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Video games are a back and forth between humans and computers, if you will. There is a sort of language to it. And you need to be aware of what you effectively *communicate*.
This isn't just mechanics. Presentation, sound design, the setting, even the interface. It all has to come together in order to elicit a response from the player.
There's a german word for this that I'm not even going to try and spell. It means "complete work of art" or "work of all arts" or something like that; basically, more than the sum of it's parts if I'm not mistaken. I think it originally refers to opera but the concept applies more or less the same. What you care about is how the play can affect the audience.
Of course, the audience in a video game gets to take part in the play, to some degree at least. So it ought to be valued even more; it determines where the play goes, in a sense, and what it ultimately expresses.
I know nothing about theatre by the way. But overall great advice++
"So it ought to be valued even more; it determines where the play goes, in a sense, and what it ultimately expresses."
Actually that itself may seem obvious but is a really subtle and important observation.
It points out the mistake designers in many genres make: Pushing toward 'animated movies', streamlining mechanics. Theres a certain 'friction' inherent in designs and the basic complexity of given mechanics/interactions, that give games their 'charm'.
I wrote another post highlighting the "joy of UI" or UX as it were, that might be worth a read.
The best examples of this are State of Decay to State of Decay II, and TLOU and TLOU 2. In the process of making sequels, they streamlined their UIs and the original charm of them was lost.
The joy inherent in UX and UI itself is best highlighted in the weird intersection found when polls discovered players of bethesda games also *really* enjoyed clickers.
What mechanics/UI we enjoy, tells as big a story as the story itself
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