Game Design Atoms
This chapter of Challenges for Games Designers compares the topic of game design to chemistry, likening the two types of studies as similar. The chapter explains that to a novice designer it is difficult to decide where to start with your designing, and then goes on to explain that if you look at the design as a 'collection of atoms' it becomes clearer.
Firstly in the chapter it begins to discuss game states and game views. The chapter explains that what is going on in the game, or the things that can change in the game, is the game state. As explained, the game state can be very simple, as akin to chess where only the location of the pieces and information regarding the previous mood is shown. A more complex game state, for example, could be considered in Madden because the game must keep a record of the location of every player and every move that has and can be made. The other side of the chapter relates to the game views. The game view is what is currently being seen by the player, another simple example is chess because the game state is the game view as the information is public and can be seen by both players. A more complex game view is shown in RTS games because of the fog of war disguising the moves of your opponent/s. And the final topic that this section covers is the game space, which is the area upon which the game is played, a chess board or possibly an MMO realm.
The chapter moves on from the topics above and begins to focus instead on parts that are found within the game view. These pieces are parts such as the avatars and game bits. This section also focuses on the players, saying that a game would be nothing without players. This statement is true, because a game cannot be played if their are no players. These players are very often represented in video games by avatars. Avatar is valid for both digital and non-digital games, however the description in relation to a non-digital game is often less consistent than that of a digital game, with the avatar often being called a 'pawn' or 'token'. The avatar is how the player is represented in the game. In some games there is no avatar, such as poker in which the player represents himself or RTS games in which there is no single character to represent the player.
The avatar differs from the game bits that are given with board games. These include cards, dice, army pieces, resources and other little bits that are required to play the game. The term for game bits in relation to digital games is 'art assets' and 'objects' or by their general terms such as NPC, Monster, Item and so forth. The avatar and game bits are all a part of the current game state, and are shown in the game space.
Following the above, the chapter begins to discuss the importance of games mechanics. Game mechanics are the 'rules' of the game, or how a part of the game works. The game mechanics are about the possibilities that are opened up through the use of different mechanics and how they are used. In a way that affects the above, taken from the book 'mechanics are the rules that act upon the players, avatars and game bits, game state and game views, and describe all of the ways to change the game state' The mechanics affect the entire game, and can completely change how it is played. There are different classes of game mechanics such as:
Setup: The rules that are set up for when the game starts.
Victory Conditions: The rules that are set up on how the game is won, this is not always used in open ended games because they require players to create their own goals in order to win.
Progression of Play: The rules that decide how the players will interact with the game, such as using dice or other methods.
Player Actions: Often called 'verbs', this describes the actions that a player can perform while playing the game and how it affects the game.
Definitions of game view(s): The mechanics that decide on what information is given to the players during gameplay.
These ideas all combine in order to form the main mechanics of the game, allowing for a large combination of different mechanics in order to create a good game.
Following the mechanics is the dynamics of the game. The dynamics are the pattern of play that is introduced through the mechanics of the game. A common example is race to the end games. These games are all the same dynamic, however they all utilise slightly different mechanics in order to vary the gameplay and make the game unique and interesting.
The mechanics and dynamics could be considered the under-layers of the game, above this layer is the goals. These goals are the milestones, the victory conditions, the sign of improval, the sign of progression and many more. Games have many varied goals and they can differ between genres as well as games. These goals are often considered after the mechanics and dynamics have been decided, so that the goals can make the most use of the mechanics and dynamics.
Theme is another important aspect to games. The theme is not important to the gameplay, it is not necessary to know that mario is about a plumber looking for the princess in order to play the game. Theme is used to describe what the game is about and is often shown in the form of narrative, colour, characters or other methods. The theme is often very far apart from the mechanics, however if the correct mechanics are fitted with the correct theme, a good example being the 'Portal' games, then the game can feel more complete.
There is no specific order when it comes to designing a game. All of the above need to be completed and a game can end up being based around a single topic. The mechanics could be decided first and therefore the rest of the game is built to be based around those mechanics, or the same could be said about theme; or the dynamics; or even the type of avatar that the player is using. Once again the order is determined by the designer and no one else.
When all of the above processes are put together a game can be made. However, the trick to being a games designer is to constantly use them in order to create a game. The idea of experimentation comes into play in regards to the design process, create and then test before iterating. Iteration, as discovered in other posts, if the key to becoming a successful games designer and is a limitless process that can help fashion even the greatest games.
Wednesday, 31 October 2012
Concept Design: Loglines
The idea of loglines is to offer a simple and short description of your game in order to easily pitch your idea and contribute towards the appeal of the idea.
The basis behind loglines is that they must show off different things about your game. These things are the Setup, Type of game, Obstacles and the Goal.
Setup relates towards what the player needs to do in the game, such as leading armies, collecting resources, destroying aliens and many more. This incorporates what the main mechanic of the game will be.
Type of game relates towards the genre of the game, is it a strategy? is it an RPG? this topic is used to help establish the genre and could contribute towards deciding how the main mechanics are going to be implemented.
