Gamasutra is part of the Informa Tech Division of Informa PLC

This site is operated by a business or businesses owned by Informa PLC and all copyright resides with them. Informa PLC's registered office is 5 Howick Place, London SW1P 1WG. Registered in England and Wales. Number 8860726.


Gamasutra: The Art & Business of Making Gamesspacer
View All     RSS
February 25, 2021
arrowPress Releases







If you enjoy reading this site, you might also want to check out these UBM Tech sites:


 

This Week in Video Game Blogging: Seeing and Witnessing

by Critical Distance on 02/01/16 01:13:00 pm

1 comments Share on Twitter    RSS

The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community.
The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company.

 

This week, our partnership with game criticism site Critical Distance brings us picks from their new Senior Curator Zoya Street, on level design, NDAs and The Witness.


Developer-oriented analytical writing goes from strength to strength. Edwin Evans-Thirlwell explored spatiality and movement in Prince of Persia: Sands of Time, highlighting some of the exemplary design choices that made it influential.

"[...] as freeing as it feels, the Prince's moveset is all about serving the needs of the space rather than vice versa. It might allow you to defy gravity, but it's designed to permit the elegant solution of problems within a rigorously mapped environment, rather than in order to be exploratory and transgressive."

Jerome Bodin shed light on "navigation nodes", an aspect of spatial design that will be instructive to anyone working on or writing about 3D first-person games.

Mark Brown analysed how enemy design and level design came together in Doom (video) to create interesting problems that players solve through skilful use of space. 

Deanna van Buren built on the example of The Witness to advocate for the role of trained architects in game development. 

Speaking of which, Heather Alexandra’s review highlighted The Witness‘s arrogance as well as its charm. In a forthright piece that takes no prisoners, Lulu Blue captured what makes the game so galling. In a similar vein, Garrett Martin argued that the game is not as deep as it thinks it is. Meanwhile, Darius Kazemi's interactive review is affectionate and illuminating; a lovely thing to observe and ponder.

Beyond 3D game design, Joel Couture provided a guide to communicating through visual language, theme and puzzles.

Anjin Anhut published a super helpful guide on how to talk about art style.

Finally, Rick Lane talked to developers about the things they cannot talk about, in a piece on industry’s overwrought use of non-disclosure agreements.


Critical Distance is made both by and for the community. If you like our work, please take a look at our Patreon page or consider a one-time donation via PayPal.


Related Jobs

innogames
innogames — Hamburg, Germany
[02.25.21]

Frontend Developer (Haxe) - Video Game: Forge of Empires
Airship Syndicate
Airship Syndicate — Austin, Texas, United States
[02.24.21]

Gameplay Event Designer
Airship Syndicate
Airship Syndicate — Austin, Texas, United States
[02.24.21]

Combat Designer
Airship Syndicate
Airship Syndicate — Austin, Texas, United States
[02.24.21]

Gameplay Programmer





Loading Comments

loader image