The late-game of any live service title is the make it or break it point for the continued success and development, and I wanted to talk about the options designers have in terms of continued content support.
I've had a pretty specific vision for a kind of 1P digital strategy game since about 2010. I've realized now that this was probably a mistake.
This article explores how instrumental performances, rhythmic density, and frequency range provide components for use within a modular music system for the music of Lineage M: The Elmor (composed by video game composer Winifred Phillips).
We often design "historical" games as games first, and historical second. But would game designs be more engaging for players if we start with the specifics of history?
There's more to be lost than a few crypto-bro's money when a play-to-earn game passes its peak.
Elden Ring once again frames our discussion to talk about why "fun" is not the best way to rate a game's design, and why you can't please everyone with your game.