In a little town called Amsterdam, in the heart of Holland, just outside of the busybody-ism of its downtown by Amsterdam Centraal Train Station is a building with many floors. On the top of those floors there are many rooms. But of these rooms, there was one in particular designed for people to find solutions to get themselves out of the room. You’ve found the Room of Riddles.
Game Idea: Suspense-Horror with Oculus with Tactile Information via physical objects
Oculus game again. You and your Oculus are in a small room, 10 x 10, or the standard living space in downtown San Francisco for your month’s paycheck. But the room is set up with hundreds of tiny jets, like the ones from Jacuzzis and jets are laced throughout all planes of the room. The floor, the walls, the room. Maybe there are obstacles around the room, with air jets on them as well. But here’s the fun part, it’s a chase game, e.g. SlenderMan or If Only.
I talked about different controller types lending itself to the birth of different gameplay mechanics here, well the new interactive medium will be the room itself. Suspense/thriller games get you to jump by two main means, jump scares and creep-factor. But now you have a new set of mediums in the room to mess with your adrenal-glands.
The Game: Star Wars Jedis mutha-fucka. Do I have to keep typin’
The combo mechanic I had is kinda simple, but can add a bit of depth to the game. The idea is we’re going no HUD for the game, much like how Metal Gear Solid 5 is changing their approach to keep the focus on the visuals around you rather than the patrol map and vision cones from its previous games.
Having your own personal space means that we tend to accumulate things that pique our interest. Games, Toys, Movies, everything gets littered around our space because we tend to use them. But what about the things that embarrass us? When guests come over, then we start scrambling for places to hide our little secrets in hopes that they won’t embarrass us to people we’d rather not have knowing.
But in the age of the computer and online pornography, we don’t have hard copies lying around unless we prefer living in the stone-age with a dvd/vhs remote in our offhand instead of a mouse. Because of this, let’s roll the clock back to, say, 1998. If you want a video of 2 fine ladies and a donkey, or men with frozen bananas, you need to have a hard copy of it. But of course, you don’t want any of these things being found.
I had a game idea floating around for a while and only just started implementing it heavily over the past week. That might not be completely true, I’ve been working off and on for the past month but had too much going on to devote any meaningful time on it. I’m hoping that writing about it will help me get a better understanding of the game and maybe solidify any ambition with the project.
Idea: Deprogram your habits
The only way to reprogram out habits is to know what our habits are, so we need someone that learns our habits and forces us to unlearn our habits. In Behavior Psychology, we know that our habits become reinforced when our reward systems are triggered by our actions. Good rewards to actions reinforcing the belief that our actions are good. Hitting the ‘?’ block gives a rewarding sound, coin +1, power-up which reinforces the action for players to hit ‘?’ blocks as they appear in hopes of more “rewards” of appearing. Slashing the tall grass in Zelda teaches the player that life hearts, rupees, free weaponry can be found and when we are in need of that reward, we reinforce that habit by performing the action of slashing the tall grass. (Music Change) When we know we will be rewarded, we become more likely to perform actions that propagate that reward.
The basics are that you move the left stick for the Red character and the right for the Blue. The player then tries to go through the correctly colored gates until their “sync” meter (the top bars) fill up, extend and gently touch tips so they both synergize together.
The Rhythmic part comes in where the gates and sounds played arrive on beat to the background music, making the experience more unique to each player and helps build the atmosphere to each of its soundscapes.
Child of Light is another one of those games that is hard to categorize. It’s a game marketed as an indie game but clearly developed by a major developer, Ubisoft, which can be fairly misleading for players if they don’t pay attention. This usually means that Child of Light gets graded on an easier scale because of the “indie” aspect in mind and while I don’t believe it should, I still think that the game is exceptionally done for what it is.
It’s essentially a basic platfomer with classic JRPG combat using elements to try and make the battle system more active than simply being “turn-based”, a clearly defined art-style that captures a whimsy of 80-90s European ‘Storybook’ Animation, a soundscape that’s as euphoric and resounds with the environment as Ni no Kuni (PS3) and one of the only other games in the past few years that made me enjoy an older style JRPG (the other actually being Ni no Kuni). If you’ve read any other articles of me criticizing The Final Fantasy franchise, the reigning poster child of what’s right and wrong with JRPGs, you’d know that I’m not entirely too happy with the current direction of the franchise so it’s great to see another game that can get me to be excited about an RPG that is of a slower pace like older Final Fantasies.