Occasionally I surf around the IFDB looking for goodies. I really like the way it is set up, as it takes a number of cues from other community sites that encourage engagement and social interaction. Often I’ll find myself weaving my way through games, reviews, and lists before realizing how much time has passed, and typically I’ll come out with a couple of new games to add to the play list. I also absolutely love how it is so smoothly integrated with Zoom (and others, like iPhone Frotz), which so effectively feeds the immediate gratification beast. Anyway, I digress.
I was flipping through some IFDB pages the other day, looking for some choice information on this year’s IFComp winner, Rover’s Day Out, when I noticed that it had already made someone’s online IFDB poll:
“Games with Impossible-to-film moments”, by aaronius.
Okay, I [More...]
Musings
Question: Can high drama be produced from a wide-open simulation?
Creating a game that tells a story is one thing. Creating a game that tells a dramatic, moving story is quite another.
Can you really get a dramatic, moving experience from a game that is not tightly scripted or linear? Can high drama truly emerge from an open, unbounded simulation-style game?
Everyday life is a wide-open sandbox. Clearly, there is high drama in real life. But, as mentioned a while back on rec.arts.int-fiction, “Most people’s lives are not filled with high drama all the time. Some events will be dramatic, but creating a dramatic story from those requires editing out all the mundane parts.” (greg)
That editing, in game terms, is what I imagine is the scripting, restriction, or forcing of linearity onto the game narrative.
Isn’t high drama really the product of the manipulation of people’s emotions through selective [More...]