Little is known about the origins of the stories that are featured in the First Book of the Republic of Thoronia. What is known is that the book was compiled in 1973 by Sir Athanasius Altair, a monk in Eastern Uzkani. From what we have seen and read up until this point it is understood and accepted that the monk believed that these texts were a collection by the Prophet Roland.

Even less is known of Roland’s life, other than the fact that he devoted all of it to the preaching and studying the Republic. He was the driving factor behind the Good King Thor’s popularity in the early 10th century. From this, we the modern reader and believer in the King’s abundant glory and wisdom, can critique and assess the books of Thoronia with a critical eye, not for hatred of the Republic or the King, but rather to further understand the texts and what they mean in a modern context.

For the purpose of this study, we’ll be breaking the book into more manageable sections. Here, we’ll take a look at the “In the Beginning” section. I am well aware that there is text that comes before this, but it is the belief of this particular critic that these were meant mostly as filler, and were actually written by Athanasius as a means to insert himself into the stories. That being said, these beginnings are still a vital part of the history, and should be studied by those who believe in the Good King and his wisdom. We, however, won’t.

One would think that to begin with “In the Beginning” is to begin with the creation of the universe. It is clear that Roland could never have been there, and it is likely that the Good King spoke to him when he was transcribing the universe’s origins. However, none of that happens “In the Beginning” it all happens before. You’ll notice that “In the Beginning” is not actually a beginning at all, it is, for lack of better words, a trivial and useless meandering across subjects that are clearly beyond the grasp of the Prophet Roland. For instance, the line, “He placed these people next to animals that were like them.” The Prophet Roland believes that the Good King Thor set up the lands of Thoronia by a means of comparison, so that the animals on any given continent would be similar to the humans. The two then, would feed and learn from each other. This is clear in some ways, however, the assumption that the animals were actually present on the planet first is contradicting a statement earlier in the book , “Dear sir, I am King Thor, the one who has created you. I have created a galaxy and universe and dinosaurs and dolphins along with you.” The key word here is “along.” This denotes and assumes that we, the human race were created at the same time as the other animals and were in fact, not placed on the continents in a manner that corresponded with the animals whom were already there.

I would like to offer a new reading to the The First Book of the Republic of Thoronia. It is my belief that the monk, Athanasius, actually has inserted himself up until this point, and perhaps beyond. I have read the original scrolls, and is clear that many, if not all are forgeries based upon how Athanasius had chosen to understand the universe. From the Introduction up until Capitols, the text feels deeply rooted in the slang of the ’70s. It attempts to use humor and banter to push its motives. The business with the tote is still highly suspect, as no other mentions of the tote can be found in any of the other history books, with the exception of the traditional song, “March of the Tote.”

However, these revelations do not negatively affect the words and teachings. On the contrary, the monk was likely a good candidate to continue the teachings of the Good King Thor. Yet I worry that perhaps we, the audience of believers, may lose sight of the Republic’s goals if we accept all these things at face value. We must look closely to better understand not only ourselves, but those around us. Next time we’ll be looking at Capitols. Until then, for the Good King Thor, we move.

Most regular readers here will quickly acknowledge that there has been an abundance of Simoebic Dysentery related posts. This one, the one you are reading right now, continues that trend. However, I hope to delve a bit deeper into the process thus far — the process of learning a new means to tell a story through trial and error. I’ve dreamt of working on a video game for the majority of my cognizant life. In the past, I’ve worked with Mojiferous (who’s developer diary that was recorded during the uDevGames contest (you know the one, the contest that we one 1st in “Originality” and 3rd in “Audio”) can be found here) through other facets including: a remix album, sound effects for Zoltan! and beta/QA testing for Atomic Combat 2.0. However, Simoebic Dysentery is the first project that we’ve worked on together from the ground up. Idea to (eventual) fruition. That being said, I’d like to discuss a bit of the history, from the origins to the present state.

ART

Glancing through my emails from the end of December, 2008 through early January, I can get an accurate glimpse of the some of the earliest stages of the process. The original idea, the one that sparked the whole thing, wasn’t related to the inner workings of the body at all. In fact, it was a weird “puzzle” game in which you were given a big gun, and had to blow up walls, but you only got a set of bullets. Pretty stupid really, but what it did do was spawn a slew of idea’s from Mojiferous. These ideas, pitched back and forth eventually lead to the idea of a game in which you play a virus and are attempting to navigate the bloodstream to kill your host. Originally the game was from an isometric point of view but technology, time and tech forced us into an overhead view. Also, after some fact checking, the virus was switched to an amoeba. The origins were remarkably crude, considering where we ended up:

I’m told that the main problem we were running into at the beginning were derivative of Mojiferous wanting to render the entire graphic set in the game — basically no call to jpg’s, png’s or predrawn hoo-haw. What we ended up with is a mashup of this system with the anatomy drawings from everyone’s favorite anatomical guidebook (which was the primary focus of the art style, narrative, and a building block to the basic premise of the game. Thanks Dr. Henry Gray!)

