kestrell: (Default)
Two lists, the first by Brenda Brathwait
http://bbrathwaite.wordpress.com/reading/
--note that if you know anyone who is looking for books on how to design games this is a great place to start--
and
the annual AbleGamers shopping guide for gamers with disabilities
http://www.ablegamers.com/game-news/ablegamers-2010-holiday-shopping-guide.html
although this last focuses strongly on games and devices for gamers with mobility impairments and is completely lacking anything which could be played by blind gamers--one more reason to love Echo Bazaar.
kestrell: (Default)
by Kestrell

It's one of the ironies of my life that I have a degree in media studies and am married to a game designer, yet have only recently found a game which Alexx and I can share with equal enjoyment.

One of the major issues I've had with accessible games is that, while they may be fully accessible to people with disabilities, they aren't really as exciting for non-disabled players to play, not compared to all the other games they could be playing. Isn't it possible, I often ranted, to develop a game environment which from the very beginning is just as fascinating to the disabled player as the nondisabled player?

Echo Bazaar
http://echobazaar.failbettergames.com/
answers that question.

Echo Bazaar is a highly-decorative text-bassed game set in a pseudo-Victorian city called Fallen London. Most of the gameplay occurs through story fragments referred to as "storylets." To get a sense of what a storylet is, you can read an intro page at
http://echobazaar.failbettergames.com/Home/FindOutMore
and you can read more about Fallen London at
http://echobazaar.failbettergames.com/Home/AboutFallenLondon

The description of Fallen London actually implements one of the ideas I often used in my own thought experiment for an accessible game: due to a catastrophic event, natural light and electricity have become extinct, so everyone exists in a strange subterranean world of perpetual twilight full of uncertain shadows and surreal beings. This not only contributes to the gothic atmosphere of the game, it means that vision is not an entirely reliable sense for distinguishing friends from enemies or safe pursuits from dangerous ones.

How to get started
continued below cut )
kestrell: (Default)
Please join us Thursday for this week's CMS Colloquium, with Richard Rouse speaking about "Cinematic Games".

When: Thursday 10/29, 5pm
Where: MIT Building 4, Room 231

Richard Rouse III is a game designer and writer, best known for The Suffering horror games and his book Game Design: Theory & Practice. He is currently the Lead Single Player Designer on the story-driven first-person shooter Homefront at Kaos Studios in New York City.

"Cinematic Games"
Many people talk about "cinematic" games, but what does this really mean? Over their century of existence, films have been using a range of techniques to create specific emotional responses in their audience. Instead of simply using more cut-scenes, better script writers, or making more heavily scripted game experiences, game designers can look to film techniques as an inspiration for new techniques that accentuate what games do well. This lecture will present film clips from a number of classic movies, analyze how they work from a cinematic standpoint, and then suggest ways these techniques can be used in gameplay to create even more stimulating experiences for gamers, including examples from games that have successfully bridged the gap.
The CMS Colloquium Series
Provides an intimate and informal exchange between a visiting speaker and CMS faculty, students, visiting scholars and friends. Each week during the term, we host a figure from academia, industry, or the art world to speak about their work and its relation to our studies. These sessions are free, open to the public, and serve as an excellent introduction to our program.

Podcasts are available following each event.

February 2024

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