Riding the wave of the Game Awards, I'm going to present my modest list of the 10 best games I played this year. There is no particular order of preference. They were the most incredible games I played. Here is the list!
Hauntii
Blue Prince
Hellblade 2
Silk Song
Hades 2
Indika
Clair Obscur: Expedition 33
Dispatch
Cosmic Invasion
The Alters
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sexta-feira, 12 de dezembro de 2025
segunda-feira, 1 de dezembro de 2025
The interesting ecosystem of Swedish RPGs
Sweden stands as a truly unique bastion in the landscape of tabletop role-playing games. In this post, we will delve into the distinct characteristics of this creative hub, exploring a region that has consistently published—and continues to deliver—some of the most innovative and compelling titles the genre has ever seen.
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segunda-feira, 17 de novembro de 2025
To think about game design process
An excellent point of view about game design by Anton Slashcev. Click here to check the original post.
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segunda-feira, 3 de novembro de 2025
Using Artificial Intelligence in board game beta testing
Undoubtedly, artificial intelligence is rapidly pervading our daily lives, from entertainment to professional applications. We are immersed in a technological context where the competency to effectively utilize diverse tools is essential for optimizing our actions and outcomes. In this post, I will discuss the methodology I employed in using AI for the beta testing phase of my last two board game projects.
First and foremost, I must clarify that my application of AI is not a substitute for creative effort. I avoid using lazy or generic prompts such as, "create a card game with Roman Empire theme using trick track mechanics." I consider this approach to be ineffective, as it would likely yield a generic, derivative product lacking a distinct core concept or "soul."
Instead, I employ AI in a pragmatic and iterative manner. The process begins with establishing the game's core concept, writing the comprehensive rulebook, and compiling a complete list of assets (board, components, dice, etc.). This initial stage results in a prototype ready for preliminary testing. However, prior to testing with human players, I utilize Manus AI to conduct a complete virtual beta test session.
The process is straightforward: I submit the rulebook (PDF) and the file detailing the game pieces (PDF). I then provide the initial prompt: "Manus, I request you to analyze the content regarding my new game. Upon completion of this analysis, please identify any aspects that are not completely unambiguous or 'crystal clear'." After addressing the system’s initial queries, the final prompt is executed: "I now request 100 simulations encompassing two, three, and four players. The required output is a detailed feedback report assessing game balance, pointing out potential rule errors, and suggesting improvements for the core mechanics." A significant advantage of Manus is its capability to generate Python programming code to facilitate testing on external platforms beyond the application itself.
It is crucial to note that testing with human players will always remain a fundamental part of the development cycle. Nevertheless, the initial results demonstrate that the prototypes are significantly more refined before the first human playtest. For example, in a recent beta testing session for my new game, the prototype was substantially more polished prior to the initial live test. The overall iteration process becomes considerably more efficient when AI is applied judiciously.
I am currently refining this methodology and anticipate being able to share further insights and impressions soon.
#GoGamers
First and foremost, I must clarify that my application of AI is not a substitute for creative effort. I avoid using lazy or generic prompts such as, "create a card game with Roman Empire theme using trick track mechanics." I consider this approach to be ineffective, as it would likely yield a generic, derivative product lacking a distinct core concept or "soul."
Instead, I employ AI in a pragmatic and iterative manner. The process begins with establishing the game's core concept, writing the comprehensive rulebook, and compiling a complete list of assets (board, components, dice, etc.). This initial stage results in a prototype ready for preliminary testing. However, prior to testing with human players, I utilize Manus AI to conduct a complete virtual beta test session.
The process is straightforward: I submit the rulebook (PDF) and the file detailing the game pieces (PDF). I then provide the initial prompt: "Manus, I request you to analyze the content regarding my new game. Upon completion of this analysis, please identify any aspects that are not completely unambiguous or 'crystal clear'." After addressing the system’s initial queries, the final prompt is executed: "I now request 100 simulations encompassing two, three, and four players. The required output is a detailed feedback report assessing game balance, pointing out potential rule errors, and suggesting improvements for the core mechanics." A significant advantage of Manus is its capability to generate Python programming code to facilitate testing on external platforms beyond the application itself.
