In response to “Play Like a Three Year Old” from The Escapist Forum: wow, you know, I don’t think I’ve thought like a three year old in a long long time. I even remember being really frustrated by how much time it took between the end of a level and mario walking into the pipe. Seriously. How bizarre is that? It just goes to show that games targeted towards children need to be filled with something to do.
Our generation became so jaded by impatience, ADHD, and broken game design, that we’ve forgotten what its really like to be a kid.
“Pursuit of happiness” is right.
In response to “Little Girl Games” from The Escapist Forum: The little girl in our house got a Leapster for Christmas from her uncle. We knew she was going to like it, but earlier this week we caught her trying to skip breakfast because she was too busy grinding mobs!
Well OK, not literally grinding mobs, but it amounted to the same thing as she tried to get all the jewels she needed for her next crown in her Disney princesses game.
Having watched the game a fair bit my initial suspicions are confirmed: as well as being designed with the same attention to detail and care as a “grown ups” game, this title has borrowed many classic faults from mainstream gaming.
So sure, Ramiro Corbetta sounds like has a good attitude to his work, but that’s only half the battle… The question is can these kinds of games attract great designers to work on them?
In response to “Conferences I Have Known” from The Escapist Forum: This is a real interesting read to me, but mostly because I come from a background that is in a small part related. I carry with me over a decade’s worth of experience in the anime convention organization “field”, and while there are many, many differences between these and the gaming conferences described in the article there are definitely similarities. There’s the same level of interest at the “industry” side of these conventions, a slight bit less of the exclusivity mostly because the industry itself is in a plateau/decline, but from the organizers’ side, the same level of dedication, work, and of course, dramatics.
The article definitely highlights industry and professional events, and if you have any experience with attending or helping at a fan-run event you can see that there are clear and present differences. Still, there are things you hear at any event, like interesting anecdotes about parties, industry information, and if you’re an organizer, fubars – which make for some of the best stories to tell at 2 am in the morning at the hotel bar.
I do think, regardless, that events themselves can benefit from media coverage in most cases, but it is sad that the “‘do not drink’ on the paint can” idea has to be subscribed to some of the events, because the lowest common denominator may have taken advantage of their access and abused it.
In response to “Idea Sex in the Dream Factory” from The Escapist Forum: You know, I’ve always wondered about the similarities and differences between WETA and the Jim Henson Company. Both have a history in design, sculpture, puppetry, movies, electronic art and the like but the respective paths they walk in the same industries are very dissimilar. You wouldn’t have happened to toss that name up while you were there?
The Jim Henson Company comparison is a great point – I also think there’s a free-for-all aspect to both JHC and Weta that reflects their respective founders. There’s a kiwi tradition of improvisation that would definitely have come in handy when, say, trying to find modeling clay: Gino Acevedo told me that in the early days there was no good Australasian source for the stuff so they had to go make their own, i.e. wade into the riverbanks …