What made Flower such an intriguing proposition, and gained it a place in this list, is its lack
of traditional game design tropes — the near complete lack of challenge forcing critics to re-evaluate the definition of the term «videogame».
It was that motivation that led to them founding Thatgamecompany in 2006 where, rather than focusing
on traditional game design, they would focus on invoking the player's emotion.
Offering a good challenge and moments of satisfaction, Mighty No. 9 is a game that is likeable enough and is a nice throwback to
more traditional game design, but it's the frustrating trial and error gameplay and cheap bosses that may not sit well with certain players today, and some of the more boring backdrops let the game down as well.
Mobile devices are notoriously incompatible
with traditional game designs, chiefly because they lack the analog sticks and buttons upon which those games rely.
Another trio of posts, this time at community site Bitmob: Jon Porter looks at «Heavy Rain and the destruction
of traditional game design» which is a catchy title if ever I saw one; Richard Moss writes about «The Sound of Falling Tetronimoes»; and Rob Savillo brings us «Two Stories of Conquest and Catastrophe in Civilization 5».
Traditional game design, despite the industrial organization of major game companies, has always been considered a creative and, into some extent, intuitive process.
For their efforts to break out of
traditional game design and push new ways mix music and storytelling, Nintendo and Sony received little reward.
There was no interaction in Dear Esther so that was a huge part making the game a deeper experience without using
the traditional game design that can take players mind off of the core experience.
Traditional game design is to simple to support something that is supposed to feel rich, depth - full, and dynamic that is the ARG game experience.
«To achieve subtlety and variety in this expression, we feel it is necessary to abandon conventions of
traditional game design.»