Obstacles is the obstructions and challenges that the player is going to face in the game. This can include the other players, enemies in the game or even the puzzles that have been put into the game. This helps show the audience what kind of challenges the player will need to overcome when playing the game.
Goal. This is self explanatory. It is simply the win condition of the game, how to finish, or what you need to accomplish. This sets the end-game up before the player has even begun their game.
Utilising these four points, I decided to come up with 4 different loglines for the game idea that I am doing for my concept design module. We were given a 30 word limit when coming up with our loglines and the ideas below all fit below that threshold:
1st
Develop your hero, craft your alliances, defeat your enemies, hunt for riches, glory and fame in your quest to kill the dragon!
This was my first idea and was done before any assistance was given.
2nd
Embark upon your heroes quest to hunt the dragon! Claim your glory, loot your riches and forge alliances to discover your destiny in the magical land of Ithelios.
This idea was decided after having a talk with Phil about how to improve upon my logline, as were the ones below.
3rd
Begin your humble journey. From simple origins claim your place in legend as you embark upon your heroic quest to slay the dragon. Magic, riches and greatness await you!
This and the 2nd logline are my preferred choices.
4th
The dragon threatens your home. Venture forth to discover your destiny. Craft alliances, discover magic, destroy your enemies, hunt for riches and establish your rightful place in legend.
That was all the ideas that were developed after a lecture on loglines. After performing this exercise and only developing 4 ideas that I was happy with, it is easy to see how difficult it can be to develop multiple ideas on how to quickly describe your game in a small number of words.
The basis behind loglines is that they must show off different things about your game. These things are the Setup, Type of game, Obstacles and the Goal.
Setup relates towards what the player needs to do in the game, such as leading armies, collecting resources, destroying aliens and many more. This incorporates what the main mechanic of the game will be.
Type of game relates towards the genre of the game, is it a strategy? is it an RPG? this topic is used to help establish the genre and could contribute towards deciding how the main mechanics are going to be implemented.
Obstacles is the obstructions and challenges that the player is going to face in the game. This can include the other players, enemies in the game or even the puzzles that have been put into the game. This helps show the audience what kind of challenges the player will need to overcome when playing the game.
Goal. This is self explanatory. It is simply the win condition of the game, how to finish, or what you need to accomplish. This sets the end-game up before the player has even begun their game.
Utilising these four points, I decided to come up with 4 different loglines for the game idea that I am doing for my concept design module. We were given a 30 word limit when coming up with our loglines and the ideas below all fit below that threshold:
1st
Develop your hero, craft your alliances, defeat your enemies, hunt for riches, glory and fame in your quest to kill the dragon!
This was my first idea and was done before any assistance was given.
2nd
Embark upon your heroes quest to hunt the dragon! Claim your glory, loot your riches and forge alliances to discover your destiny in the magical land of Ithelios.
This idea was decided after having a talk with Phil about how to improve upon my logline, as were the ones below.
3rd
Begin your humble journey. From simple origins claim your place in legend as you embark upon your heroic quest to slay the dragon. Magic, riches and greatness await you!
This and the 2nd logline are my preferred choices.
4th
The dragon threatens your home. Venture forth to discover your destiny. Craft alliances, discover magic, destroy your enemies, hunt for riches and establish your rightful place in legend.
That was all the ideas that were developed after a lecture on loglines. After performing this exercise and only developing 4 ideas that I was happy with, it is easy to see how difficult it can be to develop multiple ideas on how to quickly describe your game in a small number of words.
Sunday, 28 October 2012
I Have No Words & I Must Design
'A game is an interactive structure of endogenous meaning that requires players to struggle towards goals'
The above quote is covered within the article by Greg Costikyan, I have no words and I must design: towards a critical vocabulary for game. Within the article Costikyan goes into more detail about specific terms that are found within the quote, the ones that are italicized.
To begin with Costikyan talks about the term gameplay in his article and how it cannot be used as a term, and instead must be broken down into different terms. Specifically, these terms that Costikyan breaks gameplay into are the same ones that are italicized in the quote above.
The first section that Costikyan delves into is the subject of interaction, and the different methods of interaction that are available in games. This includes discussing the idea of puzzles not being games because of the interaction included in them. As Costikyan states in his article :'"Games", by contrast, are not static, but change with the players actions'. This quote gives off the idea that what makes a game interactive is the notion that the actions of the player change the state of the game, such as by choosing a certain option in a conversation changes which way you go. This change in the game state is how the player is interacting with the game.
Costikyan improves upon the notion of interaction by adding the concept of goals to his vocabulary. When discussing goals he mentions that for something to be interactive it must have a purpose, and this is where he introduces goals. Goals are often input into a game, such as objectives and rules, that must be achieved to win the game. Other games are not as simple and allow the player to create their own goals, allowing for another level of interaction from the player. This concept was input in Sim City, having no real method of winning it allowed players to create their own win conditions for the game and work towards them.
