Game Design

1. Game Design

2. Overview Folk games [Costikyan] “Traditional” games, cultural origins Examples: Tic-Tac-Toe (Naughts and Crosses) Chess Go Backgammon Poker

3. Overview There is no one “right” way to design There are many successful approaches Specific requirements and constraints of each project and team determine what works and what does not. This introduction scratches the surface

4. The Language of Games Game development – a young industry The language of game design comes from how we talk about existing games Standards are still being formulated Theory Practice Terminology

5. The Language of Games Why do we play? Not a designer’s problem...or is it? What is the nature of games? Not a designer’s problem How is a game formed of parts? The designer’s problem

6. The Audience's Motivation 4 Keys 2 Fun – Nicole Lazzaro Serious Fun Meaning/value from relaxation, excitement Hard fun Adversity, challenge, strategy and problem solving Easy fun Intrigue and curiosity – exploration and adventure People Fun Stimulating social faculties – competition, teamwork, bonding, recognition, (shared) amusement

7. Aesthetics and Frame Aesthetics Emotional responses during play Naïve practical approach, not classical Frame The border of a game’s context Inside the frame is in the game Outside the frame is real life

8. Approaching Design Computer games are an art form Game design practices can be taught Game design is a technical discipline like music, film, poetry The art of making dynamic models

9. Approaching Design Mental/Cognitive Concepts Beliefs Maps Examples: Locations Relationships Mathematical Equations Formulas Algorithms • A model represents something

10. Approaching Design • Abstract model • Conceptual and idealized • A tool for investigating specific questions • Simplifies thinking to help understand problems • May include assumptions thought to be false • Abstract game • One rule • The piece is moved to the open square

11. Creativity Ability to create Ability to produce an idea, action, or object considered new and valuable

12. Creativity Classic approach - Graham Wallace Preparation Background research and comprehension Incubation Mulling things over Insight Sudden illumination – Eureka! Evaluation Validating revealed insights Elaboration Transforming the idea into substance

13. Creativity Brainstorming Generating ideas without discrimination Evaluation after elaboration Can be unfocused

14. Creativity Six Thinking Hats White Hat – neutral and objective Red Hat – intuition, gut reaction Black Hat – gloomy, naysayer Yellow Hat – Pollyannaish, optimistic Green Hat – growth and creativity Blue Hat – process and control Symbolize perspective worn by people involved in the creative endeavor Edward de Bono

15. Inspiration Board games Spatial relationships Card games Resource management Paper RPGs Dynamic narratives Books Fantasy and agency Sports Team competition Film Continuity techniques Television Serialized stories Music Temporal systems Martial arts Discipline in action Children Invention

16. Genres Genre – a category describing generalities of conventions, style, and content

17. Genres Action Adventure Arcade Casual Education Fighting First-person shooter Platform Racing Rhythm Role-Playing (RPG) Simulation Sports Strategy Puzzle Traditional

18. Premise The metaphors of action and setting Directs the player experience Provides a context in which mechanics fit Players map game states to the premise

19. Premise Story is the typical example of premise Time Place Characters Relationships Motivations Etc.

20. Premise Premise may also be abstract Tetris operates under a metaphor The metaphor: arranging colored shapes Encompasses all game elements Player discussions use the language of the premise

21. Premise Games are models Activities being modeled form premise Actions may appear similar in model Usually are fundamentally quite different Sports games are good examples Playing video games isn’t like playing the sport

22. Premise Goes beyond setting and tone Alters the players' mental model Basis of player understanding and strategy

23. Premise Possible Capable of happening in the real world Plausible Possible within the unique world of premise “Makes sense” within the game’s premise Consistent with the premise as understood

24. A Player-Game Model • A model of the player – game relationship

25. A Player-Game Model Mechanics Things the player does Interface Communication between player and game System Underlying structure and behavior

26. Play Mechanics Gameplay Feelings of playing a particular game Activities engaged in a particular game (Play/game) Mechanics Specific to game activities “What the player does”

27. Seven Stages of Action Execution Intention to act Sequence of action Execution of action sequence Evaluation Evaluating interpretations Interpreting perceptions Perceiving states

28. Seven Stages of Action • A goal is formed • Models the desired state • The desired result of an action • Examples: • Have a glass of water in hand • Capture a queen • Taste ice cream

29. Seven Stages of Action • Goals turned into intentions to act • Specific statements of what is to be done

30. Seven Stages of Action • Intentions put into an action sequence • The order internal commands will be performed

31. Seven Stages of Action • The action sequence is executed • The player manipulates control variables

32. Seven Stages of Action • The state of the game is perceived • State variables are revealed via the interface

33. Seven Stages of Action • Player interprets their perceptions • Interpretations based upon a model of the system

34. Seven Stages of Action • Player evaluates the interpretations • Current states are compared with intentions and goals

35. Seven Stages of Action Donald Norman’s approximate model Actions not often in discrete stages Not all actions progress through all stages

36. Seven Stages of Action Scales to… …an individual mechanic A “primary element” Examples: Move Shoot Talk …an entire game A generalized model of interaction

37. Designer and Player Models • Systems are built from designer mental models • Design models may only anticipate player goals

38. Designer and Player Models • Players build mental models from mechanics • Based upon interactions with the system image • The reality of the system in operation • Not from direct communication with designers • Player and designer models can differ significantly

39. Core Mechanics Typical patterns of action Fundamental mechanics cycled repeatedly Examples: Action shooters – run, shoot, and explore Strategy game – explore, expand, exploit, exterminate referred to as the “four X’s”

40. Choice and Outcome Choice A question asked of the player Outcome The end result of a given choice Possibility space Represents the set of possible events A “landscape” of choice and outcome

41. Choice and Outcome Consequence or Weight The significance of an outcome Greater consequences alter the course of the game more significantly Choices are balanced first by consequence

42. Choice and Outcome Well-designed choice Often desirable and undesirable effects Should relate to player goals Balanced against neighboring choices Too much weight to every choice is melodrama Orthogonal choices – distinct from others Not just “shades of grey”

43. Qualities of Choice Terms in which to discuss choices Hollow – lacking consequence Obvious – leaves no choice to be made Uninformed – arbitrary decision Dramatic – strongly connects to feelings Weighted – good and bad in every choice Immediate – effects are immediate Long-term – effects over extended period Orthogonal – choices distinct from each other

44. Goals and Objectives Objectives Designed tasks players must perform Rigid requirements – formal Goals An intentional outcome Notions that direct player action Scales all levels of motivation From selecting particular strategies… …to basic motor actions (e.g. pressing a button)

45. Goals and Objectives • Objectives and goals can differ • Players goals reflect their understanding of the game • Designers must consider how the game communicates with players • Affordances – the apparent ways something can be used

46. Resources Resources Things used by agents to reach goals To be meaningful, they must be… Useful – provide some value Limited – in total or rate of supply

47. Economies Economies Systems of supply, distribution, consumption Questions regarding game economies: What resources exist? How and when will resources be used? How and when will resources be supplied? What are their limits?

48. Player Strategy • People usually reason with commonsense • A view of linear causation – cause and effect • Complex systems do not behave linearly • Players need information to support linear strategy

49. User Interface Interface Game controls Presentation, and feedback Input Player to game Output Game to player

50. User Interface Elements Contains both hardware, software, and performance elements. Hardware such as game pads and touchscreens Software such as engines Performance such as pressing a button