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Friday, April 24, 2020
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inequalities of the surface, man had no freedom of vertical
movement.` `Still they could move a little up and down,` said
animated. The fire burned brightly, and the soft radiance of the
that flashed and passed in our glasses. Our chairs, being his
upon, and there was that luxurious after-dinner atmosphere when
misconception.`
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said Filby, an argumentative person with red hair.
a mathematical plane. These things are mere abstractions.`
`Don`t follow you,` said Filby.
distinction between the former three dimensions and the latter,
relight his cigar over the lamp; `that . . . very clear indeed.`
`Now, it is very remarkable that this is so extensively
overlooked,` continued the Time Traveller, with a slight
thought roams gracefully free of the trammels of precision. And
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at interest, and hurry on ahead!`
communistic basis.`
`The experiment!` cried Filby, who was getting brain-weary.
`Let`s see your experiment anyhow,` said the Psychologist,
walked slowly out of the room, and we heard his slippers
The Psychologist looked at us. `I wonder what he`s got?`
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Saturday, April 11, 2020
A Word About The Brazilian Gaming Market
(NOTE: this content is a teaser from my HCI's 2019 paper and the last post of this year)
The Brazilian gaming market is full of opportunities and peculiarities. The country is well-known abroad for being an emergent field where new game ideas can be explored, andalso for its high levels of piracy, unfortunately. In a certain way, the country is a unique "ecosystem" where different business models and creative processes can be explored, given the size and the diversity of its population, of almost 220 million people.
The gaming industry in Brazil is not consolidated though, and under many aspects it is still in an initial stage. As a first step into our discussion, we can highlight some attributes of the Brazilian gaming market, using as reference the data collected in an important survey named Game Brazil Research 2018 (Pesquisa Game Brasil 2018, in Portuguese), conducted by the company Sioux Games.
In its fifth edition, the research comprised interviews with 2853 people, in an attempt to investigate some demographic, consumption and behavioral aspects of the Brazilian gaming field. The first information we need to highlight is the fact that 75.5% of the Brazilian population plays games in a wide range of platforms, like smartphones, tablets, computers, consoles, portable consoles, etc.
According to this research, the gamer audience in Brazil is mainly cross-platform,with 74% of players experiencing games on more than one device. Smartphones lead the numbers as the most popular gaming platforms in Brazil (37.6%), while consoles occupy the second place (28.8%), followed by computers, in third place (26.4%).
Another interesting piece of information from Game Brazil Research 2018 concerns the self-image of the Brazilian gamer audience: only 6.1% of the respondents considered themselves to be "hardcore" gamers. Most of the interviewed people identified themselves as casual gamers.
It was also remarkable, in the research about mobile games, that 60.7% of respondents said they played while in transit (bus, subway or car).
Finally, it is noteworthy that 53.6% of Brazilian gamers are women, and among the female audience the favorite platform is mobile (59%), in which they spend an average of one to three hours a week playing games.
From these preliminary data, it is possible to understand that Brazil is a fertile ground for mobile games and a place with high potential for new gaming business in this field.
There are no massive game publishers in Brazil yet, and mobile platforms like App Store (Apple) and Play Store (Google) constitute interesting opportunities for game designers, indie studios and small gaming companies to showcase their work, in Brazil and abroad.
#GoGamers
The Brazilian gaming market is full of opportunities and peculiarities. The country is well-known abroad for being an emergent field where new game ideas can be explored, andalso for its high levels of piracy, unfortunately. In a certain way, the country is a unique "ecosystem" where different business models and creative processes can be explored, given the size and the diversity of its population, of almost 220 million people.
The gaming industry in Brazil is not consolidated though, and under many aspects it is still in an initial stage. As a first step into our discussion, we can highlight some attributes of the Brazilian gaming market, using as reference the data collected in an important survey named Game Brazil Research 2018 (Pesquisa Game Brasil 2018, in Portuguese), conducted by the company Sioux Games.
In its fifth edition, the research comprised interviews with 2853 people, in an attempt to investigate some demographic, consumption and behavioral aspects of the Brazilian gaming field. The first information we need to highlight is the fact that 75.5% of the Brazilian population plays games in a wide range of platforms, like smartphones, tablets, computers, consoles, portable consoles, etc.
According to this research, the gamer audience in Brazil is mainly cross-platform,with 74% of players experiencing games on more than one device. Smartphones lead the numbers as the most popular gaming platforms in Brazil (37.6%), while consoles occupy the second place (28.8%), followed by computers, in third place (26.4%).
Another interesting piece of information from Game Brazil Research 2018 concerns the self-image of the Brazilian gamer audience: only 6.1% of the respondents considered themselves to be "hardcore" gamers. Most of the interviewed people identified themselves as casual gamers.
It was also remarkable, in the research about mobile games, that 60.7% of respondents said they played while in transit (bus, subway or car).
