Category Archives: Games Design & Art

Week 4 – The History of Indie

A) Choose one of the indie designers / developers and outline why there work and approach is of interest to you.

Garry Newman, the founder, the main overseer and a programmer for the company ‘FacePunch Studios’. Garry created the widely known company ‘FacePunch Studios’ in 2004 on his own, however over the years the company has expanded to hold 43 employees in total. The company is notorious for producing games such as ‘Garry’s Mod’ and ‘rust’ as well as a few other lesser known titles. Rust which has been developed since 2012,  for instance was announced to have made the company $30,000,000 by 2014, only in 2 years, according to Garry Newman over Twitter, which had surpassed Garry’s Mod, which had been in development since 2004 ( Emanuel Maiberg, 2014) . Rust is the most successful game developed by Garry and his team, and here’s why:

(Source: https://www.myblackboxhosting.com/wp-content/uploads/2017/01/rust-1.png)

If we take ‘Rust’ as an example, their approach to game design is open. By this, i am referring to their interactions with their fanbase and community. The developers post weekly Dev Blog Updates, look at concept art created by fans (as well as producing their own) , and host Q&A sessions to try and get as much feedback from the audience as possible. This in my opinion has made the game incredibly successful as it has the influence of its players and additionally it keeps gamers informed, which keeps the fanbase interested in the game. The same techniques have been used for other games produced by the company, where so blogs are available to inform the fanbases.

(source: https://i.ytimg.com/vi/C5GYZoTGEUg/maxresdefault.jpg)

Additionally i could mention how the games themselves are competitive (in ‘Rust’s case) or imaginative and creative (such as with Garry’s Mod) which spurs people to carry on playing. However despite the games themselves, i believe that the constant updates the games get and the studios interaction with players, as well as “letting players test new features before they’re added to the main game” (Alex Wawro, 2014), is what truly makes the games they produce and their approach so significantly unique, interesting and successful.

 

(321 Words)

 

B)  What do you think could be the most exciting indie projects that are in development

(Source: http://www.craveonline.com/assets/uploads/2017/06/The-Last-Night-Controversy-Tim-Soret.jpg)

In my opinion, one of the most exciting indie projects in development is ‘The Last Night’ which is being developed by Odd Tales. The game is a cinematic platformer set in a cyberpunk themed world. To me, what makes the game interesting is the that the developers have “combined both 2D and 3D techniques” (IcyEyes, 2017) , which in this case formed the foundation for a “2.5D cyberpunk sidescroller” (Tom Marks, 2017). 2.5D in games means that the layout in the game is similar to that of traditional 2D games, with the addition of 3D elements such as layering. For instance within The Last Night the trailer shows the player moving along a 2D axis but objects and people around the protagonist move within the background and foreground giving  the perception of a 3D game.

(Source: http://oddtales.net/img/TheLastNight_04.jpg)

Additionally, the games mood lighting and cinematic effects add to the overall aesthetic and environment to the game, which looks promising in my opinion. The Trailer released this year, showing off in game footage, suggest the game should hopefully be driven more dominantly through an interesting and dynamic story, within an advanced, futuristic, cyberpunk landscape. Therefore for both the reasons of: lighting, story, and the fact its a 2.5D platformer, i personally am exited to see the completion of this indie project.

(213 Words)

 

 

 

References:

https://wwww.facepunch.com/#team

https://gmod.facepunch.com/blog/

https://rust.facepunch.com

https://rust.facepunch.com/blog/devblog-186/https://garry.tv

http://oddtales.net

Bibliography

Emanuel Maiberg, (2014),Rust already made more than Garry’s Mod’s $30 million. [Online] Available from: https://www.gamespot.com/articles/rust-already-made-more-than-garry-s-mod-s-30-million/1100-6417907/ [Accessed 21 November]

Alex Wawro, (2014) The developers who made Rust are rebuilding it from scratch. [Online] Available from: https://www.gamasutra.com/view/news/219776/The_developers_who_made_Rust_are_rebuilding_it_from_scratch.php [Accessed 21 November]IcyEyes, (2017) 2.5D. [Online] Available from: https://www.giantbomb.com/25d/3015-660/ [Accessed 21 November]

Tom Marks, (2017) Take a first look at gameplay from cyberpunk sidescroller The Last Night. [Online] Available from: http://www.pcgamer.com/take-a-first-look-at-gameplay-from-cyberpunk-sidescroller-the-last-night/ [Accessed 21 November]