But I’m getting ahead of myself here.

ORIGINS

Our first real face to face was conducted at a coffee shop, where we sat notebooks in hand, a copy of Gray’s Anatomy open on the table and coffee spilling over the cups, talking, talking, talking. This, I remember thinking to myself, was collaborative creation. It was the epidome of this weird bohemian vision I’d created in my head of what it really meant to be on the brink of a creative cusp. This wasn’t a game, it was a revolution.

Of course, this was all quickly lost after we began the process of actually making the damn thing. Life’s an interesting thing, because it tends to get in the way of a lot of things. Here we had two Graduate students that were working on a hobby alongside 40 hour a week jobs and classes. One of us operates as an early person, the other at night. So the majority of our conversations would now take place via email and phone — but for the moment I was stuck waiting. The problem with being a “designer” is that after the idea comes crapping out of your body, after the pen is finished with the paper, your job is done for a while. So I had to sit back and wait for Mojiferous to get me the level creator toolkit.

We also had a hell of a time coming up with a name for this damn thing. In fact, we went through quite a few:

• An Amoebic Adventure
• Amoeba Lung
• Amoeba Brain
• Amoeba Castle
• Amoeba Mumbles
• Lone Amoeba
• Amoeba Sandwich
• Amoeba Grease
• Amoebic Onslaught
• Amoebic Avenue
• Amoebic Aggression
• Amoebic Enterprise
• Amoeba Attack
• The Shits
• etc.

MUSIC

During this time I was supposed to be working on the soundtrack. Which I was — and by mean working on it, I mean it was forming in my head. I don’t write music, I’ve never believed that I had the ability, but I do improv and I improv well (and by well, I mean I enjoy myself, not that I play well). Eventually, I plopped down in front of the keyboard and recorded four hours of music. Then I cut it down. It’s available you know, in case you missed the thirty-six other mentions on this very blog, here.

But none of the above things are really all that interesting. These are the types of things that one would expect from a little indie game. Lots of meetings, testing, late night and early mornings.

NARRATIVE

I do believe I’ve learned a significant amount of skills through this beginning process. First and foremost, the ability to talk about a project like this and bring it to fruition. We aren’t there yet, but I have no doubt in my mind that we’ll be there shortly. For me, the most interesting aspect here is the narrative. I consider myself a writer before all else and for better or worse that’s my chosen path. With a game like this, a puzzle game, it seemed almost absurd to combine story with gameplay. But I believe that Mojiferous and I have worked out a compelling reason to play this — and not just for the brain twisters.

When one talks of narrative in regards to a game, it’s important to understand that narrative and story aren’t the same thing. I’ve looked at this before. The interesting thing for me with Simoebic Dysentery was that the narrative was the entire reason for the game’s existence. We were actually using the setting (a human body) as both a playing field and a character. The two were interweaved and as the game progressed, this became more and more apparent. The actual plot of the game is fairly simple: Man goes to Amazon. Man contracts disease. Man tries to rid himself of disease. Man… well, I won’t give you a spoiler yet, but it’s fair to say that the man will either live or die. These plot points are revealed in game, through voice overs coming through the body and into the setting.

For me, this is interesting on a number of levels. We are afforded the unique opportunity to have a story being told by non-playable characters that directly effect the way the game is played (man goes to voodoo doctor who injects you with snail juice and suddenly you, the amoeba are forced to adapt, change your methods and learn new tactics. Think of the fire in Far Cry 2, or the rain in Call of Duty 4). These outside forces, the setting of the whole story are contriving against you, the player. It also creates the interesting dynamic of what exactly a game is. A game is, to many, something that you try to “win” or “beat.” Brainy Gamer talked about the idea of “beating” a game a while ago, which is actually what got me thinking of how one would go about creating a relationship with “win” that would, in the end, destroy the game, the idea of the game, and the point of even playing a game. Basically, if you, the amoeba win, the character, which is also the setting, dies. You no longer serve a purpose.

We were also faced with the problem of creating these voices in a manner that was both believable and interesting. We’re still hard at work on this — but our voice talent is solid, and I believe that the story is compelling enough to keep the player entertained throughout their puzzle solving. I’m not going to bother going too far into this now, because I imagine it’ll be a major point in the second of these posts (when the game finishes itself), when I’ll be able to talk more thoroughly about what I thought worked well and what didn’t when dealing with the narrative.

