TEMPLAR GAMES INC.

NEW YORK | PORTO

[templargames]

Program 9: The Light of Victory, and its Shadow, Part 1

Winter hammered down on the Lower East Side through November of 2001, but we didn’t notice much, working around the clock to complete the final program, along with our other projects. We were in bohemia; it didn’t matter if we came out of the office at 5pm or 5am, the bars and cafés were always lit and the streets packed with Christmas-lights and revelers at any hour. There was always hot coffee and when we knocked off, the “Hat” delivered powerful margaritas up the six flights to the studio, if the weather was foul enough that we didn’t want to cross the street.

The final confrontation was a big challenge - how to bring it all together in a fitting climax, without resorting to Good vs. Evil cliché? Worse, how to do it without too much violence?

LEGO was in bad shape that year. It had suffered record losses globally - but Bionicle had pulled it out of the fire, and become the #1 selling action figure in all of toyland. It was experiencing its own narrative crescendo, from the depths of despair - closed offices, lost jobs, bankruptcy - to the height of redemption. They were in the black again. Not that we knew it at the time, mind. No one ever told us anything.

But inside LEGO’s offices was another struggle; how do we handle this new phenomenon? Theirs was a golden brand, home to peaceful play and creativity in children, but its new heroes were fearsome warriors, armed to the teeth with brutal-looking weapons: razor-sharp axes, flaming swords, gruesome claws. The model team and the marketing team had to work it out, and they did, and the word came down from Denmark: they’re not weapons. They’re tools.

“Tools… of destruction!” Naomi laughed, our liaison at the time. I mean, yeah. In their plays, I don’t think the Bionicle fans were having Lewa chop down trees with that axe of his. Nonetheless, we got it - our action sequences were full of daring escapes; cave-ins; collapsing bridges, or just-dodged boulders. When someone needed to blast a Rahi, they blasted instead the rocks in the cave above their head. No Rahi were outright stabbed in the making of this game. Buried alive, maybe. And if a “tool” did find its mark - it did so off-screen.

Now, at the end, it was time to draw out the main theme that had been with us since the beginning. The story was about a battle - but between who? Violence, for us, had a different meaning. When we weren’t working we were playing Counterstrike, five or six of us in the studio late at night, teaming up as Terrorists or Counter-Terrorists on pub servers to take down some other five or six guys online. When we played as Terrorists, of course, we didn’t say that - Freedom-Fighters, we would call ourselves.

But as the excavators pulled the rubble from Ground Zero in the snow, we couldn’t play it any more. Terrorist meant something else now. After what we’d seen from our rooftop, the game just wasn’t fun any more.

Good and evil just wasn’t good enough any more. It didn’t make any sense any more. But this was okay, because from the beginning, that’s not what it was about. The Makuta wasn’t evil, and his brother, Mata Nui, wasn’t good.

We knew that while building was fun, it was just as much fun to destroy. They were two sides of the same coin, and neither were wrong: it was all part of the play, part of learning, part of having fun. Not good or evil: Creation and Destruction, equal powers in the universe, natural and necessary. Both good. Both bad. Both neither. It’s true, we’d painted Destruction a bit negatively - using words like “Infected” Mask, or “Monsters,” but we’d needed the conflict.

So the Makuta, for all its darkness and danger, was not evil after all, and he says as much at the end. The final act was the confrontation, not between Good and Evil, which was meaningless, but between Creation and Destruction, where everything comes from nothing, and goes back to it, eventually. This was the struggle between the Toa and the Rahi, and Mata Nui and Makuta, and a LEGO fan and her kid brother, building and smashing happily, in equal measure. Our world had gone a bit mad, but to us, this helped make some sense of it. We wanted to share what small comfort it brought.

[templargames]

Program 8: Flight to Kini-Nui

An over-used expression, but in October of 2001, as the dust from the World Trade Center settled around us, we really did keep calm, and carried on. Flash’s versatility allowed adding entire features on-the-fly, and so by duplicating the method used for inventory items, players could “collect” entire characters as they traveled the island, gathering their team for a showdown.

The mini-game at the end of the episode was intentionally deep in order to keep players entertained in an endless loop until the next and final chapter. This time, there was a narrative to playing it over and over - every play was another sortie by the Rahi against the temple’s defenders - always repulsed, always exhausting, until the next chapter went online.

The idea of ping-ponging across territory as you win and lose battles is common now in modern shooters and arenas; the system of countering strengths and weaknesses is typical in mobile turn-based fighting games; and cool-down timers are pretty standard too. So we had a sort of turn-based, yet real-time game.

Nonetheless, a sort of 6-D matrix of data made leveraging your friends’ abilities intuitive rather than strategic since it was impossible to cross-reference the combination of speed, damage, and bonuses between your allies and enemies. And anyway, the player only learned these advantages through vague hints offered by friends when spoken to. Finally, it all had to be done in time, since different cooldown (or powerup?) speeds meant constant management of all units in real-time.

For all that, though, it was the narrative themes that came together in Program 8. MNOG was a sideshow, originally, for Bionicle, and only because of the collapse of the PC game did it (and Greg’s comics) have to shoulder all the storytelling. And since Greg had the main story of the Toa in his comics, and there was no point in repeating it, we could only use the Matoran (Tohunga) for our game. Our mission was only to communicate the world of Mata Nui - LEGO may have been fine with a trivia game, or a nicely illustrated wiki.

Alastair Swinnerton and the LEGO story team did an incredible job with the product bible that we worked from, creating everything from the main story of the Toa to the settings and characters, down to (enigmatic) blurbs for the Matoran secondary characters. For example, Kapura’s note in the bible, near the end of the section on Ta-Koro, reads: “…it is Vakama’s secret wish that Kapura’s single minded nature will enable him to learn the secret art of covering large distances, quickly by walking slowly.  Kapura has a habit of coughing and farting flameballs which often tries Vakama’s patience and is a constant irritation to the studious Ahi.“

That was it. “Learn the secret art of covering large distances, quickly by walking slowly.” Odd, yes. Senseless, even. We had no communication with the story team at all - they were in the UK, or Denmark - we were a sideshow - we couldn’t even ask what the heck that meant. But what if we used it anyway? What if Kapura was really, really slow? So, like the cablecar, we started to just put these things in. Kapura is the first character you meet, and he’s just as weird - wandering around the burnt-out forest, really slowly. But by the time Program 8 rolled around, we had the groundwork. It’s weird, slow Kapura who catches up to you to bring you the messages - he finally managed to do the impossible - the ridiculous - after all.

For us, it was wonderful - like having someone set up all your toys for you, so that all you have to do is go in and start moving them around. But unlike the Toa, there was no story at all for the Matoran for 2001. They’d mapped everything out for Tahu and Gali and the others before handing it to Greg - but not us. While the REAL heroes - the big ones with the big swords (and the big price points) - were out saving the world, what were the Tohunga doing? Just being saved?

What they gave us at the beginning were the helpless, powerless, small. Insignificant, without even a part in the main story, except to be rescued from time to time.

But sometime toward the end, we realized that’s exactly what our audience was: the small, the powerless. Those whose stories are yet to be written. Kids.

And not just kids - Bionicle kids. So we pushed it further. The Toa were heroes - Takua was not, and nor were his friends. They were small and powerless, just like the kids playing. And maybe they weren’t even the popular kids. So the band of Matoran you assemble isn’t even the best and brightest (well, except Maku). It’s not the Turagas’ right-hands, it’s their lefts: the misfits, the weirdos. A Le-Koran who can’t fly. A Po-Koran no one likes. A Ko-Koran that can’t talk.

When you go to get help, the Turagas don’t give you their GOOD people. What you get are the losers. Maybe there were more than a few Bionicle fans who identified with them. And we wanted to show that in the end, they could be heroes, too.

[templargames]

Crave Crasher!

3D gaming, without stores, apps, and other nonsense.

From our work with LEGO (and Intel’s help) back in the 20th Century, to Shockwave and Cartoon Network and up to today, we’ve always tried to bring next-gen 3D gaming onto the Web, without having to go to the store (well, now, the App Store, I suppose), registering personal info, allowing Facebook access, or filling up precious space on phones.

