I think that’s kind of deceptive of wikipedia in the way it’s phrased, although technically correct. It’s the number of words in a single published manuscript, rather than the total words in the entire story. As most books are still published on paper, there’s a limit to how many words you would want to put in a paper book. It’d just get too large to carry around. What usually happens is they get broken up into sequels instead. You’ll notice one of them says it’s a single novel in “ten parts published over a few years.” Not sure how that differs from your standard series (like wheel of time for example) where the books obviously continue straight on from where the previous book left off as part of the same story.
What about the books that are mass produced in a single setting? The definition of what is and isn’t something is troubling.
For example, Eric Flint has 20 separate “novels” published, all focused on the same group of characters and their story over a five year period. And that is not even including separate short stories, chronicles and officially adopted fan fiction.
A twenty-year period is still growing strong and is spawning spin-offs and collaborations …
I wish I could accomplish this
Actually, I was wondering about that, and so checked the History and Talk pages. Apparently Wheel of Time, together with Song of Ice and Fire and Harry Potter were on the page at an earlier date, but were then removed, although the Talk page did seem to say that both of the first two should be legitimate entries. (Harry Potter being considered more a series of connected standalones than a multi-volume story.)
Yeah it’s odd. Like there’s another one there that seems to be pooled from years worth of penny dreadful stories.
The only think that seems to count for this list at least, is they’re the same publisher and published as “one book”. So if you published something as My story volume 1, 2, 3. It’d get counted as 1 book. But if you published as My story book 1: the early years, My story book 2: school years, My story book 3: Working life. It’d then get classed as 3 different books. I could have it wrong, but it kind of seems to be splitting hairs that way.
is this a COG -only list? because I don’t see Tin Star at no.1.
Most of XoR’s design decisions boil down to “I wrote what I like to read.” That ended up being a story that at almost every point either offers space to explore or is rolling out consequences linked in some detail to your earlier decisions. It ended up coding-inefficient, following story threads I found interesting into sections that few readers will ever see (even for the bits that have achievements pointing the way – and not all of them do). It ended up being, well, LOOOONG.
Rebels would I think have to gross close to $200,000 before I made California minimum wage for the time I put into it. There’s simply no business justification for writing a game like this. It’s a game I wrote (and am writing) first and last for the creative pleasure of it. And of course, it still attracts the “Why can’t it be FREEEEEEEE???” one-star reviews.
I recognize I’m contributing to the problem of expectation inflation that Jason memorably mentioned to Cataphrak three and a half years ago:
and for that I feel kind of bad. But I have good company in Choice of the Cat and Tally Ho! at least.
That was a great post by Jason. I’ve never been so pleased to essentially be called an idiot in my life.
Okay I spoke out of turn without running the numbers. Yes, I have earned better than minimum wage for CCH1, but not exceedingly so. Of course as with all other games, the per hour calculation keeps improving over time.
However, I would think if someone could consistently (meaning over the course of at least 3-5 years) earn $20/hour writing these, they would be a superstar.
Maybe instead of “Choice of Games Author,” you, me, and Cataphrak should have “Idiot Who Will Help CoG Prosper” next to our forum handles.
What is this “Tally Ho” you’re working on @Gower? Will my itch for choice game political comedy in the vein of “Yes (Prime) Minister” finally be scratched?
Gotta allow us to build our mc’s and our hopes up, before you snatch it all away and slam us down hard, eh?
Tin Star, @AllenGies 's epic work is quite lengthy too though I don’t know its exact word-count.
@ParrotWatcher how does Totem Force compare for length at this point by the way?
And here I was thinking you were writing it to fill swimming pools with coffee. Coming soon to Nepal: the world’s newest exclusive celebrity retreat Havenstone’s coffee pool. “Just a tiny dip you’ll feel more energized then an energizer bunny powered by an antimatter reactor on overload with a relaxing view that will make you feel like you’re touching the heavens!”
I fear your itch will have to remain unscratched for a bit longer. It is a rollicking comedy in the style of P.G. Wodehouse, in which you play a lady’s maid/gentleman’s gentleman and solve everyone’s ridiculous problems while offering polished and elegant service. There is a fox hunt, a boat race, and a picnic, but probably not the sort of parliamentary antics you require.
Almost 210k at this point, counting command lines. I assume that’s how we’re supposed to count them, although CSIDE does have a feature for word count without command lines…
Either way, I’m still a long way behind Tin Star…
I’d be remiss if I didn’t take the opportunity to rain on everyone’s word count parades. How many of these games (in particular Hosted Games of extreme length) are efficiently coded such that text isn’t repeated several times?
I can only speak for games I’ve reviewed myself or edited myself in terms of word count efficiency, but I do think it’s notable that it’s a criterion in the Choice of Games contest. Namely, if you turn in a 100,000 word game and didn’t use *gosub but repeated the same 50 words five times…I’m going to find it difficult to score that game well in efficiency.
Length of game influences buying?
Uh, I don’t think I’ve used *gosub once in 4 years.
I might want to look into that…eventually.
You just repeat text? I mean, I suppose there’s a universe in which a game has no repeated text, or is written in such a way that only *goto is needed.
Eh, I mostly use *goto, although I’m certainly guilty of repeating some. I guess I’m saying I still have no idea what I’m doing on the coding side. Yay.
Someone teach me how to do *gosub proper. This is going to be hell otherwise.
EDIT: I checked the tutorial for it again… and this is not going to work with my asperger’s >_> halp
EDIT 2: I shall just substract 25% of the wordcount without code. That should do it
I did used to repeat it but when @Fiogan edited the UnNatural update they pointed out places that were repeated and could be coded cleaner by using *gosub and coding using *if to have a similar passage with slight variations.
It is also something I’m getting practice with for my nano project so I can do it even better with unnatural reason two.
I like to think of my repeated text as the refrain in the song of my lucid prose. It serves an aesthetic function.
If you still need help, basically, this is what to do:
*label whatever This is where you put the text for the gosub. You can put pretty much anything here, including *ifs and *choices. You end the block with a "*return" statement: *return
Then, whenever you want that piece of code/text to come up within the same scene, just use
*gosub whatever to call it, and continue after the call as normal, e.g.
Stuff before the gosub. *gosub whatever Stuff after the gosub.
Note: if you want to call the subroutine from a different scene, use
*gosub_scene instead, where the call will be:
Stuff before the gosub. *gosub_scene filename whatever Stuff after the gosub.
filename.txt is the filename of the scene with the subroutine in it.
Is that any help?