By implementing their own goals, the players were able to enjoy their game experience more and interact with the game on a deeper level than by being forced into a goal.
In reference to goals, Costikyan also mentions struggle. Struggle can mean having to go against another player in a multiplayer game, or against an obstacle that is placed into the game in order to add a level of difficulty. This struggle is incorporated into games in order to make them challenging. Costikyan mentions the idea that players play games for the challenge and they do not want to play games that are easy to win, whilsty also not wanting impossible games. The difficulty of a game is what keeps players trying to achieve victory, and attain their goals.
Once Costikyan has delved into the topic of struggling, he diverts onto the topic of structure. The idea of rules, regulations and algorithms. The structure of a game is what keeps the players on track, knowing what they are needing to do in order to play the game. This idea is related to a childrens game, mentioning how little structure a childs game has until it breaks down when two players do not agree on the rules. This contrasts with wargames for instance which have a strict set of rules and goals that cannot be easily changed when playing the game.
The following topic is endogenous meaning, this phrase means: ' caused by factions within the system or organism'. In simpler terms, endogenous meaning in gaming means that the game will create its own meaning. This term is important in RPGs such as Skyrim, because the meaning could be different for each player depending on their play style. Another example, one that Costikyan uses in the article, is that of monopoly. Within the game of monopoly, the money given to you has real value and is used for multiple ingame transactions, whereas at a real shop monopoly money is worthless. This is an example of the game creating its own meaning.
The above paragraphs explain about the quote given at the beginning of the article, and in my own words i consider the quote to mean the following:
By game the quote is referencing all of the above and more. An interactive structure takes into account that the player will be changing the set up of the game and its rules and regulations through his/her interaction with the game and changing the game state as they progress. As covered above, endogenous references the notion that the meaning is created within the game itself and not outside of it. Finally struggle is the idea that the player will be fighting against the games difficulty in order to achieve his/her goals and earn what he considers the victory point of the game.
The above quote is covered within the article by Greg Costikyan, I have no words and I must design: towards a critical vocabulary for game. Within the article Costikyan goes into more detail about specific terms that are found within the quote, the ones that are italicized.
To begin with Costikyan talks about the term gameplay in his article and how it cannot be used as a term, and instead must be broken down into different terms. Specifically, these terms that Costikyan breaks gameplay into are the same ones that are italicized in the quote above.
The first section that Costikyan delves into is the subject of interaction, and the different methods of interaction that are available in games. This includes discussing the idea of puzzles not being games because of the interaction included in them. As Costikyan states in his article :'"Games", by contrast, are not static, but change with the players actions'. This quote gives off the idea that what makes a game interactive is the notion that the actions of the player change the state of the game, such as by choosing a certain option in a conversation changes which way you go. This change in the game state is how the player is interacting with the game.
Costikyan improves upon the notion of interaction by adding the concept of goals to his vocabulary. When discussing goals he mentions that for something to be interactive it must have a purpose, and this is where he introduces goals. Goals are often input into a game, such as objectives and rules, that must be achieved to win the game. Other games are not as simple and allow the player to create their own goals, allowing for another level of interaction from the player. This concept was input in Sim City, having no real method of winning it allowed players to create their own win conditions for the game and work towards them.
By implementing their own goals, the players were able to enjoy their game experience more and interact with the game on a deeper level than by being forced into a goal.
In reference to goals, Costikyan also mentions struggle. Struggle can mean having to go against another player in a multiplayer game, or against an obstacle that is placed into the game in order to add a level of difficulty. This struggle is incorporated into games in order to make them challenging. Costikyan mentions the idea that players play games for the challenge and they do not want to play games that are easy to win, whilsty also not wanting impossible games. The difficulty of a game is what keeps players trying to achieve victory, and attain their goals.
Once Costikyan has delved into the topic of struggling, he diverts onto the topic of structure. The idea of rules, regulations and algorithms. The structure of a game is what keeps the players on track, knowing what they are needing to do in order to play the game. This idea is related to a childrens game, mentioning how little structure a childs game has until it breaks down when two players do not agree on the rules. This contrasts with wargames for instance which have a strict set of rules and goals that cannot be easily changed when playing the game.
The following topic is endogenous meaning, this phrase means: ' caused by factions within the system or organism'. In simpler terms, endogenous meaning in gaming means that the game will create its own meaning. This term is important in RPGs such as Skyrim, because the meaning could be different for each player depending on their play style. Another example, one that Costikyan uses in the article, is that of monopoly. Within the game of monopoly, the money given to you has real value and is used for multiple ingame transactions, whereas at a real shop monopoly money is worthless. This is an example of the game creating its own meaning.
The above paragraphs explain about the quote given at the beginning of the article, and in my own words i consider the quote to mean the following:
By game the quote is referencing all of the above and more. An interactive structure takes into account that the player will be changing the set up of the game and its rules and regulations through his/her interaction with the game and changing the game state as they progress. As covered above, endogenous references the notion that the meaning is created within the game itself and not outside of it. Finally struggle is the idea that the player will be fighting against the games difficulty in order to achieve his/her goals and earn what he considers the victory point of the game.
