For this year’s GDC, Matthew Weise and I had prepared the 5th consecutive Narrative Innovation Showcase at the Game Developers Conference (GDC) in San Francisco. It was going to be the opening session of the the Narrative Summit on Monday March 16th. Since GDC was cancelled as one of the early casualties of the pandemic, we didn’t get our wonderful set of presenters to show their work in California, but we would still like to highlight the showcase we had prepared. Here we explain why we selected the games for the showcase, in a year where there have been plenty of games made by very talented narrative designers. Our panelists are also putting together videos of what would have been their presentations, which will be made available in GDCs YouTube channel.
Katharine Neil for NyamYam.
Astrologaster is a particularly apt game to play these days, since it takes place during the plague in London in 1592. We are Doctor Simon Forman, an astrologist / astronomis / physician who can cure any illness and solve any problem by looking at the stars – he’s a true renaissance man. By solving the plights of our customers we can gain reputation and finally achieve the proper doctor’s license that Doctor Forman doesn’t really have. The historical setting is unusual in games – though not the only game set during a plague released in the last year. There are many things that we love of this game that we find truly refreshing – from its Renaissance songs, to the bawdy themes. This is also one of the rare cases where we have a writer who is on top of her craft, the care in the language in the dialogue as well as the lyrics of the songs is a joy to see in videogames.
Before I Forget
Chella Ramanan & Claire Morley, 3-fold Games
Before I Forget is a poetic first-person experience attempting to capture what it is like to live with dementia. It would be unfair to peg it as a mental health awareness game because, though it clearly serves that function, it uses its thoroughly researched mechanics design to push first-person storytelling in new directions. The use of shifting color to signify something half-remembered, the way everyday objects provide fragments of memories that can suddenly cascade into full-on recall, or the way space folds in on itself to capture the experience of a memory just out of reach: these are at once fresh techniques for creating evocative spatial stories and also beautiful ways to drive the subject matter home. We love how Before I Forget portrays dementia’s effects, be they good or bad, with nuance and complexity by pushing the medium forward.
Carlos Rocha, Dreams Uncorporated
Cris Tales is a great example of a group of talented folks taking a familiar genre to new personal, political, and mechanical heights. It is a fantasy RPG where the player has the ability to simultaneously experience past, present, and future at every moment of the game, allowing you to see the impact of actions across time instantly. Yet rather than just being a fun gimmick for another general save-the-world story, this core conceit is used to explore the cause and effect of systemic environmental collapse, the ensuing civic crisis it causes, and how that crisis exacerbates existing class inequalities in a fantasy world based heavily on Colombian folklore, architecture, politics, and economics. What we love about Cris Tales because it is the very essence of artistically engaged genre work, using familiar forms to say something about real life through metaphor, via a fresh core mechanic that is impossible to divorce from its storytelling function.
Tick Tock: A Tale for Two
The way Tick Tock: A Tale for Two pushes the art of narrative design forward is at once brilliant and simple. To a certain extent, it is a conventional adventure game, where a pair of co-op players must work together to solve the unraveling, multi-generational riddle of a mysterious dynasty of clock-makers. The two find clues, solve puzzles, all while piecing together fragments of the story. The difference is both of these players are on a different screen and have access to different information, causing in-person communication to emerge as the secret core mechanic. Players have to talk to each other – discuss the story, clues, context, theories – to solve the ever-expanding mystery and complete the story. Tick Tock: A Take for Two elegantly to re-introduces the communal in-person experience to the narrative adventure game format, making it feel old and new, simple and complex, all at once.
Explaining the charm of Mutazione is not easy – it is best to play it and see for oneself. We do have a soft spot for adventure games – we have featured a lot of them in our showcase over the years. The island of Mutazione is populated by quirky and endearing mutants—everybody has secrets, hopes and traumas, which we can discover as we explore the different locations. The game lets us forge emotional connections with the characters because everybody feels real; there are no stereotypes or cardboard characters here. Its developers define it as a soap-opera, because its cast has a life that is independent from us, they have whole lives and relationships on their own – they’re not there just for the player. The capacity of the game to make us believe that it is a living environment is unusual, and we would love to see more games that explore the emotional connections between their NPCs.
(Full disclosure: I worked on the Spanish version of this game.)