Category Archives: Games

Yore Devlog #2 : Inspirations

– by Lisa SchaefferOscar Barda, and Simon Albou

Yore is made of many a story, and all those you’ll play will be yours.
However, there isn’t just one type of stories, is there?


You’ve been told bedtime stories; you surely had to read fables in schools; your family might have taught you superstitions, and sometimes, around a campfire your friends told you about weird urban legends that still haunt you to this day. You tried to explain the movie you went to see last night and might have rephrased some of its best moments to make it sound even cooler, or that last manga you read with your friends at recess, and during breakfast you shared your non-sensical dreams… but they did make sense when you lived them!

Maybe you wrote your own stories, novels ideas used to swirl in your mind, did you write them down? Do you still keep that notebook? Did you ever show it to anyone?

When we started imagining our next game, Yore, a game in which you combine stories and memories to create levels for you to play, we brainstormed, looking for stories that were deeply weaved in our culture, famous enough, in one form or another to be known by most of our players.

Screen Shot 2015-12-02 at 17.38.29

Our sources for stories are the classics, Grimm, Perrault, the Thousand and One Nights, Andersen, but also other ones, our childhood cartoons, our comics, and so on. Surprisingly enough, in a good way, we all have different references, so when someone only heard about a story, the others might have read or even studied it. Due to this abundance of stories, making a game where anyone is able to recognize at least a few tales that are meaningful to their childhood is a really tough challenge. At some point, we had to accept that there was no such thing as “absolute cultural reference that everyone on Earth knows about”. So we focused on the story *we* wanted to tell, with pieces of tales that lit up nostalgia in our hearts, and were precious to our friends and relatives.

That’s how with the three of us, we began to compile a list of the stories that we though shaped our world (trying to manifest them in our game world in the form of objects to be collected). Then we asked our families and friends to tell us memories and stories from their childhood. We want the tales that touched human beings, not the best-sellers of whichever’s year.

Then comes the other true challenge for us in the making of Yore : how to allow players to craft the tales they will cherish as much as their childhood memories ? This process must feel natural and organic, so as not to bring any constraint to one’s creativity. Stories could certainly be cut into clean parts and then assembled mechanically for every single kind of story, but then the seems would show. We decidedly did not want to take that route.

Many theorists such as Vladimir Propp or Joseph Campbell tried to extract from stories their most universal structures, but even their models have limits.
Campbell’s Monomyth, described in his book ‘The Thousand Faced Hero’s Journey’, applies really well to didactic, adventure stories such as Odysseus or Harry Potter.

Propp’s structure is long of 31 steps split into 5 phases, no less. It’s quite similar to Campbell’s, and bears the same limitations: it fits an epic, or an adventure story, but both models seem structurally forced when applied to smaller scale folks tales, novels or even retelling of human memories.

There’s also the fable, which aims at conveying a message to the reader. This lesson is often a glimpse at what life, and other people, can do to you: acts of mercy and kindness, treachery, or simply ‘seize the day but please, stock up for winter’. Fables are much more directed in their politics or narrative, they aim to convey or explore themes by abstracting them in narration. This relationship to reality is partly why we chose to subtitle our game “Slumbertime Fables” because there is a deep connection between the stories and the reality that birthed them.

And then there are memories. A smell, a particular light falling on the clouds in autumn, or the sound of someone cooking in the house. Memories are the seeds that can bloom into magnificent stories, and gather your memories is most certainly the way to find inspiration and write some great stories or fables.

In Yore, these memories will be Valériane’s. As Oscar explained in our announcement trailer, you will explore Valériane’s house alongside her. You will reopen locked up wardrobes, family albums, try to access the attic, and look for mementos of her past life. Tickets, trinkets, clothes, and photos, souvenirs and baubles, finding the lives trapped in these objects…
And as Valériane remembers, you’ll learn more about her and combine those souvenirs to remind her of her life and infuse new life and meaning into those almost forgotten memories.