Friday, 26 October 2012
Iterating Battleships
- What challenges do the players face, what actions do they take to overcome them?
In battleships, the main challenge arises when attempting to discover where the opponents ships are located. This can become frantic if you are losing the game and they are close to finding your last ship. The only method a player has to overcome this is in the method of placement with the ships, or by tactically placing your shots in order to discover the locations of the opponents ships faster.
- how do players affect each other?
Players affect each other by calling out the shots. The main struggle that is found in battleships is the other players choices as to where they will shoot. This choice can change the number of ships you have or narrow down the locations in which you will choose to shoot.
- is the game perceived by the players as fair?
I believe battleships is a brutally fair game which incorporates chance and skill into discovering your opponents ships whilst also having to combat the opponents chances of hitting your own ships.
- is the game re-playable? if so why?
The game is re-playable because it allows you to reorder your pieces in a near infinite combinations and allows you to work on strategies at discovering your opponents ships. The game would be replayed more as a tool of fun than as a dedicated game.
- what is the games intended audience?
I believe that the audience of the game is not dedicated gamers similar to those found on a PC or console. The age is very diverse and varied, such as children and adults alike would play this game for fun. Also their are variations of the game that can affect the audience, such as Battleshots in which the ships are made up of alcoholic drinks in shot glasses would be for an audience of over 18's.
- what is the core of the game, second by second, minute by minute, the things you do over and over, that represent the 'fun' part?
The core mechanic of the game involves defeating your opponent by shooting his ships. The main mechanic that helps add tension and the ability to enjoy the game is by taking random shots at your opponents board in order to hit and sink their ships.
When playing Battleships we incorporated two changes into the game. Our first iteration was to incorporate a bonus shot when a ship is sunk, this shot can be taken or stockpiled for later use. This helps add an extra chance to discover where the opponents ship is located or perhaps use the extra shot to quickly sink an opponents ship when it is found.
Our second iteration was to incorporate new shapes of ships, with an inclusion of the original ship shapes, which enabled more variety to the strategic placement of the ships for the players. With the use of more varied types of ships it forces players to rethink their strategies for attacking, especially when one of the new ship designs consists of three blocks in a triangle formation.
In conclusion, this session has enabled me to discover how simple it can be to change original games and include my own rules and iterations and also focus on how the core mechanics can be changed when necessary to change the way the game is played out.
Monday, 22 October 2012
Paida, Ludus, Agon, Mimicry, Alea and Ilinx
There are many methods involved when defining what is and what isn't a game. Many different writers have explored this situation, such as Roger Caillois, James Newman, Katie Salem and Eric Zimmerman. Each of these individuals have tried their hand at writing and expressing their beliefs on what defines a game and consequently the following terms have been brought to light:
Paida or the idea of 'Free Play'. This can range through different games that do not require set up rules to be played, this could include many childrens games because they do not involve rules and instead are made up on the spot. A good example of a game is a childrens footrace, because they may not set up rules other than that the first person to reach a point is the winner.
Ludus is the opposite, it is the 'Rule oriented play'. This is any game that has a pre-arranged rule set that must be followed to play the game. This differs from Paida because the rules are changeable in Paida and do not affect the outcome of the game, whereas if the rules are changed in Ludus games then it becomes a different game entirely. A good contrasting example to the child's footrace is a 100m sprint. The 100m sprint has a set up track that the racers must follow, they must stay within their confined spot and so forth. This is an example of how a Paida game can be converted into a Ludus game.
The above are two general terms for describing games that can be further broken down. They further expand upon these terms with the further classification of Agon, Mimicry, Alea and Linux.
Agon is the idea of a game based around competition and would apply to the above example of footraces well, because both forms of races involve competition regardless of the competitors or scenario.
Mimicry is the idea of a game based around simulating a real life environment. This includes the obvious simulator games, such as train, plane, farm and more simulator games.
Alea is the idea of a game based around chance. This can include games such as tetris, which would offer you random pieces from a pool or even games that are centered around gambling, such as blackjack or roulette.
Ilinx is the final topic and is related to games based around the idea of movement, horizontal and vertical. This can also apply to a game such as racing, because it involves moving but can be extended to most sports such as football, skiing, driving and many more.
These classifications can be mixed and combined, allowing a game to fall under more than one category at a time. Examples can include games such as:
Black and White. You could argue that Black and White is a Ludus and Paida game at the same time, with elements of Agon and Ilinx. Black and White can match this topics because there is a multiplayer free for all mode and also a story, which you can choose not to progress and instead sit back and enjoy your island. It matches Agon because of the multiplayer aspect and Ilinx because of the unique hand movement that the game is known for. In some aspects it also represents some form of Mimicry because you are simulating the idea of playing 'God'.
