Saturday, 1 January 2022

Games as Emotion (Part Two)

Looking back at my older blog series, I guess I've broken the post title convention I used to adopt, which was The Blog Post - Part One (The Partening) or something like that. I guess if you want a subtitle, then I guess part one might be Sadness, but this part two would be Making, which of course makes no sense.

A big part of the reason I've played a lot more games this year, is that they've got a lot easier to play. Roughly this time last year, I spent a bit too much money on a new rig with a 3080 and a curved QHD high refresh rate monitor and as a result games got a lot smoother than my slightly upgraded rig from 2012.

I bought it, of course, to play the PC release of Death Stranding (104 hours), which is an incredible visual feast of a game with DLSS running. I also played and finished Deathloop (time not tracked?) and Rage 2 (40 hours), started and finished a new play through of Prey (around 15-20 hours), and played Hell Let Loose (191 hours), The Witcher 3: Wild Hunt (72 hours), Mad Max (47 hours), The Witness (15 hours), Cyberpunk 2077 (6 hours?, I've done one quest after the opening), Disco Elysium (5 hours?, I've made it out the front door of the hotel and visited a book shop), Neocab (time not tracked), replayed half of Titanfall 2 (time delta not tracked because the game whips by), wasted my time getting frustrated by bad stealth mechanics in Alien Isolation (90 minutes) and am still unsure how the majority of games systems work or what I was doing in Destiny 2 (51 hours). Of those games, Death Stranding, Hell Let Loose and the Witcher 3 have become the 5th, 4th and 6th most played games of mine since Steam started recording that sort of thing. I also clocked some hours on Slay the Spire which is undoubtedly up there on time played.

This is mostly to say that the human brain loves lists (or perhaps a table or pie chart), and I am no exception. But my play experience has been made well by getting a new PC, and in turn, I've been able to play a number of well made games. And the games on this list are well made in the sense they exhibit a technical mastery of art and video game development. But that's not what I mean when I used the phrase "well-made" in the previous post.

Instead I think specifically of the interactions between the game, it's systems and aesthetics, and the player, the act of playing itself, to create a story which is experienced in a completely separate mode from being told or shown it: making a story. I've intuitively discarded alternate phrasings like "well-played", "well-designed" or "well-done" (doing a story), because of unwanted meanings associated with those phrases and because I want to emphasise the (conscious and unconscious) choices of the people making the game (in all its aspects, not just game design). I'm trying to gesture towards an active process: the construction of a "well-made" story requires the presence of a player who willingly enters the magic circle and plays the game aided by the game design suspending their disbelief and engaging them. However there are enough random factors in any game and player that I don't want to put any blame on a player if they don't experience the emotion affect intended: this is the distinction between "well-made" and a hypothetical "well-played".

In this sense, a game is a tool that allows a player to generate emotional experiences.

(And now I am torn, because maybe the term should be "well-generated" stories, but I've already used and abused 'generate' too much).

What I'm trying to capture here is best expressed by Hell Let Loose, a first person multiplayer collaborative shooter, where players effectively enter a deliberately limited consensual reality that largely mimics specific World War 2 scenarios. Hell Let Loose defies some conventions of these games while embracing others, but at its heart, much like Death Stranding, it tries to force people to communicate and collaborate in specific modes and channels to achieve objectives. Hell Let Loose does this using a number of now standard mechanisms (pings, voice and chat, group voice and chat) but creates vertical and horizontal choke points in these mechanisms which require players depend on each other to overcome. Players read compass directions and map grids and symbols to each other because targets are hard to see and quickly become dangerous; audio channels become expressive if used sparingly but jammed if overused, with officers having to observe, listen to and use channels and expressions that their squad is not privy to; building and attacking dynamically placed critical infrastructure is more important than individual achievements.

And, unlike a co-op shooter like Left 4 Dead, Hell Let Loose has a wide breadth of experiences for players to choose from, all of which are weighted with enough significance so that they meaningfully impact play: you can choose from driving a supply truck, firing artillery, desperately trying to flank a tank to hit it with one of only two rockets, and so on, so that the potentially each of these actions is a unique experience generator even nearing 200 hours of play. For instance, last night I lead a squad for 10 minutes to push a supply truck 200 meters up a road to try to get a second attacking garrison into Foy, only to have to abandon it to defend a previously well-defended position that was now falling on the other side of the map. For those 10 minutes, moving that truck while under fire was the most important thing we could do, and none of us ever before had had driving a truck such a short distance become so meaningful in the game.