This is it : now you know a lot about the origins of Yore’s lore! Don’t forget that you can help us make the game by sharing this update around you :)

Next time, we will tell you more about… us!. Until then, stay tuned on Twitter, Facebook and our forums, and have a great week!


Yore Devlog #1 : Valériane

Why is Valériane an old woman?

– by Oscar Barda

It might be trivial to ask that or even insulting to some…
«Why is that even a question worth asking?!» could one exclaim: why in the modern world would we even bother justifying ourselves on the gender of our character… Especially if it’s a woman since there are so few of them you can play in video games.

Well, we live in a world… Yeah that’s it.
Our game unfolds as a cultural object in a world. A world full of bias and doubts, a world sometimes full of discriminations and clichés and tropes which makes crafting a story and choosing its elements and ingredients a series of difficult choices, some of them seem to have no right answer.

The story of Yore was a very personal one, for me, I carried it for a long time under my vest, but there was something about my personal history, a ray of hope that shaped the person I am today originated when I told stories to 3 little girls I was babysitting something like forever ago.
So the first thing I did when I externalized the idea that would become Yore for the first time was to say it was the story of an old man. An old man, left alone and despairing that a sudden ray of hope for a future he might never even be a part of stroke, because that old man was me…

First test for the old man

But then, a lot of things changed in the world, a lot of things evolved and new subjects were brought on the scene and my story of one more man in a sea of male protagonists suddenly began to feel a little at odds with my wish to make the world of video games a better place for women.

So that nameless old grandpa became a nameless old grandma, since their story was yet to be written. Because the game’s idea was first built on the storytelling gameplay, there was no “what works best with the story”… It was all about what we wanted to add to the world in which Yore would come out.
The choice we laid out was thus: either our hero is a dude and we get one more guy protagonist out there or it’s a woman and… what does that mean.
Well, our main character is a stay at home person that lives in the memory of their loved one and isn’t actually doing anything with their life… Suddenly that person starts to take care of children and discovers the joy of telling stories… We felt that was such a cliché for that character to be a woman. Dressing back womanhood in the usual habits of motherhood and child-care.

Here is an example of what I was talking about earlier: both choices felt weird to our team… So what about a trans grandma ? Well, why not!?
However, for reasons that we will not reveal right now (elements of the story), so that our world feels folk-tales like, that solution didn’t seem perfect either. There is definitely bias here about what feels like this deep childhood nostalgia to us, and we do not mean to offend anyone. I just wanted to state that trans people exist and have to be treated as equal to others and included in stories, our protagonist didn’t feel like the right one for that job. Maybe next time.

We considered this situation at length, there is a very precise memory etched in my brain of the moment where we all felt silent and thought deeply in our meeting room, weighing in the options… Then we chose, knowing that none of the choices were without consequences, and Valériane became a woman, living in France (and why the story happens in France will be revealed in an upcoming update, coming to you at the end of December).

Again, our choice isn’t perfect, some other things came into consideration : during our research into what stories resembled ours, we remembered that an old grumpy man living alone had been cast in Up by Pixar and we didn’t want to feel too derivative.
There were other earthquakes in the world of video games and some biases against women were made even more apparent.
And to some extent, talking about a character that was raised in a small town, in a time when people used to have more defined roles in society made us feel kind-of-sort-of-not-really-but-maybe-a-little that casting a woman in a motherly role wasn’t as huge a problem for us as it would’ve been if the game talked about young women living in the future (full disclosure, there are some in our team that feel this is only rationalization :P).

After taking that decision because one had to be made, we started to flesh out Valériane as a character, her life, her story, her memories and feelings, and it became clear that we felt a deep attachment to this character that would make it really hard to start over again.
Although this article may feel very final, we are ever open to suggestions so if you have opinions on this decision, please take to the forums where we’ll be waiting for your reactions regarding this choice.

Back to the basics!



During the 3rd and 4th of October, we participated in a 24H game jam at the Gaité lyrique!
Here are some of the tracks EK of Bredrin Records created for our game!