FIFA games are clearly Ilinx and Agon, often incorporating mimicry into the mix as well. FIFA is a ludus game that allows a player to compete in a game of football using a team they choose/create. This is how FIFA manages to combine all of the elements.
When dicussing gambling it offers a large number of Ludus games that combine Agon and Alea, due to the players competing against one another and also having to deal with the random factor that is introduced in every game (e.g. roulette, deck of cards etc.)
There are games that result in pure parts of each section and a good example of a pure mimicry game is the Sim City. Sim City does not have an ending or a specific rule set, thus it is a Paida game. This game allows you to completely build and then tear down your city before rebuilding it again as you see fit. You are also able to set your own rules and restrictions to make it a more challenging or enjoyable game.
Paida or the idea of 'Free Play'. This can range through different games that do not require set up rules to be played, this could include many childrens games because they do not involve rules and instead are made up on the spot. A good example of a game is a childrens footrace, because they may not set up rules other than that the first person to reach a point is the winner.
Ludus is the opposite, it is the 'Rule oriented play'. This is any game that has a pre-arranged rule set that must be followed to play the game. This differs from Paida because the rules are changeable in Paida and do not affect the outcome of the game, whereas if the rules are changed in Ludus games then it becomes a different game entirely. A good contrasting example to the child's footrace is a 100m sprint. The 100m sprint has a set up track that the racers must follow, they must stay within their confined spot and so forth. This is an example of how a Paida game can be converted into a Ludus game.
The above are two general terms for describing games that can be further broken down. They further expand upon these terms with the further classification of Agon, Mimicry, Alea and Linux.
Agon is the idea of a game based around competition and would apply to the above example of footraces well, because both forms of races involve competition regardless of the competitors or scenario.
Mimicry is the idea of a game based around simulating a real life environment. This includes the obvious simulator games, such as train, plane, farm and more simulator games.
Alea is the idea of a game based around chance. This can include games such as tetris, which would offer you random pieces from a pool or even games that are centered around gambling, such as blackjack or roulette.
Ilinx is the final topic and is related to games based around the idea of movement, horizontal and vertical. This can also apply to a game such as racing, because it involves moving but can be extended to most sports such as football, skiing, driving and many more.
These classifications can be mixed and combined, allowing a game to fall under more than one category at a time. Examples can include games such as:
Black and White. You could argue that Black and White is a Ludus and Paida game at the same time, with elements of Agon and Ilinx. Black and White can match this topics because there is a multiplayer free for all mode and also a story, which you can choose not to progress and instead sit back and enjoy your island. It matches Agon because of the multiplayer aspect and Ilinx because of the unique hand movement that the game is known for. In some aspects it also represents some form of Mimicry because you are simulating the idea of playing 'God'.
FIFA games are clearly Ilinx and Agon, often incorporating mimicry into the mix as well. FIFA is a ludus game that allows a player to compete in a game of football using a team they choose/create. This is how FIFA manages to combine all of the elements.
When dicussing gambling it offers a large number of Ludus games that combine Agon and Alea, due to the players competing against one another and also having to deal with the random factor that is introduced in every game (e.g. roulette, deck of cards etc.)
There are games that result in pure parts of each section and a good example of a pure mimicry game is the Sim City. Sim City does not have an ending or a specific rule set, thus it is a Paida game. This game allows you to completely build and then tear down your city before rebuilding it again as you see fit. You are also able to set your own rules and restrictions to make it a more challenging or enjoyable game.
Thursday, 18 October 2012
In the beginning, There is the Designer
I began to read the first chapter of Jesse Schell's book: 'The Art of Game Design A Book of Lenses' and I have enjoyed reading it.
The chapter begins by discussing confidence and a lack of fear in the designer, in order to succeed within the industry. Utilising a method of self motivation as one of the opening paragraphs sets how the rest of the chapter will pan out, in an unformal 'im talking to you' method. My favourite line on the first few paragraphs is 'Some of the greatest inventions have only come from people who only succeeded because they were too dumb to know what they were doing was impossible' This single sentence insults many people in history, while also complimenting them. The chapter then continues to insult the reader in a positive sense, putting down the reader by admitting they will fail in design. But that is shown to be a sense of purpose, using failure as a tool in order to fuel the success of becoming a designer. This sense of trial and error is pushed upon as a necessary tool to become a successful games designer and I agree, learning from mistakes and using these lessons at a later date in future projects is the only way to progress as a better designer.
The chapter continues by listing multiple skills, over a spread of nearly two pages, that are needed for a games designer; these skills vary from Animation to Creative Writing, and Economics to Visual Arts. This list is broad and varied, with some obvious additions and others not so clear to the reader. The paragraph even mentions more skills and that noone is able to know all of them, however it also mentions that by knowing the majority and being comfortable with them you will improve as a games designer.
The following section within the chapter mentions the single most important skill that a Games designer requires: Listening. The chapter continues to mention this skill and engages the reader with a mention to how listening can be developed in a method of even deeper listening, utilising a story that involves body language and deeper meanings.
