Ludus Novus

Jim Sterling over at Destructoid wrote a post the other day claiming that linear games provide pacing and structure that nonlinear “sandbox” games do not:

Indeed, if every game was a huge open world, you would soon find yourself growing bored, or at least overwhelmed as you struggle to find time in the day to explore sandbox after sandbox. After hours spent in the hustle and bustle of Liberty City or Tamriel, a game with clearer focus and a set beginning, middle and end can be just what the doctor ordered, providing some experiences that total freedom just can’t manage.

Sterling’s got a point: open games that allow for actual player agency over the path of the plot do tend to have inferior pacing and emotional impact when compared to games with a linear plot. However, Sterling falls into a common trap when it comes to game design: just because they tend to be inferior doesn’t mean they can’t manage to provide that pacing. Game designers just don’t pay enough attention to it. More after the jump.

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In Episode 5, I discussed the difference between short form and long form video games and interactive fiction. I compared certain games to short stories and novels, but I didn’t discuss the third well-known form of artistic writing: poetry. A poem is a work of language where the properties of the language itself — rhythm, sound, and imagery — are as important (or more important) than the words’ literal meaning and the narrative content of the work.

When I think of “poetic” games, where the form is as important as the content, I think of Tetris. Tetris is a game with a very simple narrative: pieces are falling, and must be organized or else the game ends. The story isn’t very important. What stands out about Tetris is its feeling and gameplay: the imagery and form of the game. The excitement of the race against time, the satisfaction of clearing a row, and the imagery of building a wall and tearing one down, where any hole is a flaw.

“Phyta,” by Abraham Parangi, is a poetic game.

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The Independent Gaming Source recently finished the submission period for their Procedural Generation Competition. Contestants had about a month to begin and complete a game that created content on the fly, allowing players a different experience each time they played the game. Voting should start soon, but before then, I thought I’d highlight a few of the submissions (all free downloads or web games, of course). Click through to see a list of games I think you should check out, as well as a list of the awesomest game titles.

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In this podcast, I discuss the player-author contract. An interactive work sets up a trust between the player and the work’s author. This takes the form of a contract which, when violated, can cause the player to reject the work.

The Player-Author Contract
1. The work can be played by the player.
   • Violated by games which are unexpectedly incompatible with the player’s system.
2. The entire work can be played by the player.
   • Violated by “game-breaking” bugs as in Battletoads and Pac-Man
3. Through playing the work, the player can affect the progression of the work.
   • Subverted by “Rameses“
4. The events in the work are governed by a set of rules.
   • Violated by some Choose Your Own Adventure games
5. The rules of the work do not change without warning.
   • Subverted by Karoshi 2.0
6. Any player failure can be avoided by player actions.
   • Violated by really hard games.
   • Subverted by I Wanna Be The Guy and similar games and custom levels.
7. The author provides some goal that the player can pursue.
• Violated or subverted by Noctis.
8. The player can evaluate progress toward a provided goal.
   • Let me know if you know a game that violates or subverts this!

Also see Without a Goal: On open and expressive games by Jesper Juul.

The music for this episode is “Broken (DURDEN version)” by DURDEN and featuring Trifonic & Amelia June, and is available under a Creative Commons Attribution-NonCommercial 3.0 license.

 

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A few weeks ago, Jesse Venbrux, creator of the previously-discussed Karoshi games, released a short interactive piece called “Execution.” Not really a game, “Execution” is a quick subversion of what video games typically are and a subtle comment on the thing that the form is currently obsessed with: killing.

The impact of the game will be stronger if you play it at least twice before clicking through to the rest of the discussion. It should take you about five minutes. I’ll wait.

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Found via Rock, Paper, Shotgun, Bill Harris writes a post about that racism-referencing Resident Evil 5 trailer, as recently pointed out by a much-demonized man named N’Gai Croal. I think Harris is right when he says that the trailer is racist, but that its creators probably aren’t.

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Joakim Sandberg has just released Noitu Love 2: Devolution and I highly recommend you check it out. You can pick up the demo for free, but it’s worth the $20 for the full version. It’s the answer to a single burning question: what would happen if you made a platformer that properly incorporated both mouse and keyboard? It gives three perfect answers. Click through for the discussion and minor spoilers.

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No sooner do I post about constraint in games than Shamus Young over at Twenty Sided contradicts me. Continue Reading »

Earlier this week I played a game called Yume Nikki (or Dream Diary, apparently) by Kikiyama. A post on the IndieGames.com blog turned me on to it; you can get an English translation (with complicated installation) there. The game is about a girl who refuses to leave her room and her journeys through creepy and labyrinthine dreams. The game is one of the most open and goal-less games I’ve played in a while, and it brings up some questions on the nature of goals in games.
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I just finished Karoshi 2.0 by Jesse Venbrux. It’s the sequel to the game Karoshi, which I discussed in Episode 009. It’s interesting what choices Venbrux took with this sequel; the original had gameplay centered around pushing boxes and touching switches, with rules that were generally understood by the player ahead of time. The sequel, however, is much more metatextual.
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