EK also created ALL OF THE MUSIC of our musical-dexterity-arcadey game, inSynch!


A new trailer’s in town a release’s inbound

Hello everyone, here’s the new version of our trailer annoucing the release date for Linux, Mac & Windows of our first game ever!
We’re very excited to tell you all that inSynch will be purchasable on this very website on the 24th of April 2014!

Si vous le désirez, vous pouvez activer les sous-titre en français sur la vidéo Youtube !

On the meaning and authorship of inSynch

So we’re working on a musical game, that’s no secret, and I wanted to share with you some of the thinking that goes on behind the scene and into designing the experience.

Now to be absolutely blunt: it mostly came from a good intuition. This was no grand scheme that we or I had envisioned for month: we stumbled upon the idea and refined it again and again by listening to what our system had to say about itself. But I’m getting ahead of myself here, let me preface what I’m about to say with long exposition and game design principles and theories… ’cause that never gets boring. GAME DISSECTION AHEAD !

controller anatomySo as video games took a seat closer and closer to the front -partly due to their moneymaking capabilities- it enabled enough smart minds to picture a carrier in the field, and to question what games have to them in general. While ‘games’ outside the field of numeric or digital or video games existed for a long while, they have never been under as much analytic scrutiny in the history of mankind than in the last 10 years.

One of the first things that came to light early in this ‘ludology’ or ‘game studies’ endeavor is a concept that we called ‘ludonarrative dissonance’. It was made to talk about a friction in-between play (ludo) and storytelling (narration) that was undermining the message games could have. It was coined by Clint Hocking, and was widely adopted, partly because frankly, it’s a fancy name and people (me included) that started to study games in depth wanted to be taken seriously. Nowadays, Clint himself pokes fun at the term itself, while games are becoming a widespread academic curriculum and every student goes about vanquishing ludonarrative dissonance in their term paper. Not that it does not exist, mind you, I would just argue (and we have a forum for that if you’re so-willing) that it’s not the only scope we have to look at the difficulties of carrying meaning through dynamics (and worry not, I’m not alone in that).

So ludonarrative dissonance is about many things, but amongst them is the authorial balance between the designer and the player. Games are an incomplete media and need the player to be manifested. Not to exist, mind you, but while a book is a book whether or not it’s unfolded, a game exists in systems and possibilities that need to be awoken and made experience to ‘exist’ as an instance of a game. The book is the same, its interpretations vary. No two games are the exact same. Why was I talking about all that again?

Because when Them Games started thinking about inSynch, the only thing we knew was we had to make a music game; and in a music game, the question of authorship has, more often than not been very restrictive on the player side. See, when playing Guitar Hero, for all it’s awesomeness and social value, you are not making music, nor are you playing music, you are letting music happen or failing to do so. Press the right key and the music unfolds, press the wrong one and it does not. But who are you again in this system? You are the person pressing play on the remote or turning the pages to push things forward. The game encourages you to do it, it does so in a very convincing and entertaining way, but it does not do any more that this. You, as a person, are way less interesting and the intent that you express is so little of you so to be non-personal.

You are an intelligent being, yet Guitar Hero sees you only as an agent of it’s own design, pressing buttons along so well that in the end, we prefer to talk about “rythm” games than music games. What the system is telling you is that you have no part in it, it’s a game about conformity and fantasizing about being a rock star, but never about becoming one. The more you play, the harder the game is, the more of your brain goes into full on automated mode and the less of an intent you express. You could say it’s a very good game about being in the show business.