There are five types of listening, as stated in this chapter of the book and they are as follows:
The first is listening to the Team, ensuring that the team has a good spectrum of skills and opinions that can be mixed together in order to form a good team and create a good game.
The second is to listen to the Audience, they are the gamers who will be playing the game and therefore the ultimate goal of game design and making is to make the gamers happy.
The third is to listen to the Game, a more vague form of listening, this involves listening to how the game runs and deciding if it is ok or not; not disimilar to a mechanic and a car engine, to quote the book.
The fourth type is to listen to the Client, the moneybags, the provider, the sponsor, or pretty much the person paying for the game to be made. If the game is not what they want, when they want it they may choose to stop paying for the game.
The fifth and final type is to listen to your Self, this is an important type because it involves working within yourself, and discovering exactly what it is you want.
The chapter concludes with a talk about gifts. Gifts are split into two types, Innate and Major. The Innate gifts are natural talent in an action, such as piano or designing a game. The major gift is to love your line of work, and to enjoy what you are creating. What is the point of entering a long career line without any interest in the career itself? Without this love of the work you will never be able to use all of the minor skills you may posess to their full potential and then create good games.
This chapter has been an enjoyable, and fascinating, read which introduces many ideas that I belive will be necessary to know as a games designer.
I have decided to end this post in a similar manner to the chapter.
I am a games designer.
I am a games designer.
I am a games designer.
I am a games designer.
Peace out.
The chapter begins by discussing confidence and a lack of fear in the designer, in order to succeed within the industry. Utilising a method of self motivation as one of the opening paragraphs sets how the rest of the chapter will pan out, in an unformal 'im talking to you' method. My favourite line on the first few paragraphs is 'Some of the greatest inventions have only come from people who only succeeded because they were too dumb to know what they were doing was impossible' This single sentence insults many people in history, while also complimenting them. The chapter then continues to insult the reader in a positive sense, putting down the reader by admitting they will fail in design. But that is shown to be a sense of purpose, using failure as a tool in order to fuel the success of becoming a designer. This sense of trial and error is pushed upon as a necessary tool to become a successful games designer and I agree, learning from mistakes and using these lessons at a later date in future projects is the only way to progress as a better designer.
The chapter continues by listing multiple skills, over a spread of nearly two pages, that are needed for a games designer; these skills vary from Animation to Creative Writing, and Economics to Visual Arts. This list is broad and varied, with some obvious additions and others not so clear to the reader. The paragraph even mentions more skills and that noone is able to know all of them, however it also mentions that by knowing the majority and being comfortable with them you will improve as a games designer.
The following section within the chapter mentions the single most important skill that a Games designer requires: Listening. The chapter continues to mention this skill and engages the reader with a mention to how listening can be developed in a method of even deeper listening, utilising a story that involves body language and deeper meanings.
There are five types of listening, as stated in this chapter of the book and they are as follows:
The first is listening to the Team, ensuring that the team has a good spectrum of skills and opinions that can be mixed together in order to form a good team and create a good game.
The second is to listen to the Audience, they are the gamers who will be playing the game and therefore the ultimate goal of game design and making is to make the gamers happy.
The third is to listen to the Game, a more vague form of listening, this involves listening to how the game runs and deciding if it is ok or not; not disimilar to a mechanic and a car engine, to quote the book.
The fourth type is to listen to the Client, the moneybags, the provider, the sponsor, or pretty much the person paying for the game to be made. If the game is not what they want, when they want it they may choose to stop paying for the game.
The fifth and final type is to listen to your Self, this is an important type because it involves working within yourself, and discovering exactly what it is you want.
The chapter concludes with a talk about gifts. Gifts are split into two types, Innate and Major. The Innate gifts are natural talent in an action, such as piano or designing a game. The major gift is to love your line of work, and to enjoy what you are creating. What is the point of entering a long career line without any interest in the career itself? Without this love of the work you will never be able to use all of the minor skills you may posess to their full potential and then create good games.
This chapter has been an enjoyable, and fascinating, read which introduces many ideas that I belive will be necessary to know as a games designer.
I have decided to end this post in a similar manner to the chapter.
I am a games designer.
I am a games designer.
I am a games designer.
I am a games designer.
Peace out.
Wednesday, 17 October 2012
What is a Video Game? Rules, Puzzles and Simulations
This post is going to be outlining my notes and opinions based on the second chapter of James Newman's book 'Videogames'. The chapter is entitled 'What is a Video Game? Rules, Puzzles and Simulations', hence the title of this blogpost.
The chapter begins by asking what a 'videogame' is, then explaining that it is difficult to classify the term'videogame' because of the varied approach to 'videogames'. The chapter continues to discuss the study of 'videogames' to other forms of media such as film and television, asking if 'videogames' are a continuation of such media and whether this will help in the classification of the 'videogame'.
