Saturday, July 13, 2024

Different lessons from Mozart

 

Geoff Engelstein brought up Amadeus while writing about “the question almost all of us have to wrestle with - what do you do when you realize that you’re very good but not great?”

I… don’t find that question very relatable? (Let’s meet back here later to discuss what it's like to realize that you're very good.)

Amadeus lives in my head for a different reason: it shows that most of us have to make an effort.


In the movie, Salieri is stunned that Mozart’s music needed no editing, revision, or correction. Who actually works like that? A freakishly talented, once-in-a-lifetime genius, that’s who.

The rest of us need to struggle through multiple drafts and revisions while strengthening what works and discarding what doesn’t.

It’s the Ira Glass quote about closing the gap between the works you’d want to create and the works you create when you’re just starting out. You need a lot of practice to develop your skills, and that means being kind to yourself when your early practice falls short. 

Look away from the remarkable brilliance of the person working without rough drafts to recognize that everybody else is experiencing similar struggles to improve. That's why the genius is notable! What made you think you'd be an exception? 

And on the topic of getting a lot of practice, Blaugust is coming up. I wasn’t successful at writing a post every day during the month of August in 2023, but I have published a post every month for the past year, and that’s better than nothing.

Saturday, June 22, 2024

Truck Quest: The cutting edge of 201X

Black and blue strings of ones and zeroes that suggest computer code.

When Donald and I started working on Truck Quest, we needed a design for Samson, the eccentric loner who actively opposed surveillance capitalism. It was 2018, more than 10 years since Anonymous made headlines for opposing the Church of Scientology. “Mr. Robot” had also been around for almost half a decade, which gave us some ideas about what Samson would look like and who he would be connected to.
  
Although the Guy Fawkes mask was an obvious idea, it wasn’t a good fit for our paranoid activist. There’s no way his efforts to undermine exploitative globalization would use a mass produced commodity that generated revenue for a major entertainment conglomerate! Samson might have had some unusual opinions about how society should work, but he wasn’t an idiot.

Instead, we looked at some of 2018’s cutting-edge solutions for remaining unrecognized: 
Samson ended up with several different disguises to remain incognito.


Sunday, May 19, 2024

3 Insights into Procedurally Generated Narrative

As a book, Procedural Storytelling in Game Design has not quite been what I expected. The marketing material declares that “The reader will learn to construct narrative systems, write procedural dialog, and generate compelling characters with unique personalities and backstories,” and that has not exactly been my experience. 

It’s never smart to believe marketing material, but this reads more like a collection of essays?

That’s fine — the essays are written by smart people! — but it’s not a step-by-step instruction manual. Each essay has its own perspective, and they don’t always fit neatly together for a clean set of best practices.

I still copied down some ideas to swipe for later.

I. The Bare Minimum.

In Chapter 3, “Generated Right in the Feels,” Veteran game designer Jill Murray (“best known for her work on Shadow of the Tomb Raider, The Big Con, and a handful of Assassin’s Creed games”) writes about her experiments trying to identify the smallest, sparsest, most sketchy set of details that could make characters seem relatable. “We know that players have a great natural capacity and enthusiasm for attachment and interpretation. Why not provoke them to use it on purpose and shift some of the processing power to the players’ minds, so to speak.”

Murray tested this idea by developing a character generator that created sets of descriptive details. It turned out that providing too many details distracted people from the character by encouraging them to play around with the generator. “A sparse level of detail was more likely to tap into players’ creative minds and provoke them to consider the person behind the list.” 

II. Clever Combinations.

In Chapter 8, “Curated Narrative in Duskers,” Tim Keenan and Benjamin Hill (the creators of Duskers) discuss how identical story components can create different narratives when they’re encountered in different orders. They gave an example with a dead rat and two discussions of how it got there: maintenance technicians explaining that dead rats are found on spaceships all the time, and scientists talking about how it could be a sign that something is seriously wrong.

Test audiences read both perspectives, and “most of those who read the scientist’s email first generally felt the scientist was on to something and the operators were being obtuse, while most of those who read the operator’s conversation first were more likely to think the scientist was overreacting.” Using this insight, they broke their game’s stories into a series of small ship logs from different points of view, allowing players to experience the narrative differently and encouraging them to draw varied conclusions.

III. Planned Absences

In Chapter 18, “Dirty Procedural Narrative in We Happy Few,” Alex Epstein (narrative director for We Happy Few) discusses the challenge of telling stories in a procedural sandbox. He relies on the fact that people will eagerly assemble their own stories from a set of disjointed facts, approaching procedural storytelling with what he calls “dirty narrative.” Epstein says that while good dirty narrative stories have the same elements as every good story, “what distinguishes them is that, instead of trying to make as clear as possible what happened to whom, where, when and how, they intentionally demand interpretation.”

Epstein goes on to explain how dirty narrative can use lies, absences, mysteries, inconsistencies, and tangents to outline negative space around a story that the audience fills in themselves. “All dirty narrative could be boiled down to ‘something should be there but isn’t’ and ‘something’s there that shouldn’t be.’” However, he also warns that dirty narrative is “execution dependent” (i.e., something that will be awful if poorly implemented).

I might have chosen these points selectively to support my own biases (Dear God, these essays make so many points), but it seems like good procedural narrative ends up being willfully incomplete. When a system creates a single, definitive story that has no room for interpretation, it’s tougher to engage with.  

Image credit: wilderjjss / Pixabay