Finally, it is noteworthy that 53.6% of Brazilian gamers are women, and among the female audience the favorite platform is mobile (59%), in which they spend an average of one to three hours a week playing games.
From these preliminary data, it is possible to understand that Brazil is a fertile ground for mobile games and a place with high potential for new gaming business in this field.
There are no massive game publishers in Brazil yet, and mobile platforms like App Store (Apple) and Play Store (Google) constitute interesting opportunities for game designers, indie studios and small gaming companies to showcase their work, in Brazil and abroad.
#GoGamers
Wednesday, April 08, 2020
Storium Theory: Limiting Your Limitations
Today, I'd like to write a bit about something that I think we all do as narrators from time to time: Limiting the options that players have for writing about a situation.
Limits are good. Limits, at their base, are a way of ensuring that the scene has focus. When we set up a challenge at all, we are putting limits on the scene in general - limits of saying "the scene is now about this problem, and it needs to be addressed." We're defining what the actual problem is, and to some extent unavoidably defining the sort of things that can be done to address the problem.
But it's important to recognize when we take these definitions too far.
I've been playing a roleplaying game outside of Storium recently, using some pre-prepared scenarios that I found, and I've been struck by something in reading those scenarios: Oftentimes, they focus extensively on what definitely won't work. They spend a lot of time discussing why the players should absolutely not try a particular tactic with a situation, and how many brick walls can be thrown in their way should they dare to attempt such a thing. They're not quite set up to allow only one path forward, but they dwell a lot on why solutions A, B, C, D, E, and F are all terrible ideas that will only increase the scenario's difficulty. They show the walls, not the paths forward.
I've noticed a similar mindset subtly sneaking into Storium games at times. In our challenge setups or narration, we can sometimes spend time focusing on what won't work - on the walls set up in the way of particular solutions. Maybe we show the player characters trying a solution and discovering it won't work in the opening narration. Maybe we just describe something as impossible on the card or in the outcomes or in the narration.
Sometimes, this is fine. Sometimes, this is appropriate.
But it is definitely something we should question.
Storium works best, I have found, when players have enough information to focus their writing without limiting their ideas. That is: The problem is well-defined, but the solutions are left as open as possible given the problem at hand.
If the problem is a powerful wizard who the heroes need to get past to get to their goal, the solutions could potentially involve all sorts of things - maybe the heroes manage to fight the wizard and drive him away, maybe they evade his attacks and race beyond him into the fortress. Sometimes, limiting those options is perfectly appropriate...but it's important to be careful just how far you take the limitations. For instance, it might be appropriate to say that the party has to fight the wizard, because he's set up a magical barrier over the exit or because it's just too dangerous with him raining magic around the area. But further defining that the wizard is absolutely invulnerable to non-magical attacks himself is probably going to take it too far - it'll most likely make players of non-magical characters struggle a bit to figure out how to participate in the fight. Or, alternately, it might be appropriate to say that the wizard can't be killed and the characters need to escape - the wizard is just too powerful and his defenses too strong. But it'd take it too far to say that his attacks are unstoppable and his defenses are so strong he can't even be shaken by the characters at all, most likely, because again, it seriously limits what players can write and the ideas they can come up with for the scene. Some characters might have things they can realistically write to make just running away interesting, but others might really need to be able to provide some cover for the others or manage to disrupt the wizard for just a moment (or at least, attempt to do so and get turned aside, if they're playing a Weakness).
Similarly, consider an investigation. Maybe you're asking players to find information on a criminal gang that has troubled the area. That's fine. But if you go to the extent of saying that the other gangs in the area definitely won't share their information, or that police contacts are totally mystified and have no knowledge of the gang at all, well, that's probably going to cause people some trouble. You're limiting the ways that players can write the scene, and that's likely to make it tougher for them to come up with ideas.
Remember: Storium is about helping people write. The things that you put in your narration should encourage writing, not oppose it.
That's not to say that you should totally avoid limitations. Yes, there are times that they fit the story. If it's expressly established that the gang is totally new to the area, for instance, it makes sense that the heroes might not be able to trust contacts that would be working from existing knowledge...but how are the heroes able to get the information? Word the challenge in such a way that you reveal the possibilities rather than set up the walls. And don't just give one option! Show a wider field of openings, something that lets the players still have room to get creative on their own.
And remember to ask yourself: What is this challenge actually about?
In the case of the gang, for instance: Is the question really about who the heroes are able to go to for the information they need? Or is it just about what they are able to find out? If the latter...does it really matter whether they are able to use their contacts with the police? Or is the question just about whether they find information about the gang in the first place?
I want to be clear: Sometimes it does matter how the players are able to accomplish something. Sometimes that can be a problem you need to address as narrator. Sometimes it can cause trouble for a plot if players are allowed to do things a certain way, even if that way fulfills the overall concept of the challenge. That's very true.