This time, we’ve partnered with David & Goliath and Jack in the Box to create Crave Crasher, our first fully 3D, real-time WebGL game. Totally mobile- and desktop-browser-based, players get straight into the action, without the annoying roadblocks that free-to-play games have these days. Have fun everybody!

Snapchat Gaming?

Not only that, we’ve released a Snapchat version, too. Point at this image and hold down on the screen to play it inside Snapchat.

What does this all mean? It means we’re going strong, and are able to continue internal development on our own little adventure game, that we’ve been trying to get off the ground for a while now. We started proper development almost a year ago to the day, and it’s in good shape. (Bionicle fans, we’re getting really close. Really.)

It also means folks have been writing about Crave Crasher, including Meat+Poultry Magazine.

[templargames]

Program 7: Ko-Koro

September, 2001 was a difficult time for everyone in Manhattan (and all over the world), and no less so at Templar’s Ludlow Street office on the Lower East Side. Amid the chaos and fear, it was somehow comforting that Program 7 took place among the peaceful snows of Ko-Koro and its silent existentialists. The war would come, but not until next month, in the real world as on Mata Nui.

In this episode, the player reaches the last of the undiscovered villages, and the final events of the game are set in motion. Makuta’s forces begin their all-out war. The player becomes a member of the Ta-Koro guard under Jala, finally crosses the ravine discovered in the beginning of the game, gets lost in a snow-drift and rescued from Rahi (again) by a Toa. They are given a vital mission to contact all the villages, and even are given the grave responsibility of choosing a battle plan for the entire island.  A busy episode. Nonetheless, the zen-like silence, droning soundtrack and stark, snowy artwork made it a calm one. It is eerie yet peaceful, even with the menacing war, and despite Kopeke, a silent and grumpy ally:  ”Wisdom is ever the burden of the Turaga. I do not expect it from you.”

What follows is the synopsis and dialogue, with some of the (more or less loosely) sketched storyboards from the episode.

Program 7 - Ko-Koro

The war against the Makuta is not going well.

After sending detachments to Po-Wahi and Onu-Wahi to help in the villages' defense, Jala fears that his northern perimeter is unsecure, but cannot spare any more guardsmen. He needs Tohunga to guard against the Ko-Korans, whom he distrusts almost as much as the Makuta.

The Visitor looks at Jala's map, and Jala explains that the only safe place left is the old Temple of the Legend. He is going to withdraw his guard to there, and hope it holds out.

Worse, the scouts that usually stand watch on Mount Ihu have not reported in several weeks, and he fears the worst.

Jala offers the Visitor a Firestaff in return for serving with the Guard as a scout. He gives the Visitor the Staff, telling him that if he shows the staff to the guard, the Cablecar will take him to the north outpost.

Arriving at the North March, the Visitor finds the guard-house deserted and in disrepair. Snow and ice are everywhere.

Outside the guard-house, tracks lead off into the snowy wastes. In the distance, a shining glacier is visible.

Trapped inside the glacier is Kopeke, who has suffered an attack by the Makuta, in the form of an avalance. Using the Firestaff, the Visitor melts the ice away and frees Kopeke.

When the Visitor attempts to speak with Kopeke, he walks away.

The Visitor follows Kopeke to a lonely but warm hut built into the snow. There, Kopeke explains the silent dwelling of the Ko-Koro Turaga Nuju, which is protected by many traps and snares. If the Visitor is seeking Nuju, Kopeke can help, and he explains how to get past them, although vaguely.

To reach Ko-Koro, the Visitor confronts various challenges, including a difficult climb up the mountain. Once at the top, the Visitor enters the monastery-like home of Nuju and the Ko-Koro Tohunga, and must disarm several traps to get to the main chamber.

Nuju (interpreted by Matoro) reveals many things to the Visitor, including the nature of the Toa Kaita, and prophesies of the coming hardship. He explains how the Makuta knows the Toa Kaita are to go underground, and will take advantage of their absence, launching an powerful assault which the villages will not survive. Nuju also sheds light on the Visitor's own role in the final battle.

Nuju believes that the Tohunga, like the Toa, must band together in a place of final safety, and asks the Visitor what the best place should be.

Recalling Jala's tactics, the Visitor points out the Temple of the Legend, and Nuju agrees. He writes a message to the Turaga of the other five villages.

Nuju asks the Visitor to deliver this message to all the Turaga. He suggests stopping first at Le-Koro, since there he might find swift passage to the other villages.

The Visitor travels out of Ko-Koro on this quest, and goes to the other villages. Showing the Turaga the message, they agree, and all the Tohunga of Mata Nui begin a final retreat to the center of the island.

PROGRAM 7 DIALOGUE: Ko-Koro v2

JALA:

INTRO:

Stranger, have you heard? We're falling back. And the Toa have completely disappeared.

My scouts delivered reports from the other villages today. The news is not good.

The Rahi are closing on all sides, and their numbers are too great to count. After the fall of Tren Krom I completely lost contact with the North March.

But we will not go quietly into the shadow of Makuta, as long as the light and heat of the great Mangai still blazes! I know of one maneuver that none will expect. I only hope Vakama and the others will listen.

INTRO: AFTER JOINING GUARD

We will not go quietly into the shadow of Makuta, as long as the light and heat of the great Mangai still blazes! I know of one maneuver that none will expect. I only hope Vakama and the others will listen.

Have you found the way to North March? What news do you have of it?

INTRO: AFTER TALKING TO KOPEKE

So. It is as I feared. My North March scouts have been taken by the Makuta.

There may still be hope for them. They will not be forgotten.

If I can maneuver my forces shrewdly, there may be hope for us all.

ASK ME:

I must know what happened to North March. I have no warriors to spare. So I ask you: will you join the Guard?

ASK ME: AFTER JOINING THE GUARD I am devising a strategy that may yet save us, but I must know what happened to North March.

ASK ME: AFTER TALKING TO KOPEKE ...

QUESTION 1:

What news from the other villages?

ANSWER 1:

You, at least, have seen some small victories, but Makuta's evil infection is still spreading throughout Mata Nui.

The other villages are holding on while they can. Onepu is so hard pressed, he can’t spare me even one Ussalry regiment! Not a single regiment!

QUESTION 2:

What maneuver?

ANSWER 2:

I expect many Rahi to attack very soon. The Makuta is massing for a final assault on Mata Nui. It is imperative that the Tohunga build fortifications around their villages and prepare for a final defense.

Vakama says the Toa are gathering at the Kini-Nui, at the center of the island. I am certain they will be attacked there also. We must try to protect them while they fulfill their mission.

The Turaga must each send heroes to help the Toa at Kini-Nui. The Makuta will not expect it.

QUESTION 3:

I will join the Guard. What do you need me to do?

ANSWER 3:

It warms me that you have chosen to accept our trust. Vakama will be pleased.

The North March is an icy pass where Ta-Wahi meets Ko-Wahi. The Ko-Koronans have been seen little during the past months, and heard from even less. But it may not be that they are troubled; silence has always been their way.

The Guard has a small outpost there, only reachable by cablecar. They watch against Rahi attacks from the frozen heights. They also keep watch on Ko-Koronans.

I fear the servants of Makuta have taken all my scouts.

Take this Ensign and show it to the sentry at the cablecar. He will let you through. Then, make contact with our scouts in North March and get a report for me on the Makuta's efforts in the mountains.

QUESTION 4:

Goodbye.

ANSWER 4:

Good luck, traveller.

SENTRY (BUBBLE):

Only Guards may pass.

SENTRY (AFTER SHOWING ENSIGN):

You may pass.

KOPEKE:

INTRO:

...

ASK ME: ...

QUESTION 1:

Who are you?

ANSWER 1:

Kopeke.

QUESTION 2:

What happened to the Ta-Koronan Guard?

ANSWER 2:

The Makuta led them into the ice, and I fear they will not return. Had you not come and saved me, I would be facing a similar fate.

QUESTION 3:

Where am I?

ANSWER 3:

I do not wish to be questioned. If you seek answers, do so in Ko-Koro.

