Ah, youth.

Luckily that same seminar set me right on how complex a craft the writing of Mills & Boon literature is. Sure it channelled great writers such as Emily Bronte but it did so knowingly and with a very clear understanding of a target market. The execution is also carried out by writers who can, y’know, write. Properly. They are clever, talented authors who know how to structure a novel and deliver total entertainment to their readership.

And by strange coincidence, I just saw this article.

Mills & Boon is targetted, commercial writing.

And there’s nothing wrong with that.

Anyone browsing through Waterstones these days (or watching ITV2) can’t have escaped what seems to be a glut of book covers featuring pale men, blood red roses and even paler women. It’s a style designed to signal that if you enjoyed Twilight by Stephanie Myers then you’ll love anything else in the “range”. Vampire fiction is hot property.

Like Mills & Boon though, it’s not the only range on the block. YA (young adult) fiction has many ranges appealing to many different readers (with a great deal of crossover appeal too).

And like Mills & Boon, these books are targetted, commercial and created by very talented writers.

Which got me thinking about how this approach works when it comes to creating games. Which it doesn’t.

Unfortunately.

Otherwise we’d be seeing some interesting games right now that tapped into this demand.

Development schedules, a desire for “originality”, costs, procedures – the list of why not to react to the market can be endless.

But what if games could react? What if a team of developers decided that instead of chasing the latest technology they would release games based on a simpler model which could be turned around within six months and be more focussed on engaging existing or potential gamers in the worlds they want to be engaged in.

Imagine a game based on the Max Payne engine. It has the right sort of feel and functionality to be host for a Vampire game. Why can’t that be repurposed to allow for different characters and a different storyline every six months? I know the reasons why it isn’t. But what are the reasons why it can’t be?

A new development model allowing for  game creators to dovetail their skills with those of the productive YA author could be exciting. It could develop a market for YA games that isn’t based on what a hardcore, live with games every day of my life developer sees as quality but rather based on the interests and aspirations of a generation who might want different things from their gaming time.

And yes, Head First has plenty of ideas what those things might be

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