I see the creators of this brilliant game lurking and posting around this forum so i would like to ask them if they have any plans to continue the story/create a new story in the same environment.

I hope the answer is yes. This game is simply genius!

Do you have anything in the works now in the way of other games (preferably of the p&c variety)?

Yes.

Vic (the artist) will probably be focusing on a P&C, while I will be focusing on a different kind of space opera adventure game, more in the vein of Weird Worlds, Faster Than Light, and King of Dragon Pass (yes, I realize the last is not a space game!). We'll certainly be helping each other on the projects, though.

We also have a small Primordia-related item in the works.

Awesome news. How can I keep up with the latest? I can't find an official Wormwood website or anything.

We'll post it here. We do have a site, but it currently redirects to WEG.

Thanks!

Just wanted to say I really enjoyed Primordia as well. Accomplished writing is one thing (even if the understated but very forceful and expressive writing in Primordia is fantastic :D love it). But translating it into a game with some awareness of how the game is actually played, and how that will affect the flow of the story - what sort of role the player has, how he or she will translate the events. That's extremely rare. So I was playing the game, and as I got towards the end I was just grinning, even though I hoped the game would last longer.

So yes, interested in hearing about new Primordia stories, and other games from you guys. :)

(..Do you post on twitter, Mark?)

Thanks, Nipsen! You certainly are accomplished in the art of flattery -- your post is more or less equivalent to a giant Mission Accomplished banner unfurling, only, err, without the irony. :)

(I don't post on Twitter.)

:p I'm told I'm too honest and critical to be any good at flattery - but was really impressed, was that. Listened a bit to the commentary, and heard the comment on "engagement" vs. "immersion", on the "timer" feature with the recharger. And it's spot on.. I've been writing (for free, like most people in games-journalizm do, apparently) about that a lot. Game-fans tend to ignore this part, even if it's the difference between.. Contra and Heavy Rain. People say "oh, the player's stories are better than ours" (like Chris Avellone added once, with some sort of forced grin), but they don't go into any detail about how the player fits in, outside the idea that the player should somehow adopt the story in the game as their own directly. Which really is a completely impossible idea - that's not how it works.

When you play Monkey Island, for example, you tend to wonder if you're seeing things from the perspective of Guybrush, or the story-teller - because it's not consistent. Schafer didn't make that mistake in Grim Fandango, either because we're playing Manny's conscience? And never playing his motivations or wishes. Or because maybe Schafer deliberately wanted to maintain a type of Noir style, where you never actually get told the penny drops when the protagonist sees something important, but only see it through the way the observations change. Likely that was conscious. But it's something you see break down in lots and lots of games with compartmentalized writing teams, that you don't have inconsistent styles, but randomly wandering viewpoints. Which would work in a book, but not in a game (at least unless you deliberately have a "meanwhile", or a mirror-sequence where you suddenly see the protagonist on a game-world screen, etc).

So really liked that someone actually understood that. Could definitely tell when I played the game as well. So not.. some weird intellectual technical admiration, that I'm sure you don't want to hear :D Even though I appreciate how much discipline you actually need in the writing to accomplish it.

(Oh, and go make a twitter-account! :p)

Thanks! For what it's worth, the next game I'm working on has a rather complicated new narrative approach -- it's an effort to marry procedural content with rich narrative without just having the narrative be retrospective. (In other words, an easy way to do procedural + narrative is to tell the story say through flashbacks that occurs every X level. But that's not what I'm talking about.) We'll see if it works!

I'll probably set up a Twitter account as we get closer to the next game.

Sounds incredibly vague and amazing :p No, but something like using item-descriptions to cue in dialogue, or tying the dialogue outcomes to descriptions of the area or other characters.. say, having a list of items/thoughts you have to go through eventually in an area, but don't actually play them until the key dialogue is triggered - and then have some context-aware variation, etc. I'm imagining this is something writers and designers tend to scrap early on, because it seems like too much work, or potential inconsistencies later.

..Discworld Noir, for example. The parts where Lewton starts to interrupt people when they speak, to make room for the inner monologue, and so on. And they become impatient, because they notice the pauses. Or Lewton says that he has to pause for a monologue, etc. Always thought they missed a perfect opportunity to make the scripted sequences seem less stilted here - less like an adventure-game. Because lots of this type of dialogue won't be/wasn't event-bound other than -> "after such and such, this eventually is figured out by the player".

In any case - looking forward to hear more about the next game :)