There you will find meditation and contemplation. It is Turaga Nuju's way to think on all things, and from his Sanctum on Ihu's peak one can see far ahead and far behind.

In Ko-Koro, we respect knowledge above all things. You must have great knowledge even to step foot within it.

You are the one who seeks to chronicle this era, and so you will doubtless travel the icy drifts in search of answers. But true sight reveals many things, and knowing the future can be dangerous. That is your choice.

Wisdom is ever the burden of the Turaga. I do not expect it from you.

QUESTION 4:

Goodbye.

ANSWER 4:

...

SCRIBE:

INTRO:

Welcome, traveler, to the Sanctum. You may join us in our meditation if you wish. Nuju honors all wise Tohunga that they may join in the Seeking.

If you wish to speak with our Turaga, you must  speak to Matoro. He is the only one that can translate Nuju's wisdom.

ASK ME:

Is there anything you wish to know?

QUESTION 1:

What is the Seeking?

ANSWER 1:

Written upon these walls and tablets are the great Prophesies. To understand even a fraction of what they speak takes years of meditation and patient decryption.

QUESTION 2:

Who is Nuju?

ANSWER 2:

Nuju is the Turaga of Ko-Koro. His mediations reach into the past and into the future, and he has deciphered much of the ancient Prophesies. He has Visions.

He does very little that is not significant in some way to the future of Mata Nui, and the Kanohi Matatu gives him the power to move objects by sheer force of will.

QUESTION 3:

Where is Matoro?

ANSWER 3:

Matoro is alone, hunting Rahi in the Drifts. You may seek him if you wish, but be warned: Ihu is not merciful, even to the Ko-Koronan.

Take this passageway to enter into the Drifts. Matoro often leaves behind signal flags so that he does not get lost. If you follow them you may come to him.

QUESTION 4:

Goodbye.

ANSWER 4:

Goodbye.

MATORO:

INTRO (AFTER RETURNING TO KO-KORO):

I will translate Nuju's words for you, traveler.

He has been watching you for a long time.

Your role in Mata Nui’s destiny is more important than you know. Mata Nui sleeps, but you, like the Toa, shall be an agent of his awakening.

Nuju knows that you wish to ask questions of him and he will answer them. When you are done, he wishes to ask a question of you.

INTRO: AFTER RECEIVING THE MESSAGE You should carry that message to all the Turaga, Chronicler, and quickly -- no one can say how much time remains.    

ASK ME:

What questions do you wish to ask Nuju, traveler?

QUESTION 1:

Where are the Toa?

ANSWER 1:

The Toa will unite and find more power in the joining. They shall merge their skills, their knowledge, their wills to become the Wisdom and the Spirit, named in prophecy Akamai and Wairuha. In these forms, they are the Toa Kaita.

The Toa Kaita will, at last, confront the Makuta.

During their absence, the people of Mata Nui must work together to protect their homes and all that they know. They will need great courage, for the Toa will not be here to protect them.

QUESTION 2:

What will happen to Mata Nui?

ANSWER 2:

Nuju says that you must understand this: that in creation, there is destruction. In destruction, there is rebirth. There is no such thing as void, all things are in flux.

If the Toa triumph, Mata Nui will know great joy… and great change. The darkness will be dispelled, but we will have to guard our island well to ensure no other evil rises to take its place.

QUESTION 3:

What question?

ANSWER 3:

You are the one that will guide the Tohunga, and help them to survive. But only if you have learned what was necessary to learn during your travels.

With the Toa Kaita beneath the earth, the Tohunga must fortify their villages and brace for a great battle.

There must also be created an alliance, a small group assembled from whomever the Turaga can spare, to help the Toa on their final quest.

Nuju's question is this:

To what place shall you lead the  alliance?

(IF ANSWERED CORECTLY ON MAP)

So be it. Nuju believes that you are the one who can accomplish this task.

Take this message to all the Turaga of the villages, and they can begin their fateful  preparations.

(IF ANSWERED INCORRECTLY)

Nuju disagrees, traveler. He asks that you learn more of  Mata Nui's looming fate, and then return to answer the question again.

KEWA RIDE:

Get on the Kewa?

[templargames]

MNOLG Program 6: Le-Koro

We've dug up another little pile of nostalgia for all the Bionicle fans out there! Le-Koro was the focus of Program 6, developed around June of 2001. It was discovered by breaking through a cavern with Taipu's help, and the bright colors and fresh air of the forest made a welcome contrast to Onu-Koro's dark, claustrophobic caverns.

Nonetheless, the cheerful setting contradicts an ominous quiet, as no Le-Korans can be found, and the village appears abandoned - at first.

TAIPU: Le-Koro is right through those trees, I bet. Won't you take me with you to see it?  QUESTION 1: Yes, I will take you, Taipu.

TAMARU: You are the brave wanderer that some speak of! Braver still, for coming to Le-Koro!

"In last rainfall Kongu on patrol saw Rama-hive growing topleaf-high, far in dark forest. Lateknowing Tohunga, Rama infected by Makuta! One drift ago, cloudsneaking Nui-Rama fly on Le-Koro to destroy all. Quicksoaring Kahu-riders treelaunch, and great battles fought! Village still stands, but many lost!"

"Nui-Rama, buzzflying rahi! Hundred-eye, allseeing, fright and fury! Makuta-Madness makes even worse! Wings mash, pincers grab! No chance for Tohunga alone, only Toa bold enough to stand against it, yet cunning Rama sneak-swoop-smash and fly out of reach!"

What follows is the original outline for Program 6, "Lewa’s Deliverance:"

When the Onu-Koran Subtransect finally breaks through the earth into Le-Wahi, the Onu-Korans encounter something completely unexpected: silence. Taipu is particularly disappointed, as he had been looking forward to hearing the Le-Korans' music.

Finding this suspicious, Onepu instructs Taipu and the other tunnellers to make camp underground, at the tunnel's exit. He then returns with his Ussalry to Whenua, to report their findings.

The Visitor proceeds through the jungle to Le-Koro, a dramatic village suspended in the forest. The natives, however, are nowhere to be seen.

QUESTION 2: Who is Matau? KONGU: Matau the Singer! Down talk, up singing! Friend and laughter! In lifedawn years past, was known Matau Kewa Champion! Matau, great Turaga of Le-Koro and soul of the forest people! Gone! Gone! Taken by Makuta's Rahi!

In the center of town is a platform, where a collection of musical instruments sit, apparently abandoned. One of these items is a FLUTE, which, when clicked on, reveals a row of buttons that glow intermittently. When a button is pressed, it makes a sound. If the player follows the pattern and rhythm of the flashing lights, a song is created, and Le-Korans begin to appear from out of the forest.

Among them is Tamaru and Kongu, who explain the mystery:

Some time ago a plague of Kahu Rahi began to build a nest on the edge of the forest. From time to time flocks of them descend on the village, and have carried off many of the Le-Koran inhabitants. In the last raid, Matau himself was carried off. None of the victims were ever seen again. Some Tohunga that have been near to the nest talk of a monster who rules it, commanding all of the Kahu.

Tamaru points out that the Le-Suva has revealed all of the masks; Matau says that this means Lewa has found all the masks he needed, and should be returning to it. He, too, has disappeared. They believe he has been captured, or worse.

The Le-Korans have been mounting their own scouting missions (on Kahu), flying near the nest and trying to find a way inside. Kongu's Second (a Tohunga who operates the disc-cannon mounted on the Kahu) was lost in the last raid; he invites the Visitor to replace him.

INTRO (FIRST APPROACH OF AIRSTRIP):

Traveler, will you be my Second? My Kahu stays treebound without a Disc-thrower!

ASK ME:

Ride as Kongu's Second?

QUESTION 1:

Yes

ANSWER 1:

I hope your Disc-arm is as strong as your nerve! Lewa protect us! Let's go!

QUESTION 2:

No

ANSWER 2:

Then downtree go! Safe there from Rama-swarm! I will find another!

INTRO (SECOND APPROACH OF AIRSTRIP):

Had enough windriding, traveler? Or liking the taste of it, now? The Rama-swarm rages!

