getting over it with bennett foddy engine

Then they give some feedback, you make some changes, and when you’re completely 100% happy with it you start sending it off to journals. When you write a philosophy paper, the process is something like this: Come up with the idea, do a bunch of research, draft up a “version one” in the argument, workshop that, start showing it to people. The web enables a form of expression in creative arts that it doesn’t enable in science or philosophy, or something like that.

Is there a thrill to being able to make something, put it out, and get feedback right away? I imagine there being more immediacy to games than those other disciplines. Out of all the things I was involved in, that was the one that won me over. You’re constrained by technology and you’re constrained by engineering in some ways, but I just have a deep love of games. Maybe it’s weird to have picked games out of all of the creative disciplines because it’s not the most free. But, where my own creative process is most satisfied, where I’m most functional, is in a place where I’m able to make intuitive connections and work emotionally and in a flexible way. It’s one where you’re rehearsing and you’re trying to pull out creative expression from a rote task which, again, is totally valid and something that some people do beautifully. So that’s a different kind of creative expression. That’s the kind of creative space I’m interested in.Īs a musician, I was the bassist. That’s valid, but you can also make games in a free-associating, intuitive, freewheeling style.

There are certain people who make video games in an engineering way and a programming way. I think that’s true in my video game practice. I’ve always been more comfortable in an intuitive problem-solving space than a painstakingly logical one. What made you gravitate towards making games and teaching about games? You trained as a moral philosopher, and you played in the band Cut Copy.

Getting over it with bennett foddy engine