Mountain”), but each leg of your journey is a small to medium sized turn-based map. You have a goal to reach on each of these small maps (the exit), and you also have “treasure” to find and nooks and crannies to explore. So there is plenty to do, and always someplace new to go with another challenge to tackle.
JHS: The journey across the Tundra is both randomly generated and fraught with danger. How does Unwritten handle combat and abilities?
Houston: A big part of Unwritten is “variety”. Randomly generated content is a big part of that, so when you play the game you’re going to control a lot of different units as old ones die off and new ones get acquired. But beyond that, no two units you control will be the same and each unit will have unique special abilities. Unwritten is kind of like a collectible card game like Magic the Gathering in that sense. You’ll spend some time getting acquainted with each new unit, trying to figure out how best to use it, rather than just building up 100 “warriors” and throwing them at a problem. For example a unit might have an ability that causes it to die, but gives a hefty bonus to all your other units for a few turns, which then allows you to execute a grand strategy

JHS: How does the randomly generated content affect the various enemies in the game?
Houston: Enemies themselves are randomly generated, in that they’re made up of various pieces that are joined together. They also have randomly generated stats and randomly generated abilities, much like the player units. This doesn’t mean that they’re totally random, since we still craft each enemy and unit, but we do so abstractly. We may create a “big_bad_guy” enemy, but there we just put down guidelines about how it should be created, e.g. it must have strength in this range, it has at least one random “strong” ability, etc.
JHS: Players will guide their people to “God Mountain,” the “place of final judgement and potential glory.” How will the player’s decisions throughout the game affect their final judgement?
Houston: Since player choices are a physical part of the gameplay thanks to the “story fragments”, players are going to be making decisions that will help them impress other clans in order to survive. However, a twist is that the whole point of the game is to make it to the god in the mountain in order to tell your story. At first the player doesn’t know how he or she will be judged once they make it to the end, creating a tension when making a decision solely to survive. However, as they proceed they have the opportunity to search out hints about the god’s moral code, and they may find that they need to balance their strategy against that final judgement.
Ultimately the game will end with one last “story bout” between you and your god, which is a test of both how well you understand its hidden agenda, and how well you were able to follow it without getting yourself killed.
JHS: Can you talk briefly about the development/mod tools the game will drop with on day one?
Houston: I’ve been modding or making games ever since I was in high-school, so I have fond memories of the community made tools for DOOM and Quake. In many ways those tools (and the engine source code graciously released by John Carmack) were responsible for me getting my “foot in the door” as they say. Nowadays that level of involvement has kind of fallen off, mostly because games involve so many complicated licenses and processes that make releasing and using the tools a mess. But as a small indie team that owns all their own technology, we have the luxury to pay that experience forward, so that’s what we’re doing.
These are going to be the exact same tools that we’re using to develop the game, without any restrictions. The game is randomly generated, but it still requires an author to figure out how the different elements should be put together in order to make sure they’re fun. Our goal is to allow people to make their own units, unit abilities, special map types, and even entire story campaigns. Pretty much everything we can make, you can make.
JHS: Where in the development process are you guys? When can we expect to see some new footage/screens of Unwritten: That Which Happened?
Houston: We just finished our “pre-production” period, which means we’ve proved out most of our design ideas in prototypes, we’ve figured out our technology, and we’ve nailed down much of the visual style. Unfortunately running a Kickstarter campaign is a draining, near full-time endeavor, so we haven’t been able to make much progress on the game itself this month. However, we have a good strong base. Should we meet our funding goal we should be seeing some nice-looking stuff in a month or two.
That said, we absolutely need support to continue working on this game. If you find the game interesting, come back us on Kickstarter and join in on the conversation
Check out the campaign video below and be sure to back Unwritten: That Which Happened on Kickstarter.
Craig Hunter – who has written 1159 posts on The Jace Hall Show.
Craig Hunter is a main contributor for the Jace Hall Show and has been an avid gamer for over 15 years. He also freelances for a number of websites and magazines covering mobile products and emerging technologies.

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