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Animal Crossing, Stardew Valley have a lot of great game mechanics and are also about discovery, trade, and building relationships. Factorio is probably a bit

Animal Crossing, Stardew Valley have a lot of great game mechanics and are also about discovery, trade, and building relationships. Factorio is probably a bit more advanced, but meets your criteria (except for story, maybe). There is a rabbit hole of games like that to go down. Assassins Creed Origins and Odyssey have “education” modes that are about exploring the world and not murder. The Mario-plus games (Tennis, Racing, Party) tend to be not violence oriented, are collaborative, but have super hokey stories. Old school point and click games are definitely up there (Monkey Island, Myst) as people have mentioned. Ico and Shadow of the Colossus do have violence and battle as central elements, but not in a COD type of way. A challenge is that most games rely on competition and conflict as core drivers of both the story and the game mechanics. I think something like Tomb Raider could easily minimize conflict while still retaining a lot of really interesting puzzles, game mechanics, and story elements… sometimes playing that game (and uncharted) you feel like a mass murderer with the body counts you rack up. But other games like Metal Gear Solid are designed to allow you to get through them without needing to kill anyone (subdue/knock out though). It’s also hella hard to do that. Death Stranding is an interesting one to consider as well. There is some violence and extremely dark themes, but aside from the boss battles it’s really minimal on guns and violence. Ape Escape for PS1 kind-of fits the mold as well - capturing escaped monkeys is a really fun. Katamari Damacy (spelling?) is really fun as well- you roll up things under your magic rolling ball becomes planet sized. The Ace Attorney series is also almost entirely narrative and puzzle.

