Game Design Idea: Narrative Walk Through : Statement of Purpose

So, as I mentioned before, I can't seem to crack into any of the supposed game design software I've seen on the internet and read in reviews and even have seen attributed to games that I like (Anodyne).  Yet, my mind persists in imagining what it would be like to design a game.  And I think this stuff makes for a great game design idea!

For example, I think it would be great to design a game, where the levels progress with programming milestones.   Like, the first screen is just a crappy looking block guy, moving around -- success!  Then the next screen maybe you can slash a sword!  And then by the third screen, maybe you can cut down a bush! Hooray!  Then there's an enemy.   And then, by then you might have the hang of it enough to have like, a whole series of screens, with a treasure box at the end, hooray!  

I imagine a narrator the whole time, describing the process of creation to the little character on screen.  The challenges, and progressions.  Creating a weird meta-fiction author dynamic.  Did I mention I love meta-fiction?  I've noticed this stuff is pretty big these days as well, with games like Thomas was Alone and the Stanley Parable Demo.  Also, with the regular use of the term 'meta' to describe things.  But being a fancy English major, I've been familiar with the term for some time.  

Specifically, I was introduced to meta-fiction with the book 'At Swim Two Birds' by Flann O'Brien (pen name Brian O'Nolan - meta!) .  It's a book about a guy who's writing a book.  Meta level 1.  Then the characters in that book decide they don't like what's going on in their story,  Meta Level 2, and they go to to the authors house to talk some sense into him.  Or some such thing.  It's a lot of fun, and very old, published in 1939.    

Further Meta ideas come from the 'fourth wall' concept in theater, whereas the actors aren't supposed to acknowledge the audience, and when they do so, they're breaking the 'fourth wall.'   I've always loved to play with that, though.

Of course, my idea of a video game about its own creation is silly for a couple reasons.  One is that I still don't actually know what the process is like.  I'm just guessing.  And whenever I read interviews with game creators, they always describe all sorts of things they weren't expecting.  So I expect that would happen to me too.  Expecting the unexpected, I'm so ready!

Anyway, I think the process would be to work on different concepts, enemies, items, procedures, etc.  And make careful note when something interesting happens.  Then, when I've got the hang of the whole programming thing, go back and fake it.  There's no need for my authentic practice screens to be in a game, just something resembling them.  Throw a kookie narrator with a british accent on the thing, and I'm set!  

Man, I love my own ideas!  And it's so much easier to write about them than to actually push them through my metaphorical loins, spank breath into them, cut their metaphorical umbilical chord, hold them close and feed them from my metaphorical teat!  I'm unemployed, and *still* that sounds like too much trouble!  Maybe it's the way I described it...  Actually, wait, this reminds me of the conclusion of the play "Slag" that I saw in college.  My girlfriend was one of the three principle actresses, and her character gets miraculously pregnant, but her character was insane, and it was actually just a food baby.  (Oh man, I am *such* an English Major.)

Anyway, I realize I spoiled the ending for you, which is a high crime, but don't worry - the enjoyment of that play came from the performances.  Three fantastic Actresses with really great chemistry.  The plot wasn't really very important, and I saw it more than once, I think.  It was performances like that that gave me a love of the theater.  And has subsequently fueled my curiosity about the connection between theater, film and video games.  Specifically around minimalism - I love how fantastic some performances are with minimal set design.  I can't help but wonder if a similar elegance can be applied to game design, programming and execution.

http://www.andysowards.com/blog/2012/70-epic-map-design/

When I was young, I wanted to create epic fantasy.  Nothing but.  Alright, maybe an occasional side-scroller.  But, the biggest piece of my creative pie was taken up with 50+ hour Role Playing Games.  And the reflexive version:  novelizations of already existing RPGs.  High Fantasy, Tolkein and Dungeons and Dragons ruled all.  And the bigger, longer and more epic, the better. It is still like a security blanket or a favorite stuffed toy.  I can go back there just by closing my eyes and relaxing.

However, in these days following the Box Office and Academy Award domination of the Lord of the Rings movie Trilogy,  it seems pretty damned clear to me that the High Fantasy World is covered.  You can't throw a stone without hitting a two to three hour epic something.  I missed riding that wave, and now I'm wonder when it will subside.  

These days, I am most interested in minimalism, in peeling back all of the glitz and the glamour and the huge set pieces, to find out what's in the core of genre, theater, creativity.  I want to take a chisel to the edifice of the modern High Fantasy Blockbuster and see if there isn't something beautiful underneath it all.  I believe that minimalism is more raw, and prompts the viewer to fill in the gaps with their own imagination.  More than that, it is much, much more inexpensive to produce.  And therefore can be done with a smaller team, which allows for much more creative control and input by the principle few.  And that serves my starving little creative ego, I think.  

Hmm, caffienne high is faltering.  love of my own ideas is waning.  autumn is passing into winter.  power down. boooooooop.  

-D


P.S. follow-up question:  does this need to be published?  Our blog quality standards aren't like, super-high or anything, yet I have a bunch of ideas that are important to me here, and I could maybe turn them into something real.  But if that's the case, what does it matter if I publish now or later?

P.P.S.  Mine the brainy gamer for theater-game connection.  I think he's really into that.

P.P.P.S  Interdisciplinary study called 'Performance Studies' at UCD, Berkeley.  Looks pretty darn close to what I'm looking at

P.P.P.P.S Adaptation and American Movie are both examples of movies about the making of movies.  Adaptation with much more creative license - and a big favorite of mine!