It is crucial to note that testing with human players will always remain a fundamental part of the development cycle. Nevertheless, the initial results demonstrate that the prototypes are significantly more refined before the first human playtest. For example, in a recent beta testing session for my new game, the prototype was substantially more polished prior to the initial live test. The overall iteration process becomes considerably more efficient when AI is applied judiciously.
I am currently refining this methodology and anticipate being able to share further insights and impressions soon.
#GoGamers
segunda-feira, 6 de outubro de 2025
The clash between diegetic and non-diegetic elements in Hellblade: Senua's Sacrifice
Iacovides et al. (2015, p. 1) distinguish game interface elements into two categories: diegetic elements, which are integrated into the game's fictional reality and can be perceived by the characters, and non-diegetic elements, which are exclusive to the players' perspective. According to these authors, common wisdom in the games industry suggests that excessive use of non-diegetic elements, such as Head-Up Displays (HUDs), can potentially compromise the immersion process. Hellblade: Senua's Sacrifice challenges this convention, offering a remarkable demonstration of how these concepts can be manipulated to deepen the player's experience.
The game stands out for its almost complete elimination of non-diegetic elements. The absence of a health bar, a map, or equipment indicators forces the player to interpret information organically. Senua's health and status are communicated through signals that, while functionally essential for progression, are intrinsically rooted in the narrative. The damage suffered by the character, for instance, is expressed by the progression of a dark "corruption" spreading across her right arm, a visual manifestation of the protagonist's mental illness.
However, one of the game's highlights lies in the fusion between diegesis and the non-diegetic experience. In this regard, we turn to Galloway (2006, pp. 6-7 ), who defines diegesis as the "total world of narrative actions". From this perspective, we can hypothesise that in Hellblade, this world is the subjective and chaotic universe of Senua's mind. Elements that would conventionally be non-diegetic in other games, such as audio cues indicating the path or voices warning of enemy presence, are, in reality, manifestations of the character's psychosis. The player does not receive mere hints; they experience the diegesis of insanity, where the perception of reality is mediated by Senua's suffering. The game's hermeneutics, therefore, cease to be a detached interpretation and become a real-time performance, where the act of playing and interpretation merge into the immersive experience proposed by the system.
The game thus demonstrates that the distinction between diegetic and non-diegetic can be intentionally obscured to create a more cohesive and psychologically immersive gaming experience. By eliminating the HUD and transforming feedback elements into an integral part of the narrative and character perception, Hellblade not only enhances immersion but also establishes a pattern for interface design that seeks to deepen the connection between the player and the fictional universe. Building on this, it is possible to argue that in Senua's Sacrifice, the player potentially experiences a "meta-diegesis." Here, we employ this term to understand a meta-diegetic situation as one that refers to elements which, although intrinsically belonging to the game's diegetic world, communicate directly with the player, subtly subverting the fourth wall. The voices in protagonist Senua's mind represent a compelling application of this idea.
The meta-diegetic nature of Senua's voices can be understood from three analytical perspectives. Firstly, their existence is diegetically grounded: they do not constitute an external narrator or an interface element dissociated from the narrative. On the contrary, they are a central manifestation of the character's psychosis, affecting her perception and interaction with the world. Secondly, they perform an essential non-diegetic function for gameplay. They act as a dynamic feedback system, providing the player with alerts about imminent threats, spatial guidance, and hints for puzzle-solving – functions that, in other games, would be delegated to a HUD or conventional narrator cues.
Finally, the use of voices blurs the boundary between player and character. By merging narrative function with gameplay, the game transcends the mere presentation of information, inviting the player to actively experience Senua's ordeal. The anguish, confusion, and cognitive dissonance caused by the voices become part of the player's immersive experience, and not merely an object of observation. Therefore, the voices in Hellblade constitute a paradigmatic meta-diegetic element, functioning as an interface that deepens immersion rather than breaking it, and offering a sophisticated approach to how narrative elements can be co-opted to optimise the interactive experience.
Meticulous observation of the diegetic, non-diegetic, and meta-diegetic elements in Hellblade: Senua's Sacrifice forms the methodological foundation for an in-depth analysis of the game as an empirical object. By examining the intentional elimination of traditional interface elements (HUD) and the subsequent adoption of a meta-diegetic interface, represented by the voices tormenting the protagonist, it becomes possible to unravel the complexity of its structure.
