by Masahiro9891 » 15 Feb 2011 07:09
I think we need to take this a step farther. Regular game design is far more immersive as others have shown already, but these regular game designs are a subset of sandbox games. What I mean is in a sandbox game you, the player, create the challenges with all the tools given, but the immersion from this interaction of the rules creates scenarios for the player to overcome. This includes everything from the challenges, the look of areas, and the music which simulates feelings. The key here is that with any Joe nobody making the scenarios will on average be shitty, and will not create a great sense of immersion for someone else playing it. What's needed is a master designer to piece the scenario together using his understanding of the genre. This is also one of the reasons that combining genres without the superior knowledge of what makes both these genre great will lead to a shitty game, since some rules may end of canceling each other out and limiting the complexity that a single genre was able to increase. If the player would want to make scenarios that would immerse other players, he would have to have at his disposal everything, not just the small or large amount of option that the sandbox game can give. He would have to create the game like every designer that has ever made games before him has done, through the use of programming. This is the ultimate sandbox video game.
So a master designer is needed to create the scenarios in order to immerse the player. Then for the world to be the most complex game, with all other games being subsets, the world itself must have an ultimate designer; that designer is itself, i.e. the culmination of the interaction of all the subsequent parts that make up the world. Since there is nothing outside the world, or else it would interact with the world and be in the world, the world must design itself. The way it does this is shown by Nietzsche, quantum mechanics, and in great detail in William Plank’s book, The Quantum Nietzsche where Plank uses the example of the glass bead games to show how chance shapes the flux. Every particle (substance, whatever you want to call it) acts to its will to power. It is these interactions and everything vying for domination that gives rise to complex individuals, whether they are molecules, humans, animals, galaxies, etc. This interaction is what creates the scenarios. These entities in trying to overtake everything else through evolution will over time, through probability, allow the greatest level of complexity to occur by shaping everything into scenarios for other entities to try and overtake. So, as an entity gains power the rest of the world is affected immediately and counter-attacks trying to overcome this threat. All of this is happening at one time with everything else in the world playing this game of domination. The reason that differentiation occurs is to dominate others and prevent them from being dominated in return. Everything else in the world is a subset and, therefore, mini-game of the world. Since we can only define things in terms of the world, all video games, which seek to simulate the world, are analyzed by their ability to simulate the world as closely as possible. The immersion of a game is determined by how well it simulates the events in the world. This includes things that we may not even be able to create yet, like giant walking mechs. The immersion then is determined by how well we believe the video game comes to simulating the mechanics of using a mech, if the mech could be built. What I mean by this is the designer must take reality into account and estimate how these machines would behave if they existed, they must then model the mech using our understanding of science and from these extrapolations create the video game.
Last edited by
Masahiro9891 on 15 Mar 2011 23:21, edited 2 times in total.