Sonic the Hedgehog : une masterclass en conception de jeu
Résumé
Le Laboratoire de développement de théories et d'expérimentations invite les membres à participer à une analyse critique du Sonic the Hedgehog original sur SEGA Genesis. Cette discussion explore la confluence esthétique et les principes de conception supérieurs du jeu grâce à une extrapolation scientifique. Elle sert de plateforme aux passionnés pour débattre des raisons pour lesquelles ce titre reste l'une des expériences les mieux conçues de l'histoire du jeu vidéo.
Je pense avoir fait assez d'extrapolation scientifique pour entamer une discussion et un débat sur ce que je considère comme l'un des jeux les plus grands et les mieux conçus de tous les temps. En plus d'être l'un de mes jeux préférés de tous les temps, je pense qu'il y a de vrais mérites à souligner ici. Je croise les doigts pour éviter les haters et les trolls, parlons-en.
Discord sent us an expired image link.
I think this expose, despite being one of my favorite examples of complete design and confluence, has waited long enough. Let's begin.
This will all be rough so I apologize but I will endeavor to make it flow and such later.
Sonic the Hedgehog for the Sega Genesis has skillful display of art before the game even begins, not just while the console is on either. I refer to the consoles design aspects itself.
The design is not altogether unintuitive. The console, instead of modern popular aesthetics of implying machine computing, has a humble almost cd player or media launcher aesthetic. The modular and curved design drawing attention to it's proprietary nature without overstating that it is inherently incompatible with most other electronics not designed to function in tandem. It's black coloration lends a beautiful softness to interaction and startup like a black hole of a portal to a medium of immersion and interactivity, only contrasted and signified by the stylized logos of Sega and Genesis. Sega in it's lined font adds visual white noise, lowering the egregious assault on personal immersion by a fair amount. Genesis on the other hand is left bold and highlighted with a border signifying the nature of the console itself and using the word itself to both dismiss attention from the consoles title and bring a subtle catharsis of acknowledgement to the act of "starting and playing a game".
The controller, likewise mirrors these strengths, though to a much lesser extent. The controllers round and slightly angular nature makes the controller feel alien and foreign to the eyes, drawing a natural conclusion of not having to look at the controller and instead focus on the television used. It's buttons compliment the angular design drawing both ease and discrepancy between button placements for muscle memory. The D-pad, likewise, uses an angular and concave design allowing for more immersion and tactile responsiveness from the users interactions. Where on the console the logo was used to juxtapose the immersion of the experience, the controller has a logo implying a jarring disconnect of the controller from the experience, it reminds you that "yes, you are using a controller, but only you are playing this game".
Next time I will begin discussion over the game boot up sequence!
The design is not altogether unintuitive. The console, instead of modern popular aesthetics of implying machine computing, has a humble almost cd player or media launcher aesthetic. The modular and curved design drawing attention to it's proprietary nature without overstating that it is inherently incompatible with most other electronics not designed to function in tandem. It's black coloration lends a beautiful softness to interaction and startup like a black hole of a portal to a medium of immersion and interactivity, only contrasted and signified by the stylized logos of Sega and Genesis. Sega in it's lined font adds visual white noise, lowering the egregious assault on personal immersion from corporate logos by a fair amount. Genesis on the other hand is left bold and highlighted with a border signifying the nature of the console itself and using the word itself to both dismiss attention from the consoles title and bring a subtle catharsis of acknowledgement to the act of "starting and playing a game".
The controller, likewise mirrors these strengths, though to a much lesser extent. The controllers round and slightly angular nature makes the controller feel alien and foreign to the eyes, drawing a natural conclusion of not having to look at the controller and instead focus on the television used. It's buttons compliment the angular design drawing both ease and discrepancy between button placements for muscle memory. The D-pad, likewise, uses an angular and concave design allowing for more immersion and tactile responsiveness from the users interactions. Where on the console the logo was used to juxtapose the immersion of the experience, the controller has a logo implying a jarring disconnect of the controller from the experience, it reminds you that "yes, you are using a controller, but only you are playing this game". The start buttons placement additionally makes it a display of effort to properly extract yourself from the game, while the argument can be made about fostering addictive behaviors and experiences, I think it's best to acknowledge that it is a method of appreciating and saying goodbye on polite and amicable terms to the experience.
Next time I will begin discussion over the game boot up sequence!