References
Galloway, A. R. (2006) Gaming: Essays on Algorithmic Culture. Minneapolis: University of Minnesota Press, pp. 6-7.
Iacovides, I., Cox, A. L. and Kennedy, R. (2015) ‘Diegetic and Non-Diegetic Interface Elements in Digital Games: A Review of Prior Work’. In Proceedings of the 2015 Annual Symposium on Computer-Human Interaction in Play. London: ACM, p. 1.
The game stands out for its almost complete elimination of non-diegetic elements. The absence of a health bar, a map, or equipment indicators forces the player to interpret information organically. Senua's health and status are communicated through signals that, while functionally essential for progression, are intrinsically rooted in the narrative. The damage suffered by the character, for instance, is expressed by the progression of a dark "corruption" spreading across her right arm, a visual manifestation of the protagonist's mental illness.
However, one of the game's highlights lies in the fusion between diegesis and the non-diegetic experience. In this regard, we turn to Galloway (2006, pp. 6-7 ), who defines diegesis as the "total world of narrative actions". From this perspective, we can hypothesise that in Hellblade, this world is the subjective and chaotic universe of Senua's mind. Elements that would conventionally be non-diegetic in other games, such as audio cues indicating the path or voices warning of enemy presence, are, in reality, manifestations of the character's psychosis. The player does not receive mere hints; they experience the diegesis of insanity, where the perception of reality is mediated by Senua's suffering. The game's hermeneutics, therefore, cease to be a detached interpretation and become a real-time performance, where the act of playing and interpretation merge into the immersive experience proposed by the system.
The game thus demonstrates that the distinction between diegetic and non-diegetic can be intentionally obscured to create a more cohesive and psychologically immersive gaming experience. By eliminating the HUD and transforming feedback elements into an integral part of the narrative and character perception, Hellblade not only enhances immersion but also establishes a pattern for interface design that seeks to deepen the connection between the player and the fictional universe. Building on this, it is possible to argue that in Senua's Sacrifice, the player potentially experiences a "meta-diegesis." Here, we employ this term to understand a meta-diegetic situation as one that refers to elements which, although intrinsically belonging to the game's diegetic world, communicate directly with the player, subtly subverting the fourth wall. The voices in protagonist Senua's mind represent a compelling application of this idea.
The meta-diegetic nature of Senua's voices can be understood from three analytical perspectives. Firstly, their existence is diegetically grounded: they do not constitute an external narrator or an interface element dissociated from the narrative. On the contrary, they are a central manifestation of the character's psychosis, affecting her perception and interaction with the world. Secondly, they perform an essential non-diegetic function for gameplay. They act as a dynamic feedback system, providing the player with alerts about imminent threats, spatial guidance, and hints for puzzle-solving – functions that, in other games, would be delegated to a HUD or conventional narrator cues.
Finally, the use of voices blurs the boundary between player and character. By merging narrative function with gameplay, the game transcends the mere presentation of information, inviting the player to actively experience Senua's ordeal. The anguish, confusion, and cognitive dissonance caused by the voices become part of the player's immersive experience, and not merely an object of observation. Therefore, the voices in Hellblade constitute a paradigmatic meta-diegetic element, functioning as an interface that deepens immersion rather than breaking it, and offering a sophisticated approach to how narrative elements can be co-opted to optimise the interactive experience.
Meticulous observation of the diegetic, non-diegetic, and meta-diegetic elements in Hellblade: Senua's Sacrifice forms the methodological foundation for an in-depth analysis of the game as an empirical object. By examining the intentional elimination of traditional interface elements (HUD) and the subsequent adoption of a meta-diegetic interface, represented by the voices tormenting the protagonist, it becomes possible to unravel the complexity of its structure.
References
Galloway, A. R. (2006) Gaming: Essays on Algorithmic Culture. Minneapolis: University of Minnesota Press, pp. 6-7.
Iacovides, I., Cox, A. L. and Kennedy, R. (2015) ‘Diegetic and Non-Diegetic Interface Elements in Digital Games: A Review of Prior Work’. In Proceedings of the 2015 Annual Symposium on Computer-Human Interaction in Play. London: ACM, p. 1.
segunda-feira, 15 de setembro de 2025
What was the Video Game Cultures conference like?
