Nostalgia aside, what makes those old-school 2D platformers, scrolling shooters, unrealistic sports games and others so addictive? Why are there so many spoofs, emulators, and even USB controllers for games that by today's standards really aren't that good? In this article I'll share what I think is the secret.
Hearthstone's design team told us we'd be crazy to make a game without luck. But here's the secret to why games without luck are actually more addictive, and players are far better off without it (contrary to what most AAA studios would have you believe).
I'm currently working on a player-driven dynamic narrative system. This is the blog post I wrote in response to Ken Levine's 'Narrative Lego' GDC talk, which was originally published on Gamasutra.com. Since then I've filled in some of the gaps, and I'm planning a follow-up article, but for now I'm working full-time on developing The Hit.
I wanted to make a game play trailer for my original arcade puzzle game Futile Tiles (http://www.futiletiles.com). The game is very fast and I needed to achieve high framerate and quality for the video, which is challenging using a slow computer. Low recording frame rate can also distract controlling the game actions.
Distilled Game Design is what Experience is all about, is your game in its purest form. In order to achieve true Game Design you must figure out what your basic experience is and build your game up from there.
Whilst the earliest uses of cinematics within games were very simple affairs - intros and outros or bookends to gameplay - we have moved on to stunningly impressive cinematic sequences and interactive gameplay to bring contemporary visual storytelling to life. With the lines between Hollywood movies and gloriously cinematic gaming titles becoming increasingly blurred, we are entering a whole ne...
The choice of key and tempo are of upmost importance when composing for visual media. Although this article focuses on an advert composition the same principles apply for when composing for any area of a video game. For instance, an emotional cut scene.
So far in the series we have covered key and tempo with regards to composing music for video games. In the article chords are discussed. An understanding of the construction of chords and how they can be utilised effectively with visual media is key
video game music
visual media music
In the following points, I will briefly explain my own work process and professional approach to creating a single musical track for a client. I will be including some useful tips for effective communication, efficient workflow and creative considerations, as well as detailing the expertise required to take music from just an idea to a commercially acceptable product.
finding game audio
Children are avid tech users and spend a lot of their time playing videogames. But how can we be certain that our game design works? Is it enough to use child friendly design or is there something else in play?Click to read about the nr. 1 testing method used by major game studios worldwide.