![]() ![]() Morelle, a long-time contributor from Chile.Īs a completely volunteer-run project, the fact that Wesnoth has survived for over 13 years and still boasts an active community of developers is impressive, knowing how much the gaming landscape has changed over that time. “I wanted to contribute back to the project as a way to thank the devs for the time and effort they had invested in such a wonderful game, as well as to implement some of the things our community wanted that other devs didn’t have the time to work on,” says Ignacio R. Since then the game has grown into a polished, complex beast with 16 official single-player campaigns that have been translated into about 50 languages, charming artwork and an abundance of fan-made content. A few weeks later, a new release went online, packing improved artwork by Francisco Munoz, a Mathematics student from Spain, who became the first of many collaborators that spilled onto the scene shortly after. While making quality products according to this model might sound utopian, there is at least one game out there that has proved this is possible.īattle for Wesnoth got its first release in June of 2003, after David White spent two weekends making the turn-based, hex-grid strategy game set in a high-fantasy world with two playable factions: elves and orcs. Their relative obscurity hides a game-making model that is completely unique in how it blurs the line between playing a game and developing it, fosters long-lasting communities and does it all without a lick of profit in the crosshairs. This niche is rarely discussed in mainstream media as many of these games are rudimentary code-sketches, with art and gameplay light-years behind their commercial counterparts. The one part of gaming that can lay claim to true, untarnished ‘freeness’ is the open-source world, where other incentives besides profit drive creativity. Haunting stories of shady tracking and flat-out player manipulation by Freemium game companies and accounts of people obsessively spending inordinate amounts in virtual marketplaces designed to feed off the easily-hooked have done a good job of filling in the picture of how these games twist the meaning of ‘free’ to still fit their monetization strategies. Visit them at ’s funny how the word ‘free’ has become almost pejorative when it comes to gaming. Our music is sampled from Return to Wesnoth by Matthias Westlund (aka West), licensed under CC BY-SA 4.0, part of The Battle for Wesnoth Project. Our character art by Del Borovic and the map we refer to (by me!) can be found here. The family tree is below if you’re interested in double-checking your comprehension, too. ![]() Sometimes you just can’t beat a visual aid. When it became clear that the players were still not getting it, not even after Terwaen called Tric her brother, that’s when I decided a diagram was necessary. Still, I thought some of the license Mhaev took with Terwaen might tip them off. The secret benefitted from the fact that the relationship between Terwaen and Mhaev is somewhat chilly. Going into this family dinner, I was not sure at what point the players would figure out that Terwaen was Tric’s half-sister. Afterwards, the younger attendants use everything they have learned to draw up Tric’s family tree. The dinner with Mhaev and Terwaen goes about as smoothly as can be expected. Subscribe: Google Play | Spotify | Stitcher | iTunes Download file | Play in new window | Duration: 52:16 ![]()
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