Sam Barlow (of Her Story fame) discusses his approach to building stories for narrative-based games. I found it refreshing to see discussion of how the medium affects what’s possible and how to get the most out of it, by incorporating challenge, opportunity for expression, a space to explore, and simulation of a richer reality. (I couldn’t help but look for parallels to my own, far-less-qualified, take on the subject.)
We can argue all we want about the relative merits of closed versus open systems and so on, but it’s rare that this actually persuades any decision-makers. What they pay attention to is what’s been shown to make money. So it’s exciting that Valve is out here betting pretty big on releasing the Steam Deck as an open system and that they seem to be having success with it so far. If that success continues, then maybe the Nintendo/Sony/Microsoft/Apples of the world will start to take notice.
It’s also an interesting lesson on productization and marketing. All these unusual capabilities of the Steam Deck are really nothing new and have been available on general computers for quite a while. But by presenting the Steam Deck as primarily a Switch-like hybrid games handheld/console with buttons and analog sticks, giving it an approachable works-out-of-the-box setup and configuration, and pricing it affordably, it targets a new audience and is suddenly seen as a direct competitor in what had previously seemed like a different market.
In one of the frustrating ways art imitates life, games with systems resembling real estate tend to create situations resembling housing crises. In this write-up, Lars Doucet and Dan Cook discuss why this happens (hint: it’s the same reasons it happens in real life) and how to fix it in your game design (hint: it’s the same way we could fix it real life).
Super Bunnyhop contextualizes the recent large-scale game company buyouts by summarizing their history over the several decades the industry has existed and discussing the difference in how they are seen by insiders versus consumers.
We all know that there are a lot of Mario games. But how many games are there in the mainline Super Mario series? As jan Misali shows us, this turns out to be a difficult question to answer because of all the questions you have to answer along the way.
Some of the more-divisive ones include - is it still Super Mario if the gameplay changes significantly? Arguably, the New Super Mario Bros. games, which can be seen as their own side series, are more like the original Super Mario gameplay than, say, Super Mario 64 or Super Mario Odyssey. What about initial entries in sub-series spinoffs that are titled like sequels to mainline games, like Wario Land: Super Mario Land 3 and Super Mario World 2: Yoshi’s Island? And given the existence of enhanced ports and remakes, what even counts as a game? Is there a game called Bowser’s Fury, and if so is it an entry in the Super Mario series? It’s difficult to come up with a consistent set of definitions and answers to these questions that results in a list of games that feels correct.
To me, the main value of an analysis like this is as a reminder that categories are inherently slippery since they are more about grouping similar characteristics than hard and fast binary definitions, and furthermore that they can never really be true or correct - only useful. It’s something I try to keep in mind whenever people start arguing about genre definitions. Surely membership in a well-established game series is much simpler and more clear than membership in a broadly defined genre. If we can’t even agree how many Super Mario games there are, how can we hope to agree which games count as roguelikes? And if we can’t reach consensus on that question, then maybe it’s actually not that important.
Providing anotherreminder that gaming is bigger and more diverse than many of us think, Felipe Pepe sets out to examine the history and influence of RPGs in various countries, pointing out that “[y]ou hear all the time about how big Fortnite is, with its 30 million daily users…. and then you find that a game from Vietnam has 100 million daily players.” In this first installment of the series, he examines China.
Curation and discovery are tough problems for game storefronts. The easier it is for legit games to get onto a store and be seen by customers, the easier it is for asset flips, shovelware, and outright scams to do the same thing.
In this writeup, Chris Zukowski discusses several of the current trade-offs being made by the Steam store to combat the flood of fake or low quality games that came with Steam Direct replacing Steam Greenlight. It’s clear that the same barriers which make those games less viable on Steam also make small-scale, low-budget, but legit games less viable as well. It’s less clear whether there’s a better solution.
The therapeutic potential of video games deserves more exploration. In addition to games specifically designed to help deal with mental illness, games can provide safe ways for us to experiment with and overcome challenges that are harder to tackle directly in real life (as I’ve touchedonbefore).
In this insightful and deeply personal video, ShayMay discusses The Binding of Isaac within the context of his own difficulties with anxiety and how it served as a safe way to practice - and even learn to enjoy - not being in full control.