ASK ME:

Ride as Kongu's Second?

QUESTION 1:

Yes

ANSWER 1:

Hope the trees deliver us gently if we are knocked down! Let's go!

QUESTION 2:

No

ANSWER 2:

Then downtree go! Safe there from Rama-swarm! I will find another!

The Visitor mounts the Kahu Rahi and flies with Tamaru and Kongu to rescue Matau. This may be a "rail" game (similar to House of the Dead), where the player fires disks at enemy Kahu as scenery slides by.

Once inside the Kahu nest, the Visitor is shot down by the leader of the Kahu; this turns out to be none other than Lewa himself, who is wearing an infected mask.

QUESTION 3: Who is Lewa? KONGU: Lewa, great Toa of Air! Hero of Le-Koro! Gone away in quest for the Great Kanohi. If he were here, he would save us, for he has faced greater dangers than this, and survived!

When the Visitor awakens, he is imprisoned in a gooey, metallic cell, somewhere inside the Hive. Matau, Tamaru and Kongu are also here. Kahu eggs are all around, and Matau fears that they will someday be food for the larvae.

When the Visitor plays a tune on the Flute, the sound carries out into the forest, and also underground. Taipu, digging beneath Le-Wahi, hears it and summons Onua, who emerges into the Visitor's cell in a thunderous explosion of earth and stone.

"You are not of this tribe, so I will tell you of Lewa, but you must swear not to reveal what I am about to say to anyone.

Lewa is here. But he will not save us.

The great Toa is the same in body, in strength, and in speed. But his mind is gone. He has been attacked by the Makuta and enslaved by evil. His Great Mask of Power has been replace with an infected mask, and the only way to bring him back is to take it off. And I know of nothing with the strength to overcome him.

He has become more fearsome and horrible than any Rahi. We shall never escape this place. All that is left to us is song, and what small comfort it brings."

Lewa immediately leaps onto Onua, and there is a terrible struggle, as Lewa's speed easily allows him to rain fierce blows upon the sluggish Onua. But Onua's strength prevails, and only needs a brief lapse in Lewa's guard to connect with a crushing blow, which knocks Lewa's infected mask clean off.

Before Onua gets a chance to completely destroy Lewa, Matau leaps forward and explains that Lewa is a Toa, and has been under the control of the Makuta. Onua helps Lewa up and the two of them overpower the Kahu and help the Tohunga escape back to Le-Koro.

Lewa arrives at the shrine, descends, and returns with the Golden Mask.

"Take this Flutesong, it fits in the Flute you found. Whenever you need help from sunsoaring Le-Koro, playsong and you will have it!"

Completing Program 6 rewarded the player with one of the best items in the game: a way to call down a Kahu from the sky and ride it to any location on the map. 

[templargames]

We're back!

It's been more than a year since our last post, but we haven't gone away. Here's some updates.

After two new babies, several big projects, and trips from Tokyo to Chicago to Europe, 2012 has been living up to its name as the Year of the Dragon for the folks at here at Templar.

We released a motion-detection game for Capri Sun, a sort of voting-contest game for Food Network Star (it's not online, since the show's ended), and some little ones designed to be played in 12 seconds, for FedEx. And other things!

Most recently, though, over the Thanksgiving holiday, we finished a small endless-runner game for Adidas, Champs and the rapper 2Chainz.

It's ended up with a bunch of press (here, here, here, here, and all over the damn place), and tweets too, so we figured it was time to stick our heads back up on the internet and let everyone know about it! Guess this is what happens when you make a little game for a big rapper.

It's embeddable, so chances are all those links above have a version, or you can go to the source here or play it on Facebook. See if you can score ten, twenty, fifty, a hundred, a thousand million billion points!

[templargames]

Game of Thrones: Level 8

Level 8 of Battle for the Iron Throne unlocked yesterday. There’s an uncannily perceptive review of the game out there, that I’ve been meaning to respond to for a while, for a couple of reasons. Firstly, Mr. Marquez’s perception of the game as generic is completely, utterly spot-on, and I’d like to explain why it ended up that way. Having read the books, it must be absolutely baffling to players as to how, given so much rich material, we ended up with a game that has only passing references (at best) to Martin’s world. As a developer of story-based games that try to be immersive, there’s no excuse for any of our games to have such a gaping hole where the world, theme, setting, and even the player’s identity should be so richly defined (unless it’s part of the mystery).

I also felt I should respond because I stopped reading video game reviews a long time ago. They always seemed sophomoric and gushing, and devoid of any critical analysis (unless the reviewer for whatever reason decided it’s a “bad” game, in which case it’s sophomoric and insulting, and devoid of any critical analysis). Even the Times’ reviews were like this. I also heard a story from a friend of mine (who works at a big AAA console developer), who told me about how a reviewer was fired from a big gaming magazine for giving their latest title a bad review. Apparently the dev’s publisher had spent millions on advertising with the magazine, and a single call to the editor got the guy fired. So game reviews have always seemed infantile, ignorant, and corrupt. Mr. Marquez’s, weirdly, is none of that, and this for a review of a little, indie, promotional Facebook game, of all things. So I’m shocked into wanting to respond. Maybe it’s because he typically writes about TV or literature?

Nonetheless I’m going to hold off until the next post, as level eight’s launched, the game’s gotten challenging, and I thought I’d help out a bit by talking about the Strategy bit, which is the core of the experience and can be pretty tough.

In considering the computer AI for the Strategy portion of the game, it was my ambition to create an opponent that did not cheat, despite the fact that it was already understood that computer games, in general, can be very easy to beat, if both the human player and the computer player are on the same footing. It’s a small matter for human players to identify patterns and strategies used by a computer opponent. It’s always ambitious to try to make a game opponent that doesn’t cheat. Sid Meier took a lot of flack for the opponents in Civilization cheating, even though it was necessary to make the game challenging and fun (and most people prefer it that way). So, short of building our own version of Watson, we had to come up with a way to make the game beat you when we knew it would never be as smart as you are. And I wanted to do it without the usual methods of just giving it extra gold in less time each turn, or more and stronger troops, which would be visibly unfair - in other words, letting it cheat.

I realized, though, that it wasn’t the cheating that bothered me as much as the player feeling that it was cheating. We had to come up with something that wasn’t so obvious as seeing enemy troops weirdly always beating yours, or seeing him get more gold than you.

The solution was to strike at the fundamental rules of rock-paper-scissors themselves - by making the player go first. The AI didn’t need more money or stronger troops if all it had to do was choose its units after you did. What has the appearance of an evenly-matched game of rock-paper-scissors is in fact not a game at all, since your opponent always chooses after you. Rock-paper-scissors becomes quite easy to win if your opponent is forced to shoot first each turn! The way the game works, if you choose rock, he chooses paper; you choose scissors, he chooses rock. It’s not fair, but then, that wasn’t really the point anyway. The real goal is to see how many points you can earn as compared to your Facebook friends - not as compared to the AI opponent. All we needed was an AI that could beat you.

Based on this principle, we had a game that could beat you every time, without using any fancy prediction models, learning algorithms, or some kind of information theory. Since it chooses second, all it does is choose a unit that will beat what you’ve got on the field, and it will always, always win. For easier levels, to make it not win every time, based on this principle, all we had to do was make the AI choose wrong (or at least randomly) more and more often on each level of difficulty lower than 10 (there being 10 levels).

You might notice "Morale" as a factor, but that didn't make it in. Neither did flags, territory, or catapults, which were to be used to assault the enemy town. Your gold was to increase based on how much land you controlled, not by means of an abstract clock timer.

However, as elegant a solution as it seems, we discovered that this only works in a perfect theoretical environment. Several imperfect factors that manifested as part of the basic functioning of the game made the outcome not quite as assured after all. To deal with them we ended up with an elaborate decision-making tree that lets the AI take into account a number of battlefield conditions, but it wasn’t always enough.