Last week, I attended the Video Game Cultures conference in Prague, Czech Republic. It was an excellent three-day event with a lot of content to consider and reconsider in the fields of game design and gaming studies.
I presented my work Minimal resources, maximal horror: a study of the game IRON LUNG, and had the opportunity to admire great ideas from all my colleagues there. I hope soon I'll be posting the complete article here in Gaming Conceptz.
A special thanks to my friend Daniel Riha, who captained the entire event and gave us an epic welcome in Prague. Here are some good photos from the conference.
#GoGamers
I presented my work Minimal resources, maximal horror: a study of the game IRON LUNG, and had the opportunity to admire great ideas from all my colleagues there. I hope soon I'll be posting the complete article here in Gaming Conceptz.
A special thanks to my friend Daniel Riha, who captained the entire event and gave us an epic welcome in Prague. Here are some good photos from the conference.
#GoGamers
segunda-feira, 1 de setembro de 2025
Video Game Cultures 2025 - 10-12 September 2025 at Charles University, Prague (CZ)
Between September 10th and 12th, the VIDEO GAME CULTURES conference will take place at Charles University in Prague, Czech Republic. I will be presenting my work in person during the "horror spaces" session, and I'm sharing the abstract of my paper with you all below. (I'll also be sharing the full article soon).
Minimal resources, maximal horror: a study of the game IRON LUNG
This paper explores the minimalist approach to horror in David Szymanski's indie game, IRON LUNG, within the context of dystopian and apocalyptic narratives prevalent in contemporary video game culture. IRON LUNG distinguishes itself by its stark, low-fidelity visuals and audio, creating an atmosphere of profound dread with minimal resources. This study examines how these limitations, rather than hindering the player's experience, amplify the sense of isolation and claustrophobia, core tenets of effective horror design.
The analysis delves into the game's setting: a desolate, rust-covered ocean on a moon entirely submerged in blood, where the player navigates a submarine using rudimentary sonar. This environment, rendered in a limited colour palette and simple geometric shapes, evokes a sense of vast, unknowable danger. The paper argues that this minimalism forces the player to engage their imagination, filling in the gaps with their own fears, thereby intensifying the horror experience.
Furthermore, this paper discusses how indie game development allows for unique, experimental concepts that often diverge from mainstream titles. IRON LUNG exemplifies this, showcasing how creative constraints can lead to innovative gameplay and narrative design. By eschewing high-fidelity graphics and complex mechanics, the game focuses on psychological horror, relying on atmosphere and sound to create tension. This study concludes that IRON LUNG's success lies in its ability to maximise horror through minimalism, demonstrating the power of restraint in video game design.
Keywords: Indie Games, Horror Games, Minimalism, Dystopia, Apocalypse, Game Design, David Szymanski, IRON LUNG.
#GoGamers
Minimal resources, maximal horror: a study of the game IRON LUNG
This paper explores the minimalist approach to horror in David Szymanski's indie game, IRON LUNG, within the context of dystopian and apocalyptic narratives prevalent in contemporary video game culture. IRON LUNG distinguishes itself by its stark, low-fidelity visuals and audio, creating an atmosphere of profound dread with minimal resources. This study examines how these limitations, rather than hindering the player's experience, amplify the sense of isolation and claustrophobia, core tenets of effective horror design.
The analysis delves into the game's setting: a desolate, rust-covered ocean on a moon entirely submerged in blood, where the player navigates a submarine using rudimentary sonar. This environment, rendered in a limited colour palette and simple geometric shapes, evokes a sense of vast, unknowable danger. The paper argues that this minimalism forces the player to engage their imagination, filling in the gaps with their own fears, thereby intensifying the horror experience.
Furthermore, this paper discusses how indie game development allows for unique, experimental concepts that often diverge from mainstream titles. IRON LUNG exemplifies this, showcasing how creative constraints can lead to innovative gameplay and narrative design. By eschewing high-fidelity graphics and complex mechanics, the game focuses on psychological horror, relying on atmosphere and sound to create tension. This study concludes that IRON LUNG's success lies in its ability to maximise horror through minimalism, demonstrating the power of restraint in video game design.
Keywords: Indie Games, Horror Games, Minimalism, Dystopia, Apocalypse, Game Design, David Szymanski, IRON LUNG.
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