![]() "Everything is timed to the physical space of the world. "In a movie, you can do scene, scene, scene… In a game you just walk off for half an hour looking at a rock." It's the one variable the studio has to bend with, crafting dialogue and story around the player's movement in the game. "It's so hard to pace a game," he points out. Is the map clear? Is the objective clear? Do they understand the pacing? They're not lost, they're not wasting time looking at maps, they're just moving from location to location, fully immersed and enjoying the game."ĭespite the work put into keeping people engaged, it's when the player gets involved that the TV show and video game design ideas can grind up against each other a little. "One of our biggest focuses on that was with orientation. "We put our focus on making sure we get the player to the end," he says. With that in mind Fallen Leaf put a big emphasis on ensuring people carried on playing to the end something Tinsdale has experience with having previously worked on games like MotorStorm and Driveclub, as well as a contractor for player retention in Battlefield. ![]() "Because if no one finishes it, what does that say about your game?" ![]() "You want people to enjoy the story, feel good after finishing it and think that was worth my time." But to get people to the end of a game thinking about how much they enjoyed it, you've got to make sure they finish it. "When the systems are good enough for that five hours, people should really feel fulfilled at the end," Tinsdale states. That doesn't mean a short game should feel short, though. ![]()
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