This means keeping many trails open at once, inevitably requiring a fairly 'parallel' plot. This plot should be discovered rather than announced, so show, don't tell.
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If pushed, though, I'd say that the next stage will be reached when it it's no longer true that about 75% of the best games were written in 1980's on the way to that.
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I like to employ a form of repetition, in which the same elements recur but in different and unexpected ways. rather than being discarded as soon as they are understood or passed over.
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What I would pay much more attention to are the few points where the player can inadvertently make a career decision. Most players end up back-tracking, though some actually enjoy this.
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The most frequent complaint is that it's hard. True. it's a hard game to win Also, many people ask me how to use the secret debugging commands, apparently under the impression that I'll tell them.
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The time has mainly gone on getting Inform into a decent shape for public use. I suppose the plot of 'Curses' makes a sequel conceivable when compared with, say, the plot of 'Hamlet' but none is planned.
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A deliberate choice on my part was for the player to continue to find new possibilities in the early Attic rooms far into the game. I think this builds atmosphere, though it means there's no neat division of the prologue from the middle game.
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Eventually I found it had been working all along-but didn't show anything on screen until it had the first full page of text. I inserted 30 new lines, and suddenly my toy said 'hEllO woRlD'. An hour later I understood alphabet shifting rather better!
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If you're setting a game during the Cuban Missile Crisis, look through a library. find out what people were wearing, what other issues were in the news, how houses were furnished, what cars were being driven. Especially include things which now seem foreign.
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