KO-OP Mode Rad Reads

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Some things to keep in mind.

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Conferencias #PersonalVideojuegos - Lee Petty

Reviví lo mejor de la conferencia de Lee Petty en Tecnópolis

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via Reddit user davidwachmann

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"The player's perception of tightness and looseness changes over time. There's a mental chunking operation that occurs as we master skills. Sequences that were once confusing and complex get reduced down to easily repeated and manipulated patterns. So the higher level skills that are made of multiple chunked precursor skills end up feeling very clear and obvious."

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"Determinism comforts, and nondeterminism unsettles. But there’s something frustrating and unsatisfying about living in a universe that’s entirely mapped. When a universe can’t be mapped at all, it frustrates in a different way. This tension lies at the center of much videogame story design. Is there a sweet spot somewhere in the middle of the deterministic and nondeterministic worlds? Some fans of emergent narrative argue as much, but there’s still a lot of unexplored territory there."

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The Sword of the Stranger - Yutaka Nakamura

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Yessssssssss……

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The depth of the action in these shots, the way they use the whole set of that first layout, just, man, so inspiring.

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Designing spaces based on experiential inter-relationships, as opposed to representational ideals.

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[On the instant-teleportation mechanic]: "Of course, a mechanism like this wouldn't make any sense in something like Proteus or Dear Esther. But in a game that isn't really a world, but rather a network of setpieces with distances between them, I think this methodology would serve such games well."

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The purpose of ‘Following’s unusual structure isn’t as apparent as that of ‘Memento’. Why did you construct the film the way you did?

"Say you have a headline like ‘Mountain Bike Stolen,’ and then you read the story, read another story about it the next day, and then the next week, and then the next year. News is a process of expansion, the filling in of detail, and making narrative connections – not based on chronology, but based on features of the story. There are narrative connections made between props, between characters, between situations, and so forth." [...]

Your films, particularly the first two, return to the same sort of small set of locations again and again. Is there a reason for that? Probably mostly practical reasons, because when you have no money, you start looking at the genre and the story like, ‘What’s the most I can do with the least? What’s the most I can do with the interrelationships of a very small group of characters and a small set of spaces?’

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What your culture really says

http://blog.prettylittlestatemachine.com/blog/2013/02/20/what-your-culture-really-says/

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Defender's Quest Sales

http://www.gamasutra.com/view/feature/186940/defenders_quest_by_the_numbers_.php

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Tones and drones.

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The lines and shapes -- round, square, angular -- of classical composition; in terms of visual design, animation, pathways, movement, gestures, architecture, &c.