On the other hand, wouldn’t I be a lazy game designer to give you a cello and pass it as a game? Yes, this is the other end of the spectrum, total freedom, an instrument, a toy if you will, made with the rules of acoustics, with its own internal consistency, but with no goal. If you have a specific goal that awakens agency on the part of the player, you make a game, the wider and more distant the goal, the more of a toy your game becomes. And don’t get me wrong, Minecraft is barely a game, yet it’s toylike nature is a thing of beauty, and on the other hand, Heavy Rain is barely a game because it asks for almost no agency from the player and it is still a very nice experience even if more akin to interactive films.

rock star watercolor pupet strings

Willing to strike a balance in between those two extremes, we tried to make a system that communicates intent “please react to that” and accepts as valid a lot of what players give us back. This means that while there is an absolute and straightforward algorithm to optimise your scoring in score mode, there is also a lot of room in the system to go your own way and try to build the music and the score according to your taste. We are not and will probably never be claiming that this is the best or only answer to the question of authorial control in music games, since we don’t really believe that there is such a thing, it’s just what we wanted to make: a game in which you the player are playing with the music rather than simply playing along. We will give more details on scoring systems and game designs later.

Now onto the question of meaning. There is a question that has been asked by a lot of people, of which Clint Hocking which gave a very interesting talk at GDC in 2011 on that very question. What do the rules of inSynch express, what do they mean? What do you actually art taping on your screen or keyboard and why would that meaning be relevant to you?

Well… Hard question… You know, babies have this thing: playing around with the world, fiddling with stuff around them to understand how they work… Our adult brains still have that: you get into a game and the minute you are in, you start to test things and make sense of the outcome. See, that’s what will save you when aliens have abducted you and you’re on a distant planet with weird gravity and air displacement: your brain will fall back to child mode and you will start to play with things. And all those alien adults will go “Why is he putting things into his mouth? No! Don’t drop that on the floor that’s my vase!”… In inSynch, you start a game and try to make sense of the system: you do things and look at outcomes and results to see how to progress but whether you know what you are doing or not, you express intentionality that is fed back to you.

It starts as a conversation with someone, with a system you don’t know, and as you play, as you get better, you start to actually express yourself and listen to that expression. As you get better, the system fades away as an intermediary would and you start talking more and more to yourself, as if seeing yourself in a mirror for the first time. Making music, listening to it, adapting or trying to adapt parts of it under the rush of an ever-changing environment. InSynch is about fragility, it’s about how you balance the way you want to express yourself and the stresses and mishaps that happen along the way. It’s a game about finding what you think is true in music, what you feel is most reflective of a level’s texture and geometry. How does wood sound as a tune to you? What is the melody of concrete? What does plaster or resin sing?

We hope you’ll want to find out come this fall.

All illustrations by Oscar Barda for Them Games. You can use them at will, simply credit us please. And drop us a line via the contact section if you’d like them in higher resolution.

Handcrafted love

Hi, I’m Oscar, lazy game designer of the three-man team we call Them Games.

When it came time for us to go about making our early game (called the InFine Game) into a fully fleshed out thing that spoke to who we are and what touches us, a hard call had to be made : what is it going to look like ?

I have basic drawing skills and sometimes the styles and expressions that are dear to me lend themselves very well to the project’s vibe (that was the case for Poiesis for instance) but sometimes they don’t. For inSynch, it was particularly clear to me that no matter how dear the mechanics were to what we wanted to share, there had to be something else: a feeling, a… direction, a new one, because the reason the current style existed in the first place was to illustrate a musical vibe we were leaving behind with this early version.

Photo ©YasmineBH

People playing the InFine Game at La Gaîté Lyrique

You know, no matter how many times I tell students and people coming up to me for advice to be aware in their head of their intentionality, how they have to flesh it out, write it down and let it drive them, it always seem to take me forever to apply it to myself… There I was, thinking of what it was going to look like and what look it was going to have and what the looks of it were going to be and circling around and around in my head… I took a pen and wrote down what we had to say: you, as a player, must express yourself within the game, you must feel your agency with a very strict and natural sense of your involvement… 3 lines was all it took. It could not be 3D, it could not be 2D, it could not be drawn, it had to exist, to be a real thing. If we wanted you to believe us, ‘all’ we had to do was to make it real… Literally 5 minutes is all there was between my pen and my phone because I knew who was the perfect team for that job.


oh that ? that’s just a quince in solidified plastic, nothing out of the ordinary…

Le Creative Sweatshop is a team based in Paris, they design contemporary art and architecture, dabble in fashion, excel in all maners of creativity and madness, they are great human beings to work with and they can’t keep a deadline also.