This statement partially explains the mystery behind classifying 'videogames' as is described as difficult within the chapter. Furthermore, the concept of genre is passed over briefly in the chapter as being described as a tool to help classify 'videogames' in a way that makes it easier to identify with them. This method has, as stated in the chapter, become so widely used that it is often overlooked or considered natural. These terms relate to such labels as 'Action and Adventure', 'Shoot-'em-up' and more. This term apparently came into use in early gaming magazines, around the 1980's, and is now a commonly used term in the industry.
Another method of classification that is brought to light in this chapter is a method created by Geoff Howland utilises five different characteristics to help classify 'videogames', however this method is too vague to offer any suitable classification, below is an overview of this method.
Utilising the different elements from a 'videogame' it allows the game to be classified, the elements are:
Graphics; this is the use of visual effects and assets to classify the game. Includes 3D and 2D objects and all characteristics that the character will see.
Sound; this is what the player will hear, any sound effects or music that is played by the game.
Interface; Anything that the player must interact with in order to play the game, this can include graphics that must be selected or gameplay controls.
Gameplay; In my own opinion it is difficult to assess a 'videogame' solely on its gameplay, however the chapter references this as how 'fun' the game is to play, how immersive and the length of the playability.
Story; An important aspect of 'videogames' in my own opinion, this represents the information given before the game starts, information gained during gameplay and information about the characters.
Also, as stated in the chapter, many magazines have begun to utilise the name of the designers as a method of categorising games when they have been released. An example of which includes Metal Gear Solid, being introduced as a 'Hideo Kojima game'. This method is used with major game titles because there is a belief that the designer carries a sign of merit, or a symbol that the game will be part of the designers 'legacy', for want of a better word. This method of labelling is often the downfall of games in the modern industry, a game that carries the title of a legendary developer will be weighed down with expectations to appear very similar, if not identical, to a previous game in said developers designs. Another idea behind this is that it is a method of attempting to relate video games to other forms of media, such as film.
If there is to be more classification found it can be made through the use of coin-op versus home gaming. As mentioned in the chapter these are two varied methods of gaming. The coin-op is required to earn money repeatedly, therefore offering much shorter and harder sessions than you would find on a home system. Another difference between the two is the interface, coin-op games often use specialised equipment, such as a light gun, or perhaps a mock-setup of a car seat whilst at home you would be gaming with a joystick and keyboard. Another difference between the two set ups is the atmosphere of the location, where at home you will mostly be alone or with friends, a coin-op game is played with a sense of public display and you are often being viewed by strangers as they observe your gaming.
The chapter also brushes on what a video game isnt, and slightly causes a contradiction with an earlier statement. A statement made by Rollings and Morris is that:
a game is not:
a bunch of cool features
a lot of fancy graphics
a series of challenging puzzles
an intriguing setting and story
This statement contradicts the classification method stated earlier by Geoff Howland, who described that games are classified based on the majority of these features. I believe that what Rollings and Morris are trying to get across is that individual sections as found in this least alone do not make a video game. My belief is that a video game utilises all of these features collaberatively in order to function as the interactive artwork that modern gamers have found to enjoy.
The chapter continues to ask the question: 'Why do players play?'
It begins to explain the different reasons that gamers may take when deciding the kind of games that they would like to engage in. One such reason is a statement made by Rouse, who believes that:
Players expect: A challenge
Immersion
To do, not watch
These reasons, when thought about carefully, are true. A player will not feel stimulated to play a game if there is no interaction. Likewise he will not feel the need to interact with an easy game that does not challenge him. Also, notably important in RPG games, the player needs to become immersed in the world and feel like he is making a difference with his choices.
Non-interactive cutscenes, or 'movie sequences' can ruin a gamers immersion. I do not disbelieve that the immersion of a gamer is an important factor, however; I heartily disagree with this statement because, although a game is an immersive experience and I would enjoy playing instead of watching, I believe that cutscenes are a necessary evil in a video game because they are needed to help progress the games story, or to show off necessary sequences. Not always are they good for the game itself, however they often offer the player backstory, or reasoning into the actions that will be made into the game. The change in viewpoint, or character, or backdrop does not bother me as long as the cutscene is there for a reason, and not just for the sake of being a cutscene.
The chapter continues to discuss the immersive experience of 'being there' in the game and relates the concentration of the player to the game and how games designers try to keep that and not to 'detach' the player from their experience.
The chapter begins to talk about rules in videogames and 'ludology', or the study of games and play and how poorly developed it is. The chapter discusses how gaming is voluntary and offers its own rewards, thus encouraging players to seek them out. However it could be argued that gaming is not voluntary, such as being forced to play in order to repeat a certain task that is repeatedly failed. An idea that the key to this is the rules that bind and constrict a game. There is the notion that to 'play' is to be free and unrestricted, whilst a 'game' follows rules and conventions.
There are two terms that are used in relation to rules found in games, these are paidea and ludus, which are simple and complex rules respectively, as stated by Piaget. More research claims that playing does in fact have a ruleset, as set by Daniel Vidart and finally Frasca suggests that the difference between play and game is the outcome, because there is victory and defeat in games whilst not in play.
