Following the release of “Waybinder”, I describe the means by which I happened to develop this ‘interactive novella’ — applying what I know from game design to the act of writing fantasy fiction.
I’m certainly embarrassed by how long it’s taken me to get around to my Lyst write-up – things have been very busy in recent weeks – but in some many ways, it’s taken until now for me to actually process the glorious things which happened there. What follows is more of a travelogue than a simple game jam recap, split into two parts for your convenience.
Lyst Summit is a unique gathering on the subject of love, sexuality and romance in games, and its first event was held in early June aboard the MF William Jørgenson – a boat moored in København (Copenhagen), Danmark. I was honoured to be able to attend, so taking part in a fascinating series of talks, followed by a 48-hour game jam unlike any other. It was my first time visiting the Danish capital since a very brief change of trains last year, and I’m pleased to say it was as rich in friendship as it was in inspiration and creative output.
I’ve been playing StarCraft II for a few weeks now, and I am impressed. This is the first Blizzard ‘RTS’ (real-time strategy) game I’ve played, and it’s easily changed my perspective on the genre and modern-day gaming. I’ve long enjoyed RTS games, but have typically played the same titles for a few years at a time. My experience of RTS games is pretty limited as a result. I tend to fare poorly in single-player games, and have usually leaned on co-operative modes for fun instead.
StarCraft II is beset by an audience of keen veterans; this much I knew from the beginning. Though I was excited about the game prior to its release, it was really only because the game looked glitzy and because I’d come to enjoy Blizzard games through my time in World of Warcraft. I haven’t played the first game, or any of its fantasy counterparts in the Warcraft series. Fortunately the game has been designed with newcomers in mind, and while the online matches can be a hostile place indeed, the single-player campaign serves up some friendly scenarios to help orientate us.
John “Kaseido” McKnight recently wrote about a proposed ‘achievement’ system for Second Life which, some believe, might help shift online world demographics from a niche, free-form crowd to the lucrative gamer market. So soon after The Internet Crashed had posted an interview with Gary Ballard, this idea had me musing on notions of genre and medium again. I hope to draw a divide where social achievements can and cannot enrich a digital experience, but by doing so I must first separate MMO games from their ‘offline’ predecessors.
A Trio of Media
“MMO’s [sic.] need to be thought of as a medium, not a genre of video games. You take an experiment like Second Life and put it up against a refined, Skinner-box profit machine like World of Warcraft and you’ll see two very different experiences. Both have elements of game, but such widely varying goals that they can’t be considered in the same genre at all. You have to view them as two examples of different genres within the medium of an online multiplayer experience.”
Gary Ballard, for The Internet Crashed
Ballard’s point is a potent one, which Kaseido seized upon too – that although MMOs and games share much in common, it is almost always impossible to win an MMO, and so they are ultimately for play. The only time an MMO defies this is in player vs. player combat, when strict deathmatch rulings and the enclosure of an arena ensure that all play is taken outside the game’s normal flow. A single-player game may instead be completed once its story is run or a series of puzzles is finished.
I consider massively-multiplayer online games to be a medium of their own, separated from the likes of console games and other smaller, online titles. The constraints and opportunities which are made available to a community-driven game are too many to let us treat such work as we would game with fewer or only one player. I currently classify these media by their chief intent: social interaction, gaming within rules, and playing.
- ‘Console’ games, typically free of social input (save for multiplayer modes), may feature ‘game’ or ‘play’. Examples would include Half-Life 2 (game) and LittleBigPlanet (play);
- Online worlds feature no overarching goals save whatever the user brings to their own spontaneous play;
- MMOs occupy a middle-ground, since they feature directed gameplay delivered in a freeform fashion – players are allowed to embrace or disregard quests and challenges at their own discretion, and may in fact ‘level up’ without any heed paid to these features. They are also encouraged to share this experience in a social environment.
It is these differences in function and reach which I think demand careful attention when suggesting new features like achievements. The system as we understand it is, as Kaseido says, a relatively new phenomenon, though ‘offline’ achievements have featured in console games for decades. Hosting these accomplishments in an online environment has allowed players to create ‘game passports’, detailing their exploits and granting them bragging rights.