Cats are basically badly programmed NPCs.

!dev

A child's mind is fascinating.

I remember how it felt being a kid, just deliriously happy.

Things were magical, mystical and happy.

I knew the world wasn't perfect, I knew bad things happened to good people.

But a kid's mind is so powerful that it can fill in the blanks with the most cheerful and optimistic perspectives.

And at some point in my childhood I was exposed to videogames, and that kinda took me down fantasy lane even further.

I was extremely young and barely retaining any memories when I was exposed to my first console, a famicom.

I have a somewhat vivid memory of my mind being blown away for the first time by watching my brother play New Ghostbusters II for NES.

From then on, we never stopped and played several console and dos/pc games.

When I was 10, someone from the neighborhood brought in a couple of floppys with Pokemon Yellow.

"What? Pokemon? How the fuck is that even possible? This is a pc, not a gameboy".

I didn't know at the time what an emulator was, but I was super fucking stoked to be able to play that.

My dad had a 1 gb laptop from work that he didn't use, so I hoarded that shit, and I would get to bed and play nearly everyday.

The experience was surreal. I was doing pc gaming... not on a chair, on a fucking bed, and I was playing a gameboy game... on a pc.

It was so intense to me, that even after more than 2 decades of that time in my life, I still remember how it feels like.

Like, you know how you can "feel" things if you think about them? like for example if you think about the taste of chicken, you can somehow feel it for a second.

Well I have like an actual physical sensation linked to that experience but I can't explain it at all, because it's just a sensation.

I think people usually say they feel that way, for example, about the PSX (usually refered to as ps one) loading screen. I experienced that too but when I was 12, so it was not as intense (it does make me feel the fuzzies though).

I also remember other things with very high detail, like the texture of my bed cover, the weather, mom cooking, the clunky shape of the laptop, the way I carelessly stored it above a pile of magazines, etc.

I rememeber ofc how it felt looking at the game sprites, interacting with NPCs, and the goddamn fucking glorious music.

It was dreamy.

Years and years later, I grew up and I stopped living in fantasy world and became more aware of the grim aspects of life my younger self was sugarcoating.

So I tried to play pokemon again, again and again, and no matter how hard I tried to revive that euphoria, I could not never do it.

I started to get annoyed at the game.

"Come oooon, I did the tutorial already, let me skip this.
This pokemon is useless, why am I even training it.
Fuck, I'm tired of grinding"

At some point I accepted that the feeling would never return, and that it would just live in my memory.

Ironically, I can recall that memory and how it felt anytime I want to.

And I can actually still feel it, and throughtout these years, it has never wore down.

And eventually I learned how to play pokemon and enjoy it:

I read tier lists at smogon online and just catch and train the pokemons that are higher on the list, which is how i got to beat yellow in like 3 days.

(This is nothing compared to what speedrunners do, but much better than the weeks it had taken me in the past).

That served as an important lesson that when a kid plays a game, his mind is also the game at the same time, filling the blanks with its imagination.

A very similar experience happened to me with harvest moon, which is the precursor of stardew valley.

and that game is faaar more emotional: you talk to people, overtime you befriend them and they open up, you meet a girl, you marry her, have a kid

you get farm animals, you brush them, they become happy

you get attached

that game was also so powerful in me that in all naiveness I thought I wanted to be a farmer.

Eventually I grew up and hit puberty and from then on, I focused more on competitive games, like smash bros, cs and tf2.

and i dunno how to end a post so eat my fucking nuts

Sometime ago I was introduced to that game "Stardew Valley", as a way to relax and unwind since it is a dynamic-pace simple-storyline and even simpler interactivity open world.
Well, it worked like a charm (sarcasm). I have a save where I am a profit-maxinizing capitalist who tries to score a million gp in an year - so a regular gamer approach. It wasn't the goal here.
So I got a second save where I just go along, getting enough to get by and no hurry to build farm buildings and whatnot, but slowly building up NPC relationships.
Man, what a good metaphor for life. That approach actually unwinds me.

But the dev in me is just like "just, woah! that is an stellar use case for GPT+3 APIs! You could have NPCs with dynamic adaptative dialog! *And* you can monetize it (piracy-proof!) by charging for API calls! No shops, no collectibles, just a unique but scalable experience!"

What is wrong with me? I gotta change into the second-save mindset...

I'm playing a PC game, Yakuza 0, for passing some free time. It's an action game so I get to fight and stuff.

In the latest mission, I'm supposed to run to the supermarkets (different ones too) and get 5 items for 5 NPCs to unlock the story progression.

I'm basically running errands for 5 NPCs.