These stories are not "well-told" or "well-shown": they are unique to games. And I am wise enough to see the hand of the game makers in making specific choices in Hell Let Loose that I see a continuum between single player, highly authored experiences like Death Stranding and multi player chaotic experiences like Hell Let Loose.

I'm going to pause a while, play some more Hell Let Loose and then think about writing a part three.

Games as emotion (Part One)

 2021 was a year where I reconnected with playing games in a big way. I played a lot more games. I finished games. And I felt a lot more strongly in games.

To be clear, I didn't feel a lot more strongly about games. As has probably been obvious from this blog feed and the lack of any Roguelike Radio episodes for more than a year, I have cared less and thought less about games than probably any time in the last decade. The exception maybe the TTRPG I've been working on since 2015, but even then releasing it has felt less urgent than probably at any point during its development.

This is because I am tired of the whole rotten industry edifice: the abuse of game maker and critics by players and funders continues to harm, burn out and drive away those people in the industry while enabling abusers. I quit BGG a few years back because of the way that community ignored, created and facilitated that actively hostile environment, and I genuinely see no end in sight anywhere in the industry. The world wide failure to deal with COVID should be clear to everyone by now that capitalism ensures there is no end.

While I'm highlighting the power imbalance between workers and consumers, I should be clear that there is no safe part of the industry: game players are just as trapped in this systemic abuse as anyone else, nor elsewhere in the world. My non-game industry day job is about 8 out of 10 on the actively evil scale and I spend as much effort as I can afford trying to get it to a 7.

But games in 2021 made me shout out emotions: fiero, joy, boredom, regret, surprise and surprisingly sadness, in a complex palette, in brief shared exchanges with strangers and in ways that no other medium can possibly encompass.

I'm writing this because I want to talk out a distinction I felt between emotions engaged by games and emotions engaged by narrative in games. I'm sure that there's plenty of writing and analysis out there about this (post in the comments if you know of any), but I'm going to try to tease these out myself so excuse any old ground that I'm walking over in a way that doesn't patent infringe by causing a narrow path to slightly broaden (thanks Sony!).

And that brings me to the first feeling I want to talk about, and probably the most complex: sadness in Death Stranding. Parasocial twitter mutual GB 'doc' Burford has written extensively about this elsewhere but I want to call out a different time Death Stranding hit me in the feels: the literal end of the Elder quest chain. Quest chain is the wrong word: Death Stranding does part of what I asked for many years ago and turns quests into a trading-like game, although like everything the game does, it makes the them most gentle and forgiving version of that idea.

On this scale, the Elder is the more annoying version. He's out of the way, requires that you climb up to the top of a hill without being technically difficult, and offers little in the way of rewards. The Elder also delays his connections to the chiral network just to rub it in your face: he doesn't want you there and the game does little to pay back your investment. Unlike another mission giver, there is no hidden back story, no secrets or twist. The Elder starts being unpleasant to your face, eventually begins to like and praise you and, just as I got towards the end of the game, he leaves you a message saying he's dying and then dies.

And his death left me in tears.

I have a good relationship with my father. He nearly died last November, which is to say that I have possibly felt a tiny fraction of the grief and frustration that someone who has lost a loved one during this pandemic and been unable to travel to see them before they died or to grieve them with others afterwards. This happened well after this incident in the game, which is my circular way of saying that I don't think there are specific extenuating circumstances that might have rendered me vulnerable to this story arc in a way someone else might not be.

Instead I think it was a story well-made. It wasn't well-told, or well-shown: the holo image I saw of the man fit the thematic conceit of Death Stranding, and the plainly written emails aren't especially memorable in themselves. This underdevelopment is typical Kojima canniness towards the broader themes he's exploring, but that set dressing needed me to act and feel my along the path he had laid out. My thesis here is games are unique in the way they can make emotions in a way no other medium can.

And in part two, I attempt to explain what I mean by the phrase a "well-made" story.

Tuesday, 16 April 2019

His Eyes - Part One

“Words have lost their power. I could tell you your life was a lie but it’d barely graze the hardened callouses you’ve built to protect yourselves. Whereas for me those words rang true like the call of the bugle my grandfather fell into the trenches fighting for. Thundered like the New Zealand guns that shattered his friends.”