If you clicked on half the links above, you’ll easily understand why I have so much love and admiration for them and why it seemed so evidently striking to be working with them on inSynch: there is such a texture, a feeling of authenticity to every single piece they do that it had to be them… And so it was.

They started working on resin and plastic prototypes and that was… pretty but a bit too poor in terms of animation potential and we all agreed that it lacked a bit of depth and grain even though the shapes were beautiful things to look at:

So we agreed to try another route: materials with more soul, more weight so as to communicate their realness, but keeping in mind that we wanted a wide breadth of animation possibilities which turned into this gorgeous thing:

photo ©Renaud Morinlast914

 But there were two faults with this iteration, the main one was that it was going to be very, very difficult to build many different shapes (and expensive because to have richness in the texture, concrete has to be scaled way up) and our tests seemed to be lacking in color variations. Building each shape out of concrete and polishing them all would take month…

So we went for paper shapes: light, cheap, beautiful and textured, filled with crannies and misfolds that made them feel real, fragile. With the addition of the amazingly talented Sylvain Derosne to the team, we had shapes and someone to make them come alive. In the background, there would be levels of different materials, contrasting against the paper and feeding our musician’s imagination.

photo ©Renaud Morin It took month upon month to make every paper shape that Sylvain had envisioned, the Creative Sweatshop cut and folded every single one of those by hand and when we had them all, we went to a studio to shoot them.

making of inSynch

from left to right Oscar, Sylvain and Charles, one of which is working on the game

Them Shapes ©photo YasmineBH

And then we waited. Because while we dived into our codes and talked about the music, Sylvain was making something really really cool happen… And it took some time but one day, something came to our mailboxes:

cube animation gif

We were so excited to see Sylvain’s work come to life, it felt like recieving a letter from a dear friend because those shapes in all their faults and mishaps were really close to what we had to say… And like that, little by little, shapes evolved into more complicated lifeforms:

quartier animation gif

There was so much life in what had been shot and animated, but a lot, and by that I mean a LOT of work in cutting and trimming images to fit the technical constraints of the game still had to be made. Yet, with every passing week, we could just find motivation in the hypnotic beauty of these moving things that we are going to be making a game out of.

pyramide animation gifWith so many photos of the creative sweatshop and Sylvain at work, we decided not to go for credits as a list of name; instead, the final game will likely include a photo gallery (you have no idea how many gorgeous shots we have) with comments galore and details of how things were made.

inSynch is due some time after this summer, we wanted to finish it before but sadly that won’t be possible. An official and fixed release date is yet to be announced, we just don’t want to set a random one right now. In the meantime, stay tuned for more content to come in the form of articles, photos and who knows… Maybe soon an actual screenshot of the game 😉

Thank you very much for reading and to show our appreciation, here is one more of those little things, one of my favorites out of the dozens and dozens we have:



The photos from this article are by Renaud Morin and Yasmine Ben Hamouda whom we thank very much for their talent and presence in the making of this game.

The making of Poiesis 2/2

originally posted on may the 12th 2012 on Ludum Dare’s website, this article is the second part of the making of Poiesis. You can find the first part here.

Hey Ludumers,

A few hours away from the end of the voting, we thought we’d post here some of the assets of our game to give us a little excuse to thank you all for your feedbacks and kind words and your help debugging our thing.

Our game Poiesis, is far from the most polished, but it was a great experience and we’ve been in contact with a lot of incredible people!

If you’d like to try our attempt at world domination, just know that it’s an unfinished little piece and way too complex in it’s current state, we’re working on it to make the learning curve more bareable.

Do read the little tutorial in the description before jumping in, it might help you, and know that the aim is to try to please your clients without knowing their intents clearly. We hope you enjoy it, and if you hate it or if it doesn’t run, leave us a comment or tweetize us using our tweeterization tool.

That’s it for now and I guess we’ll see a lot of you next time!


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