For example, The AI takes time - however small - to examine the field and choose a unit to spawn, which results in his forces being more distributed than the player’s might be, if they click the buttons very fast. A handful of knights distributed loosely in single file is not as effective as a massed group; the knight on point might be lost even to a handful of footmen (his natural prey) if plunging alone into the enemy clump and being targeted by all the footmen at the same time, even if his the rest of the cavalry arrives shortly thereafter to assist him. The result is that a crowd of footmen have a chance of taking down at least one knight from the AI’s group. From a tactical point of view, it makes perfect sense to gang up your footmen to take down a single knight, but since all they’re doing is choosing the target nearest to them, this is an emergent behavior that’s unintentionally effective. It’s surprisingly realistic, but runs counter to the basic premise that knights should (almost) always beat footmen. And counter to the cliché of the cavalry arriving in time to save him.

Another example of an imperfect factor is that the AI doesn’t take into account the speed of its units relative to the position of the enemy; this means that while the player may have more archers than anything else, spawning a bunch of footmen to counter them isn’t really the smartest move if a handful of knights are in front of them (or, even harder to predict, going to be in front of them by the time the footmen arrive). The player gets a sense of this as the game goes on; since the AI counters the biggest threat first (say, if you have more archers than anything else), it will spit out a horde of footmen. Waiting for that to happen and then spawning a bunch of knights (timed so that they get ahead of your archers on the field) is a reliable strategy.

And what about the state of the troops themselves? The AI considers the health of its own troops when spawning units (if the biggest threat is knights, and its pikemen are all sorely wounded, it won’t count them against your units); but if I’ve got ten badly wounded footmen and nine perfectly healthy pikemen coming up behind them, its not very smart for the AI to blow all its money on knights. An even mix of knights and archers would be far better. For this reason, on the lower levels (which should be easier), the AI can benefit from the difficulty algorithm that tells it to spawn random units instead of the ones best suited for the situation.

Add to this the fact that the system itself is designed to be a simulation, insofar as combat is resolved by chance (according to probability), and the game becomes extremely unpredictable. Unpredictable is good in games, to be sure, but game theory definitely holds that players should at least have a sense of the factors involved in their victory or defeat if they want to glean any enjoyment from the experience at all.

Deus ex machina: in the end, despite what should have theoretically been an unbeatable opponent - someone that always picks rock to your scissors, paper to your rock - we had to give the enemy AI more gold on the higher levels after all. -P.

[templargames]

MNOLG: The Fire Scorpions

Some may have noticed references in last week's post to a minigame featuring Onua that never made it into Program 5, wherein the player discovers the village of Onu-Koro. Here's a few storyboards and sketches from the game that never was. Originally featuring "wolf rats" (later changed to "fire scorpions"), the game let players save the hard-working Onu-Korans from yet another calamity, and also behold Onua for the first time. Players were also originally intended to barter for goods at the market, and among the items for sale was ammunition (throwing disks) for use in the game that could be purchased in exchange for protodermis and other commodities.

The goal for program five was merely to be able to talk to the Turaga; the various problems plaguing the town had the singular effect of making Whenua too busy to talk with you, as he is besieged by demands from merchants and workers to fix everything. Other problems included darkness (from a lack of lightstones), bad air, rahi attacks and errant lava flows from Ta-Koro. Onu-Koro, however, was the biggest environment yet, and by the time the cave systems and other puzzles were completed the minigame remained undone and had to be scrapped.

Flushed with the success of programs 1-4, and experienced with developing new chapters, we aimed very high with program five. Among the many features that didn't make it in were dynamically placed merchants that appear on the road, as witnessed in the many "TRADERS may be here" statements for the screens leading up to the town:

X. Onu-Wahi Area Onu-Wahi Road 1 - West A road stretching West through the trackless desert. Low hills are visible in the distance. The Visitor may encounter TRADERS here, traveling from Onu-Koro. They are grumpy that they must return home empty-handed (after restoring light to Onu-Koro, they are happy). Onu-Wahi Road 1 - East A road stretching East through the trackless desert. TRADERS may be here. Onu-Wahi Road 2 - West A road stretching West through dry scrubland. Low hills are visible in the distance. TRADERS may be here. Onu-Wahi Road 2 - East A road stretching East through dry scrubland. Low hills fade to desert in the distance. TRADERS may be here. Onu-Wahi Foothills 1 - West An expanse of rolling hills and light vegetation. A brook topples from a cliffside some distance to the South, where can be seen distant snow-tipped mountains. TRADERS may be here. Onu-Wahi Foothills 1 - East An expanse of rolling hills and light vegetation. A brook topples from a cliffside some distance to the South, where can be seen distant snow-tipped mountains. TRADERS may be here. Onu-Wahi Foothills 2 - West An expanse of rolling hills and light vegetation. A narrow stream wanders lazily through a nearby valley. TRADERS may be here. Onu-Wahi Foothills 2 - East An expanse of rolling hills and light vegetation. A narrow stream wanders lazily through a nearby valley. TRADERS may be here. Onu-Wahi Gorge - West The hills open here to expose a mighty gorge. A distant river valley can be seen in glimpses through the treelined palisade on its far side. Ahead, steps lead down into the shadowy valley. Onu-Wahi Gorge - East A view east across rolling hills, from the edge of the gorge. In the distance, the green countryside gives way to dry and rocky scrubland. Onu-Koro Gorge Steps - Down A long climb down the cliff's path is aided by worn but well-built rampways, hewn from the rock. Below, the valley ends abruptly in a wall of earth and rock. At its base, an ornate gateway has been carved into the stone, dwarfing a small group of busy Tohunga working in the gully beside it. Onu-Koro Gorge Steps - Up A steep but well-crafted roadway twists back and forth up the side of a precipitous gorge. Entrance to Onu-Koro - South A giant, ornately carved gateway pierces the canyon here. In its shadow, several Tohunga keep watch over a pen of Crabs, used to truck stone, biodermis and equipment from deep inside Onu-Wahi. The Tohunga Crabmaster will allow the Visitor to ride a Crab into Onu-Koro.

At this point word was getting around the island that the Toa were afoot on Mata Nui, but the little Tohunga were still always surprised to discover them. In this sequence, Onua appears. His minigame was another of the many puzzles to solve in Onu-Koro, although it became a challenge creating dynamic states for all of them; finding lightstones, for example, really should light up the cave network, and this was something we were able to do. Fortunately, Nate and Gordon worked out a clever way to dynamically change the lighting in Flash without having to make new art.

XI. Onu-Koro Area Onu-Koro Highway - South A long, dark tunnel, lit intermittently by flickering torchlight. Other Crab-riders move along the road, barely visible in the gloom. As the Visitor's Crab nears the far end, a mass of glittering torches do their best to illuminate the tunnel exit. AFTER FINDING THE LIGHTSTONES: The Highway, its travelers, and its exit is brightly lit with Lightstones hung from stalactites. Onu-Koro Highway - North A long, dark tunnel, lit intermittently by flickering torchlight. Other Crab-riders move along the road, barely visible in the gloom. As the Visitor's Crab nears the far end, bright sunlight can be seen through the exit, drenching the valley outside. AFTER FINDING THE LIGHTSTONES: The Highway and its travelers is brightly lit with Lightstones hung from stalactites. Onu-Koro Square - South The main center of town. From here, the Visitor can visit the Great Market, the Great Hall, Whenua's Hut, and find a route to the Mines and the Le-Koro Highway. A Miner is here. He is fearful that Biodermis will be in short supply until a new vein is found. A Tunneler is here, on break. He is pleased with the progress to Le-Koro, but at the same time is sad that the lack of light has made the Highway construction take so long. A Ta-Koran Guardsman is here. He warns to be careful of Fire Scorpions in the tunnels. An out-of-work Po-Koran Crabdriver is here. He is bemoaning the slowdown of the Quarry trade.

Fire scorpions go for the face, apparently (or the mask, at least). In fact, the whole subterranean Onu-Koro experience was pretty dark and creepy (also due to Justin's droning music, which may have been my favorite in the whole game), and this minigame might have really scared some of the younger players.

Onua was a pretty tough customer, though, so I'm sure it all would have worked out once he turned up.