Nathan Grayson, (2017) Rust Designer Explains The Game’s $5.7 Million In Refunds. [Online] Available from: https://www.kotaku.com.au/2017/06/rust-designer-explains-the-games-5-7-million-in-refunds/ [Accessed 21 November]

Human Computer Interaction

A) select one game of your interest and explain why does it have a good/bad game UI

The highly anticipated release of driving simulator Gran Turismo for the PS4 delivers a stunning user interface experience. The interface used is sleek and intricate but at the same time allows players to navigate through the vast modes easily and understand different aspects of the game. The UI is constantly helping players to become better not just in the meus but on the track. Hints and tips are constant but not annoying and car information is clear as well as allowing you to focus on driving. The information when driving can be complex at first however once you know each icon they become pivotal in helping you win races. In addition, settings can be turned off for a more immersive experience, but the UI is so minimalistic that you won’t want it off. The beauty of this game comes in the sleekness of the user interface.

B) discuss how technology augments human abilities. Reflect upon the implications of the future of HCI.

There are many advantages to HCI that have vastly improved human quality of life, one of these major advances is in medicine. One of the main developments helping doctors is in the technology used. These developments have helped patients be diagnosed faster and treated better. These advancements mean that many lives have been saved all over the world through the spread of this equipment. Overall quality of life has been improved by the advancements of HCI which helps to save lives. Technology plays an important role in every industry as well as in our personal lives. Out of all the industries that technology plays a crucial role in, healthcare is one of the most important.

One benefit of integrating HCI into medical profession is that it improves people’s quality of life. Medical technologies such as better monitoring systems, and more comfortable scanning equipment are allowing patients to spend less time in recovery and more time enjoying a healthy life. Using technology in medical research, scientists have been able to examine diseases on a cellular level and produce antibodies against them. These vaccines against life-threatening diseases like malaria, polio, MMR, and more prevent the spread of disease and save thousands of lives all around the globe. In fact, the World Health Organization estimates that vaccines save about 3 million lives per year, and prevent millions of others from contracting deadly viruses and diseases.

Furthermore, the use of HCI has also introduced us to robotic, where in some cases, physicians do not even need to be in the operating room with a patient when the surgery is performed. Instead, surgeons can operate in another room, and patients can have the procedure done in a hospital or clinic, eliminating the hassles and stress of health-related travel. With other robotic surgeries, the surgeon is still in the room, operating the robotic devices, but the technology allows for a minimally-invasive procedure that leaves patients with less scarring and significantly less recovery time.

Sources

http://www.pushsquare.com/reviews/ps4/gran_turismo_sport

https://www.driving.co.uk/news/products/gran-turismo-sport-game-review/

https://www.youtube.com/watch?v=bUyROK4joLw

http://www.healthcarebusinesstech.com/medical-technology/

https://healthinformatics.uic.edu/resources/articles/5-ways-technology-is-improving-health/

https://online.king.edu/healthcare/digitizing-healthcare-how-technology-is-improving-medical-care/

References

Lebowitz, J. (2011). Interactive Storytelling for Video Games.

 

History Of Indie

A) Choose one of the indie designers / developers and outline why there work and approach is of interest to you.

Jonathan Blow is a massive inspiration for me not just as an indie developer but also as a person. Blow is honest about the video game industry and makes great points about the society we live in today. Jonathan Blow is an American indie developer and programmer who is best known as the creator of the independent video games Braid (2008) and The Witness (2016), both of which released to critical acclaim. Being an indie developer is an increasingly difficult task especially when you are competing with large companies producing AAA titles. Blow has spoken many times about his views on independent video games both in interviews and in public speeches, although he has said on his blog that he has got what he wanted out of conferences from speaking at them. For his sometimes-controversial views, he has received praise, notably being called “the kind of righteous rebel video games need” and “a spiritual seeker, questing after truth in an as-yet-uncharted realm. Jonathan often speaks of the potential for games to be more. He has said that he tries to make games that are more adult for people with longer attention spans and noted that games could have a “much bigger role” in culture in the future but current game development does not address this potential, instead aiming for low-risk, high-profit titles Blow has spoken out against some games for immoral game design. On Farmville, he has said that the design of the game reveals the developers’ goal to degrade the quality of players’ lives, ultimately calling it “inherently evil.” He approaches his games using critical thinking and he is always trying to innovate to bring games to the next level. This kind of think resonates with me and works as inspiration towards my work.

