It's clear that narrative is an important part of video games and something that the audience deeply relates to. However, the strengths of interactive media are player participation, the ability to experience content in different ways on different playthroughs and the fact that the content is not static. It's time for narrative to deeply embrace these elements.
Nothing but common sense here, good review of some of the rules game designers should keep in mind when making video games. One of the most important and currently crucial is that F2P is not a genre, it's a business model. When business model directs creativity we end up with crappy but unfortunately commercially succesful games.
"Progression is an important part of a game's design and its purpose is to keep people motivated to continue playing. Each genre handles progression differently, for example beating a map in a strategy game or achieving positive growth in a city builder. There are two categories of progression: player based and game based. Player based is the player improving at the title while game based is the designer providing hooks to keep the player invested. For this post, we're going to ignore player based as I want to focus on the ways designers can keep someone playing."
So, this is an exciting flip here — the storyteller in today’s interview is none other than Funcom Montreal’s creative director, Craig Morrison. Surely by now you’ve heard of a not-so-little MMO called The Secret World? Anyway, he logged into the Giant Hallucinogenic MMO that is the terribleminds interview experience, and answered some question for us. Oh, and while you’re at it, check out this Gamasutra article where Craig talks about why MMO designers should be more concerned about the ‘why’ rather than the ‘what.’ Let the interview commence.
Can you deliver both choice and a character art that has depth and meaning in the same game? Alexander M. Freed, formerly of BioWare, explores the possibility space, drawing from examples from existing games and adding in his own ideas.
FTL: Faster Than Light developers Matthew Davis and Justin Ma didn't bother with a design document -- after all, they expected it to be a three-month side project. But when development got serious, they had to adjust.
VentureBeat Quick-time events are holding back the development of video game storytelling VentureBeat Ned breaks down the quick-time event to show its true purpose: a method for developers to shoehorn in actions that the core gameplay can't handle.
When freelancers Leigh Alexander and Quintin Smith strike up a correspondence, they aim to analyze games in the context of their own lives. Which means talk of babysitting, electronic music and Braid-creator Jonathan Blow.
Below, they take on the adventure game genre.
Florent de Grissac's insight:
Funny conversation, which leads me to ponder things around about adventure games' design, because yes, I'm from those who just loved them without thinking farther. Thinking farther about the design quality of those games is not really pleasant because Quintin is right about it, they are not that good. At all. But yet, As Leigh points out, their flaws don't mean they have to be considered junk. They still made us travel, laugh, ... and the frustration implied by their design hadn't prevented us to play and enjoy ourselves playing. So what? I still love adventure games, and I'm pretty sure contemporary game designers will find great ways to revive the genre with clever mechanics. Why in the world would I hope for that to happen? Because I love stories and dialogues :)
What is Nintendo really attempting to do with the Wii U? Ian Bogost, in the latest installment of Persuasive Games, searches for the meaning behind the dual-screen play of Nintendo's freshly-released console.
How did one sound designer create the expressive audio canvas which underlies Thatgamecompany's acclaimed indie title? Sony Santa Monica's Steve Johnson explains -- and presents isolated samples so you can listen to his work.