What the fuck am I doing with my life

I Have always wanted to create a game with tons of openness. Kind of a mix between Dishonored, Thief, and We Happy Few. You have an entire active city where people actually have goals and daily jobs and such. It would be cool to have everything time based, so stuff happens even if you're not doing anything, and even be able to live a practically normal life, get a job, make friends. See news happen, and perhaps in the dead of night you turn into an assassin and prevent events from happening that could kill many people. And so on. Just being able to watch the city lively at work and NPCs actually having goals to complete each day, it would be so interesting. I suppose Skyrim is the closest game to my idea as of current

Hello, world!

Okay, guys and gals... I need your creative minds. I need a concept for sort of a property manager for my game.. I have an idea of my own, feel free to tear it apart or throw it out the window.

So basically.. You'll no longer have one Computer System (and you wont instantly hit the login screen for that System on startup) Instead, you'll have a lot of things. They will probably only be represented using text and menu's (likely no 3D or 2D environments or anything.. Though, a setup like News Tycoon would be epic, but I think that would be too much for this game.) You'll basically start off with a small space (probably a basement) with x amount of free space. In that space, you'll need to add things like a desk, chair, and a laptop, or tower + monitor. You can also buy things like server rigs with a ton of space, but those are pricy and bulky. Each item costs X amount and takes up X amount of space. Also, you'll need a desk for a monitor (or multiples..) and other things.. (Like your rubber duck collection ;P JK) You can also rent and manage servers. (renting is more exspensive in the long run, but things on your server are not on your property. But, if you own a server on your property you can rent space to to NPCs) As well as manage your devices, properties, stocks, etc..

Also, there will be in-game time. Depending on how "comfortable" you are will determine how long you can stay up in a day. In-game events will take place later on at specific times so staying up (or not..) will need to be managed well. Especially if you're being targeted by a rival (NPC) hacker.

Been thinking about game design for a while now. I have been thinking about how the game can affect the player emotionally. I pay attention to off comments people make in game forums. I didn't fully realize the impact of some NPCs until someone pointed it out.

For instance, in Skryim a character would say something like "Your parents should be very proud of you. I am too." People have expressed how profoundly this impacted them. So I put this in my notes of "things to include" in any given game. I also saw a meme where there are people where their only positive interaction with the world could be a video game. I don't know what kind of dark existence that would be so it makes it hard for me to relate. Which is probably why I didn't understand the impact of such a statement. I realized that regardless of the medium, you will have an impact on someone.

I have also been thinking about how people get older they become more of a casual player. But as a casual myself I want to a more detailed system of interaction with the game. Despite the shitty graphics (all text map), the "Mines of Moria" is one of my all time favorite games. It is based upon the Rogue I think. I remember being able to do almost anything that made logical sense with anything. For instance, you could dip arrows in any potion. The affect was not always significant, but you could to that. I want to recreate that in my games. I am going to start with shitty graphics and build a system of interaction that is more detailed than any RPG I have played. Maybe a lot of players will gloss over this, but for those that want that it will be there. I think the biggest issue is often the types of exploits this would allow. So I guess I will have to get good at simulating the player interactions to test things out. I am always a bit frustrated with games that have mages, but all their spells are wrote. I feel like skill trees for all types of play should be expansive and exclusionary. That way a new play through doesn't end up with the same god character every time.

I have been watching One Piece. I now want piracy and ships in my game. Including ship battles with a working crew. It seems like this could make an RPG a lot of fun. Who doesn't want mages casting fireballs at opposing ships?

Headsup: if you're making a game, or want to, a good starting point is to ask a single question.
How do I want this game to feel?

A lot of people who make games get into it because they play and they say I wish this or that feature were different. Or they imagine new mechanics, or new story, or new aesthetics. These are all interesting approaches to explore.

If you're familiar with a lot of games, and why and how their designs work, starting with game
feel is great. It gives you a palette of ideas to riff on, without knowing exactly why it works, using your gut as you go. In fact a lot of designers who made great games used this approach, creating the basic form, and basically flew-blind, using the testing process to 'find the fun'.

But what if, instead of focusing on what emotions a game or mechanic evokes, we ask:
How does this system or mechanic alter the
*players behaviors*? What behaviors
*invoke* a given emotion?

And from there you can start to see the thread that connects emotion, and behavior.

In *Alien: Isolation*, the alien 'hunts' for the player, and is invulnerable. Besides its menacing look, and the dense atmosphere, its invincibility
has a powerful effect on the player. The player is prone to fear and running.

By looking at behavior first, w/ just this one game, and listing the emotions and behaviors
in pairs "Fear: Running", for example, you can start to work backwards to the systems and *conditions* that created that emotion.

In fact, by breaking designs down in this manner, it becomes easy to find parallels, and create
these emotions in games that are typically outside the given genre.

For example, if you wanted to make a game about vietnam (hold the overuse of 'fortunate son') how might we approach this?

One description might be: Play as a soldier or an insurgent during the harsh jungle warfare of vietnam. Set ambushes, scout through dense and snake infested underbrush. Identify enemy armaments to outfit your raids, and take the fight to them.