“At least we can agree on one thing. Fuck Australia!” They toasted together burning their throats with the space brew.

“It’s an unusual position I find myself in. Plotting trajectories with the grandchildren of those whose earlier arcs broke him.”

Why not stay in China? The words stayed unsaid but he curled his mouth downwards, sliding his top lip over the stubble under his bottom lip. He had refused to depilate, roaring ‘I spent so much getting this.’

“I had reached the periapsis of what the Party would find acceptable. China was too small for my ambition and my childhood dream was not going to resolve itself. To Rocket Labs!” He toasted again and all four raised their drinking tubes.

There was not enough gravity to drink from glasses in Deimos station. Deimos station! The words themselves made him giddy with how far they’d come and how much they’d achieved. But not just them. The Americans. With their Callisto-bound nuclear rocket parked just over the horizon. They kept to themselves, not just for safety, but the political situation back home had worsened and while the spirit of international cooperation flowed so far, it apparently stopped short of coming the final kilometre of the 157 million they had travelled. To celebrate his birthday.

“Deimos station, this is mission control. We don’t mean to interrupt your fun, but NASA has an urgent request.”
“Mission control, how can we help?” The commander spoke up, flashing glances around the galley.
“It appears Triumphant’s uplink is out. They’re running diagnostics Earth side but we might need to EVA and get a relay up.”
“Decompression protocol will take two hours. What are our remote options?”
“So far we don’t think we can get an antenna up high enough using one of the drones.”
“Can we print one? Straight up from the refinery.” Engineering suggested.
“That’s a… novel option. We’ll run the numbers. But prep for the EVA.”
“We’ll get the relay in place but to get that far up the ridge we may as well roll down the other side and tap on their hull.” He said.

He was out on the surface with Payload. She was smiling, excited to be out on the surface again so soon. The rover seats were filled with the antenna mast, tools and emergency gear in case the situation on the American spaceship was worse than a communications error.
They reached the top of the ridge.
“Hailing Triumphant. This is Deimos station. Hailing Triumphant.” He repeated the hail using another set of standard codecs, then switched to analog radio in case the digital systems had failed. When they didn’t respond, Payload hefted a scope from the front of the rover.
“No exterior damage visible. No outgassing. No one on the surface. Hatches are all closed. Uh… the crew module is warm. Really warm. Radiators are pumping out a lot of heat to compensate so its not a thermal circulation issue. It’s survivable but not comfortable in there.”
“Ok. Forget the mast. We can run the relay from the rover. It’s about a 200 metre walk down the hill. Let’s get going.” He checked the brakes on the rover and followed Payload down the slope.

“They’ve dug up one of the RTGs.” Payload said as they reached the shadow of the ship. The RTGs were radioisotope thermal generators: basically big radioactive batteries that relied on the the decay of isotopes inside them to create heat to generate electricity. Deimos station had supplied a couple to Triumphant to keep it powered to avoid running their reactor at night: there was no way of turning the RTGs off whereas the reactor could be shutdown using control rods to allow it to be serviced. But the RTGs also sank into the moon’s surface and had to be periodically moved to avoid overheating, a job that wasn’t due for another few weeks. The boxy shape of the RTG was visible about 50 meters beyond the ship.
TICK
The closest airlock hatch of the two was up a ladder next to the foreleg of the spaceship. He climbed up and banged on the body of the airlock. Then he waited for a response, holding his glove to the hatch to try to detect any vibrations. Nothing. He banged again, twice more, and checked. The hull rang like a bell from his impacts but no one replied.

The next step was complicated. With the crew inside the airlock would normally be pressurized. He would have to evacuate all air from the outermost part of the airlock, called the crew airlock before entering it. But there were no manual controls external to the hull to do so. He’d have to hope that the crew airlock was unoccupied and the pressure door to the inner “equipment airlock” was closed. If not, he’d depressurise the whole ship.
He carried hull patches to patch the holes he was about to make. But not enough to patch the holes twice. The equipment airlock door needed to be closed for him to be able to enter the ship at all. Best assume the best scenario and operate on that basis.
TICK

He began drilling.
TICK

The soft pop of air turned into a jet as he pulled the drill bit from the hole. How long would the crew airlock need to empty? A minute? Two minutes? He’d work on exposing the door lock mechanism in the mean time.
TICK

