Dance 10 XP, Looks 3 XP. In Search of the Interactive Musical
If you love the magic of musical theatre and are a video game designer, then you’ve probably spent some time thinking about this largely untapped creative territory for interactive design. Though interactive stories and interactive live theatre are starting to be better understood as art forms, there has to date been very little commercial experimentation weaving together the agency-laden experience of game play and the artful execution of storytelling through song. This working group would bring their love of musical theater and interactive design to explore how these two worlds might collide and shed light on new avenues for interactive narrative and the traditional Broadway musical.
Everlasting. Best practices for narrative design in free-to-play mobile games as a service.
There are shelf-loads of books on how to write stories for film and television, and the number of books on writing for video games is quickly catching up. But most video game narrative design how-to’s – from tumescent tomes to twerpy twitter posts – borrow heavily from the structural narrative assumptions of film, TV, AAA and premium games. If you’re working out narrative issues and caught up in the highly lucrative whirlwind of free-to-play mobile games, a good number of those structural assumptions for interactive storytelling don’t necessarily fit. What are the best practices for delivering story for a game that never ends? How do you focus sharp narrative design in free-to-play games that are delivered as a service in a way that might just have to go on forever? How do you get players who don’t want to read (and don’t play with their volume on) to fall in love with your characters, world and IP? How do you best hook players with the emotional pull that only engrossing story and captivating characters can deliver when you’re working with play patterns that are optimized to be played on the bus (or on the toilet)?
This relatively new genre of “Legacy” board games (Risk Legacy, Pandemic Legacy, Gloomhaven, etc.) is a pretty fascinating design space, and it seems like there is a lot more that could be explored here beyond what has been done already. Digital games with Legacy-type gameplay that modify their own rules/data/code permanently? Board games that add new rules so that they grow with a child before the simple base game is outgrown? Alternate story structures?
Would love to take some time to examine some of these games and identify design best practices when working in this genre, and potential new directions to take the genre.
It seems that videogame experimentation (especially in terms of UI/UX) has become exclusively the realm of college students. This makes me sad; kids can chase their muse and build wildly impractical installation UIs, but it’s all a big resume, and once they get a job in the industry, they’ll be much more constrained within the controllers and keyboard layout that the market considers standard.
I think there are plenty of adventurous small videogame companies (including mine) that would bring new experiences to their players if they could make a business case for it. Lets explore some.
Player to player trade in games has gotten a bad reputation; it’s risky, hard to balance, and opens the door to community and CS issues that are hard to mitigate. And yet, it is an incredibly enriching and engaging player experience. I love player to player trade and hate to see it’s decline especially as we are seeing a Renaissance of long-term progression games with interesting economies. Let’s get together and talk about all the wonderful things about player to player trade and how game designers can stop worrying and learn to love the free market.
It’s easy to find a list of things developers shouldn’t do when it comes to player feedback; don’t just listen to the loud voices on Reddit, don’t get defensive, don’t feed the trolls, don’t trust player proposed solutions, don’t be too reactive, etc.
All of that is fine advice I guess, but I feel like I have been hearing this same list of don’ts for 15 years but in that same time I have hear very few dos. Also, if it is such a horrible idea to listen to player’s forum feedback why does it remain the primary source of open ended feedback for so many developers? Where is the better alternative? I have some of my own dos (and some don’ts as well) but I would love to get together with some other Horseshoers and pull our collective experience for how one does successfully manage player feedback.
Proper use of behavioral data, telemetry, and BI are a normal part of many designers work but when training new designers or experienced designers using data for the first time I can find no solid resources that layout how designers should use data, what data ethics looks like in games, or what types of data are useful for what problems or development phase. This is a part of design that would really benefit from some veteran advice and guidance and Horseshoe is just the group to provide said guidance.
More and more games are being designed to be played for years instead of hours. These living games often have designs and production constraints that make narrative designs that borrow heavily from film and television difficult to implement and maintain. I am disappointed when I see developers and players conclude that this means that these “games as a service” style games should not focus on narrative. But players of live games, whether they be mobile, competitive, sandboxes, or even puzzle based, deserve great narrative design too and I believe these types of games could offer designers a chance to build uniquely game-centric narrative language. I would love to see the minds of Horseshoe chew on this problem and come up with some advice or even some innovations for live game narratives.
The proposed workgroup examines experience goals and design strategies for games that contribute to a meaningful life by way of drawing on Existential psychotherapy and depth psychology (e.g. myth and ritual). I am particularly interested in designing for “psychological resonance”, a principle described by clinical psychologist Erik Goodwyn, who exstentisvely researched the use of ritual in psychotherapy. Reading his and related work over the last few years showed me so many connections (and differences, of course) to game design and I’d love to explore this further, particularly to create a counter-approach to how Games 4 Change tend to see transformative game design: namely as prescriptive and directive rather than empowering and self-guided.
This workgroup, I imagine, would speak to designers interested in creating games that illuminate the human experience and aim to enrich player’s lives on a deep level, by prompting them to ponder the Big Questions – life, death, meaning, freedom of choice, connection and identity – and identifying areas of personal growth through artistic, creative engagement.
Following on the wild success of last year’s “Constructing Emergence,” I’ve continued thinking about how to put some of the ideas we explored into practice. In particular I’d like to examine examples of how to use component interaction matrices most effectively, the optimal proportion of directly connected components in such a matrix (if there is an optimum), how we might use hierarchical/nested matrices, and anything else we can cover to nail down additional details of a “how to” for emergence.
I don’t know if that’s even possible or of interest to anyone else, but it’s been on my mind. I think there’s a lot more to explore and uncover here.