We were at Pax East last month and I watched a young woman playing a lovely little story-based game. I couldn’t help but notice a phenomenon that I have seen frequently in the game world. She clicked through every bit of text. At the fastest possible pace and without appearing to make any effort at all to read anything. It was like the text was being perceived as getting in the way of her fun. And my writer’s heart bled a little with every click. Because someone somewhere (hopefully) had labored to put together copy to illuminate, enrich and expand her digital experience. And maybe it was successful text, and maybe it wasn’t, but that player would never know. That player is probably clicking away from this post even as you read this — too wordy! Get to the point!
The point is that “Austen Translation” is all about capturing the essence of a particular sort of literary experience, so text (to one degree or another) is not really optional. As a writer I am willing to die on this particular game-design hill. The question then becomes, in a literary strategy game, how do you make it advantageous to the player to actually read the modest copy that appears in the game? Ideally without punishing the fast-clickers (because this is a game and punishment is not fun). Can we layer on a mechanic that encourages players to engage with the story text? The answer may lie in the brutal pressure of the conventions of polite society.
Austen and the women she wrote about were often educated, artistic, witty, charming and excellent conversationalists, but not because these accomplishments were valued for their own merits. No one thought these women would go on to use their knowledge of philosophy to teach at Oxford. They were educated so that they could hold their own in a dinner party conversation. The aristocracy needed intellectual discourse and art and performance to connect people and demonstrate value. Perhaps this thematically appropriate social engine can be put to work in the service of meaningful text?
We’re currently looking at ways to weave details about the bachelors’ likes and dislikes — clues, essentially — into the game text. In that way, an attentive reader (our version of a good social listener) could see some advantage in making choices that show she is being attentive to her preferred bachelor. Will he like her more if she also claims to favor the breed of hunting dog he prefers? Will his heart warm to her just a little bit if she remembers his sister’s name? This approach also interests us because it allows the player to actually do the thing their avatar is doing in the game (listening and remembering and signaling that) which strengthens immersion and connection to the game world and goals. Stay tuned as we explore methods for implementing this idea without breaking the game...
Worthing and Moncrieff, LLC is an independent developer of video game stories founded in 2015.