The jets in the door died down suddenly. The door was closed between the outer and inner airlocks. He signalled down to Payload, forced the hatch open and stepped inside.
TICK

Payload and him worked quickly to plug and seal the holes he’d drilled. TICK. The seals would take a couple of minutes to set in vacuum and they’d hold for years. TICK. Then once the seals were set, they pressurised both the outer and inner airlocks to a low pressure, high oxygen mix. TICK.  Best keep this mix in case they had to leave in a hurry. TICK. Open the pressure door to the equipment room. TICK TICK TICK They could take the space suits off here and enter the ship without TICK TICK harming anyone inside. TICK TICK TICK TICK He put his hand to Payload’s helmet, just as she was about to release the seal.

TICK TICK TICK TICK TICK TICK TICK TICK TICK TICK TICK TICK TICK TICK TICK

Both their suit geiger counters were furiously warning them about the radiation levels in the inner airlock.

“The reactor is fine.” They repeated the mantra to each other. “The reactor is fine.” If it wasn’t, they’d have seen red hot molten rock where the rear of the ship would have been and their hair would be already falling out in clumps and the hard radiation would be dancing in white flashes through their retinas.

So where had the radiation come from?

The air in the outer airlock came from bottled air reserves carried on the ship. It had been clean and radiation free until they’d open the inner airlock. The air in the inner airlock mixed with the ship, although they could control the pressure and oxygen content. The air in the inner airlock was filled with radioactive particles which as they decayed triggered the geiger counters. The ship was filled with isotopes. Spread around the corners of the ship intentionally. From the RTG. The crew had taken one of the cells out of the RTG and opened it up inside the ship and spread its contents everywhere.

The radiation levels in the ship wouldn’t kill them. At least not for decades and only if they stayed around long enough. But swallowing some of the radioactive material would. It would stay inside them, and although the heavy metal poisoning would be bad, the radiation it would continue to emit would give them cancer and a horrible untreatable death.

The ship was a trap.

Saturday, 6 October 2018

Considering firing up the blog for a longer post

Bear with me and have a read of this essay on RPG theory in the mean time.

Sunday, 16 July 2017

PLAN.B

Michael Brough has just released an expansion to 868-HACK called PLAN.B and it's available on Steam as DLC and iOS as an in app purchase. Much like his recent Ossuary expansion to Imbroglio, I consider it pretty essential but for different reasons. Ossuary made the early game more interesting by allowing for a much greater variety of deck builds which were not necessarily game winning but were a lot more fun to play. This was great for a player like myself who wasn't likely to get to the end game but was looking for a fulfilling experience.

PLAN.B is instead for players with deep understanding of 868-HACK and who are looking for increased difficulty at the start, but more competitive long term play. Luckily, I also fall into this category so both releases have hit the sweet spot for my game skill. PLAN.B makes the game more difficult by having the deceptively named power ups occur from game one instead of appearing only after a few streak games. But at the same time it adds 8 new programs to give you more control. The cumulative effect is that while I feel like each run is harder (even just to survive) I've ended up playing longer streaks.

The new abilities are good but not essential (with the exception of .QUIT which is situational but vital given the power up changes) but they do a good job of filling the middle ground between a bad build and a good build in part by decreasing the overall likelihood of finding the 'perfect combination' and partly by adding cheap and useful ways of killing things (and I have no idea what .SAVE does but I'm okay with that). All but one, .CULL which is situational and expensive and while it has synergies, they're also expensive. I haven't tested .ICE/.CULL but that would make this useful if it works (and be the kind of enemy clamping, screen clearing ability that the name suggests it should be).

Of course, this wouldn't be a 'I love MichaelBrough's game' blog post without me trying to backseat design :)

(My urge to back seat design is worse than this post appears. I had written a longer post exploring two additional abilities, but ultimately that felt incredibly self indulgent).

I'm less sure PLAN.B is worth getting if you bounced on the original game, but if you managed at least a single streak score then this expansion is going to be a must have. The power ups fix many of the issues that single game score chasing scored by ramping up the difficulty enough to make high score chasing unpleasant and much more unpredictable and reducing the surprise of suddenly finding power ups affecting how you played (much in the same way that the jungle in Spelunky throws a difficulty curve ball).

