As we all continue to decompress from GDC, be it attending or simply existing in the halo of its surrounding energy, join us as we look back on the week.
Browsing posts from: March 2019
Eye of the Temple by Rune Skovbo Johansen is an in-development VR game in which the player traverses a massive temple and solves puzzles, all while neither teleporting nor exceeding boundaries in the real world. Following is a transcript of a video interview, initially recorded to accompany a demo session.
Ken George develops The Technician, “a VR action puzzle game about hacking your way through security systems”, wherein the player must rewire logic circuits and, if the wrong wire is tripped, defend against hostile armed guards. After a brilliantly fun demo, with live developer commentary to boot, we sat down with Ken to discuss the game and its development.
As GDC comes to its close and everyone begins the long journey home, we hope that the last week has been a positive experience for you, whether at GDC or not.
In case you missed it, we’ve been busy this week. So, if you need something to read on the way home, or to just decompress with as you take in recent events, we’ve got you covered:
Well, here we are again. There’s been a lot of talk lately about parasocial relationships, the type that we unilaterally form with artists, social media figures, writers, but I like to think that isn’t how you feel about me as a writer. I think that in the reading of this deconstruction there’s an unspoken overlap on some level going on, a trade of understanding. But we’ll get to that, for now let’s take that proverbial last strike of the hammer into Getting Over It With Bennett Foddy.
Consider a video game, in the abstract. Knowing nothing of it, save for that it is, in fact, a video game, what inference can be made about the player’s objective? At this level, the constant is, approximately, invert some transistors somewhere. Nothing between the player and those transistors is yet implied; the imposition of artistic will or complex structure is not yet given. What we can say, however, is that a game implies play, and we do happen to be dealing with a game. To quote:
The creation of something new is not accomplished by the intellect but by the play instinct acting from inner necessity. The creative mind plays with the objects it loves.
Carl Jung, Psychological Types, CW vol 6. #197
This is as good a place to mention it as any: This piece is really best read after Part 1, so feel free to click here if you need to catch up.
Well, here we are again, I’m crossing my fingers that most of you made it this far, and I’m glad for each and every one of you who did. I have a lot left to say, and I hope you have a lot left to read, so without too much delay, let’s get right to the second section of our deep dive into Getting Over It with Bennett Foddy.
DROD is, at every turn, a hard sell. Mind, this is not for lack of ingenious, deceptively simple design, of boundless character and charm, nor of literal hundreds of hours of play across its main story. No, it has all of those in spades; rather, it is as World’s Greatest Salesman Danforth Strout freely admits:
Gushing about DROD to any coherent effect is worse than trying to get someone into your favourite obscure band, or, in other terms, it’s as tortuously difficult as the game itself. How, then, shall we do this legacy, spanning across 28 years at time of writing, justice? Where, oh where, dear reader, shall we start? Per the wisdom of Maria von Trapp, why, where else than the very beginning?