Artificial Intelligence in games is usually a misnomer. Rarely is it possible to create artificial intelligence that is truly capable of responding correctly to a human player; some AI may be too “smart”, acting instantaneously and without any reason to complete whatever objectives it is given, but it’s also possible to create AI that are not challenging or lack an element of life. Finally, there are concerns with the development side of AI that need to be addressed. The four primary problems with AI are the computing load, task management, player interaction, and vivacity that all need to be addressed.
One of the crucial steps to becoming a great GM is to figure out the style in which you operate. This will help you figure out the pathway to successful games that don’t burn you out and that allow you to create the best experiences for both yourself and your players. This style really boils down into three parts; your relationship with your players, your role at the table, and your way of storytelling.
Be Awesome At Freelance Game Design is written by Creighton Broadhurst at Raging Swan Press. It’s an interesting look at the art of making content for games. However, one thing to note is that it touches most heavily on three independent aspects: freelancing, the games industry, and then writing. If you’re thinking about writing your own stuff you’re not really a freelancer, but it’s also important to note that the guide is more for adventure, campaign, and setting writing than for actual game design, which, to be fair, is a topic which is colossal in scope.
Ostravia’s been forging ahead, so I figure I should give people an idea of what to expect in terms of it and my other projects. Obviously, since it is now my honors thesis, it’s grown to be both much larger (no longer merely serving as the testing ground for ABACUS but instead becoming its own full-grown game), and a lot more personally important, so it’s sort of rearranged my schedule.
Failure is a great tool for a game designer; it is another way to figure out what we don’t want to do when we’re working on a game. Whatever part of the game design process you fall into, it’s important to be able to recognize, assess, and grow from failure, whether it’s as a programmer, mechanics designer, level designer, or even an artist.
Cheating in games is considered one of the prime misbehaviors to occur in a roleplaying experience. As a long-time GM, I’ve seen all sorts of cheating, and there’s probably more that I didn’t see going on. However, as a GM, I’ve learned that the solution to cheating is not necessarily just going and cracking down on players who fudge stuff, but rather to make sure that you create an environment where cheating is not a naturally desirable behavior.
Ring Runner (sometimes stylized RingRunner) is an indie 2D space combat game focusing on an epic space adventure imbued with quirky humor. It’s actually a refreshing breath of fresh air in a genre that hasn’t seen many good releases recently, and while it’s not the size and scale of a triple-A title, it has a lot of bang for its buck and it’s got some nice features and charm that hasn’t been seen in the market recently.
The hierarchal structure of Ostravia is based off German feudalism, which is in part because that’s not so far off of the Polish system but also because Ostravia’s political realities reflect a pitifully weak monarchy with princes that really vie for most of the power. For the sake of Ostravia, there are three major principalities within the boundaries of the royal kingdom of Ostravia. This is somewhat subject to change as the project draws on, but it serves as a foundation for characters and their social personae, motivations, and background.
One of the greatest things that I hear people complaining about in games is the random element of them. And, truth be told, many games with random elements handle them wrong; the random number generator may be faulty or the randomness only serves to force repetition. However, randomness is also a great tool in a game designer’s toolkit; it turns a simple challenge of execution into a risk and reward analysis, and can add great amounts of depth and replayability to games.
One of the greatest things that I’ve seen kill campaigns is the same plight that many writers and authors face: “Writer’s Block”. It’s a major problem, especially if the GM is the central driving force in the campaign. At a certain point, either they can’t work through the current issues they’re facing or they don’t have the willingness to continue with the campaign because they’ve lost interest.