One of the (many) challenges we faced, from a conceptual standpoint, is violence in general in the game. Note the claws; the others were no less threatening, with gigantic swords, axes, and other ferocious armaments. At this point in LEGO's history, however, there were two camps (from what I understood) battling out whether or not to allow violent imagery into any of their media; the product team, clearly, had no problem with it, but the marketing teams I think were trying very hard to retain LEGO's reputation as a "golden" brand, educational, and non-violent. As a result, we were faced with conflicting directives, and in the end the marketing teams won out: the weapons could only be referred to as "tools" (and to quote Naomi Clark, "tools? yeah right... tools of destruction!"). There could be no fiery explosions or other violent events, combat must be ranged (by means of throwing disks or kicking a Kohlii ball), and of course no one could ever die. It often happened therefore that antagonists were incapacitated not through combat, but rather indirectly, say by having something fall on their heads. It was not that easy from a story standpoint, and art-wise it called for more elaborate demises than simply lopping someone in half with an axe. Kopaka's battle with the Rahi, for example, ended by slicing off a piece of the ledge it stood on, sending the creature tumbling off-screen.  As the game became deeper and deeper, however, the busy LEGO team became hard-pressed to play through each and every scene, and we ended up stretching this where we could, intentionally or no. By the time we got to program six, we had Onua and Lewa get in a brutal melee, which ends with Lewa's infected mask getting smacked off his face.

How to fight a fire scorpion.

Fire Scorpion schematic sketches.

Onua at work.

The source of the rahi plague was a fissure that had opened deep underground; Onua steps in and plugs it up. In the original dialogue, Onepu, the leader of Onu-Koro's Ussal cavalry, gives the player tips on how to battle the rahi; I'm pretty sure it was cut, once we realized we wouldn't have the minigame:

ONEPU INTRO: (BEFORE FINDING LIGHTSTONE CAVERN): You there! Fetch those saddles! And we need more disks. Step to it! Try to stay out of the way, Traveler. We’re organizing a patrol. With all the lights out in Onu-Koro, the Rahi have stepped up their raids. INTRO: (AFTER FINDING LIGHTSTONE CAVERN): Thanks to you, adventurer, the roads of Onu-Koro are proeprly lit, and a bit safer now. We could use more like you in the Cavalry! ASK ME: Take care when traveling in the deep mines and tunnels, the Sub-Scorpions can appear at any time. Battling them takes special skill. QUESTION 1: Who are you? ANSWER 1: Onepu, at your service. I am the Captain of the famous Onu-Koran Cavalry Regiment, Champion of Ussal Racing, and Special Aide of Whenua, our great Turaga. QUESTION 2: What are Kofo-Jaga? ANSWER 2: They are small creatures, but incredibly fierce and cunning... they attack by surprise, and always in large numbers. They shun bright light and use darkness and fear as weapons. Their nests are scattered throughout the Underworld, and woe betide the miner who breaks through to one! Usually, Whenua uses his special drill to detect these nests before they are opened, but he has been busy and the miners have been desperate to find more protodermis veins. QUESTION 3: How do I battle the Kofo-Jaga? ANSWER 3: The Regiment depends on their gallant steeds, and a healthy supply of Disks, when fighting the Kofo-Jaga. The darkness gives the Makuta’s minions strength. It’s good to have a Lightstone with you, if you can find one. Shine it on them and they will usually fall back. QUESTION 4: Goodbye. ANSWER 4: May your Crab ride swift and true!

It's a shame the minigame didn't make it into Program 5, but there were plenty of problems to solve in Onu-Koro. By the end of several late nights, the complaints of the merchants and guildmasters started to ring true, echoing our own complaints about bugs, broken bits and missing parts in the program. Nate did a good job of randomly playing out the conversations between Whenua and the townspeople, and if you sat through the discussions you could learn valuable clues about what you needed to do to help them.

WHENUA & THE GUILDMASTERS (before solving problems)

Mining Captain: Turaga, the mining guilds have hit an underground rock layer that they cannot break through. We fear the protodermis will run out if we cannot continue our digging! How far does it run? Shaft 3 and Shaft 8 have ceased protodermis mining because they cannot break through this rock layer. That's the entire mining area! Yes, Turaga. For all we know the strata extends beneath all of Mata Nui, except perhaps the Mangai volcano. Are you certain there is no soft spot to dig through, Captain? We've been over every inch of the surface. There are no fractures, no fault lines, nothing! How much remains of the surface deposits? They are running out. We may have to look elsewhere for more protodermis. Like Ta-Wahi, or Po-Wahi. What is this layer made out of? Our prospectors believe it to be rock, but it has higher organic levels than any mineral composite we've seen. Organic? Yes. It seems to have more in common with an Ussal Crab shell than any normal stone strata. Strange. I wonder what we will find if we break through? Turaga, I must have more men and more machines if we are to know. You must allocate more resources to the mining guilds! Captain, I am doing everything I can. No one wants to see the protodermis run out. But Onu-Koro has many problems right now.

Tunnel Foreman: Without a fresh supply of Lightstones we cannot light the digging site. Have you been able to continue the tunneling at all? Yes, but we are working at about 25% capacity. It is too dark down there to work safely! The Le-Koro Highway must be completed soon. We need safe passage between the villages. Turaga, we cannot ask our workers to continue under these conditions! Taipu says he can dig by torchlight, without difficulty. Taipu is very stubborn, and strong. But he is slow even when he has a team of diggers to help him. One Tohunga cannot dig a tunnel to Le-Koro! Foreman, until we can repair the flood damage, there is little I can do. You can give us more Tohunga, and more equipment! The Guilds and the Traders have extra. We can use those! They do not have extra. And how would it help if they did? The air is bad because of the torches. The Rahi attack frequently because of the darkness. If we had more workers we could alternate teams before they get ill. We could put more guards on duty. Foreman, I understand the problems you are facing. I am doing everything in my power to get you the help you need. But you must be patient.

Guildmaster: Turaga Whenua, I will not tolerate this kind of delay! The Trade Guilds have contracts with four of Po-Koro's most influential artists. I understand that, and I am doing everything I can. Protodermis production is stopped. Stonemasons are slowed by the darkness. And half the shipments were lost to Rahi attacks! Ta-Koran torches are being used to light the stone quarries now. Those deliveries will be made. The Fire Scorpions are not afraid of torchlight. And what of the protodermis? The Po-Korans cannot trade stone for nothing! The Mine Captains are working to break through this rock layer. Until then there is little we can do. They make goods and livestock from the protodermis. Without it they cannot trade for stone! We will lose that market. There are other markets. And what of the Le-Koro highway? It was to be finished months ago. My caravans refuse to travel to the south until it is complete! The Le-Korans will have to come trade at our market until it is finished. They try, Turaga! But they can no more come north than we can go south! Perhaps the sea is a better route. There are even more dangerous Rahi in the waters than on land! What of Onua? Is he doing nothing to help Onu-Koro? Onua did not descend from the heavens to help your profits, Guildmaster. He is pursuing a great quest that may yet save us all. I demand that more attention be paid to the needs of the Trade Guilds! The Great Market is Onu-Koro's most valuable asset! Guildmaster, I will speak with Onepu. Perhaps he can spare an escort for your caravans until the Highway is complete. WHENUA (after solving his problems): INTRO: Thank you, adventurer, for helping with so many of Onu-Koro's problems! I thought the guild masters would never leave me alone! ASK ME: Now that I have some peace, is there anything you would ask of me? QUESTION 1: Who are you?

As seen here, in the end, the player's reward was largely information about the world, something in short supply in the beginning months of Bionicle. It fell to Taipu, strong but naive, to give a clue about the next month's program:

TAIPU QUESTION 2: What is Le-Koro? ANSWER 2: It is a village in the south, where the Le-Koran Tohunga live in trees. I have never been there. Onepu says there are tall, pretty forests, and huts built in the sky! Onepu says the Le-Korans are great musicians, too, and play music all day long from the treetops. QUESTION 3: Who is Onepu? ANSWER 3: Onepu is my best friend in all of Onu-Koro. He is very smart and knows a lot about Ussal Crab racing and fighting Rahi. He is supposed to be digging, too, but he showed me how I can do both of our digging at the same time. THAT'S how smart he is!

