One of the interesting things about working on Vespers is that I’ve become so intimate with the original text and code that I probably know more about the game at this point than even the author, Jason Devlin. Often, I’ll come across an issue or question about the text game, and I’ll pop off an e-mail to Jason to see what he thinks we should do. The irony is that I’ve been so engrossed in every detail of the story for so long that I’m probably better able to address these things than Jason, who likely hasn’t even thought about the game in 3 or 4 years. (Mental note: really have to finish game soon.)
Throughout development, but particularly when Jason released the text game (and also when we started production), there have been many people drawing close comparisons between Vespers and Umberto Eco’s famous novel, The Name of [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...]