Between two Worlds

 Hello once more!      Lately (three months now) i have been getting really into Tekken. I love fighting games because of their high skill ceiling in every conceivable aspect of the game, making me think really hard about the game and how to become the best. For a player, the game already has the best way to play it built-in; all they have to do is find it! Tekken however has taken this to another level. I have also sunk my teeth in guilty gear xrd (sol main btw) but it hasn't made me think as much as Tekken 7 has. I decided to go against my usual playstyle and i selected Jin to main, one of the most mechanically demanding characters in the game. Today specifically i was thinking about Jin's parry and that line of thinking led to me writing this post.     In Tekken 7, Jin Kazama is a generalist. He has every tool for every situation, even if other characters shine better in certain categories than him (master of none and all that). In order to learn the character, i have broken

Hello again.     This began in my head as a conversation between me and a good friend of mine about a project we are indulging in, but i decided to turn it into a blogpost so that both he and now you, dear viewer, hear what i have to say on the matter. I did promise to post as much as i can and i have kinda been busy with other things, so here we are.      Games, as an artform, obviously have the capacity to make the player feel things. There are many such examples and i am sure you are currently summoning your favorites as you read this. Conversations around the matter are usually held from an outside perspective: how and why games make people feel things, what kind of things they make them feel, how good of a job games do at making people feel things etc. Today's conversation will be done from an insider's perspective:  As a game designer and as an artist, how do you imbue your work with the power to move people?     It's not always that a game designer consciously sets o