B) What do you think could be the most exciting indie projects that are in development

One of the most exiting indie games currently in development is called Praey for the Gods. After an initial name change due to a clash with Bethesda’s Prey this looks to be a very promising project. It’s an action-adventure survival game being developed by No Matter Studios. Heavily influenced by eth latest Zelda title it gives players a realistic survival experience. Survive the harsh winter, slay some giant gods. It has a new climbing system that lets you grappling-hook to any rock surface and climb. The story seems very similar to that of Horizon Zero Dawn. The character will start off her journey on a frozen island without any equipment whatsoever, wherein she must find items, to survive dynamically generated weather, and climb onto massive bosses to defeat them. Players will track giants on the island and look to climb to defeat them, and use weapons they find on the island to approach these giants howsoever they choose. The game has an exhaustion system. Everything the player does will affect the level of exhaustion. To illustrate, the player will walk slower in deep snow, and to spend too long or to run too fast will affect those levels. Said element will likewise slow down the player to the point where it is easier for the in-game giants can catch up. Furthermore, dodging and sprinting can help to avoid attacks but will also wear on the exhaustion system. One such way that a player can resolve this quandary of exhaustion is by resting. When the player is exhausted their hunger, cold, and stamina states will lower. Locating campfires can help to refill their health, and exhaustion.

Sources

http://time.com/4355763/the-witness-jonathan-blow-interview/

https://www.theguardian.com/technology/2016/jan/27/jonathan-blow-designer-video-games-braid-the-witness

http://www.pcgamer.com/jonathan-blow-interview-social-game-designers-goal-is-to-degrade-the-players-quality-of-life/

http://www.pcgamer.com/action-survival-game-praey-for-the-gods-adds-breath-of-the-wild-style-climbing/

References

Lebowitz, J. (2011). Interactive Storytelling for Video Games.

Skill, Stamina & Luck – Interactive Narrative

 A) select one example to outline the key concepts of the interactive narrative genre?

An Interactive narrative is a form of digital interactive experience in which users create or influence a dramatic storyline through their actions. From a narrative perspective, The Last of Us is perhaps the most realistic story we have ever been told. The focus is of the narrative is entirely on the main characters of Joel and Ellie and how they develop over the course of the game. One key concept in the interactive narrative genre is symbolism. The last of us uses symbolism throughout to foreshadow events or tell us about different characters or locations. Joel’s broken watch, for instance, representing his lost past and the fact that he has never been able to move on. Another character holds a toy robot as he ponders philosophically over the consciousness of zombies. Gameplay is another key concept that the last of us takes full advantage of. When the game wants us to feel distant and disconnected from a character we have grown close to, it physically shifts our viewpoint to another character. When it wants us to feel conflicted, it forces us to do things we don’t want to do. For all its cinematic presentation, The Last of Us is so compelling because it knows it’s a game, and it takes full advantage of the medium. Combat in The Last of Us is stealth-oriented, but almost inevitably turns sloppy. Ammo is sparse, and things can get brutal all too quickly. What’s great about this system is that it really puts the player into the mindset of the character, especially on the higher difficulties. Sneaking around is tense. Head-on combat is messy and violent, and you never feel like you have everything you need to get the job done. Scavenging for supplies becomes as much a necessity for the player as it does for Joel and Ellie. There’s a constant feeling of desperation.

B) does the interactive narrative still have a role to play in video games today. Give exemplary examples?

Interactive narrative still plays a huge part in video games today. One example within video games is South Park The Stick of Truth. The Stick of Truth enables players to do whatever they want within the south park universe. It’s a giant South Park sandbox game. In this game players will take on the role as the new kid, a silent protagonist of the players own design, as they try to win back the Stick of Truth from Clyde and his horde of Twilight fans. This game is completely self-aware meaning that it knows what it is. Self-deprecation is amazing for this game because no other game could do it the way south park does. Its satirical attitude towards its own storyline is hilarious and shows off its interactive narrative by enabling players to do whatever they like. Interact with most of your favourite characters for hilarious results. Customization is also very strong in this game. There are thousands of possibilities for character creation in this game. In addition, players can also take advantage of their surroundings to solve puzzles, make pathways, or even knockout enemies before they get to you. The open world of south park is phenomenal and really makes you feel as though you are in one giant episode.

 

Sources

http://www.bbc.co.uk/programmes/b071h083

http://gdcvault.com/play/1021862/Classic-Game-Postmortem

https://www.pcmag.com/feature/317795/the-top-10-interactive-games-for-story-lovers

https://www.gamasutra.com/blogs/ThomasGrip/20130819/198596/5_Core_Elements_Of_Interactive_Storytelling.php

References

Lebowitz, J. (2011). Interactive Storytelling for Video Games.