P.P.P.P.P.S. I think I'll just keep all these post-scripts.  Why not?  I'm feeling silly.  Also, I heard that there was a game that progresses through the history of RPGs.  That's sort of what I'm talking about, but not the same thing.

Follow up: Sword and Sworcery EP

I recently completed this game, and decided to do a follow-up to my First Impressions.  I felt that the ending of this game was strongly affecting in a way that warranted further attention here.  

Sword and Sworcery EP is weird.  Weird and unique; truly this game is very much itself.  It doesn't really resemble anything else in my library or memory. Weird and beautiful: the sounds and graphics are finely crafted, original creations, custom to this game.  There's something so great about the impact of the sword swings during combat.  The sound has a real punch to it.

The themes are strange and perplexing.  The willingness to mix fantasy with random bits of modern imagery make it really hard to pin down.  However, playing through, from start to finish, this game has a sense of coherence.  This is actually aided somewhat by the habit of breaking of the fourth wall.  The characters speak directly to the player, and even the Scythian, the character controlled by the player, uses the royal 'we' whenever speaking.  It seemed clear to me that the Scythian did this to acknowledge the dual nature of the player and herself. The other characters will refer to the Scythian, but speak directly to you.  It feels as though they live in this game and acknowledge that there is a player outside the game.  

There is a theme of the inevitability of death, which is mentioned directly within the dialogue, and also through animated behavior.  This theme coupled with the breaking of the fourth wall, drew my attention to the fact that I was in no danger, however, I was taking part in putting the Scythian in danger.  And while the game never blamed me for it (as the player), I shared in a sense of dread and inevitability, as the Scythian carried out her 'woeful errand' with my assistance.  But more than that, I had an awareness that I was 'sharing' these feelings with the characters, who are merely pieces of fiction after all. 

As the game drew to a close, I felt my own connection to the characters drifting away.  I was left with a feeling of watching fish in a glass bowl.  The events of the story ultimately have a greater impact on the characters within, and I have  only second-hand involvement.  I will go on with my life, go to work, the grocery store, play another game.  But these events will have lasting effects on the characters within.  

I guess, in a sense, immersion is never really broken, but more put in its place.  The player is outside, and must remain there. We can only watch, and have a small influence on what happens within.  Which makes for a weird and beautiful experience.

So yeah, rad game.  I highly recommend it. Click the >Read More> link below for more info.

First Impressions: Superbrothers: Sword and Sworcery EP

Another Humble Bundle game!  The Humble Bundles are the best thing ever.  By the way, there's one going on right now.  11 more days. Upon reviewing my files, I recently discovered that I've bought five Humble Bundles.  Which probably accounts for about 35 of the 50 or so games in my steam account.  I'll probably never play them all, but I'm glad I gave Sword and Sorcery EP a look.  So far, at 2 hours in, I am having a great time.

The game is beautiful in a neat 'retro' way that captures my heart.  I can't explain it, but the graphics and design really mesmerize me.  The visuals are great, the sounds and the animation are also great.  Everything seems to fit in the world, and no element clashes to pull me out of my absorption in the game.  I've enjoyed the sound so much that I decided to download the soundtrack (another perk of the humble bundles).

The story follows a character known as the Scythian.  She is wandering around looking for something called the Trigon, which appears to simply be a triangle.  Except using the 'gon' suffix like a pentagon or septagon.  She encounters some people along the way to help her and some others who are trying to hinder her.  And the whole time the graphics and sound are just great.  

The controls took a little getting used to.  My only real problem was that I didn't realize that I could double-click to direct  the Scythian to walk or interact with items.  I thougth I had to hold the button down, which does work, but it also is the same action that I use to look around the screen.  Mixing the two of these up was frustrating, but since I figured it out, the controls have given me no trouble at all. 

The name is kind of stupid, and so far the writing is pretty stupid as well.   For example, the lumberjack that the Scythian meets early on is named "logfella."  And then the dog she encounters is named "dogfella."  The thing about the dialogue is that it seems to be speaking directly to the player, and not to the Scythian.  The other characters in the story will speak of the Scythian and not to her, and the Scythian herself uses the royal 'we' whenever expressing herself verbally.  After playing the game for a couple of hours, the dialogue has started to become charming, instead of annoying.  I think this comes from the consistency of the silliness.  The game seems to break the fourth wall as a rule, instead of an exception, and this somehow works.  

There are some themes that I don't really understand.  One is the 'EP' theme.  I am guessing that the inclusion of EP in the title is to indicate that the game won't be very long (I have been playing 2 hours and have 47% completion) and that maybe it indicates that the soundtrack won't be very long, as an vinyl record EP runs a standard of about 25 minutes.  The menu screen for the game prominently features an image of an EP vinyl record.  The record reacts to the players menu choices.  Another theme is the triangle, or 'trigon' theme.  Triangles feature in all of the menus, and also as the main source of conflict for the Scythian.    

I want to throw in that the lead character, the Scythian,  appears to be female, based on the sound of her grunts as she swings her sword. However, she is not portrayed as 'super-feminine' - a nice departure from so many of our video game heroines.

The game is available for eight bucks on steam, but I got it for much less, given it was a Humble Bundle.  I probably dropped $20 bucks on Humble Bundle V, and still the games were about $3 apiece.  hells yeah.

-D

I want to also make a quick mention that there was a reference to Al Jaffee in this game.  Yes, that Al Jaffee.  I think that was the precise moment that the silly dialogue began to win me over.  

Also, I want to mention again that the Humble Bundle 7 is out right now and has 11 days to go.  Pay what you want, can't beat that price!