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07/31/2009

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Dude! you have to check out Old Boy and Sympathy for Lady Vengeance if you like Korean films :-)
http://en.wikipedia.org/wiki/Sympathy_for_Lady_Vengeance
http://en.wikipedia.org/wiki/Oldboy

Anyway, I just linked to your blog, everyone is expecting more great posts from you, keep it up!

Yeah, that one-shot hallway fight scene in Old Boy is amazing.

BTW, I agree with the over-cutting and have started noticing it in games too. I think the pendulum is going to swing back soon, though. In a few years someone's going to release a film (or game) that is captivating, all while maintaining a slower pace, and people will think it's revolutionary.

Bushido blade had that kind of appeal. The simple and pure feeling of distilling mechanics to their core without drowning them in setting - a synergy of elements that neither overwhelmed nor distracted. Also, if I remember correctly, the level design was very minimalist but pursuit of basic elements (type of terrain, water hazard, etc) became extremely effective at heightening the differences between each fighting style, especially when it came to experienced and trained players who could end a fight with a single move.

And to think this was all happening in 1997.. double shame that I haven't seen another game that improves on that kind of virile simplicity. In this context your words ring true indeed.

Very reflective post. Thanks for that.

Chris: Yeah I did see the entire vengeance trilogy which also includes Sympathy for Mr. Vengeance. Those films are amazing and the art direction of all three is pure madness.

Martin: Bushido Blade, wow that brings old memories from the days when Squaresoft took design risks founded by final fantasy profits. They are pretty much in survival mode now which kind of shows a new era of the industry and serious problems in Japanese development. I was not a big fan of the game at the time, but I can still recognize the elements you describe. Back in the days I wasn't paying attention to those things as a player I guess. Interestingly, they had no choice but to go in this direction considering the overall Bushido concept. I mean, after reading stuff like Musashi by Eiji Yoshikawa, I cannot imagine a game about this art any other way.

If you guys never red this novel from Mr. Yoshikawa, I highly recommend it: http://www.amazon.com/Musashi-Eiji-Yoshikawa/dp/4770019572/ref=sr_1_1?ie=UTF8&s=books&qid=1249485903&sr=1-1

Thanks for the comments guys.

Interesting post. IP Man is certainly a fantastic film, and to bring up Bushido Blade as well is quite apt methinks. However, something that game designers have not been doing well is to be more 'considerate' of the player inside the act of playing games.

What do I mean by this? We tend to focus all efforts, and make selling points of new systems and engines however players are still treated as homogenous input devices without experience or ideas impacting on the gameplay. How arrogant that we seek to lay the traps and also be prescriptive about the way through them. Most likely somebody else will think of a better way, that a game designer had not.

How to design for these open-ended systems though? I'm not sure, but procedural content with enough density of rules and meaningful causaility is ahead of us; but then what does this also mean for us as game designers? Surely, we must get off our high horses and proffer a different type of game [ perhaps not something recognisable as a 'game' ] and involve our audience in a more meaningful way than just treating them as very intelligent rats.!

I have some tentative ideas for approaching these problems and my thinking so far has led me to think that yes, there does need to be a split away from how we have been doing gameplay in commercial games for the last 25 years or so. Then again, surely as Orson Welles [ to dig him up again from his rest ] and Jean-Luc Godard were able to reformulate film conventions from the theatrical language that had informed that artform since the 1920's so game makers [ particularly those who have the opportunity to work with a broad canvas in terms of content and audience ] should seek to do similar and be brave.

This is happening now with independent games, however there are limitations I feel to the kinds of experiences one can create unless you're the kind of prodigy [ and charity ] that can support yourself working away in isolation for years at a time. Someone will do it though, and everybody will learn, and things will change, and we will all look back and have a good laugh at how backwards and short-sighted we once were. Then can we have something akin to the simplicity, beauty, and paradoxically complexity of something like the opening tracking shot to Touch of Evil!


Keep up the good words,


-- Chuan


Good Work ! You have got a good point. I have played lot of times and always stumped. :-(

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DESIGN WORK

MEANINGFUL GAMES I DID

PLACES OF INTEREST

WHAT I'M PLAYING

IPHONE GAMING

  • Galaxy on Fire 2
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