 

Games & Design 101 – Bauhaus – 21st Century Games via Modernism

What are the key components of Post Modernism ?

The dictionary describes post modernism as a “late 20th-century style and concept in the arts, architecture, and criticism, which represents a departure from modernism and is characterized by the self-conscious use of earlier styles and conventions, a mixing of different artistic styles and media, and a general distrust of theories” The term was first used around 1970. Postmodernism is difficult to define because there is no one theory or idea behind the work. It embraces many different approaches to art making, and many day began with pop art in the 1960s and to embrace much of what followed including conceptual art, neo-expressionism, feminist art. Postmodernism was a reaction against modernism. Modernism was generally based on idealism and a Utopian vision of human life and society and a belief in progress. It assumed that certain ultimate universal principles or truths such as those formulated by religion or science could be used to understand or explain reality.

Roy Lichenstein – Whaam!

Whaam! is based on an image from All American Men of War published by DC comics in 1962. Throughout the 1960s, Lichtenstein frequently drew on commercial art sources such as comic images or advertisements, attracted by the way highly emotional subject matter could be depicted using detached techniques. Transferring this to a painting context, Lichtenstein could present powerfully charged scenes in an impersonal manner, leaving the viewer to decipher meanings for themselves.

What games do you think exemplify this in there design decisions ?

Metal Gear Solid 2 is an example of postmodernism in video game culture using hyperreality and by subverting player expectations in an increasingly over-the-top way. These subversions begin with the game’s marketing within the context of its release. The initial trailers marketed Metal Gear Solid 2 as an epic continuation of Solid Snake’s adventure. That is, until Snake apparently died in the opening. Players take control of Raiden, an often whiny operative, with extensive experience in virtual reality missions but no actual experience in the field of combat. Kojima knew that fans would be infuriated at the realization that they would be controlling the unlikable Raiden for the rest of the game, and deliberately designed the opening sequences of his mission poorly.  Raiden’s mission was consistently interrupted by long-winded, unnecessary tutorials.

Raiden was trained as a soldier through virtual reality, playing through simulations of Snake’s previous missions, each of them “indistinguishable from the real thing”. In context, Raiden represents geek culture, he believes that he is qualified for his mission because he played as Snake in combat simulations, lending him a strange inability to grasp the increasingly surreal nature of his adventure. In a closing monologue, Snake asks the player to embrace subjectivity and disregard the search for an objective reality.

Sources

http://www.tate.org.uk/art/art-terms/p/postmodernism

http://www.theartstory.org/definition-postmodernism.htm

https://study.com/academy/lesson/post-modernism-art-definition-theory-characteristics.html

http://tvtropes.org/pmwiki/posts.php?discussion=13312484700A52189400&page=0

http://screwattack.roosterteeth.com/post/51230202

http://www.eurogamer.net/articles/2015-08-16-metal-gear-solid-2-the-first-postmodern-video-game

References

Lebowitz, J. (2011). Interactive Storytelling for Video Games.

Artificial Intelligence

  1. A) Behavioural modelling is an important part of NPC development for games. Should emotive modelling be part of that development?

It all depends. Considering the level of emotive modelling technology and how this is still a field being worked on, lets presume it’s at its fullest potential. With NPC characters in game walking about freely, once the game is opened, doing as they wish. Learning new processes, understanding the other NPC’s and judging the player for who they really are.

One look at the Sims franchise and it is obvious to concur that advanced AI is something attractive to a large population, with over 200 million copies sold up to 2016. (The Strong, 2016) So why would emotive modelling not integrate into this game system? Well a NPC, after watching the player’s family go under days and days of torture in the swimming pool or trapped within a box, then seeing death show up, could have a serious effect on this NPC’s ‘human like’ emotive modelling.

(wikiHow, n.d.)

When talking about advanced AI and how intelligent it could be, it is always compared to human intelligence and emotion. Place emotive modelling within Call of Duty 4 campaign. Modern Warfare, the first level is played for the first time and these AI can be their learning process. Of course, there will be a number which meet their demise sooner than others in a linear campaign yet if the player is killed and must load from a saved location, what happens to the now intelligent AI? It then raises the morality question in how advanced AI can be used and where it stands.

Although these are extreme instances, I still feel that with emotive modelling would come the process of learning, and if it is okay to shut down and restart this AI and its own ‘life’, then maybe it can be used.


  1. B) Consider your favourite video game. If it contains AI controlled agents how individualistic are they and their behaviours, and, how might you set about improving them?

