I have a bit of an unconventional approach to indie game development, and its not one that’s easy to defend.
The ideal way for most indie developers to start a game project is to prototype different core gameplay concepts until a really original, fun idea pops out. Once the wild gameplay has been captured, its mined into a full game with appropriate visual and audial dressing and a narrative structured around the gameplay.
I can’t argue that this is probably the most efficient and proven way to discover and develop a new game concept, especially for a small team.
Unfortunately, I always start by imagining a character and the world in which they live. Then I build a basic narrative and gameplay mechanics around who that character is, and what I would be most interested in experiencing from inside that character.
The thing is, I have a hard time – as a player – connecting to game ideas that are purely gameplay motivated. I love games with good, deep, responsive gameplay, but the experience hits a whole other level of immersion when fused with a compelling atmosphere and narrative.
The problem with a lot of mainstream games is that narrative and gameplay become two separate systems. Any time a game jumps to a cut scene, you feel like you’re being pulled out of the game so it can tell a story. Any time the game blocks you with a gameplay mechanic that defies the rules established by the narrative, you feel cheated.
I’m in love with games that create a whole new world for the player to experience. I also like it when the game takes the step of creating the outline of a persona for you to inhabit. I like the emotional connection that can arise in some games when you are more aware of who the character that you become responsible for controlling – actually is.
This is where games can become exceptionally powerful – they can unite gameplay with a story outline to provide the player with an emotional journey to explore from inside the main character. They now have the opportunity to immerse themselves not only in another world, but in this character. By linking gameplay and story effectively, the player will be encouraged to not only explore a physical game space and a game mechanical possibility space – but also an emotional space.
Linear stories are rejected by some game developers as being too much like movies, as if game developers are aping what the last giant medium did successfully because they have not fully explored the potential for games. This is true in a lot of cases, but that doesn’t negate the potential of stories linked with gameplay.
In Aquaria, I dipped my toe into the story/gameplay pool for the first (somewhat successful) time. The first concept for the game was the world and the character of “Naija”. Though she went through many iterations, she always had a certain quality about her that stuck all the way through to final release. There are moments in the game that are simple trigger-able events that the player can chose to experience – that serve no “hard” gameplay purpose. You receive no power-up or health bonus by doing them, but they allow the player to experience a little bit more what Naija’s life would be like in the world of Aquaria. Naija could sit on a mossy rock inside her home and stare out the window. The camera would pan out slowly, and everything would slow down for a moment. Naija has the ability to sing to launch into an attack mode, or solve puzzles – but the player can also choose to sing for fun, or interact peacefully with other creatures. To my taste, these small moments can add a lot to a game’s experience by making the world and character feel well-rounded.
I also found moments where my experience of playing the game influenced the narrative. I put some of my own thoughts into Naija’s narration, thinking they would provide an interesting framework for the player’s imagination. In one instance, the player is going through a fairly long and gross cathedral. The overwhelming atmosphere becomes dark, and the player is forced to use their attack mode more often than usual. As a player, I missed the freedom of the open areas and wondered if I was actually doing anything good by fighting for so long. As a developer, I decided to put this doubt into the character’s thoughts.
In some cases, players may feel as I did and find Naija’s dialog unexpectedly mirroring how they feel. in other cases, the players may be enjoying the combat and may feel gently reminded that the game didn’t start out that way – that their style of play and the character of Naija have changed from that simpler, more innocent time. Some players may simply ignore the dialog or find it unnecessary – but I don’t think this negates the impact that it can have on the players who have become attached to the character.
Another interesting moment comes when the player breaks through the surface of the water for the first time – after much exploring and combat. Everything slows down gradually and Naija narrates briefly… then the music is changed and the speed of time is returned to normal – Naija falls back into the water. Players of Aquaria have repeatedly mentioned this moment as touching them emotionally in some way. Because it directly reflects the player’s journey and is presented succinctly, players are more willing to accept it and are open to feeling something.
There are moments in Aquaria that I feel didn’t work this well, and could have if I’d thought to do them differently. At the time, I don’t think I was as consciously aware of the potential links between story and gameplay as I am now.
Effective characters and stories in games are difficult to pull off properly – but I believe they can be very powerful. They make development difficult, because the focus becomes not only finding a fun gameplay concept, but discovering a story and gameplay that compliment each other. Its not a question of creating one before the other, but of being aware of how they effect each other and being open to cross-pollination of the two.
This is something I intend to explore more thoroughly in the future. 
Alec Holowka wrote a Comment on May 31, 2009 at 2:59 am
Disclaimer: I don’t feel there is only one way to make games, or one way to make anything creative for that matter. I enjoy experiencing and discussing all methods of inspiration and creation. I also feel that the aforementioned approach has validity and I feel compelled to pursue it.
