Vederman Throws Down the Gauntlet

So for those who don't already know, my game grabbed the cover of PC Gamer (US) for our exclusive unveiling. It's the October Issue, on shelves now. It's packed with details, well written, and I think the smart lay-out really leverages some of the look and feel elements we're shooting for in the game, which is even better.

Aside from the article, though, the part of the issue that really grabbed my attention was Greg Vederman's opening Letter From The Editor, where he says:

As inspired and multilayered as FC2's premise is, and as thrilling as it will no doubt be to experience... will it be art? Will it have the power to affect you emotionally on anything other than a surface level? Probably not.

Sweet. That looks pretty much like a gauntlet on the floor to me. The fact that people would even ask this question is a major step forward for the entire industry in my opinion, and I'm pretty flattered to have my game be the deer-in-the-headlights on this. It's just not that long ago that editorials from the biggest magazines on the market were still exclusively concerned with how many players such-and-such-titles online modes would support.

Making a game that affects players emotionally on something other than a surface level is pretty much my job. It's what I do - or what I'm supposed to do, anyway. I never said it was easy, and I never promised I would succeed, but I did promise I would try. So I'll do my best, and we'll see what Greg says when it's finished.

Comments

[William Erasmus]

If your job is to give the game emotional depth, then your position on the team is equally as vital as the core designer, in my opinion.

There have been so many games that lacked depth beyond its surface gameplay, and often these games were very disappointing.

Honestly I didn't know such a position existed, but I'm glad to hear it. I'm thrilled to see what you do with the title.

[Clint]

Erasmus - I'm the Creative Director. I guess some people would consider that to be the 'core design' position (though I think it encompasses more than design). I would argue that every project pretty much already does have this person, though the 'title' may vary. This is the person who runs the creative on the project - whether lead game designer, creative director, designer director, whatever.

Of course that's my job... and their job too... what else would that persons job be? To make systems of rules supported with content irrespective of what they might actually mean to the audience? Is it to deliver fun to the player?

Vederman is right to challenge us on the promise that we can do more because as you say, most games either don't seem to try at all, or fail so badly in execution (of this aspect) that you can't even tell they made the effort.

It's sure as hell not an easy task, but step one is to know what our jobs are, step two is to try to do them, step three is execution. I got one and two handled, and I am pretty sure I've got 3 down well enough that you'll at least be able to tell that we tried... hopefully more than that ;)

[William Erasmus]

Sorry, my game studio terminology is evidently inaccurate - I intended to say that the artistic element(s) of a game is equally as important as the very core mechanics that make the game run. The difference between the game's concept and the game's controls and programming, if you will.

Also, I wrote that post before I noticed you were Clint Hocking, thus not realising the exact nature of your position until afterward ;) Having played and finished both Splinter Cell titles you have worked on, I'm confident you know what you're doing.