Tuesday, 31 January 2017

Unangband 0.6.5c released

I would like to announce that Unangband 0.6.5c has been released by the new Unangband maintainer DGoldDragon28. DGoldDragon28 had been developing a variant based on Unangband, and now has my blessing to continue with the main Unangband releases as well.

You can find the full details at https://dgolddragon28.github.io/Unangband/ which is also the new Unangband homepage. Please redirect your links.

Sunday, 20 November 2016

4:40 am

I started recording the latest Roguelike Radio podcast (on Imbroglio) at 4:40 am in order to accomodate both UK and US based guests which is why I have such a slow start to the show.

One point I touched on is how Imbroglio has the ingredients of a roguelike with a very different set of outcomes, which justifies Michael Brough's labelling of it as 'roguelike?'. This missing piece is close to the tactics versus strategy debate but it doesn't fall on the same axis. It's also close to a puzzle form but it isn't just procedural puzzle solving. I'd like to label it "improvisation" because it feels very much like improvisation (in theatre) or how I imagine musical improvisation plays out. Imbroglio has improvisation, but the core design discourages it in some of the ways we talked about (at the level I'm playing at).

I don't think I've seen anyone write clearly about improvisation in depth in the context of game play (Feel free to point me to articles I may have missed) except perhaps relating to Far Cry 2. More significantly, I'm not sure if there are games which have improvisation as their primary mechanic (Spelunky?) and I'd be interested in hearing about whether there are any games which do so.

Tuesday, 11 October 2016

Texclipse & LuaTex 2016

Just some quick notes for fixing up Texclipse to use LuaTex 2016.

1. Remove the --src-specials option from the Build options.
2. Add the following 2 lines as early as you can in your document:
"\usepackage{luatex85}
\def\pgfsysdriver{pgfsys-pdftex.def}"
3. Font paths don't appear to be supported in Windows. Instead copy the fonts into the fonts directory.

Friday, 16 September 2016

How High Frontier builds futures

I've been a little hesitant about talking about the design work going into the High Frontier RPG since the arguments of the politest naysayers to my first post about it  can be approximated by "I haven't been to Russia so it can't exist." There are far less polite responses on the High Frontier board game mailing list, so I appreciate the general tone of the arguments being made in the comments - I'm just not swayed by them because among other things, they miss the fundamental fact that the person whose post I linked to is not just a hysterical tumblr user, but someone who has actually won a landmark precedent setting court case on the exact thing I was talking about.

Nonetheless, I'm also feeling guilty about a throwaway line I made in the last design post, which I think needs clarification and expansion on:
"Unlike virtually every other RPG on the market (sans Microscope), High Frontier RPG does not have a fixed game world"
This is, of course, nonsense as every single game master can attest to - the game world evolves as soon as players being to interact with it. The caveat I should have added at the time was "unlike virtually every other published setting on the market" and even then that is insufficient, as much like comics, RPG settings have to be torn asunder and rewritten to account for inevitable power creep and conflicts in the stories set in them.

What I meant, is that the published setting for the High Frontier RPG consists of very few immutable rules: nuclear power in space, wet extra planetary locations, a new space race, and even then there's potential caveats and loop holes that may mean not even these are true - for instance, the data used to predict icy comets and Ceres, a frozen Mars and water in the clouds of Venus has turned out to be inaccurate but High Frontier relies so much on these places having useful amounts of water to keep the game balanced and interesting that it'd be a different game if these changes were made.

The rest of the High Frontier RPG universe is not fixed: its random and chaotic and procedurally generated from the players actions directly (you can go out and set up factories and colonies yourself to increase the tech level you have available) and indirectly (the chosen Space Politics will directly impact how the social, political and technological milieu of the game evolves). Even then, I'm only attempting to stuff 60 years into the rules (the average time simulated by a High Frontier board game) and borrowing heavily from all sorts of science fiction tropes to try to guide what this looks like.

At the heart of this system is trends: a trend determines what the next few impacts on the crew are - be it a technology they can begin using, or a change to the way they operate or the missions they get, or a new type of human they are forced to evolve into or are replaced by. I split the trends up into ones driven by Mission Control, ones driven by the political environment that Mission control works in, and wider social trends representing what long term trends are happening Earthside (as distinct from short term events).

