Why bother with Emergence? – Exploring player motivation in emergent games

Introduction

Traditionally, games were progressive. You, the player, would start at the beginning of a scripted story, and move through environments designed to only revolve around you. When you interacted with the system, something else happened. If you didn’t act, the world would never move or change. Like the protagonist in a play, the antagonists and props are pointless without the hero.
But in recent years of game development, a new trend of emergence has surfaced.
This essay looks at the the characteristics of emergent, complex systems, and the role of the player within them.
The game Don’t Starve, by Klei Entertainment will be used as an example of a complex system, in which the world is designed in a way that nearly ignore the player’s existence entirely.
The essay then goes on to explore, what might attract players to engage with a game world such as this one.
If the game you play pays no mind to you, and if the game gives you nothing for free – if there is no reward system and goal structure – what is fun about playing it?

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The reward systems of almost-games

Occasionally, interactive experiences with little to no agency will hit the video game scene, and cause uproar.
Firewatch (Campo Santo, 2016) and Danganronpa (Spike Chunsoft, 2010) is but two examples of games that many refer to as “interactive novels”, instead of “games”.
What I intend with this short essay, is not to validate certain games over others, but rather to explore the reward system in such a game.
How do designers keep hold of consumers’ attention, in an experience that has no agency?

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Games as a tribute to culture

If all media is autobiographical in some sense, then all games are a product of the culture the designer lives and breathes. However, certain games goes beyond their own present time, and instead looks to cultures past.
When a designer strives to pay tribute to a specific author or time-period, do they stay unbiased? Or will the present environment around the designer always sneak it’s way in?

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Are Loot Boxes just glorified Skinner Boxes?

Recently, there has been a popular trend in AAA games, of adding what the industry now calls loot boxes.
This introduces a system, where the player will pay real money, in exchange for the game to drop random in-game items and features.
The phenomenon has been so widespread, that Jim Sterling – a youtube content creator and journalist – even declared 2017 to be the year of the loot box. (Sterling, 2017)

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Ms Invader! A Make-Believe Gaming Magazine

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Ms. Invader is a fashion-esque magazine featuring loads of gamery goodness.
This includes the blogs from this very website, ranging from January to May 2017!

With smashing topics such as Nostalgia is Ruining Video Games! and Is Authenticity a Lie?, this is the one make-believe gaming-magazine you do not want to miss!
Also featuring:

  • A very angry manifesto!
  • Creepy pictures of half-humans, half-animated characters.
  • A 4 page visual essay demeaning your consumerism.
  • And a few very pretty photos (I promise).

Ms. Invader!

Simply click to read:

Amalie_Kae_Ms_Invader

Essay: Can Independent Games be Authentic?

The word authenticity, has become so integrated into the language of our everyday lives, that there is a preconceived understanding of the word, despite the concept itself being abstract and without a clear-cut definition.
A rock band can be authentic. So can an expensive wine from a specific region. And so can the jeans we wear or the yogurt we eat for breakfast. These things are all wildly different in nature, and yet they all claim to be the same exact thing: Authentic.

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The Chronos-Ludo Manifesto

We declare war on the wastage of time.
We declare war on the game studios indulging the idea that more, is more.
We are repulsed by the production of mindless content undermining the intelligence of players.
We declare war on side quests and collectibles. On level-caps and unachievable achievements.
Our time, as players, is not a simple commodity to be squandered and spoiled.

We did not come here to be dragged through a mindless limbo of exp grinding, just to make you feel entitled to the 40£ you took from us in exchange for the glorified walking simulator you call a game.
We don’t want your DLC. We don’t want your custom skins. We don’t want your sequels.
We came here to play.

We represent a new generation grounding in respect and integrity to the player.
The games we make, contain nothing but a game.
We will tell stories. We will weep. We will tear our souls from the imprisonment of nostalgia.

Tomorrow, we begin building a new utopia in the midst of the burning ruins of soulless sequels and remakes.
We came here to play.
But now, instead, we build.

 

References:

Danchev, Alex (2011) 100 artists’ Manifestos: From the Futurists to the Stuckists. Penguin Classics. London, England.

Is Nostalgia a Danger to Video Games?

Video games have come an immense way since the birth of the industry. The technology used to create the original Spacewar! in the early 1960s seems to be of a completely different world from the current AAA games with their hyper-realistic graphics and incredible virtual worlds. But despite the technological advancements, the modern gamer still tend to keep their distance from new titles, in order to look back on a time of games past.
Is this nostalgia a tendency obstructing the development of the medium?

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