Konsoll 2018
as the organisers put it
In 2018 Konsoll took place at Grand Hotel Terminus from the 1st to 2nd of November. Speakers include Anette Ståløy, Raph Koster, Oliver Franzke, Molly Maloney, Erik Stirpe, Gary Napper, Oskar Stålberg, Mario Valle, Teodor Bjerrang, Dan Thronström, Ella Romanos, Dave Sharp, Brie Code, Jake Clark, Gwen Frey, Charlene Putney, Johnnemann Nordhagen, Felicia Prehn, Barrie Ellis, Ali Cedroni, Leanne Bayley, Alex Trowers, and Even Mehl Amundsen. A special thank you goes to Håndlykken Media for filming, and AnnleisFilm for editing the talks.
who it's for
indie game developers, narrative designers, game designers, game programmers, game artists, producers and studio founders, ux and accessibility designers
topics
domain specific scripting systems; Lua scripting in pipelines; remastering with bytecode swapping; wavefunction collapse tilesets; low-res 3D ambient occlusion baking; billboarded unit rendering; hand-drawn paper animation frames; Twine prototyping for branching; vr locomotion and presence design; remappable inputs and adaptive hardware; investor funding shapes and expectations; kickstarter and indie funding playbooks
| title | author | length |
|---|---|---|
| Ten Lessons Learned | Raph Koster | 54m |
Twenty-five years of game work boils down to concrete habits and accidents: keep learning across law, economics, UX and AI; build for 500 MHz servers with… | ||
| The revolutionary technology behind Monkey Island and Grim Fandango | Oliver Franzke | 59m |
SCUM is a domain specific scripting system that lets designers write gameplay as stage‑like scripts and it ships in roughly 50 games, enabling fast iteration… | ||
| Writing & Narrative Design: A Relationship | Molly Maloney, Eric Stirpe | 58m |
Explains how Telltale split responsibilities so writing owns characters and narrative beats while narrative design owns player-facing choices, branching and… | ||
| Game design for VR: Breaking Rules | Gary Napper | 53m |
Argues that many VR "rules" get broken successfully and gives concrete examples: frame rate must stay locked or players feel ill; movement needs bespoke design… | ||
| Developing The Bad North Look | Oskar Stålberg | 56m |
Procedural islands assemble from artist-authored 3D tiles using wavefunction collapse, about 400 tiles in the final set, with some modules spanning multiple… | ||
| Money Talks | Mario Valle, Teodor Bjerrang, Dan Thronström, Ella Romanos, Dave Sharp | 58m |
Panelists lay out concrete deal shapes and expectations: project funding commonly covers $100k–$1.5M with revenue-sharing deals (about 30% of sales), while… | ||
| Friends Forever | Brie Code | 47m |
Builds a small app called Hashtag Self-Care using game AI patterns, simple top‑down mini‑games (color‑coded word puzzles and brushing circles) and… | ||
| Cuphead - Creating Djimmi the Great | Jake Clark | 58m |
Walks through designing Djimmi the Great for Cuphead from sketch to shipped boss: concept sketches, reference study, then traditional ink and watercolor… | ||
| 3 Steps for Founding a Successful Indie Studio | Gwen Frey | 01h 03m |
Three concrete playbooks: three steps: AAA job, layoff, Kickstarter (used to launch The Flame in the Flood), or work full‑time unpaid with a six‑person team… | ||
| Delightful Dilemmas: Writing For Choice-Based Narratives | Charlene Putney | 56m |
Practical, example-rich session on making choice-driven story moments: starts with warmup techniques like morning pages and breathing, then gives prompt tricks… | ||
| The Process of Creating an Experimental Commercial Indie Game | Johnnemann Nordhagen | 56m |
Build is a commercial indie narrative game called Where the Water Tastes Like Wine with a 3D overworld, 2D branching conversation vignettes, and about 200,000… | ||
| Accessibility Panel | Felicia Prehn, Barrie Ellis | 50m |
Claims that accessibility is niche, expensive or ruins games get rebutted with concrete examples and numbers: subtitles benefit everyone, about 13% of males… | ||
| nothing matches | ||