A Home with Good Bones: An Interview with Jes Negrón, Retcon Games

Good Bones is the first title from RETCON Games, a one-person game studio founded by Jes Negrón in 2019. The point-and-click adventure game looks to be a cozy horror tale that delves into serious subjects, such as grief, abuse, and revenge. Negrón has been in the media development game for a long time, with almost two decades of experience as a writer, editor, producer, and designer of various media, including books and games. She has weathered the storms of these industries, particularly following her departure from Riot Games. Negrón and Melanie McCracken jointly filed a gender-based discrimination class-action lawsuit against Riot in November 2018. However, the resulting funds from that suit combined with Negrón’s passion for telling her own stories provided her with the foundation to start up RETCON Games and complete the development of her first solo title. I had the opportunity to speak with Negrón about her recently launched game, Good Bones, and how she approached the development process. Continue reading on SUPERJUMP…

Ten Things That Made My 2022

Let me be real: 2022 was another tough year in a variety of ways that I won’t get into. Lately, I’ve been trying to focus on the things I’m grateful for, rather than dwelling on the negatives. So, please allow me to highlight some of the fantastic, wonderful, and exciting things that I experienced or discovered over this last year.

1. I completed two tiny video games — What Lies Underneath and Bluebeard: An Interactive Tale. Each I constructed with different game making tools, representing different kinds of gameplay and storytelling, and I am proud of the work I did on each of them.

2. . . . and all of that hard work paid off, since the games I made earlier in the year helped me snag my first freelance work in the games industry. I am currently working a contract writer for Lost Lake Games on a project I can tell you nothing about.

And I am also working with Patrick Knisely, a solo dev in charge of One Frog Games. Together, we are working on building the story, world, and scenes, which will be incorporated into the gameplay for a platforming game tentatively titled Monochrome Heights (play the demo).

3. I sold my fourth poetry chapbook, titled Necessary Poisons, which will be published by Interstellar Flight Press later this year. I’ve been working on this collection of strange little poems since 2016, and I’m so grateful and delighted that it has finally found a home. (A cover reveal and release date will be be coming soon.)

Continue reading on The Narrative Thread…

Ten Things That Made My 2022

Let me be real: 2022 was another tough year in a variety of ways that I won’t get into. Lately, I’ve been trying to focus on the things I’m grateful for, rather than dwelling on the negatives. So, please allow me to highlight some of the fantastic, wonderful, and exciting things that I experienced or discovered over this last year.

1. I completed two tiny video games — What Lies Underneath and Bluebeard: An Interactive Tale. Each I constructed with different game making tools, representing different kinds of gameplay and storytelling, and I am proud of the work I did on each of them.

2. . . . and all of that hard work paid off, since the games I made earlier in the year helped me snag my first freelance work in the games industry. I am currently working a contract writer for Lost Lake Games on a project I can tell you nothing about.

And I am also working with Patrick Knisely, a solo dev in charge of One Frog Games. Together, we are working on building the story, world, and scenes, which will be incorporated into the gameplay for a platforming game tentatively titled Monochrome Heights (play the demo).

3. I sold my fourth poetry chapbook, titled Necessary Poisons, which will be published by Interstellar Flight Press later this year. I’ve been working on this collection of strange little poems since 2016, and I’m so grateful and delighted that it has finally found a home. (A cover reveal and release date will be be coming soon.)

Continue reading on The Narrative Thread…

On Making Two Games at Once and Other Creativities

Game covers. The one on the left reads "Bluebeard: An Interactive Tale" in a red band overtop an old illustration of an intense man handing a woman a set of keys. The one on the right features green and brown pixel art of a creepy cabin in the woods, with the worlds "What Lies Underneath" in the sky above.

Sometimes you need to move at a slow and steady pace towards progress, dipping your toes in the pool and inching in little by little until you’re used to the chilly water — and sometimes you need to just launch yourself off a rock, plunging straight into the center of the lake with the hope that you’ll make it back to shore.

Guess which one I’ve been doing over the last month or so.

I’ve realized for a couple of years now that I wanted to write and build narratives for games. And so, I’ve been learning about the art of game narratives, which is beautifully varied and complex — ranging from heavily scripted games like The Last of Us to completely wordless experiences like Journey, with a vast number of other variants along the outskirts and in between.

While I’ve been exploring game narratives, I have also been toying around with making interactive narratives myself. Or rather, I have been noodling on a single interactive text, a Twine* adaptation of the classic French folk tale, “Bluebeard.” Having written a retelling of the story, in which I explored a number of alternative endings, I figured it would be a relatively straightforward process to add gameplay choices that branch off to each of those endings.

Spoiler: It was not that easy.

After a period of struggling — not only over the process, but also due to the frustrations of trying to maintain a creative life amidst daily obligations — I realized I needed an extra push to help me get to done. Fortunately, I stumbled across The “Finish It” Narrative Game Jam** in May. The focus of the jam was to complete an in-progress narrative game or interactive fiction project between May 12-31. This seemed like a perfect way to push myself toward finishing my current project, and I immediately signed up.

A day or so after signing up for the Finish It Jam, I was told about the Greenlight Jam by a game writing friend. The Greenlight Jam featured a unique format, having multiple deadlines over the course of about a month (May 16th to June 19th), focused on the various stages of game design, from ideation to prototyping, production, and final release of the game. Drawn in by this concept, I had an Ah, what the hell moment and signed up before even considering the fact that the two jams overlapped or the incredible amount of work that would be involved.

And I’m so glad I did.

Continue reading on The Narrative Thread.

Lost in the Sea of Solitude (Game Review)

Sea of Solitude

Sometimes I have bad days, or even weeks. Over the past few years, these bad days have manifested for me in two opposing and yet integrated ways. The first is a deep longing for solitude, a desire to find some far off place away from people and the world, somewhere I don’t have to interact with or perform for anyone. The second is a strong feeling of disconnect from the people around me, bringing on a sense of loneliness that seeps through even in a crowded room and carrying with it the belief that no one would notice if I was gone.

So many people experience such things. Depression, sorrow, and anxiety can feel like being lost at sea, floating on desperate dark emotions with no sign of land or refuge in sight. Sea of Solitude, a game developed by Jo-Mei Games, powerfully expresses these experiences through the exploration and healing of its watery world.

Continue reading on Once Upon the Weird.