WHERE WE ARE AND WHERE WE’RE HEADING

As of this last week, we’ve both finished up with school for the semester. I’ll be heading back in June for a month, but we’re still given ample time to continue on Simoebic Dysentery. The future of the game is still rather daunting. We have the final proof’s of the story. We have the voice acting. We have a hundred or so levels to design. We have mutagens, add-ons, adaptations and enhancements to think about. Oh, what was that? Didn’t I mention that the game will feature mild RPG elements that allow your amoeba to evolve? Well, RPG in a loose sense, as the evolutions will come from how you attack the levels, not from a dice roll or upgrade system. The hope is that by gauging the way the player plays the game, our branching narrative will adapt to continue the challenge while the setting changes as well, flushing out its own systems and bringing in new ones. New elements will be introduced based around the ways a player beats a level (do they float through the blood stream and hide from white blood cells, or do the lyse their way through like a tank?). So far we’ve learned a lot of things. We’ve learned to keep our ideas small, to understand our own limits but still push them, we’ve learned that friends aren’t going to spend time beta testing or toying around with an unfinished project, but strangers on the internet will, we’ve learned that we have an original idea that is worth continuing with. Sure, in the end, this is “just another indie game.” But it’s our indie game dammit. And I’m already proud of it.

Dear King Thor,

I’ve been reading your blog for several yrs. Like, how much effort would it take to update more often?

Waitin’ Wally

Dear Waitin’ Wally,

It is not within the realm of the Good King’s Knowledge to answer this question, which appears to be a rude comment, which is not okay and not worthy of being commented upon for the sake of the talk of the one and True and Good King. For now then we wait.

Always Yours,

King Thor

Dear Thorin,

Hey man, what’s up? I’ve been listening to Episode 1 and I’m a bit curious of something. In “Here is Where We Are” you say that the King is “Watching over you” but on page 13 of the Second Book of Thoronia, you say “The King neither sees nor cares what happens in your world.” So, which is it?

Utterly Confused

Dear Utterly Confused,

I can see your confusion. However, I think that you’re forgetting about the Adventures of the Good King: the graphic novel. On page 56, when speaking to Athanasius Kircher and William Tell, the Good King mentions that although he watches the people that he has created, he doesn’t really pay attention to what they are doing.

Dear King Thor,

Why don’t you include instrument lists, or band members or anything with your albums?

WTF

Dear WTF,

In Thoronia, we prefer to remain anonymous. But, I suppose that since you asked, we can share a few things. Here are the band members that were involved with the recording of Simoebic Dysentery:   ______________   – Roland SH-201. On Episode 1, the instruments included: Accordion, Keyboard, Drums, vocals, spoons, whistling and a computer. Thanks for asking!

King Thor

Dear Thorin,

Why won’t you sing in your real voice? You some kind of pussy?

Sincerely,

Pussy Puncher

What makes you think that I don’t sing in my own voice? For all you know I don’t even exist, and this whole thing is just a complex algorithm that was recorded hundreds of years ago and is playing out on this blog and webpage. The voice is not the voice of a human, or a god, but of a computer. This all exists purely so that you, Pussy Puncher, would have an excuse to live, and now that this wall has been broken, the wizard exposed, you no longer have a purpose.

Busy busy and busy are the best words to describe life in Thoronia right now. That being said, I just finished this crazy audio project, which features, amongst many other things, music from the Republic of Thoronia Band. Actually, specifically, music from Simoebic Dysentery. Feel free to check out the presentation itself here. Or, if you’re in the mood for adventure, just download the one part, 34 minute audio piece here. It’s a five part thing: The Preface, TV In a New Land, Miniature Interviews With Fremont Folk Art, Wherin I Help Gort Whom is Located in the Lobby of the Science Fiction Museum in Seattle Washington and Who Has No Fingers Write His “This I Believe” Essay for NPRs “All Things Considered,” and “Cairn Man and the Way Home.”

Man, that was is a long title. I really ought to have shortened it somehow. Um. So, anyway, Mojiferous and I are hard at work getting Simoebic Dysentery up and running on every conceivable platform, some of which are pipe dreams that I’m forcing him to look into, and some that are more viable. But long long ago in a land far far away, we put together the concept and artwork for an Lucasarts style adventure game on the iPhone. This, obviously has never been released, and likely will never be released. That said, the character’s were complete, as was the dialog tree and plot. Now, until I figure out a way to present the dialog tree that isn’t boring, I’m going to share the character designs. Enjoy what never was!