“What narrative structure do we see in games? Honestly, not as much as you’d expect… Games don’t yet have established formal constructs like chapters or poetic metre.”
I wonder if I and my heterosexual feminist principles are a blocker for good business decisions.
There’s a definite drive towards narrative excellence in our industry, but it’s the stories that have faith in their players’ intelligence – the stories that want you to connect the dots, rather than rendering gorgeous and definitive dots for you – that really lead the pack.
Nuka-World. It’s a bit like being an ocean tuna transported to a very nice aquarium. It’s chock-full of specially constructed tuna-tainment, but the coral’s all plastic.
It is a truth universally acknowledged that a gamer in possession of even a few RPGs, visual novels or Nintendo titles is likely in love with Japan.
“An army, great in space, may offer opposition in a brief span of time. One man, brief in space, must spread his opposition across a period of many years if he is to have a chance of succeeding.”
Much of human psychology is about control.
This is an ode to organic indie streaming strategies. I’m confident Shakespeare will forgive me for the title.
We should stop expecting companies to look after us like friends and family would, because they consistently prove that they won’t.
[ I wrote the article below for Wireframe, a British game dev magazine which ‘lifts the lid on video games’. And, inexplicably, lets me have a monthly column. This one’s from Issue #5, in January 2019. ] Following the last, wheezy gasps of 2018, I’ve been thinking about endings. Fewer players seem to ‘finish’ titles […]