[templargames]

MNOLG Storyboards: P3-5

Here again is a handful of relics from the Mata Nui Online Game, namely programs 3 through 5, wherein the player travels from Ta-Koro through Ga-Koro, Po-Koro and finally Onu-Koro - mostly flowcharts and paper-napkin-map sketches. The layout of the screens became more complex with these programs, and the sixth, Le-Koro, was reached actually by backtracking. By introducing red herrings in earlier programs, we were able to create rewards later by making them the keys to reaching new content. A good example of this was the tantalizing yet unusable cable-car in Ta-Koro that eventually led to the seventh program, and, shown here, the complex tunnel systems in Onu-Koro that would eventually open into program six.

An ealry sketch of some frames from Gali's cutscene.

Doodles of the approach to Po-Koro.

The first of many pages of notes of Onu-Koro's labyrinth.

More doodles of Onu-Koro's locations.

Notes on Taipu's mining animations.

The ussal crab.

Whenua.

[templargames]

MNOLG Storyboards: Ta-Koro

Here's another collection of storyboards, sketches, and scripts from the original Mata Nui Online Game. This is mostly the second episode, when the player discovers the town of Ta-Koro. We invented a lot of the systems that became standard for future installments here, namely unlockable animated episodes (in this case, Tahu's capture by the Ta-Koro militia), and other things.

  Don't hold me to this, it was a long time ago, but I think the concept behind Bionicle had been developed by the LEGO product team (who designed the toys) working with an independent team of British TV writers (I can't remember the name of the company, unfortunately), who'd been contracted to come up with a new IP that LEGO could develop into a franchise. In late 2000 we were given a style guide and "bible" that outlined the first few years of the story in broad strokes, only including the key events relating to the heroic Toa in their struggle against Makuta.

Their plan had been to reveal the story through a PC game, movie, and comics that communicated the main story points behind the Toa. Although we were tasked with creating a story-driven game, all the existing elements of the story were in fact off-limits to us as they were being held for the main media components. The only elements left over were a handful of secondary characters no one cared about - misfits and comic relief characters that were, at best, footnotes in the style guide. Even the products themselves weren't of any significance to LEGO as they were one-off figures you could get for free with Happy Meals at McDonald's, as a promotion and not for sale. Their entire role was as innocent denizens that the Toa could heroically save from time to time. Since we were far away from the storywriters in London, and even farther from the main product team in Denmark, we were, in effect, a side-show of a side-show in the whole process.

Nonetheless, there was a real visionary at LEGO behind the whole project: a creative director named Russell Stoll, who really believed in our abilities as story and game developers and saw an opportunity with this project to do something no one had done before. It's not easy to get a big lumbering company to do something new, and we'll always be grateful to him for getting folks there to take the risk on us. He convinced them to let us break the story on the Web as a teaser, and then let the movie, PC game and comics take over.

A few episodes in, though, an ironic thing happened: the movie and the PC game fell through, and didn't get made. (I think the PC game was halfway through the development when it got dropped). So as we continued the story with only brief glimpses of the Toa from time to time, delving into these supposedly "minor" characters, LEGO lost its two arteries for communicating the main story. So it fell to us, but we were still focused on the Tohunga. Fortunately, they did manage to go through with the comics, and brought in the talented writer Greg Farshtey later on in the year to get the main Toa parts of the story across in the books, which were still alive. (Not 100% about that timeline, so don't quote me, but I think that's how it panned out.)

Fortunately we had good folks like Russell and Leah Weston (who also joined around that time) backing us up there. It was always our intention to have a mysterious, atmospheric, Myst-like quality to it, and our inclination for shrouding parts of the story in mystery was easily accomodated as we were actually instructed not to reveal major plot points. And most ironically of all, it was, both literally and metaphorically, the powerless little Tohunga that ended up being the heroes after all, as they stepped in to rescue LEGO's failed media efforts.

That suited me fine. Cardboard-cutout heroes that never lose and always save the day were never my thing anyway. I much prefer underdogs, the ones with fears and faults and dreams, like the Le-Koran who's afraid of flying, or the dense brute Taipu who kept digging because he wanted to see flowers. The little Tohunga (er, Matoran) were the "kids" that saved Mata Nui, and it was you kids (because you got it, and made it popular) that saved Bionicle. - PM

III. Scorched Jungle Area

Screen III.1-S: The Lava Flow - South This looks down the cooled flow toward the ocean, still gently steaming.

Screen III.1-N: The Lava Flow - North This is a smoldering river of ash and black rock that stretches away to the looming Mangai. In its shadow can be seen the lights of Ta-Koro, twinkling in the massive cliffs like fireflies along a treeline. To the left, up a treacherous path, is the spiney black timber of a charred forest.

Screen III.2-N: Path to Jungle – North A treacherous path of stones that have been worn away by the passing lava, leading to a charred jungle along a ridge.

Screen III.2-S: Path to Jungle - South A treacherous path of stones that have been worn away by the passing lava, leading down toward a smoldering valley.

Screen III.3: The Scorched Jungle Nodes 1-9 The jungle has been reduced to rolling hills of burned stumps and brittle, black tangles, through which is a small maze of natural winding paths. Since every path leads to a similar-looking screen, marking a tree next to the path taken is the best way to find your way through. Kapura is in the woods (on one of the nine screens), trying to quickly cover long distances by walking slowly. He tells how strife has fallen across the land, and how great deeds of valor and bravery will be performed against it, which the visitor will chronicle.

What is the Makuta?

If you do not know what is the Makuta, then I guess you are not it.

That is good.

Jala says I have to be careful of the Makuta when I am in the forest. He says the Makuta is everywhere.

He means Rahi. Monsters. Things you can see.

But I know the Makuta is here now, in these burnt trees, and in the dead soil. All of these things were destroyed by the Makuta, but the Makuta never left them. That is how he becomes strong. That is what the Makuta does. He destroys things.

I think the forest looks very beautiful this way too. And when it burned, you could see all the fires perform their Great Haka all the way to the sea, and it was very beautiful.

IV. Ta-Koro Village Area

Screen IV.1-N: Ta-Koro Village Gates - North Across a moat of glowing lava is an elaborate gatehouse cut from the black volcanic rock cliffs. It features a heavy drawbridge flanked by two towers. The drawbridge is closed, and sentries are posted all around.

Dialogue: You may pass. Jala says we’ve got to keep a sharp lookout for Rahi. If the bridge is down, use the winch room.

Screen IV.2-N: Int. Barbican - North This dark, spartan hall is lit with glowing braziers and torches. Jala, commander of the perimeter sentries, paces back and forth before his officers. He explains how Tahu has come, and although this a great day that they have all been waiting for, he knows Makuta's forces are on the move. He complains of the other tribes' apathy and lack of defense. To the West is the exit, and to the North is a small doorway, beyond which can be made out some heavy machinery.

INTRO: Hm. The Tren Krom break… Have we received a detachment from Matau, or has he refused us again? And where are those scouts! You there -- where's your staff? Oh. You’re not with the Guard -- not from around here, eh? Well if you want to get to Ta-Koro use the Winch Room to raise the bridge, but keep a lookout for any Rahi.

Screen IV.3-W: The Winch Room - West There is a large winch here, and an arrow-loop that looks out on the drawbridge. Clicking the winch lowers the drawbridge to the village. The exit is also visible.

Screen IV.1-S: Ta-Koro Village Gates - South This looks south into the spiney black wood.

Screen IV.4-N: The Village Square - North This is a crowded, busy plaza. Tohunga move about everywhere, some pulling carts or pushing wheelbarrows. Some are preparing defenses, but there are many others; lava farmers going to and from work, surfers heading back and forth from the Tren Krom, plus builders, merchants, and caretakers of the Shrine. At one end, in a columned aracade, a group is practicing a Haka. A wide boulevard leads in the direction of a great shrine, while nearby it, the door of a particularly well-appointed home beckons.

