Finally,continues creeping forward. I'm hopeful that aswork wraps up in early 2016, and I'm able to give full attention to, the pace will pick up. In the meanwhile, let me tell you a little bit about the game.Its roots lie in two old, non-computer games from my childhood:and. I rediscovered these back in around 2006, and I was simply blown away at the things they accomplished without the assistance of a computer. I loved the ways in whichcreated this reactive, complicated game with very simple tools. And I loved that choices and skills infelt. I was coming off having played a lot of computer RPGs where improving a stat, gaining a feat, picking an option really did not feel significant at all. In, by contrast, each of the special abilities just felt . . . well, special. And you got to use them in these great ways, with great frequency.I then launched into a massive project to hybridize these games with, a procedural "coffee break" game. The game was called. I read about 100 space opera novels, watched hours of space opera TV and movies, studied a ton of space opera P&P games, and churned out a 250-page design document. I was very close to signing a contract with S2 Games to co-develop the title (at the time, I was doing writing for them), but it fell through, and I switched gears to makeThen I discovered thathad largely preempted my narrative concept (cannibalizing the space opera canon) and a slew of games, most prominently, had seized on the same gameplay structure. Well, shit.Around the timedied, I was readingto my kids andto myself, and fell in love with Anglo-Saxon language and Norse fatalism. I embarked on a long reading journey, which took me through most of the Icelandic sagas, the eddas, the Tain, the Exeter Book, and lots of history books. So immersed, I realized that I could takeback closer to itsroots, and thuswas born.The basic gist of the game is that the player is one of the eponymous "Fallen Gods," who must win his way back to the Cloudlands -- our Asgard -- by hook or crook. I don't want to spoil too much at this point, but basically it is a bleak game that blends Norse mythology and Icelandic folklore (and European folklore more generally) with a rather bleak worldview that fell upon me when reading a series of books about the aftermath of various revolutions (Russian, French, Bolivarian, and anti-colonial wars of liberation in Africa). The current pantheon ofsuccessfully overthrew the indifferent, and even cruel, primordial gods who ruled before them (a blend of titans and animistic prehistorical gods). Despite this signal and perhaps noble victory, the new gods, led by Orm the Trickster, have proven fairly inept as divinities and catastrophe has befallen the world: political, ecological (I was also reading, among other things,and), and spiritual.Anyway, the "hero" -- more anti-hero, or let us just say, player character -- has a fixed number of days to make his way back to the Cloudlands, lest he become mortal forever. The game plays out through three systems: the world map ( depicted above ), events (which are still coming together from an interface standpoint), and combat (which is still in the mockup stage).