I'm going to quote from one person's experience of messing around with the trend system rather than an actual game session, to give you a feel for what this might play like:

I generated the equivalent of Luftwaffe-in-Space: Red MCSU - Crew Nationality German. Not sure how to determine starting politics (always Purple?), but I simply rolled for it at the beginning and started on Red as well.
In a fairly small number of turns:
-Zipped out to Ceres with a VASIMR-Orion combo and planted a factory.

-Performed an Orbital Bombardment Weapons Test at Deimos.

-Got assigned another refinery mission out to Dione, but rolled snake eyes when crossing Saturn's rings, ending things rather prematurely.

Other cool things that came up that would have been great for an RPG session:

-En route to Dione the Germans received an additional mission to rescue a stranded Indian crew...on Dione. Didn't know if it is possible to take multiple missions if the destinations for both of them are the same, but I never got there to find out. The RPG possibilities for that encounter would have been fantastic. "We're here to rescue you. Also this is our factory now. You seem upset, why?"

-Not sure if I was doing the Earthside trends correctly, but it was generally of an increasingly gruesome flavor thanks to the Red space politics. A whole lot of Ludditism, some Surveillance State, and by the time my Germans met their unlucky fate, someone down the well had built a tomb to Fearless Leader that was visible from space. Could see having to react to a parade of such things being really interesting (especially with a crew differing strongly from Earthside trends).

-Rolling for Stresses, the Military Payload Specialist ended up with Pacifist. Lots of interesting RPG potential there, though I never encountered a combat situation.

The intuitive approach for building trends would be to go with a technology tree style structure. But I know from previous experience that tech trees are very expensive time wise to create and balance, and often feel restricting rather than enabling. So I've ended up going with a tech era system, with a random table in each era determining the trend for the era. And about midway through the era there should be a trend change which rolls 1D6 + big positive or small negative bias, instead of 2D6 + small positive or negative bias, effectively moving from a wide band of overlapping options, to a much narrower band of less overlapping and more individually likely options.

And each subsequent era has the extremes going more, well extreme. The most authoritarian regimes start out merely performing Great Projects. They then move to being Big Brothers or Failed States, and then Homeward Hive or Forever Wars. And where they can end up? Well let's just say aggressive Grey Goo Berserker starships consuming everything in their path is only the second worst option.



Thursday, 15 September 2016

Some long overdue administration

This is only 3 years overdue.

Every vote for the 2013 Ascii Dreams Roguelike of the Year poll is below. As for why I stopped? I kind of forgot about doing it the next year. Which is probably an indication that it stopped being fun to do. I wish someone a little more active in the community had picked up the idea and run with it, but apparently it wasn't important enough for someone else to feel the need to do so.