Screen IV.6-N: Vakama's Home - North This is a spacious chamber, cluttered with artifacts. The exit to the town square is visible. Vakama is here, looking into a green gem and referring from time to time to some small stone tablets. He treats the visitor with mild surprise, and inquires if they recall anything of their own past. He then goes on to tell the story of Tahu's arrival at the village.

[templargames]

Storyboards from MNOLG, 2001

For all the fans of the old Mata Nui Online Game, we've dug up some concept art and storyboards from the original game that appeared online in 2001. After reconnecting with the good folks at BZPower we realized these might bring back some memories.

Those of you unfamiliar with the original "MNOLG," as it was called, Wikipedia defines it:

"Mata Nui Online Game - released on the LEGO Bionicle website, it continues from Tales of the Tohunga and shows Takua going around Mata Nui and helping the villages. It is much beloved by older fans of bioicle. The game was removed in 2003, and returned as a download in 2005 due to high demand. Bionicle comic author Greg Farshtey considers it non-canon, however, most fans consider it canon. In fact, many consider it the definitive storyline for 2001."

More definitive descriptions and walkthrough of the game can be found at the Biosector Wiki here.

Below are a few of the artworks that outlined the very first episode from January of that year. We've got more to come, but these should serve to bring back a  few memories for those that followed the game back then. Also included are excerpts from the script that was used to get approvals from LEGO and also to describe internally the functionality for our engineers and artists.

I. Beach Area

Screen I.1-S: Beach View – South This is a wide stretch of beach, with unbroken ocean stretching to the horizon to the South. From time to time, SHADOWS OF SEABIRDS skim across the sand in the foreground. Ahead, at the water’s edge, is an odd CAPSULE and some debris. HOTSPOTS: Forward, Back SFX: Distant ocean, seabirds MUSIC: Low ambient

Screen I.2-S: Near Tahu’s Capsule - South This is a wide stretch of beach, scattered with various biometallic DEBRIS, half-buried in the sand. A trail of odd FOOTPRINTS leads from the debris West, along the water’s edge. A large CAPSULE of some kind is washed ashore to the South, marked with arcane symbols and draped with seaweed. The front of the capsule appears to have been removed, or blown off; it lies nearby. To the East, tall sprays and a shadowy hulk indicate a wall of volcanic rock that projects out into the sea. At its peak, a tall structure can be made out above the ocean mist. HOTSPOTS: Cliffs, Back; Sand blows around Footprints (I.2A), Debris gleams (I.2B), Capsule gleams (I.2C) SFX: Surf, seabirds MUSIC: Medium ambient

Screen I.2A: Footprints CU of strange, robotic footprints in the sand, heading West along the beach – toward the volcanic activity. HOTSPOTS: Forward, Back SFX: Surf, seabirds MUSIC: Medium ambient

Screen I.5-S: Base of Beach Cliffs - South A wide stretch of black, volcanic beach. Here and there large, rough rocks are clustered. Directly ahead, a massive wall of volcanic rock reaches into the sky. The cliffs emerge from the jungles to the North, travel across the beach and extend out into the sea to the South. Waves pounding its craggy outcroppings send fantastic explosions of white spray high into the air. High above, a lone watchtower stands. To the East, the cliff's uneven face looks as though it might offer some solid handholds for climbing, and a rough path can be picked out among the crags. To the West, the CAPSULE is visible. HOTSPOTS: Cliff path, Capsule SFX: Crashing waves, seabirds MUSIC: Low ambient

II. Observatory Area

Screen II.1-E: Top of Beach Cliffs - East The cliff's summit is a narrow stretch of rough, black volcanic rock with a breathtaking view of the surrounding terrain. Below, the cliffs form a half-pipe shape, almost like a funnel to the sea. There is no apparent way to get down the Eastern face. Beyond the far rise, the beach continues in an arc, pierced by giant rocky areas left over from age-old flows. In the distance, a red glow reveals a live flow, where it strikes the ocean further along the beach in a great torrent of steam and ocean spray, sending a tall white cloud into the atmosphere. Two large boulders loom starkly to the north; one of them is black, spikey volcanic rock, and the other is smooth, lifted from the beach below by the magma. Nearby, across a bridge that may have been fashioned by builders, a strange platform overlooks the sea. It seems to be in disrepair. Perched on the bridge, SEABIRDS look curiously at the Visitor. HOTSPOTS: Back; Stones glitter (II.2-N); Seabirds fly into the air (II.4-S) SFX: Distant ocean, wind MUSIC: Low ambient

Screen II.4-S: Interior Observatory - South A strange, serene place jutting out from the cliff, overlooking the sea. Composed mostly of stone, it is open to the sky, and decorated with ornate carvings. It appears to be very old. In the center of the dais is a an alien device, similar to a telescope. HOTSPOTS: Back; Telescope gleams (II.4A); Star Charts rotate (II.4B) SFX: Distant ocean and wind heard from interior of tower; spinning and clicks as Telescope swivels; scraping of stone Star Charts MUSIC: Medium ambient

(Another early sketch of how the telescope would look)

Screen II.4B: Star Charts CU of a strange, faded collection of stone diagrams and symbols, obviously describing the heavens. The chart’s main feature appears to be a single star, with a projected traverse that carries it through a series of adjacent sectors. Each sector appears to be related to a different cataclysmic event, described through symbols and drawings, similar to the Zodiac. HOTSPOTS: Star Charts SFX: Distant ocean and wind heard from interior of tower MUSIC: Medium ambient

Screen II.3-N: Observatory Bridge – North Facing North on the bridge, the stone shrine is visible on the far side of the clifftop, and off to the left is the cliff path. HOTSPOTS: Stone Shrine gleams, Dust blows across cliff path SFX: Distant ocean, wind MUSIC: Low ambient

Screen II.2-N: Stones - North CU of the two large boulders, sitting side by side as though they were some kind of shrine. Clicking them initiates the LEGEND episode. HOTSPOTS: Back; Stones glitter (EPISODE) SFX: Distant ocean, wind MUSIC: Low ambient EPISODE: Memory of Legend. The Visitor’s view dissolves into a flashback sequence. The LEGEND OF MATA NUI, as described with stones in the Tohungan temple, begins. The Legend appears according to storyboards provided in the BIONICLE Style Guide. At its conclusion, the vision fades, and the Visitor is left standing on the clifftop, quietly regarding the two stones.

(A rough layout of the screens as they appear in the first episode.)

[templargames]

Embracing the Social Universe

With a day and a half spent on Tumblr, Twitter and Facebook, to say nothing of updates to our own site, maybe we'll get all this media to converge.

[templargames]

Behold!

The new Templar.com went live today, marshaling in a new era in corporate transparency! There are still quite a few holes and tweaks that need to be made to it, to be sure - for example, we can't use apostrophes (and therefore contractions or possessives) when blogging dynamically via Tumbler yet - but that is fine, our first few entries will just have to be conducted using the Queen's - dammit, the English of the Queen.

And that is just a small example of the bits needing to be fixed - not enough room on the page to list all of them (particularly since our blog does not go to multiple page entries yet). When we are back to work after GDC we will also be adding a comment section to the blog so that folks can tell us all the weird buggy stuff that happens when they look at the site.

And to all of you who have written looking for our old LEGO games, we do love to hear from you, and are very sorry for our lack of responses lately - but we will be trying to get them online in the next few weeks. For now, we are headed back into the giant human pachinko machine which is the GDC Expo Floor, to check out the latest stuff.

[templargames]

A New Templar.com

We have successfully installed ourselves in a room at the Pickwick Hotel in downtown San Francisco and are making a few last-minute changes to the new site before heading off to the Game Developers Conference. Meetings with agencies and publishers big and small are going to dominate our time here, in the hopes of making some new games this year, and maybe for some new clients, too.

Our Blog section is almost together (hence your reading this), but the moons are not working yet - anyone needing to know what phase the moon is in will have to wait until the next update. There are a few banners that still need to go into the Ads section, and the Contact section is a mess, but hopefully we can still launch it and fix those things later on.

Lots of old friends to see here, but we have got to be careful - forgot how brutal the California morning sun can be to someone who had a few drinks the night before.