Obsessed with measuring everything and therefore defining all of their problems in numerical terms, social game makers have come to believe that those numbers are all there is, and this is why they cannot permit themselves to invent. Like TV people, they are effectively in search of that one number that will explain fun to them. There must, they reason, be some combination of LTV and ARPU and DAU and so on that captures fun, like hunting for the Higgs boson. It must be out there somewhere.
Independent developer Jake Birkett showed up on Gamasutra's Expert Blogs this week with this provocatively titled article, in which he datamines the revenue of some of his recent games and draws some conclusions about the state of mobile gaming.
This assassin is on a years long mission for vengeance (and I realize that that might take up a lot of your time), but for Godís sake, he does have to think about something else once in a while. Again, this seems like what the Homestead missions are intended to do, yet, Connorís basic inability to grasp any kind of common emotional response or behavior in the sorts of people that might allow us to see that he is more than a slow talking, stoic killer distances him further as a character rather than provides the player with any insight about him or any reason to give a damn about him.
Roleplaying is kind of the ugly step-child of acting, something that is routinely mocked and locked in the basement of disdain. From the outsider perspective, itís seen as a way for people to live out their fantasies -- you get to be Conan the Barbarian cleaving heads with a gigantic sword, or Elvina the sexy sorceress, handy with a spell and rocking that skimpy robe.
The thing is, when you spend over 4 hours a day roleplaying the same character in a world filled with other sentient entities, you need to be more than that.
I spoke with Troy, admin and creator of the Persistent World ĎLegacy: Dark Age of Britainí, and he puts it like this: "My goal as a player is to, as much as possible, play and understand the Ďroleí of the character, and understand what it must be like to live in the world heís living. How his motivations, morality, fears, faith, etc. are different from my own given the circumstances heís in and what actions should he take and what goals would he have based on those factors."
On his Radiator blog, Robert Yang asks how we might approach game narrative algorithmically: "We have physics engines or texture libraries, so why don't we think of narrative as a modular "asset" or "engine" or "library" to be swapped around as well? Why can't narrative be more "mechanical." Where's all the narrative middleware?"
Back on Gamasutra, Keith Burgun encourages his fellow developers to consider alternatives to Achievements: "What's so bad about achievements? The mother-problem with any "achievement" system can be stated like this: at their best, they do nothing at all. At their worst, they influence player behavior."
Meanwhile, at Critical Gaming, Richard Terrell has posted the first and second parts of a three-part series containing some well-rounded advice on design space.
MAKE A GAME
This week Gamespot's Carolyn Petit brought her readers a very nice introduction on the widespread appeal of accessible game design software Twine. Meanwhile, to put words into practice, Ontological Geek's Bill Coberly has written up a fantastic review of Porpentine's Twine game howling dogs, itself written in Twine.
GAMES AND ACTIVISM
Hereís an interesting game of political vandalism you can play at your own risk: Camover.
Gendered compliments are of that type of benevolent sexism that generally flies under the social radar. Getting praise is lovely, right? Surely it raises self-esteem and spreads good will to all the boys and girls.
The problem is that benevolent sexism goes hand-in-hand with the more obvious hostile kind (your torsos and your booth babes) and reinforces the subconscious values hidden therein. In essence, itís the friendly face to those overtly harmful practices and behaviours, making it far more insidious in nature. Unwelcomed and irrelevant compliments on a womanís appearance can also elicit emotions of self-objectification and shame. By subtly endorsing appearance as a top priority for women, they boost socially ingrained values of superficiality and unrealistic beauty standards.
Like individuals, videogames donít exist in bubbles isolated away from society. The subconscious values of game makers manifest in industry practices and game design, such as the belief that men will foremost want to protect their female protagonist, or the idea that girlfriends are lovely and all but simply dreadful when it comes to the pew pew. I wonder how many developers have passed on the notion of having a female protagonist on the basis that girls are too dainty for all that running about. The effects of media representation on audiences is something we should always bear in mind.
While the proposed event has drawn criticism from several corners, I would definitely recommend reading the above links before drawing conclusions.
THIS IS AMAZING
You've seen that video of Hotline Miami's ultra violent mask protagonist invading other games, right? No? Better fix that.
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