This month’s link assortment is a few days later than usual that’s because I was focused in the first half of February on launching the demo for Mask of the Rose, the new game I’ve been working on at Failbetter. Author Emily Short Posted on FebruFebruCategories interactive fiction 1 Comment on End of February Link Assortment Mid-February Link Assortment
#Is her interactive still making games full#
Meanwhile, the call for full length papers is closed for ICCC 2022, the International Conference on Computational Creativity, as that conference is happening earlier this year, June 27-Jul 1, but they are likely to make a call for short-form papers soon – so if you think something you’re working on might be a good fit for a short presentation there, you’ll want to check back at their website. Perhaps you like the idea of presenting about your interactive narrative work ata conference but none of the above options feels like the right timing or fit.įor academic conferences that take on interactive story and narrative proposals and/or game AI, keep an eye out also for ICIDS 2022 and AIIDE 2022 (I haven’t found a dedicated website for it this year). If you’d like to submit something to it, the deadline for proposing a talk is 22 April 2022. NarraScope is back this year, and will run online July 30-31, 2022.
Spring Thing entries are due March 31 - as participating authors are probably keenly aware - but that means that for the rest of us, the new games will become available to play in early April. The focus of that event is on writing rather than on games per se, so I’ll be talking about what I do from that perspective. March 30, I’ll be speaking as part of the University of Bedfordshire’s Beds Talks: Telling Stories event. Their call for papers is up now: papers are due March 25, while game and demo submissions have until May 27. The Foundations of Digital Games conference will be September 5-8 in Athens this year they invite papers and presentations on topics including game design and game technology, and they also accept playable games and demos to share. March 21, I’m speaking at the GDC AI summit (at a fairly silly hour of my morning, but a relatively normal time for US-based people) about the work underlying Mask of the Rose, and especially the way NPC decision-making is exposed as part of the story. (Alice says it's a tragedy that I haven't played Nier: Automata, and having heard her description of its credits I'm suddenly inclined to agree.) They're not going to work for every game - especially blockbusters like Far Cry - but developers don’t often get their moment in the sun, and it only seems right to make it as interesting as possible.March 5 is the next meeting of the SF Bay Area IF Meetup. I’m sure these aren’t the only examples, but they are clever twists on an otherwise dry formula, and I’d love to see more of them. It’s a neat way to give every person who worked on the game a bit of a spotlight, and it’ll stick in my mind for a while. Then the player can let them into the post-game party or (if you’re feeling especially mean) turn them away.
After processing hundreds of ID cards throughout the game, the player is presented with the cards of the developers, along with little sprite-base facsimiles of each person, who explain their role in making the game.
#Is her interactive still making games simulator#
(There are also traditional credits if you quit out of the exploration early.) In the same way as It’s Paper Guy! they give players an incentive to actually pay attention as well as giving a final opportunity to appreciate the art style of the game they just finished.īest of all, post-Brexit bouncer simulator Not Tonight has credits that follow naturally from the game, like a final level of their own. As they travel the world from on high, getting a hint at the state it’s in after the events of the story, the credits are displayed prominently over the various points of interest. Hole-some indie puzzler Donut County does something similar, giving players the opportunity to pilot the quadcopter that’s a minor plot point in the game. But other than being able to walk over them, they’re still not especially interactive.
They fit neatly in with the rest of the design of the game, drawn out like notes in a schoolbook. When I played It’s Paper Guy! a couple of weeks ago, I thought that the credits were especially cute. But there are more interesting ways to showcase developers than a list on the screen, as some recent games demonstrate. Except for the time when I spent a full hour watching names scroll by at the end of Far Cry 5 because, wow, a lot of people work at and adjacent to Ubisoft, huh. It’s a ritual that allows me some time to reflect on the game itself and the hard work of all the people who made it, and generally it’s a very nice experience. Usually when I finish a game, I like to sit and let its credits run their length.
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