My favourite video game that comes to mind is Skyrim, hugely because of the open world and the freedom what feels like has been given to many AI in that game. But now I have been posed with the question I cannot help to instantly find faults with how individualistic they are. It’s not just the individualistic qualities that stand out as poor AI, but the level of ‘intelligence’ seemingly in these NPCs.

(Anon., 2017)

Despite the previous question, this image expresses one of the key problems within Skyrim AI. No matter what you might do for a village, you might accidently pick up something from a cluttered table in front of a vender and become under siege. So, I’m thinking that including emotive modelling could be useful in this type of game. Where there is an equal amount of good and bad in the world.

There are groups and NPCs which will remember the player character and their actions, but this is to do with the pre-programming and is obvious as to how genuine it feels. When performing sneaking attacks and moves, although the game has so much lore, the responses from the AI verbally are generically the same and so can become boring and similar. This also applies to friendly AI.

(GreaterThanGaming, 2013)

I would say that the best way to improve on the AI in Skyrim would be to increase the memory, or simply give them memory in the first place. And in the case of the image above, something that does happen in the game; make sure that enemy AI are experienced in their chosen profession, to at least know an arrow in the face means you haven’t imagined anything.


References

http://iieng.org/images/proceedings_pdf/3408E0314005.pdf

http://ieeexplore.ieee.org/abstract/document/5286500/?reload=true

https://www.theguardian.com/technology/2016/oct/12/video-game-characters-emotional-ai-developers

https://www.gamespot.com/articles/the-sims-turns-10-tops-125-million-units/1100-6249485/

https://en.wikipedia.org/wiki/The_Sims#cite_note-2016_World_Video_Game_Hall_of_Fame_Inductees_Announced-1

https://en.wikipedia.org/wiki/Call_of_Duty_4:_Modern_Warfare

https://www.gamefaqs.com/boards/615805-the-elder-scrolls-v-skyrim/61787666

https://www.destructoid.com/blogs/greaterthangaming/most-overrated-skyrim-and-what-it-does-right–257741.phtml

Bibliography

Anon., 2017. 24+ Best Skyrim Memes That Will Make You ROFL. [Online] Available at: https://www.techlegends.in/best-skyrim-memes/ [Accessed 18 11 2017].

GreaterThanGaming, 2013. Most Overrated: Skyrim (and what it does right).. [Online] Available at: https://www.destructoid.com/blogs/greaterthangaming/most-overrated-skyrim-and-what-it-does-right–257741.phtml [Accessed 18 11 2017].

The Strong, 2016. 2016 World Video Game Hall of Fame Inductees Announced:. [Online] Available at: http://www.museumofplay.org/press/releases/2016/05/2688-2016-world-video-game-hall-fame-inductees-announced [Accessed 18 11 2017].

wikiHow, n.d. wikiHow to Kill Your Sims in Sims 3. [Online] Available at: https://www.wikihow.com/Kill-Your-Sims-in-Sims-3 [Accessed 18 11 2017].

 

 

 

 

Week 4 – The History of Indie

A) Choose one of the indie designers/developers and outline why their work and approach is of interest to you.

Jason Rohrer, an American game designer and writer, has so far developed eleven games; the twelfth coming soon. My reason for choosing to research this designer was by me coming across his sixth game, Sleep Is Death. This is a two-player storytelling game. The first player, the storyteller, “… build(s) a world using art they’ve drawn themselves or stock assets that came with the game…” and the second player, “…is the lead actor in an improvised stage-play the two parties are now going to put on together. The actor makes a decision, to speak to someone, hit someone, walk somewhere, or anything else they can imagine and type, and the storyteller then has to react by moving objects, drawing objects, deploying new music, and so on.” (Smith, 2016) Similar to last week’s questions on interactive narrative, the free-roam of story and imagination highly peaks my interest and classes this as a unique game for me. Rohrer likes to tap into the emotions and minds of his players; evoking everyday feelings and thoughts in cleverly, digital forms in order to aid player exploration into these everyday elements. His mindset and beliefs go against the large game companies for they produce “soulless” games and this is clearly evident in his emotionally-artistic and philosophical games. I do love outstanding graphics and intense game-play that a lot of big games have, but a good story-line is key in a game being considered a great game. This also means that games, as wonderfully demonstrated and proven by Rohrer, do not need outstanding graphics and intense game-play – brilliant designers like Rohrer are able to make people like me deeply appreciate games like Sleep Is Death or Passage as he solidifies the connection between game and player. In SID, there is nothing more connection-inducing as a game world and story created between two people and that is one beautiful aspect of the mind of Rohrer.