Alec Holowka wrote a Comment on May 31, 2009 at 3:00 am
Aquaria fan art by Vetehinen:
http://www.bit-blot.com/forum/index.php?topic=541.msg22061#msg22061
George wrote a Comment on May 31, 2009 at 3:14 am
Great writeup, Alec!
I agree with you completely. In just about every narrative art form, the story is always priority number one. Coming from film, I had this drilled into my head all through school. And while games have the luxury of choosing whether to even have a narrative or not, a game that bothers to have a story owes the player a cohesive one.
The best part of this approach is that it allows you to put more of yourself into your game, and games with strong personal vision are exactly what we need right now.
I’ve written something similar on my site, but I’ll refrain from linkspamming. I look forward to your further explorations!
mikem wrote a Comment on May 31, 2009 at 8:11 am
This really struck a chord with me. The details like relaxing on scenery for no reason, or how singing interacts peacefully with the background were among the reasons I fell in love and got the full version of the game. And moments like specifically crossing the Veil are what made Aquaria the most emotional and memorable game to me in years.
Although I also enjoy games that are obviously built around a fun gameplay mechanic, if you think you have a method for producing that kind of connection with the characters, then Alec I can hardly wait to play the games you have in store for us in the future!
xiagan wrote a Comment on May 31, 2009 at 9:41 am
Your last line sounds very promising.
I love(d) the things you pointed out about Aquaria and now that you are more aware of the links between story and gameplay, I wonder what kind of gems [:games:] you may create in future.
Alec Holowka wrote a Comment on May 31, 2009 at 10:02 am
4: Its definitely important to find fun gameplay too. (provided that part of your focus is to immediately entertain people) This way you just come at it from a different direction.
3: Thanks! What’s the link?
George wrote a Comment on May 31, 2009 at 12:46 pm
Alec: Right hurr!
http://www.burningnorth.com/2009/04/say-it-like-you-mean-it-and-mean-it/
david.mcgraw wrote a Comment on May 31, 2009 at 1:07 pm
This is spot on.
While a gameplay mechanic can be powerful in itself, if you can tie it with everything surrounding, it’ll be infinitely more powerful. It’s easier to build from the ground up, than from the sky down. Natural evolution would point toward the character, and would begin influencing the surrounding atmosphere.
Alec Holowka wrote a Comment on May 31, 2009 at 1:18 pm
8: True!
I think the difference is what a lot of clever people do is spend time discovering the core mechanic first, and use that as the basis for everything. I think I’m a little different in that I’m first thinking about a character, and then thinking about what their gameplay might be.
I’d still prototype gameplay mechanics before building a whole game around that character, but the initial draw/inspiration for me is often based around the character and not one particular gameplay mechanic.
Matthew wrote a Comment on May 31, 2009 at 1:57 pm
Great article!
It seems good game developers are able to tap into how they connect with games as a player and leverage that connection in development. For me, I have almost no interest in story (narrative or contextual) in games. I connect deeply with physics systems, though–I’ve played hundreds of hours of Ski Stunt Simulator, more than I’ve ever spent on any game with a story–and so my development forms around this connection.
I think that’s the real strength of indie development! You can focus your entire development style around your connection with games, whether it’s story, physics, animation/movement, visuals, etc. Most mainstream development teams aren’t flexible enough to support more than one or two viewpoints, and generally only established viewpoints of what’s “important” in a game. Multiple viewpoints can dilute instead of synthesize, too…
I would LOVE to see more indie developers do write-ups like “I care a lot about X and this is how my love of X directs my development”!
Alec Holowka wrote a Comment on May 31, 2009 at 2:01 pm
10: Agreed Matthew. I think its valuable to experience how other people view the process. I want to learn more how to understand physics-based gameplay systems and how to integrate them with my current vision. I am currently pestering Steve for that purpose – but you can expect me to bug you about it at some point.
I definitely don’t think there is anything about physics or narratives that preclude them from working hand-in-hand in the same game, but I don’t see it happening very often…
BMcC wrote a Comment on May 31, 2009 at 3:00 pm
Dude! I’m right with you.
All these talks at GDC being like “prototype prototype prototype” coupled with the obvious upside to working that way (especially when it comes to indie games) gets me pretty stressed about how I’m doing this project. It’s just not how I’ve ever worked. I have little trouble realizing things in-game, and I think I’ve got some special stuff to work with here, but not having a “gimmick” (I don’t mean this in a derogatory way at all) to build off of definitely increases the Self Doubt levels.
It’s reassuring to see you write this! I think, for a game where you’re trying to establish a world, or uphold a certain level of immersion/suspension of disbelief, this method can yield better results. All the elements will be better tied together. (At least, that’s what I tell myself.)