DMell 4y ago
> Stardew Valley Excerpt from Ultralearning by Scott H. Young[0]: Eric Barone had just graduated from the University of Washington Tacoma with a degree in computer science when he thought, Now’s my chance. He had decided that he wanted to make his own video games and that now, before he got comfortable in a salaried programming job, was his opportunity to do something about it. He already had his inspiration. He wanted his game to pay homage to Harvest Moon, a charming Japanese series of games in which the player must build a successful farm: grow crops, raise animals, explore the countryside, and form relationships with other villagers. “I loved that game,” he said about his childhood experience with the title. “But it could have been so much better.” He knew that if he didn’t follow through with his own vision, that improved version would never be a reality. Developing a commercially successful video game isn’t easy. AAA game companies budget hundreds of millions of dollars and employ thousands of people on their top titles. The talent required is similarly broad. Game development requires programming, visual art, musical composition, story writing, game design, and dozens more skills, depending on the genre and style of game developed. The breadth of skills required makes game development much harder for smaller teams than other art forms such as music, writing, or visual arts. Even highly talented independent game developers generally have to collaborate with a few people to span all the skills required. Eric Barone, however, decided to work on his game entirely alone. Deciding to work alone came from a personal commitment to his vision and an indefatigable self-confidence that he could finish the game. “I like to have complete control over my own vision,” he explained, saying that it might have been “impossible to find people who were on the same page” regarding the design. However, that choice meant that he would need to become proficient in game programming, music composition, pixel art, sound design, and story writing. More than just a game design project, Barone’s odyssey would entail mastering each aspect of game design itself. Pixel art was Barone’s biggest weakness. This style of art harkens back to the earlier era of video games when rendering graphics was difficult to do on slow computers. Pixel art is not done with fluid lines or photorealistic textures. Instead, a compelling image must be created by placing pixels, the colored dots that make up computer graphics, one at a time—painstaking and difficult work. A pixel artist must convey movement, emotion, and life from a grid of colored squares. Barone liked to doodle and draw, but that didn’t prepare him for the difficulty. He had to learn this skill “completely from scratch.” Getting his art skills to a commercial level wasn’t easy. “I must have done most of the artwork three to five times over,” he said. “For the character portraits, I did those at least ten times.” Barone’s strategy was simple but effective. He practiced by working directly on the graphics he wanted to use in his game. He critiqued his own work and compared it to art he admired. “I tried to break it down scientifically,” he explained. “I would ask myself, ‘Why do I like this? Why don’t I like that?’” when looking at other artists’ work. He supplemented his own practice by reading about pixel art theory and finding tutorials that could fill gaps in his knowledge. When he encountered a difficulty in his art, he broke it down: “I asked, ‘What goal do I want to reach?’ and then ‘How might I get there?’” At some point in his work on the game, he felt his colors were too dull and boring. “I wanted the colors to pop,” he said. So he researched color theory and intensively studied other artists to see how they used colors to make things visually interesting. Pixel art was just a single aspect Barone had to learn. He also composed all of the music for his game, redoing it from scratch more than once to make sure it met his high expectations. Whole sections of the game mechanics were developed and scrapped when they failed to meet his rigorous standards. This process of practicing directly and redoing things allowed him to get steadily better at all of the aspects of game design. Although it lengthened the time it took to complete the game, it also enabled his finished product to compete with games created by an army of specialized artists, programmers, and composers. Throughout the five-year development process, Barone avoided seeking employment as a computer programmer. “I didn’t want to get involved in something substantial,” he said. “I wouldn’t have had the time, and I wanted to give game development my best shot.” Instead, he worked as a theater usher, earning minimum wage so that he wouldn’t get distracted. His meager earnings from his job, combined with support from his girlfriend, allowed Barone to get by as he focused on his passion. That passion and dedication to mastery paid off. Barone released Stardew Valley in February 2016. The game quickly became a surprise hit, outselling many of the big-studio titles offered on the computer game platform Steam. Across multiple platforms, Barone estimates that within the first year of its release, Stardew Valley had sold well over 3 million copies. In months, he went from an unknown designer earning minimum wage to a millionaire named one of Forbes’ “30 Under 30” stars within game development. His dedication to mastering the skills involved played no small part in that success. Destructoid, in its review of Stardew Valley, described the artwork as “incredibly endearing and beautiful.”6 Barone’s commitment to his vision and aggressive self-education had paid off handsomely. [0] https://www.goodreads.com/book/show/44770129-ultralearning https://www.goodreads.com/book/show/44770129-ultralearning
remram 4y ago
I don't think Factorio counts as non-violent. You might be able to make it so via some settings but that would remove a big part of the gameplay and challenge.
- Trasmatta 4y ago
  My favorite way of playing Factorio is turning off the Biters. It's much less stressful and enjoyable for me that way.
- burnished 4y ago
  Oh, you'd lose a challenge certainly but you'd have many more remaining besides. Biters provide a nice clock for advancing your base by forcing you to progress your military industrial complex, but like all Factorio problems you solve it by automating the solution. I think the presence or absence of biters changes the game less than choosing between default worldgen and train worlds.
- KaoruAoiShiho 4y ago
  Dyson Sphere Program is similar but definitely non-violent.
- capableweb 4y ago
  > that would remove a big part of the gameplay and challenge That's subjective! Personally, having the biters enabled removes a big part of the gameplay for me as suddenly I need to focus on being able to defend myself, while for me that game is about building as effective factory as possible.
rockwotj 4y ago
I loved playing ape escape on PS1 as a kid!
- kwyjibo1230 4y ago
  Same! I just got an emulator working this weekend for my PC and realized I can run the game directly from my original Ape Escape disc and use an Xbox controller. It's really bringing me back.
  - rockwotj 4y ago
    Oh which emulator are you using? I'd love to be able to boot this back up someday
y-c-o-m-b 4y ago
> Death Stranding is an interesting one to consider as well. There is some violence and extremely dark themes, but aside from the boss battles it’s really minimal on guns and violence. Seconded. This "walking simulator" - as they say - unexpectedly turned out to be one of my favorite games of all time. The story is just magnificent.