Mechanics might include

1. crawl through underbrush paths, with events to stab poisonous snacks, brush away spiders or centipedes, like the spiders in metro, hold your breathe as armed enemy units march by, etc.

2. learn to use enfilade and time your attacks.

3. run and gun chases. An ambush happens catching you off guard, you are immediately tossed behind cover, and an NPC says "we can stay and fight but we're out numbered, we should run." and the system plots out how the NPCs hem you in to direct you toward a series of
retreats and nearest cover (because its not supposed to be a battle, but a chase, so we want the player to run). Maybe it uses these NPC ambushes to occasionally push the player to interesting map objectives/locations, who knows.

4. The scouting system from State of Decay. you get a certain amount of time before you risk being 'spotted', and have to climb to the top of say, a building, or a tower, and prioritize which objects in the enemy camp to identity: trucks, anti-air, heavy guns, rockets, troop formations, carriers, comms stations, etc. And that determines what is available to 'call in' as support on the mission.

And all of this, b/c you're focusing on the player behaviors that you want, leads to the *emotions* or feelings you want the player to experience.

Point is, when you focus on the activities you want the player to *do* its a more reliable way of determining what the player will *feel*, the 'role' they'll take on, which is exactly what any good designer should want.

If we return back to Alien: Isolation, even though its a survival horror game, can we find parallels outside that genre? Well The Last of Us for one.

How so? Well TLOU is a survival third-person shooter, not a horror game, and it shows. Theres
not the omnipresent feeling of being overpowered. The player does use stealth, but mostly it's because it serves the player's main role: a hardened survivor whos a capable killer, struggling through a crapsack world. The similarity though comes in with the boss battles against the infected.

The enemy in these fights is almost unstoppable, they're a tank, and the devs have the player running from them just to survive. Many players cant help but feel a little panic as they run for their lives, especially with the superbly designed custom death scenes for joel. The point is, mechanics are more of a means to an end, and if games are paintings, and mechanics are the brushes, player behavior is the individual strokes and player emotion is the color. And by examining TLOU in this way, it becomes obvious that while its a third person survival shooter, the boss fights are *overtones* of Alien: Isolation.

And we can draw that comparison because like bach, who was deaf, and focused on the keys and not the sound, we're focused on player behavior and not strictly emotions.

Most awesome game ever! It mostly plays by itself and cheats... or maybe it a bug: You (as Autoplay) don't have to beat all the NPCs to advance....

Strangely it feels sort of familiar... O right bc I usually God Mode all games..... But still need to play thru them manually.

Also there's some Chinese left in one of the buttons... they forgot to translate... But maybe that's... Most of time all we care about is the graphics and seeing rank go up....

Looking through a staffing website’s photos of recruiters. They all literally look the same from a distance. Like NPCs generated by the game’s AI. “Which character would you like to pick to ruin the next stage of your professional development?”

Can someone smarter than me make a game that actually hilariously simulates job searches? I’d play that for the mere catharsis and entertainment value.

Been playing FO4. Not sure I liked it at first. Now I look forward to blowing NPCs heads off with shotguns, or sniping and watching heads jib. It is also satisfying to blow up kamikaze mutants by shooting the bomb in their hands.

I find the computer hacking to be quite amusing as well. Cause computers and hacking...

I of course modded the hell out of it and added a mod to enable achievements even though its modded. I haven't installed many cheat mods. Mainly just carry limit addons because I like carrying a wagons worth of loot around.

Oh, and automatron robots are op as hell.

They added Fail Mode to Super Mario Odyssey — a set of ridiculously hard maps where you’re expected to fall down, but your gameplay is recorded, and in-game NPCs laugh at you. But, if you jump really far using boosters from Mario Kart, you can end up in rock climbing mode. When you reach the end, you get to a half-oasis, half-purgatory where there is a poker table, and other NPCs greet you.

There are a lot of chips, but they mean nothing — you got to invent your own rules.

Among those chips, I found a surf green-colored micro SD card. I put it into my Switch, and the whole new game opened: a hybrid of Mario and Subway Surfers where I’m being chased by half-Peach, half-Thomas the Tank Engine.

When we reached the end, we lost our furry friend. But he was hiding in a dresser drawer, with a sex doll. Not an inflatable one, mind you, and not a silicone one either: the material resembled that of Barbie dolls.

She was a human-size, pretty Caucasian girl. I talked to her. Yes, she could talk, and the voice wasn’t robotic — she was definitely alive. Despite being a completely empty shell, she was conscious, albeit very dumb.

Her name was Near. This is the joke she told me:

— Knock-knock.

— Who’s there?

— Andy.
— Andy who?
— Andy who was imprisoned for sexual assault five years ago, duh!

Strange to watch people behaving like a trigger based character system of npcs in a video game