TL;DR:
-Not everything in the tl;dr is quoted below. Check out the link for more direct quotes.
-Ancel wants to make emotional games, but where emotion is derived through interacting with other players either socially or directly instead of the plotline. Think more Journey/Battlefield and less TLOU/Quantic Dream.
-Ancel feels persistence (like MMOs or RPGs) and social connections are really important so that players feel they're making an investment with their time instead of wasting it.
-Ancel feels that highly scripted linear games are going to have trouble in the future because players will feel like they're constantly playing the same pre-scripted experienced instead of something that actually responds to what they're doing.
-Ancel feels that online will be critical and nigh mandatory to having a great experience while gaming, but that this feeling should be evoked by how much better everything is while you're online instead of a DRM mechanism forcing you to be online.
-Not everything in the tl;dr is quoted below. Check out the link for more direct quotes.
-Ancel wants to make emotional games, but where emotion is derived through interacting with other players either socially or directly instead of the plotline. Think more Journey/Battlefield and less TLOU/Quantic Dream.
-Ancel feels persistence (like MMOs or RPGs) and social connections are really important so that players feel they're making an investment with their time instead of wasting it.
-Ancel feels that highly scripted linear games are going to have trouble in the future because players will feel like they're constantly playing the same pre-scripted experienced instead of something that actually responds to what they're doing.
-Ancel feels that online will be critical and nigh mandatory to having a great experience while gaming, but that this feeling should be evoked by how much better everything is while you're online instead of a DRM mechanism forcing you to be online.
GamesIndustry.biz said:When Ancel talks about "emotion" it is in a very different context to that employed by studios like Quantic Dream, Bioware and Naughty Dog. Ancel doesn't mention any game or studio specifically, but it's clear that what he wants to accomplish has little to do with the cinematic trappings evident in so many games with a transparently "emotional" agenda. It is the difference between the experience of a game like Journey and a game like The Last Of Us - one spontaneous, the other prescribed.
"When you're making a game, it could be compared to a guy organising a party," Ancel says when we meet after his talk. "You don't want them to be exactly the way you tell them to behave. You want them to be in a contextual environment where they can enjoy themselves, and [enjoy] being with each other.
Source: http://www.gamesindustry.biz/articles/2013-07-17-michel-ancel-connect-share-create"Don't talk about AI and things like that," Ancel advises. The variety and dynamism required to create a broader and more meaningful palette of interactions already exists in the connected audience. This generation has illustrated how powerful an effect real people communicating and cooperating can have on the experience of playing a game - an obvious example is Minecraft, but even action titles like Left 4 Dead and Battlefield 3 were immeasurably enriched by the interplay between friends and the focus on group-play - but for Ancel the industry has only dabbled in the ocean of potential opportunity the connected world offers.
"Through the game design, you can create communication and the necessity to co-operate," he says. "And I think that can be extended to games that you don't just play for 10 minutes or 15 minutes, but much longer experiences, where you really have a strategy together. You're not always in the same place, and you need to co-ordinate with the other people. It's what you see in MMOs. Things are moving in that direction, and it's getting more and more interesting."
That broad push towards more connected play experiences was certainly evident at E3, where a number of the most celebrated games were based around group-play in persistent, dynamic environments: Bungie's Destiny is an obvious example, but The Crew and Tom Clancy's The Division - both from Ubisoft, Ancel's employer - are also being built around these values. In terms of game design and the user experience, Ancel believes the proliferation of persistent worlds will be a huge benefit of the new consoles.
"When you play a game you spend your time in it. If there's some persistence, some socialising, you're investing your time in the game," he says. "Persistence and social are there to make sure the player is investing their time, and making their knowledge about the game more valuable... It is interesting to not just reboot everything as the way it was before. Connecting things gives players a more important world."