Elements of the Game Story
"This isn't your father's adventure game."
Well... in a way it is. It's all in the details. The rich details. The old
games like Zork had information but no graphics worth a damn. Many games in the
last 10 to 12 years made up for that with graphics but scarce details that made
the game environment "rich". If you have ever been in a junk shop
(or antique store, pawn shop, old garages or barns), you would have
richness of detail. You could pick up, manipulate, or otherwise interact with
the items. You could even get someone to tell you something about the items or
show you how they work.
Some computer games have attempted to create environments with a modest
amount of interactive elements. The problem is that most often, only the
essential elements were interactive. This leaves most others as "window
dressing". I say "if you can't break a window, or open an unlocked
door, why put it in?" That is the problem that I hope to overcome in this
game. Rich detail in object availablity and function; which should include
people that are modeled in the game.
A Tall Order?
No. If the game is to be unique, it needs to innovate beyond the swinging
vines characters that proliferate the computer entertainment industry. A
simulation of reality can be instructive without being destructive. Certainly a
few good sized explosions happen in the real world everyday. But they are often
avoidable accidents. This game can reward the player by successfully avoiding
the negative events. And certainly they will be difficult enough so that a few
"explosions" happen until the player does figure out how to avoid
disaster.
The essential difference in this game is that in addition to developing the
players puzzle solving capability and ability to manipulate objects; this game
demands an understanding of social structures and process. Whoa dude! That's too
much book learnin' fer me! Actually, it could be quite interesting.
Human Interaction: Level One
A typical western european world view would place most players in
familiar surroundings in the game. Game play interactions with
"normal" human characters would be easy to figure out. Some characters
could be developed to show dysfunction behavior that might be overcome with
modest effort. The basis of character behavior would be familiar western habits
and culture.
These characters would be part of the Tarex Station Crew, and main corporate
staff back on Terra (Earth). Some may be present on visiting space transport
craft.
Human Interaction: Level Two
These characters might represent the alternate world views of non-western
european peoples. Their behavior and speech patterns as well as thoughts would
bring an additional challenge to the player. Some simple interactions with these
players would teach the player about "things to come" with non-human
or off-world human interactions.
Off-worlders Interaction: Level Three
At this point the player would be involved role playing the Victor Crater or
other crew staff. Their mission involves keeping Tarex Station operating,
developing good relations with New Luxor's inhabitants, and doing some
investigative work. The purpose of the latter, spying activity, leads the player
toward solving the mysteries on Dione.
Non-human Interaction: Level Four
After the player has amassed substantial knowledge and mastered interactions
with station crew and equipment, androids, simulacra, and robots, corporate
mangement, local inhabitants, rogue freighter captains, and benign aliens, the
real test begins. Each player will have a set of "crisis" events that
they will have encountered before. Now each crisis will be focused on a central
theme and be linked.
The prior crisis events will start with broken equipment or shortages of food
or supplies. The interactions required to resolve these practical realities will
set the stage for solving level four crisises. What might appear to be an
operational problem may be the manifestations of sabotage. The scenarios should
total about eleven.