Richard Foulser, 2008

B) Discuss an application/example of the indie game concept outside of what we consider the traditional video games industry.

One example that clearly breaks indie games away from the traditional video games industry is its ability to allow designers and artists a platform to express themselves and produce games, without having to be a part of/sponsored by big game companies. Statistics have shown that 2017 has been a big year in indie game releases, that being 6434 games released on Steam so far in 2017 compared to the 5033 game releases on Steam in 2016 (SteamSpy, 2017). With the stereotypical two/three person team, there is a greater amount of creative freedom as opposed to the hundreds, even thousands, of people working at Ubisoft, for example. This freedom allows for indie games and designers, such as ConcernedApe’s with “Stardew Valley” and 2D Boy’s with “World of Goo”, to produce unique, fun, creative and artistic games, with personal love and care poured into every detail. Similar (sort of) to parenthood, creating and birthing a game takes years of nurture, attention and patience and its this that divides it from the traditional video games industry. Indie games have the power to flow with the times and the ever-changing thoughts of their designers unlike the limited and stifled workings of big titled games. This break from the traditional industry does not go without saying it is a lot more difficult to gather a massive network of followers and recognition but the beauty beats that of which the traditional industry does not always possess: soul.

 

References

Galyonkin, S. (2017). GAMES RELEASED IN PREVIOUS MONTHS. [online] Steamspy.com. Available at: http://steamspy.com/year/ [Accessed 15 Nov. 2017].

Smith, G. (2016). Have You Played… Sleep Is Death?. [online] Rock Paper Shotgun. Available at: https://www.rockpapershotgun.com/2016/08/09/have-you-played-sleep-is-death/#more-385509 [Accessed 15 Nov. 2017].

Bibliographys

Fagone, J. (2008). The Video-Game Programmer Saving Our 21st-Century Souls. [online] Esquire. Available at: http://www.esquire.com/news-politics/a5303/future-of-video-game-design-1208/ [Accessed 15 Nov. 2017].

Galyonkin, S. (2017). GAMES RELEASED IN PREVIOUS MONTHS. [online] Steamspy.com. Available at: http://steamspy.com/year/ [Accessed 15 Nov. 2017].

Graft, K. (2016). Q&A: The state of the indie game industry from the view of an indie publisher. [online] Gamasutra.com. Available at: https://www.gamasutra.com/view/news/277942/QA_The_state_of_the_indie_game_industry_from_the_view_of_an_indie_publisher.php [Accessed 15 Nov. 2017].

Morris, A. (2017). How Indie Games Have Revitalized the Video Game Industry | Page 2 of 3 | AllBusiness.com. [online] AllBusiness.com. Available at: https://www.allbusiness.com/indie-games-video-game-industry-101485-1.html/2 [Accessed 15 Nov. 2017].

Rohrer, J. (2010). Sleep Is Death (Geisterfahrer). [online] Sleepisdeath.net. Available at: http://sleepisdeath.net/ [Accessed 15 Nov. 2017].

Rohrer, J. (2017). Jason Rohrer. [online] Hcsoftware.sourceforge.net. Available at: http://hcsoftware.sourceforge.net/jason-rohrer/ [Accessed 15 Nov. 2017].

Sinclair, B. (2017). A different kind of indiepocalypse. [online] GamesIndustry.biz. Available at: http://www.gamesindustry.biz/articles/2017-10-31-a-different-kind-of-indiepocalypse [Accessed 15 Nov. 2017].

Smith, G. (2016). Have You Played… Sleep Is Death?. [online] Rock Paper Shotgun. Available at: https://www.rockpapershotgun.com/2016/08/09/have-you-played-sleep-is-death/#more-385509 [Accessed 15 Nov. 2017].

Stuart, K. (2016). The digital apocalypse: how the games industry is rising again. [online] the Guardian. Available at: https://www.theguardian.com/technology/2016/may/17/video-game-industry-changing-virtual-studios [Accessed 15 Nov. 2017].

Worldofgoo.com. (2017). World of Goo. [online] Available at: https://worldofgoo.com/ [Accessed 15 Nov. 2017].