Oh! And I still believe in story. You’re going to make some breakthroughs in this area, I’m sure of it.
BMcC wrote a Comment on May 31, 2009 at 3:08 pm
Seeing Matthew’s post: I hope we all brave forward in whatever direction we’re compelled, so we can come together later and share what we’ve learned.
Been finding inspiration in so many places lately, starting to rediscover the wonder of game development.
Samantha wrote a Comment on May 31, 2009 at 9:10 pm
Sorry you felt you needed to defend your process. How you reach a point is supposed to be unique; and one way for someone isn’t the only way for everyone. I like how you start with the personal aspects first and then go to the mechanics. You wouldn’t want to decorate a cake only to find there is no cake underneath the rectangular shape. I have found that in creating music there are a few different paths to the finished product I take. By changing things up I find which one I’m most comfortable with and where I’d like to experiment more.
By the way, the first picture certainly got my attention.
Nava wrote a Comment on June 1, 2009 at 5:43 am
Cross-pollination…. Patrick Swayze….
The combination makes me giggle. It’s late…early?
Aerendyll wrote a Comment on June 1, 2009 at 3:46 pm
Agreed.
I always like playing games for their story, but also gameplay. I’ve tried some shots at making small games using engines like RPG Maker or Adventure Game Studio (AGS), but I always missed a little customization. Sadly I lack the skill to code complex things, so I never had the chance to start from complete scratch.
I always like to start with art, characters and story. (I can’t compose, so I can’t include that one here…) Gameplay is more fun when it’s tied to the aformentioned factors of a game – it makes them go hand-in-hand. I also love the games ICO and Shadow Of The Colossus a lot because they also seem to use this concept, although I sometimes find those games a little too empty. They have more or less established the same emotional bond with me as Naija has, but I have to admit I like Naija a little more. ;3
Long post, but my main point: I think you have a better view on game development than most people out there, Alec.
Chibi wrote a Comment on June 2, 2009 at 10:19 am
I couldn’t agree with you more, Alec. If every game developer read your essay and acted on it, the world of gaming would be a better place. ^_^
Alec Holowka wrote a Comment on June 2, 2009 at 12:36 pm
16: Shadow of the Colossus was built around one piece of concept art. They basically used it as the inspiration for all levels of the development of the game.
I think what we’re getting at is that games that take a holistic approach are generally deeper and more affecting.
Two Jacks wrote a Comment on June 3, 2009 at 3:21 am
I agree with the holistic approach. Instead of haveing the game tell you, “Hey look at this, now look at this, oh and this thing too.” you’re left to take the game in as a whole, any way you like. I recently started playing the game Okami, and it does this very well. The whole game is based around your connection to the world. Connection to the game equals replayability for me. A level editor for a game, I think is the ultimate form of this. I hope more game developers take this approach, indie or not. Alec’s done a good job of it thus far.
Alec Holowka wrote a Comment on June 3, 2009 at 11:43 am
7: George: Awesome article!
http://www.burningnorth.com/2009/04/say-it-like-you-mean-it-and-mean-it/
I agree with a lot of your points. I like feeling like I’m experiencing someone else’s distinct, personal vision – not a vision that was designed by committee.
Mainstream games can work when the whole team gets behind a visionary designers. I guess this is another argument for auteur theory in games.
George wrote a Comment on June 7, 2009 at 11:21 pm
20: Thank you, Alec!
I think this is an area where indie devs have an advantage; with smaller teams (or even just flying solo), we have a better chance of remaining true to our visions, without having to sacrifice our creative ideals to the demands of others.
Oh god, I’m preaching. Somebody stop me before I start quoting Ayn Rand!
…
Again.
Nightmare wrote a Comment on June 20, 2009 at 5:00 pm
This really hit a note with me. As a gamer, too often you see the story and gameplay just acting as separate entities…but in Aquaria, you really live, and feel the story. The ominous laughter when you first enter open waters doesn’t add to the gameplay, but it really makes you connect with Naija…you feel just as apprehensive and curious as she does. My personal favorite moment is where Naija and a…special friend(spoiler avoided) can cuddle together…it serves no purpose whatsoever, but it made Naija feel so much more alive.
This sort of game design is sorely missing from mainstream gaming. Rather than just telling a story, alot like older rpg’s, you could live the story, but Aquaria takes it to another level entirely.
I’m always impressed by your work Alec…and i can’t wait to see what’s next. This sort of article just wets my appetite, because it shows you know what truly makes a game live and breathe. You know how to make it more than a game. You know how to make it magical.
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[...] a great core mechanic, and I think that by being short-sighted you can loose a lot of great ideas. Alec Holowka touched upon this awhile ago. I do not really buy into the whole “If a game idea is not fun [...]