Why We Can’t Explain Video Games To Non Gamers

A lot of us have, are, or want to work in gaming. Which is great, even if the industry is insanely confusing (enough for me to have ranted about it for quite some time). Gaming is a legitimate form of development and dare I say it, art. Also it really helps push technology, so I’m all for it.

Except as I expand my work in the geekosphere I encounter a lot of people who just don’t “get” gaming. Oh they’re as nerdy as the rest of us, as technical (if not moreso in some cases), but they don’t see why people would blow hours doing this and what they get of it. Wondering why some people don’t “get” gaming is something I’ve been thinking of.

I’ve been thinking about it because it affects how we develop, how we market, and how we communicate. If we are missing people that may enjoy our games, that is an issue. If value is not communicated, that is an issue. If sometimes we’re wasting time on a bad project we could avoid with the feedback of a “non-gamer” that is a big issue.

So why is it some people just don’t “get” games? After some analysis, I came to a few conclusions, some of which are surprising.  Well, to me.

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Gaming Needs Experimentation!

There’s a wonderful little game called Dungeon Hearts by Cube Roots that I picked up recently.  One guides for adventurers through a series of battles to meet the Dark One (who graduated from the school of unoriginal names), relying on special skills and a puzzle-like interface to fight enemies.  The core of the game is the ever-advancing line of symbols called “The Fatestream” where you move symbols around to create attacks, destroy enemy symbols that can harm you, and achieve other goals.  It’s a classic rythm/buzzle/motion game in the vein of Klax or guitar hero and the like.

The game stands out for a colorful aesthetic, little touches of blackstory, and a well-crafted interface.  But The Fatestream at the core really makes it work because it takes a common game interface of the moving-puzzle pieces, and uses it as a metaphor for the game and the weaving of fate you do to guide the heroes.  It’s one interface used, rather cleverly, to symbolize something else.

Now I’m not going to pretend this was necessarily some great insight – maybe it was, maybe someone said “hey I want a moving puzzle adventure how could I explain it?”  But either way the idea of The Fatestream works and is rather cleverly.

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Fear Of Mediocre Games

Recently two articles on Kotaku came together in my head.  It may surprise you to learn this involved neither hit-gathering controversy, industry in-depthness, weird digressions or any of the other things it’s known for.  It involved two odd games.

The first was an MMO based on Painted Skin 2 (), called Painted Skin2: The Resurrection.  Pretty much it seems someone chunked out a fast-developed standard MMO.

Then I heard with a mixture of admiration and horror about a kind of Borderlands ripoff on the iPad, the amazingly generically named Star Warfare: Black Dawn.  It’s a Borderlands for iPad with an all female cast.  Frankly it sounds . . . half decent.

This got me thinking about other times I’ve talked to people in the industry.  The easy to adapt game engines you can license.  The way to reuse resources.  The fact that code reuse becomes easier and easier with tools, with retained technology, with easier sharing.

It’s pretty easy to make a game.

It’s pretty easy to recycle game elements.

It’s pretty easy to take pre-existing stuff and rush out a knockoff or adaption.

This, one may think, means more bad games.  I’m certain it does.  But here’s the thing I wonder about – if we should be concerned not about bad games, but about mediocre ones.

With good technology and engines, you can pretty much make a game with expected mechanics, decent physics, and acceptable graphics.  The artists and writing may be a bit of a push, but I’m sure anyone can find decent talent and modeling tools speed up the process admirably.  Some decent spit and polish and you have a playable, even enjoyable, but unremarkable game.

(OK, or ripoff).

You know the kind of game.  The kind you may play awhile, even do a few micro transactions for.  The kind that a reasonable price may seem a bargain – or you don’t care when you get bored with it.  The kind that is “good enough.”

I can conceive of a time where the game market’s problem is not endless bad games (I think in fact we’re getting out of a phase of lousy-mobile-game crazy).  The problem would be that we get a lot of mediocrity and ripoffs that are good enough to be distractions – and may even have some virtues despite their flaws.

That has my concerned.  I see this as a distinct possibility, and this would mean:

  • More confusing dilution of the market.
  • A “mediocrity effect” where it becomes hard to differentiate games and their virtues.
  • Reduction of effort by some developers.
  • High-speed “bandwagoning” that can in fact be technocratically managed to get things to market fast.
  • Certain companies adopting mediocrity as a strategy.

I’d rather not see mediocrity come to dominate/flood the game market, but I am concerned about it.  It’s not that I expect games to be “bad-mediocre”, or that I don’t fully accept starting from mediocre is good if companies keep evolving.  It’s more I can see achieving a kind of odd good-enoughness in gaming like that which has plagued other media, like . . . well at one time or another, everything.

Oddly, that concerns me more than a load of bad games.