The Integrity of Indie

Why could you say that the “Indie” game scene is not a new thing? Has the term indie become meaningless?
Being only twenty-one years old, the term “indie” only entered my sphere of awareness when I was about ten, and it was being applied to music. I didn’t know what it meant, all I knew was that it felt edgy and a little exclusive. I carried that attitude with me when I discovered that the term “indie” was also applied to video games, and I started scarfing down titles like Super Meat Boy, Journey, and later, games like Oxenfree and Stardew Valley. It took time for me to learn the true meaning of indie in the gaming sense, which was actually about small, independent teams making (generally) low budget games. It no longer referred to the style or content of the game, but rather the way it was made.
It followed, therefore, that indie games were not a thing that popped up in the late 2000’s, but rather is a scene that has existed since the 1960’s, when video games first started being made.
Logically, this makes perfect sense. Before the games industry was an industry, it’s inherently misinformed to assume that vast teams and high budgets were being thrown at the creation of games. Spacewar! for example, was a game predominantly designed and programmed by Steve Russell, with help and in collaboration with only a handful of people in 1962. If, like me, you’ve never heard of the game Spacewar! before, a better example might be Asteroids. Created in 1979, it was designed by Lyle Rains, and programmed by Ed Logg and his co-worker Dominic Walsh while working at Atari. The game has been changed and adapted since, and now there’s barely a person on the planet who hasn’t at least heard of it, but at it’s core it was an indie game, designed by a select few for an ever-expanding market.

Now, bearing in mind that indie games have technically existed since the 1960’s, it’s worth re-examining whether the term “indie” has any real relevance or meaning today. Despite the industry now being massive and full of big-wig companies like Bethesda, Ubisoft, EA, and Naughty Dog, there are indie games being produced all the time. As I previously mentioned, Stardew Valley was designed by one individual, Eric Barone, and was initially just an experiment to build on his own game design skills, and has now become a game available on almost every platform imaginable.

Ori and the Blind Forest, whilst being published by Microsoft Studios, was developed by Moon Studios, a small team of developers. My opinion of these games is that they are both wonderful, immersive, well made pieces, that have stuck with me in ways that certain AAA titles never could. So I believe that the term “indie” is far from meaningless, in fact, indie designers and the indie games community should be nurtured so it can continue to thrive, in order to provide games to gamers that were not made because they had to be, but because their developers wanted them to be.

Helpful links:
www.stardewvalley.net
www.gamasutra.com/view/news/267563/The_4_years_of_selfimposed_crunch_that_went_into_Stardew_Valley.php
www.steamcommunity.com/app/261570/discussions/0/492379159710714117/
www.gaminghistory101.com/2012/03/19/asteroids/

Interactive Narratives and The Stanley Parable

Select one example to outline the key concepts of the interactive narrative genre. Does interactive narrative still have a role to play in video games today?
The use of interactive narrative, whether it be in games or literature or any other form of media, is in my opinion one of the most powerful ways to place a story into the hands of the one experiencing it.
In order to explain this better, let’s use The Stanley Parable as an example to examine the genre. While being one of the most obvious examples for this sort of discussion, I believe it’s made itself so by the pure volume of choice making given to the player. The player controls Stanley from a first person perspective, submerging them in the idea of autonomous control and making them feel heavily involved in the gameplay from the get-go. The game’s narrator explains that Stanley works in an office building in a mindless job as a data monitor, until the screen turns off and Stanley is forced to explore his surroundings.

The Stanley Parable 2011

From this point on in the game the player is presented with possibility after possibility as to the choices they make. The narrator throughout suggests what Stanley should do, but it is ultimately up to the player to decide the route they take. This gives the player power over Stanley’s subsequent “destiny” – they carve out the narrative themselves instead of remaining relatively passive in the progression of the plot. Choosing to completely obey the narrator will result in a certain ending, whilst choosing to completely disobey the narrator will result in something entirely different. But what makes the Stanley parable so memorable within the interactive narrative genre is that there is an entire spectrum of choices to be made between these two polar opposites, and each one yields a different result. The game is self-aware, and highlights this by presenting the player with a god-like character in the form of the omnipotent narrator, only to reveal to the player that they are in fact the god of this world.
Interactive narrative still has an integral role to play in the games industry today. The Stanley Parable, after all, was only released in 2011, and pushed the boundaries of what could be done with interactive narrative with the added help of advancing technology. That aside, other games featuring an interactive narrative to a greater or lesser extent are rife in the industry. From Life is Strange, which relies heavily on choice making as part of the mechanic but ultimately presents the player with two final outcomes, to Oxenfree, an indie game with a fairly fixed narrative but a plethora of changes the player can make that affect the outcome with varying degrees of importance.

One of the many choices in Life is Strange

Choice-based dialogue in Oxenfree

Whether there is only ever a choice between two options at a time, or so many the player doesn’t even notice they’re making them, these games make the player feel involved. Interactive narratives help to place them within the universe the game is presenting, makes them feel less distant, and breaks down the barriers between the game-designers and the players themselves.