_____rogue the space0 (0%)
@Star Wars0 (0%)
10 Second Roguelike0 (0%)
30 (0%)
30790 (0%)
30890 (0%)
8.68-HACK0 (0%)
868-HACK2 (0%)
868565271 (0%)
88 Pages0 (0%)
A DAY @ THE ZOO0 (0%)
A False Saint, An Honest Rogue0 (0%)
Ad Astra Per Aspera0 (0%)
ADOM85 (25%)
ADOM II22 (6%)
Adventure Dungeon1 (0%)
Adventure Mall0 (0%)
Akamar0 (0%)
Alchemy0 (0%)
AlexandriaRL0 (0%)
Allure of the Stars0 (0%)
Alternate Dimension Rogue Like0 (0%)
Anarchial0 (0%)
Angry Troll versus Magic Bridge0 (0%)
Appeasing the God0 (0%)
Archmaster0 (0%)
Arcology Escape0 (0%)
AscentRL1 (0%)
Asterogue1 (0%)
Asylum Escape0 (0%)
Attack The Geth1 (0%)
Aurora2 (0%)
Back up0 (0%)
Bardess0 (0%)
Beltham's Lair0 (0%)
Bionic Dues1 (0%)
Black Mage Goes Rogue0 (0%)
Bonfire0 (0%)
Borstal0 (0%)
Brogue23 (6%)
Bronze and Faith0 (0%)
BRS-0810 (0%)
Bughack0 (0%)
Bump!0 (0%)
Cataclysm: Dark Days Ahead55 (16%)
Caverns of Shrug0 (0%)
Chase Brannick: Space Mechanic0 (0%)
Chest Quest0 (0%)
Chicken and Thyme0 (0%)
Cogs of Cronus0 (0%)
ColdRL0 (0%)
Comrade Pixel0 (0%)
Consuming Shadow0 (0%)
CoreRL0 (0%)
Cosmic Commando1 (0%)
Cosplay Mystery Dungeon0 (0%)
Cutpurse Castle0 (0%)
De Sade's Dungeon0 (0%)
Dead Man Walking0 (0%)
Delusions of Grandeur0 (0%)
Delver2 (0%)
Depths of Tuzua0 (0%)
Desktop Dungeons7 (2%)
Diablo, the Roguelike4 (1%)
Disc RL
Disc RL0 (0%)
Distant Echoes of Ancient Lies0 (0%)
DiveDive0 (0%)
Don't Starve4 (1%)
Doom, the Roguelike24 (7%)
Double Rogue0 (0%)
Down The Brain0 (0%)
Dragon's Lair0 (0%)
Dragons Hoard0 (0%)
Dragonslayer0 (0%)
Drakefire Chasm1 (0%)
Dungeon Crawl Stone Soup37 (11%)
Dungeon Dashers1 (0%)
Dungeon Fray0 (0%)
Dungeon Ho!0 (0%)
Dungeon of the Endless0 (0%)
Dungeon Penetrator0 (0%)
Dungeon X: Flesh Wounds0 (0%)
Dungeon-Themed Starvation Simulator0 (0%)
Dungeonmans7 (2%)
Dungeons of Dredmor13 (3%)
Dungeons of Kong0 (0%)
Dying Embers0 (0%)
DynaHack1 (0%)
Eldritch2 (0%)
Elite RL0 (0%)
Elona+11 (3%)
Ending0 (0%)
Enter the Roguelike Dimension (EtRD)0 (0%)
Epilogue1 (0%)
Equin: The Lantern0 (0%)
Eternal Cave0 (0%)
EXCELent Rogue0 (0%)
fabu0 (0%)
Faith in RL0 (0%)
Famaze0 (0%)
Fame1 (0%)
Fancy Skulls1 (0%)
Farm rl0 (0%)
FHRL0 (0%)
Firestorm City0 (0%)
Fishtryoshka0 (0%)
Fisticuffmanship0 (0%)
FlatlineRL0 (0%)
Fleeing the Fray0 (0%)
Forays into Norrendrin3 (0%)
Friendly Meddling0 (0%)
FunhouseRL0 (0%)
Gatecrashers0 (0%)
Gelatinous0 (0%)
Goblin Men0 (0%)
GUTS0 (0%)
Hack, Slash, Loot2 (0%)
Han Yolo and the Mysterious Planet0 (0%)
Hark!0 (0%)
Herculeum0 (0%)
Heroes of Loot0 (0%)
Hoplite3 (0%)
hproguelike0 (0%)
HumFullRL0 (0%)
Hunted0 (0%)
Hush Little One0 (0%)
Hydra Slayer1 (0%)
HyperRogue2 (0%)
Illuminascii0 (0%)
Incavead: infinite cave adventure3 (0%)
Infection0 (0%)
Infra Arcana6 (1%)
Inside Out0 (0%)
Interloper0 (0%)
Into the Labyrinth0 (0%)
It Did Not End Well0 (0%)
Kali's Ladder1 (0%)
KeeperRL1 (0%)
Kerkerkruip1 (0%)
Khu-Phu-Ka0 (0%)
KlingonRL0 (0%)
Kollum: The Pressure Valve0 (0%)
Krater0 (0%)
Kukulima0 (0%)
