Originally, I had a different thesis to the essay: Capturing Mood in Procedurally Generated Worlds. The intro that it had when I first wrote it included an argument that is a bit flimsy — it especially didn't sit well with Olivier.
This is how it read:
"Games are big at heart; they are multifaceted beasts that call out for designers, musicians, photographers, and many more. It’s a wonder even games from the mid-80s found masterminds able to coordinate the likes of Super Mario Bros. (1985), and Metal Gear (1987). However, this isn’t to say games need to be all that.
By virtue of growing to prominence during the 1980s —as opposed to say the 1880s— it’s hard to imagine early game designers dialing back their process to make single faceted creations. By growing up during the hyper-stimulating era of compact disks, Back to the Future (1985), and prozac, games needed to be the whole kit and caboodle. We missed our equivalent decades of silent film, that helped train generations of film-makers to make beautiful cinema before layering dialogue on top of moving images.
There’s value in focus."
So that's what we cut. And I thought it would be interesting to include the conversation between Olivier and myself that lead to that decision.
Hope you enjoyed seeing into the process — we spend a lot of time talking about this stuff. Here's another quick access link to the piece as it appeared in full: Capturing Mood in Procedurally Generated Worlds.
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