Week 3 – Skill, Stamina and Luck

A) Select one example to outline the key concepts of the interactive narrative genre.

Interactive narrative can be defined as an experience in which users influence a storyline through the ability of choice. Their actions/choices determine the direction of the story and every choice has a unique set of consequences. This type of narrative, if done right, can be extremely immersive as it puts the user on what seems to be a higher level of “importance” within the world created by the author – their choices can lead to a different outcome for the path supposedly destined (or seemingly so at the time) within that specific world. Unlike real life, interactive narrative carries an element of predetermination and control. Despite the choices you may make, you know the outcome will be one of x amounts within a story and this control is a sweet escape in a gripping, fictional world opposed to the uncertainty real life offers.

(Enemy of Chaos, 2009)

Knowing the gist of this genre, I came across a CYOA book called “Enemy of Chaos” by Leila Johnston. What intrigued me about this book was how, in a cleverly humourous way, it engages the 70s/80s RPG adult and brings them back to a modern version of what once was their actual childhood. “…you’re grown up now, you’ve got bills to worry about and it’s clear your adventuring days are over. Or are they? What if the world needed your dice-rolling skills one last time?…” Taken from the synopsis of the book, I think this quote perfectly examples the essence of this genre as it fulfills the immersion. Having made the targeted audience clear (that being those that grew up in the RPG boom) it entices the reader to engross themselves in fantasy once more but in a more adult way.

B) Does the interactive narrative still have a role to play in video games today. Give exemplary examples?

Interactive narrative games have always existed whether apparent and popular like in the 80s or like a CYOA book found in your local library, they have always been around, digital or not. For a while, it seemed that the majority of modern day games were becoming same-old same-old, such as the endless releases of your CODs, your FIFAs and your GTAs. For a time, many companies in the industry wanted to pump out games for the sake of pumping in the money and as fun as it initially is running around stealing cars and pushing old ladies to the ground, the true essence of a good, unique game was lost. So in order to spice things up and create necessary breaks in the continuous money-pumping machine, clever companies have been recycling styles and genres of games and the implementation of interactive narrative is one of them.

(TellTale Games, “The Walking Dead”, 2012)

A great, current example of this can be seen with games such as Telltale Games’ “The Walking Dead Series”. The player’s choices (through actions and dialogue) can lead to a change in the character’s circumstance, whether or not other characters live or die and the character’s relationships with other characters all the while being executed in a modern, digital and sophisticated art style. The effects of this leads to a more genuine and emotional connection between player, character and story line and it is this deeper connection which is essential in building a relationship between game and consumer. This in turn keeps interactive narrative a current, relevant and beautiful genre which will no doubt always have a place in the games industry.

References

Enemy Of Chaos by Leila Johnston . 2017. Enemy Of Chaos by Leila Johnston . [ONLINE] Available at: https://www.goodreads.com/book/show/6840086-enemy-of-chaos. [Accessed 24 October 2017].

Bibliography

Boing Boing. 2017. Enemy of Chaos: hilarious modern choose-your-own-adventure novel / Boing Boing. [ONLINE] Available at: https://boingboing.net/2009/09/15/enemy-of-chaos-hilar.html. [Accessed 24 October 2017].

Enemy Of Chaos by Leila Johnston . 2017. Enemy Of Chaos by Leila Johnston . [ONLINE] Available at: https://www.goodreads.com/book/show/6840086-enemy-of-chaos. [Accessed 24 October 2017].

5 Games that Redefined Interactive Storytelling | Slide 4. 2017. 5 Games that Redefined Interactive Storytelling | Slide 4. [ONLINE] Available at: https://www.gameskinny.com/hju3x/5-games-that-redefined-interactive-storytelling/4. [Accessed 24 October 2017].

Giant Bomb. 2017. The Walking Dead (Game) – Giant Bomb . [ONLINE] Available at: https://www.giantbomb.com/the-walking-dead/3030-34205/. [Accessed 24 October 2017].

PCMag. 2017. The Top 10 Interactive Games for Story Lovers | PCMag.com. [ONLINE] Available at: https://www.pcmag.com/feature/317795/the-top-10-interactive-games-for-story-lovers. [Accessed 24 October24 October 2017].

The Telegraph. 2017. The best video games of 2017 (so far). [ONLINE] Available at: http://www.telegraph.co.uk/gaming/guides/best-video-games-2017/. [Accessed 24 October 2017].