Legend of Dungeon4 (1%)
Liberation of Yama0 (0%)
Like a Rogue0 (0%)
Live as Long as Possible0 (0%)
Lost Crypts0 (0%)
Lost Labyrinth1 (0%)
Lurk Under Wires0 (0%)
MacRL0 (0%)
Magic Fountain0 (0%)
Malachite Dreams0 (0%)
Man in a Maze0 (0%)
Mazmorra0 (0%)
MGRL0 (0%)
MidBoss0 (0%)
MidsomerRL0 (0%)
MLP RL0 (0%)
mmoRL0 (0%)
Mosaic0 (0%)
Moving@0 (0%)
MovingETA v0.070 (0%)
Mysterious Castle1 (0%)
MythosRL0 (0%)
Nebulaic Toaster0 (0%)
NEOScavenger2 (0%)
Nightmare Tyrant0 (0%)
NinjaRL0 (0%)
Not the Robots0 (0%)
Now Hiring: Zookeepers0 (0%)
Noxico2 (0%)
NPPAngband4 (1%)
NPPMoria2 (0%)
Nuclear Throne0 (0%)
Nya Quest0 (0%)
Nyanko0 (0%)
Occult Chronicles0 (0%)
One Way Heroics3 (0%)
Paranautical Activity1 (0%)
Peli0 (0%)
Pitman0 (0%)
Pixel Dungeon6 (1%)
Pixel Piracy2 (0%)
PonyRL2 (0%)
Possession: Escape from the Nether Regions1 (0%)
Post Future Vagabond0 (0%)
Prehistorical Bean Climber0 (0%)
PRIME2 (0%)
Prospector3 (0%)
Pugnacious Wizards0 (0%)
Pugnacious Wizards 20 (0%)
PurpRL0 (0%)
Quadropus Rampage0 (0%)
QuickHack1 (0%)
Rasatala1 (0%)
Red Rogue3 (0%)
Return to the Dungeons of Doom0 (0%)
Rillaung0 (0%)
Risk of Rain7 (2%)
Rodney0 (0%)
rogue (7DRL)0 (0%)
Rogue Break0 (0%)
Rogue City Scavenger1 (0%)
Rogue Coder0 (0%)
Rogue Dream0 (0%)
Rogue Effect0 (0%)
Rogue Fleet0 (0%)
Rogue in the Void0 (0%)
Rogue Legacy15 (4%)
Rogue Shooter0 (0%)
Rogue Valley0 (0%)
Rogue's Eye0 (0%)
Rogue's Labyrinth0 (0%)
Rogue's Souls0 (0%)
Rogue's Tale2 (0%)
Rogue3D0 (0%)
Roguelike Runner0 (0%)
RogueMek0 (0%)
Room Rogue0 (0%)
RRRSAncientBlade0 (0%)
RuneMaster0 (0%)
Ruoeg, a minimalist roguelike0 (0%)
SanitasRL0 (0%)
Scrounger0 (0%)
Seduction Quest0 (0%)
segfault0 (0%)
Seven Days in Space0 (0%)
ShadowsofHumanity0 (0%)
Sil7 (2%)
Skool Eskape0 (0%)
SkullDorado0 (0%)
Slaughter0 (0%)
Smashing Bad0 (0%)
So Many Jagged Shards0 (0%)
Sorcery Saga: The Curse of the Great Curry God0 (0%)
Spelunky HD11 (3%)
Splitter0 (0%)
Starship Rex0 (0%)
Steam Marines5 (1%)
Stink Warrior0 (0%)
Sunk Coast0 (0%)
SurviveRL0 (0%)
SurvivorRL0 (0%)
Swift Swurd0 (0%)
Sword of the Stars: The Pit5 (1%)
T.H.A.D. - 7DRL edition0 (0%)
T.o.M.E. 4139 (41%)
T@XI0 (0%)
Teleglitch5 (1%)
Tetrogue0 (0%)
The Artifact0 (0%)
The Aurora Wager0 (0%)
The Case of the Girl and the Red Dress0 (0%)
The Conception0 (0%)
The Fourth Wall0 (0%)
The Guided Fate Paradox0 (0%)
The Hunger Games0 (0%)
The Land2 (0%)
The Monastery Garden0 (0%)
The Power of Dreams0 (0%)
The Reset Button0 (0%)
The Royal Wedding0 (0%)
The Veins of the Earth1 (0%)
The Wizard's Lair0 (0%)
TomeNET2 (0%)
Tower of Guns2 (0%)
Triangle Wizard5 (1%)
Ultima Ratio Regnum6 (1%)
UnBrogue1 (0%)
Underhall0 (0%)
Unhappy Devil0 (0%)
Unnamed RL0 (0%)
UnReal World22 (6%)
Uushubud0 (0%)
Versus Time0 (0%)
Voyage to Farland2 (0%)
Warp Core Breach0 (0%)
Wayward8 (2%)
WazHack6 (1%)
Web Raid Mobile0 (0%)
Weeping Angels0 (0%)
Witchaven the Roguelike1 (0%)
X@COM3 (0%)
Zero-Player Game0 (0%)
ZomgRL0 (0%)
Zoo Base0 (0%)