But not all the time.
Not even the number of times we as narrators think it is true.
So...when you're setting a challenge up, take a good look over the card and narration associated with it. Look over what you've written, and ask yourself:
Limits are good. Limits, at their base, are a way of ensuring that the scene has focus. When we set up a challenge at all, we are putting limits on the scene in general - limits of saying "the scene is now about this problem, and it needs to be addressed." We're defining what the actual problem is, and to some extent unavoidably defining the sort of things that can be done to address the problem.
But it's important to recognize when we take these definitions too far.
I've been playing a roleplaying game outside of Storium recently, using some pre-prepared scenarios that I found, and I've been struck by something in reading those scenarios: Oftentimes, they focus extensively on what definitely won't work. They spend a lot of time discussing why the players should absolutely not try a particular tactic with a situation, and how many brick walls can be thrown in their way should they dare to attempt such a thing. They're not quite set up to allow only one path forward, but they dwell a lot on why solutions A, B, C, D, E, and F are all terrible ideas that will only increase the scenario's difficulty. They show the walls, not the paths forward.
I've noticed a similar mindset subtly sneaking into Storium games at times. In our challenge setups or narration, we can sometimes spend time focusing on what won't work - on the walls set up in the way of particular solutions. Maybe we show the player characters trying a solution and discovering it won't work in the opening narration. Maybe we just describe something as impossible on the card or in the outcomes or in the narration.
Sometimes, this is fine. Sometimes, this is appropriate.
But it is definitely something we should question.
Storium works best, I have found, when players have enough information to focus their writing without limiting their ideas. That is: The problem is well-defined, but the solutions are left as open as possible given the problem at hand.
If the problem is a powerful wizard who the heroes need to get past to get to their goal, the solutions could potentially involve all sorts of things - maybe the heroes manage to fight the wizard and drive him away, maybe they evade his attacks and race beyond him into the fortress. Sometimes, limiting those options is perfectly appropriate...but it's important to be careful just how far you take the limitations. For instance, it might be appropriate to say that the party has to fight the wizard, because he's set up a magical barrier over the exit or because it's just too dangerous with him raining magic around the area. But further defining that the wizard is absolutely invulnerable to non-magical attacks himself is probably going to take it too far - it'll most likely make players of non-magical characters struggle a bit to figure out how to participate in the fight. Or, alternately, it might be appropriate to say that the wizard can't be killed and the characters need to escape - the wizard is just too powerful and his defenses too strong. But it'd take it too far to say that his attacks are unstoppable and his defenses are so strong he can't even be shaken by the characters at all, most likely, because again, it seriously limits what players can write and the ideas they can come up with for the scene. Some characters might have things they can realistically write to make just running away interesting, but others might really need to be able to provide some cover for the others or manage to disrupt the wizard for just a moment (or at least, attempt to do so and get turned aside, if they're playing a Weakness).
Similarly, consider an investigation. Maybe you're asking players to find information on a criminal gang that has troubled the area. That's fine. But if you go to the extent of saying that the other gangs in the area definitely won't share their information, or that police contacts are totally mystified and have no knowledge of the gang at all, well, that's probably going to cause people some trouble. You're limiting the ways that players can write the scene, and that's likely to make it tougher for them to come up with ideas.
Remember: Storium is about helping people write. The things that you put in your narration should encourage writing, not oppose it.
That's not to say that you should totally avoid limitations. Yes, there are times that they fit the story. If it's expressly established that the gang is totally new to the area, for instance, it makes sense that the heroes might not be able to trust contacts that would be working from existing knowledge...but how are the heroes able to get the information? Word the challenge in such a way that you reveal the possibilities rather than set up the walls. And don't just give one option! Show a wider field of openings, something that lets the players still have room to get creative on their own.
And remember to ask yourself: What is this challenge actually about?
In the case of the gang, for instance: Is the question really about who the heroes are able to go to for the information they need? Or is it just about what they are able to find out? If the latter...does it really matter whether they are able to use their contacts with the police? Or is the question just about whether they find information about the gang in the first place?
I want to be clear: Sometimes it does matter how the players are able to accomplish something. Sometimes that can be a problem you need to address as narrator. Sometimes it can cause trouble for a plot if players are allowed to do things a certain way, even if that way fulfills the overall concept of the challenge. That's very true.
But not all the time.
Not even the number of times we as narrators think it is true.
So...when you're setting a challenge up, take a good look over the card and narration associated with it. Look over what you've written, and ask yourself:
- Have I set up any limitations here I didn't intend to? Are there places where I suggest something is impossible where I didn't mean to?
- Have I set up limitations that I intended to...but that on second thought, really don't matter? Are there places where I have put limits that will make my players struggle to write, rather than providing useful focus?
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