MIDLIFE CRISIS
Jaroslav Stacevic, Producer and Head of Innovation at Nordcurrent, on why bigger isn’t always better, and other issues he has with modern-day video game design
I
t’s a strange time in game design. The industry is undergoing an undeniable philosophical shift bordering on an identity crisis. In recent years
games have taken on a certain faux complexity, aiming to dazzle players with upgrade and crafting mechanics, overloaded skill trees, and unnecessarily convoluted systems. It’s attention-grabbing but not capable of holding players’ attention, lacking the depth that keeps players truly engaged by rewarding dedication, exploration, and mastery over time. The market is creaking under the growing weight
of a glut of faux-complex games, and quite possibly approaching critical mass. That’s not exactly ideal, since it means the market is flooded with games that lack longevity and degrade players’ trust in the industry at large to deliver meaningful experiences.
In fairness,
there are some notable (and super successful) exceptions. Minecraft offers almost infinite complexity and virtually limitless potential for creativity and
40 | MCV/DEVELOP April/May 2025
personal expression to players, who have made it the best-selling video game of all time. Nintendo remains the industry standard-bearer of gameplay-first and dual- layered design, with games that prioritise simplicity and clarity — the bedrock of meaningful challenge. Games that rest on these principles, however, are
increasingly the exception instead of the rule. The prevailing industry philosophy is that complexity equals quality, and that it’s necessary for a game to be well-received by mature audiences. In practice, this philosophy creates games with tacked-on layers of systems, RPG mechanics, and belabored storylines intent on communicating some deeper philosophical message. The industry no longer considers fun an end unto itself; simplicity and charm are borderline suspect. In attempting to make a game feel as modern or relevant as possible, developers often risk losing sight of what principles actually make games resonate with players.
THE FUN SELF-POLICE The contemporary gaming industry’s identity crisis stems from the wrongheaded idea that fun can no longer be enough, and that serious adult audiences won’t buy and stay engaged with a game that doesn’t have supposedly sufficient narrative and philosophical complexity. In fact, this idea risks alienating the very players it’s trying to court.
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