DMell 4y ago

> Stardew Valley Excerpt from Ultralearning by Scott H. Young[0]: Eric Barone had just graduated from the University of Washington Tacoma with a degree in computer science when he thought, Now’s my chance. He had decided that he wanted to make his own video games and that now, before he got comfortable in a salaried programming job, was his opportunity to do something about it. He already had his inspiration. He wanted his game to pay homage to Harvest Moon, a charming Japanese series of games in which the player must build a successful farm: grow crops, raise animals, explore the countryside, and form relationships with other villagers. “I loved that game,” he said about his childhood experience with the title. “But it could have been so much better.” He knew that if he didn’t follow through with his own vision, that improved version would never be a reality. Developing a commercially successful video game isn’t easy. AAA game companies budget hundreds of millions of dollars and employ thousands of people on their top titles. The talent required is similarly broad. Game development requires programming, visual art, musical composition, story writing, game design, and dozens more skills, depending on the genre and style of game developed. The breadth of skills required makes game development much harder for smaller teams than other art forms such as music, writing, or visual arts. Even highly talented independent game developers generally have to collaborate with a few people to span all the skills required. Eric Barone, however, decided to work on his game entirely alone. Deciding to work alone came from a personal commitment to his vision and an indefatigable self-confidence that he could finish the game. “I like to have complete control over my own vision,” he explained, saying that it might have been “impossible to find people who were on the same page” regarding the design. However, that choice meant that he would need to become proficient in game programming, music composition, pixel art, sound design, and story writing. More than just a game design project, Barone’s odyssey would entail mastering each aspect of game design itself. Pixel art was Barone’s biggest weakness. This style of art harkens back to the earlier era of video games when rendering graphics was difficult to do on slow computers. Pixel art is not done with fluid lines or photorealistic textures. Instead, a compelling image must be created by placing pixels, the colored dots that make up computer graphics, one at a time—painstaking and difficult work. A pixel artist must convey movement, emotion, and life from a grid of colored squares. Barone liked to doodle and draw, but that didn’t prepare him for the difficulty. He had to learn this skill “completely from scratch.” Getting his art skills to a commercial level wasn’t easy. “I must have done most of the artwork three to five times over,” he said. “For the character portraits, I did those at least ten times.” Barone’s strategy was simple but effective. He practiced by working directly on the graphics he wanted to use in his game. He critiqued his own work and compared it to art he admired. “I tried to break it down scientifically,” he explained. “I would ask myself, ‘Why do I like this? Why don’t I like that?’” when looking at other artists’ work. He supplemented his own practice by reading about pixel art theory and finding tutorials that could fill gaps in his knowledge. When he encountered a difficulty in his art, he broke it down: “I asked, ‘What goal do I want to reach?’ and then ‘How might I get there?’” At some point in his work on the game, he felt his colors were too dull and boring. “I wanted the colors to pop,” he said. So he researched color theory and intensively studied other artists to see how they used colors to make things visually interesting. Pixel art was just a single aspect Barone had to learn. He also composed all of the music for his game, redoing it from scratch more than once to make sure it met his high expectations. Whole sections of the game mechanics were developed and scrapped when they failed to meet his rigorous standards. This process of practicing directly and redoing things allowed him to get steadily better at all of the aspects of game design. Although it lengthened the time it took to complete the game, it also enabled his finished product to compete with games created by an army of specialized artists, programmers, and composers. Throughout the five-year development process, Barone avoided seeking employment as a computer programmer. “I didn’t want to get involved in something substantial,” he said. “I wouldn’t have had the time, and I wanted to give game development my best shot.” Instead, he worked as a theater usher, earning minimum wage so that he wouldn’t get distracted. His meager earnings from his job, combined with support from his girlfriend, allowed Barone to get by as he focused on his passion. That passion and dedication to mastery paid off. Barone released Stardew Valley in February 2016. The game quickly became a surprise hit, outselling many of the big-studio titles offered on the computer game platform Steam. Across multiple platforms, Barone estimates that within the first year of its release, Stardew Valley had sold well over 3 million copies. In months, he went from an unknown designer earning minimum wage to a millionaire named one of Forbes’ “30 Under 30” stars within game development. His dedication to mastering the skills involved played no small part in that success. Destructoid, in its review of Stardew Valley, described the artwork as “incredibly endearing and beautiful.”6 Barone’s commitment to his vision and aggressive self-education had paid off handsomely. [0] https://www.goodreads.com/book/show/44770129-ultralearning https://www.goodreads.com/book/show/44770129-ultralearning

remram 4y ago

I don't think Factorio counts as non-violent. You might be able to make it so via some settings but that would remove a big part of the gameplay and challenge.

Trasmatta 4y ago
My favorite way of playing Factorio is turning off the Biters. It's much less stressful and enjoyable for me that way.
burnished 4y ago
Oh, you'd lose a challenge certainly but you'd have many more remaining besides. Biters provide a nice clock for advancing your base by forcing you to progress your military industrial complex, but like all Factorio problems you solve it by automating the solution. I think the presence or absence of biters changes the game less than choosing between default worldgen and train worlds.
KaoruAoiShiho 4y ago
Dyson Sphere Program is similar but definitely non-violent.
capableweb 4y ago
> that would remove a big part of the gameplay and challenge That's subjective! Personally, having the biters enabled removes a big part of the gameplay for me as suddenly I need to focus on being able to defend myself, while for me that game is about building as effective factory as possible.

rockwotj 4y ago

I loved playing ape escape on PS1 as a kid!

kwyjibo1230 4y ago
Same! I just got an emulator working this weekend for my PC and realized I can run the game directly from my original Ape Escape disc and use an Xbox controller. It's really bringing me back.
- rockwotj 4y ago
  Oh which emulator are you using? I'd love to be able to boot this back up someday

y-c-o-m-b 4y ago

> Death Stranding is an interesting one to consider as well. There is some violence and extremely dark themes, but aside from the boss battles it’s really minimal on guns and violence. Seconded. This "walking simulator" - as they say - unexpectedly turned out to be one of my favorite games of all time. The story is just magnificent.