LevelDesign. GoneHome. Ni no Kuni. Ni no Kuni (二ノ国?
, literally Second Country, also called The Another World) is a role-playing video game, developed by Level-5 and Studio Ghibli, for the Nintendo DS and later PlayStation 3. The Nintendo DS version, titled Ni no Kuni: Dominion of the Dark Djinn (二ノ国 漆黒の魔導士, Ni no Kuni: Shikkoku no Madōshi? , literally Second Country: The Jet-Black Mage), was released on December 9, 2010, while the PlayStation 3 version, titled Ni no Kuni: Wrath of the White Witch (二ノ国 白き聖灰の女王, Ni no Kuni: Shiroki Seihai no Joō?
, literally Second Country: The Queen of White Sacred Ash), was released in Japan on November 17, 2011, with a Western release on January 22, 2013. Both versions of the game (DS and PS3) were critically acclaimed, with many critics praising its graphic design and its unique gameplay which combined traditional Japanese RPG combat with more fast-paced Western RPG combat. Gameplay In the Playstation 3 version, Oliver, Esther, and Swaine using their Familiars in battle.
Load Game: The Last Symphony. The Last Symphony was created to showcase design strategies based on indexical storytelling.
Hidden object games often include objects that are out of place or anachronistic in their scenes, or ask players to find objects that are largely unrelated to the storyline or the goal of the player. Collection of objects in The Last Symphony is not only directly tied to the player's goal, but also reveals the story through that process.
Game Theory. Game Theory. #AltDevBlogADay. Reviews. Top 100 Learning Game Resources. FutureGame-outbag. Blogs. Indy. Connected eXPeriences. Igda. GameArt. Airy Labs - Social Learning Games for Kids. Design. Tools. Mobile. Adventure. Welcome to DiGRA ? Digital Games Research Association (DiGRA) Ten games that make you think about life.
At the start of this year, we decided to come up with a list of Flash casual games with a philosophical bent.
To be honest, we struggled. After days of research, we could only find a handful of games that had the thought-provoking depth we were looking for. Our list (which you can view by clicking here) was therefore only five games long. Fast forward to now, and it is remarkable how much difference a few months can make. Thanks to the work of pioneers like Daniel Benmergui, Gregory Weir and PixelAnte, there is now an abundance of clever arty Flash games to pique our intellects, and as a result creating this follow-up list of games that make you think has been a doddle.
In a wonderful twist, it seems it is the Flash gaming space - until now known more for the throwaway nature of its games rather than depth - that is leading the way in this exciting new area of gaming, as we hope the following games prove. 1Immortall The game starts with you crash landing on a planet. 2Loved 5Coma 6Loondon. A Common Framework for Storytelling in Games. Do games tell stories?
Sure, text, artwork, voice acting and cut-scenes can all arguably tell or help tell a story, but how can you truly say that the game itself is telling the story? And by the game, I mean the actual system, the units and rules that create the possibility for gameplay. Is gameplay a form of storytelling? Maybe not in most games (to avoid the argument), but if we wanted to conceptualize gameplay as storytelling, how would we do it? And if we wanted to make a game that told its story well, what would it take?
Games Studies 0101: Games telling Stories? by Jesper Juul. -A brief note on games and narratives by Jesper Juul Introduction As questions go, this is not a bad one: Do games tell stories?
Answering this should tell us both how to study games and who should study them. The affirmative answer suggests that games are easily studied from within existing paradigms. But the answer depends, of course, on how you define any of the words involved. The operation of framing something as something else works by taking some notions of the source domain (narratives) and applying them to the target domain (games). The article begins by examining some standard arguments for games being narrative. The article works with fairly traditional definitions of stories and narratives, so as a final point I will consider whether various experimental narratives of the 20th century can in some reconcile games and narratives. Telling stories Everything is narrative / Everything can be presented as narratives The problem is that this really is an a priori argument. Similarities. Game Programming.