This new ruleset based upon victory also redefines paidea and ludus. Paidea is an activity that has no objective and is performed for pleasure, whilst ludus is an activity that follows a ruleset with the players aiming for a victory or defeat.
The chapter continues to discuss these topics in relation to video games, relating Paidea to Sim city and The Sims, whilst also insinuation that you are able to create your own ludus whilst playing, creating your own rules and goals. In relation to a gaming world, the chapter explains that whilst many of these worlds have restrictions and goals, they leave it up to the player on their method of reaching this goals and thus cause a mix of the two terms. The idea that this notion of discovering the methods of reaching the goals and discovering the rules is the appeal of some games is brought to the readers attention and then the chapter imposes that players may either purchase new games or impose new ludus rules to help enrich their experience.
The chapter suggests there are 4 different types of games:
Agon: Where competition is dominant
Alea: Where change and randomness are dominant
Ilinx: Where pleasure is derived from movement
Mimicry: Games based around mimicry, simulation and roleplaying.
This types are not exclusive, they are able to work together in different methods in order to create a game. An example could be a game that is Agon and Ilinx using racing cars as the method of competition and movement.
The chapter then goes onto discussing puzzle games and their methods of solving. The discussion as to puzzle games having a single solution is brought up, allowing the arguement as to whether Tetris is a puzzle game or not to be delivered. The chapter continues to talk about how puzzle games can introduce different mechanics and ludus rules to enhance the experience and keep gamers interested, instead of having linear paths of repetition.
The chapter mentions that playing a game is to interact with the apparatus that works beneath or behind the game, therefore the underlying mechanics. This is then expanded by mentioning that games offer the choice of how to interact with this apparatus and interact within the boundaries of the rules set.
The chapter states that 'Games are interactive because the actions of the player play a part in determining the events in the game'. This statement relates to how interactivity affects games. As stated before, gamers enjoy being immersed into the game and therefore they want to be able to interact with the game on a high level, therefore changing many aspects of how the narrative and game will pan out. Other comments include that it is the introduction of more ludus rules that define how a game is interactive, or how interactivity is what differs a video game from a static puzzle.
The chapter ends off on another question which states 'So what is a video game?' and leaves a quote by Frasca:
any forms of computer-based entertainment software, either textual or image-based, using any electronic platform such as personal computers or consoles and involving one or multiple players in a physical or network environment.
For me to finish off this blogpost I should give my opinion on what a videogame is, based on what ive read and experienced over this text. In my views a video game is an interactive computer based software, I claim for it to be computer based because otherwise it would become a board game. I believe that this software is created in order to entertain the target consumer, AKA gamers and allow them to immerse themselves in a fabricated world which is set up using a limited number of restrictions that still allow a gamer to engage in paidea. This paidea is then left open for a gamer to implement their own ludus rules into the game, therefore affecting how the final product will play. The games will then, beyond all of this apparatus that is 'under the hood', enjoy the game world that is created through a combination of graphics, sounds, mechanics, interfaces and narratives.
I personally enjoy playing games and believe that there is no classification. A videogame is what you want it to be, be that good or bad, exciting or boring or even a memorable experience. They are there to be enjoyed and played. So game on.
The chapter begins by asking what a 'videogame' is, then explaining that it is difficult to classify the term'videogame' because of the varied approach to 'videogames'. The chapter continues to discuss the study of 'videogames' to other forms of media such as film and television, asking if 'videogames' are a continuation of such media and whether this will help in the classification of the 'videogame'.
This statement partially explains the mystery behind classifying 'videogames' as is described as difficult within the chapter. Furthermore, the concept of genre is passed over briefly in the chapter as being described as a tool to help classify 'videogames' in a way that makes it easier to identify with them. This method has, as stated in the chapter, become so widely used that it is often overlooked or considered natural. These terms relate to such labels as 'Action and Adventure', 'Shoot-'em-up' and more. This term apparently came into use in early gaming magazines, around the 1980's, and is now a commonly used term in the industry.
Another method of classification that is brought to light in this chapter is a method created by Geoff Howland utilises five different characteristics to help classify 'videogames', however this method is too vague to offer any suitable classification, below is an overview of this method.
Utilising the different elements from a 'videogame' it allows the game to be classified, the elements are:
Graphics; this is the use of visual effects and assets to classify the game. Includes 3D and 2D objects and all characteristics that the character will see.
Sound; this is what the player will hear, any sound effects or music that is played by the game.
Interface; Anything that the player must interact with in order to play the game, this can include graphics that must be selected or gameplay controls.
Gameplay; In my own opinion it is difficult to assess a 'videogame' solely on its gameplay, however the chapter references this as how 'fun' the game is to play, how immersive and the length of the playability.
Story; An important aspect of 'videogames' in my own opinion, this represents the information given before the game starts, information gained during gameplay and information about the characters.
Also, as stated in the chapter, many magazines have begun to utilise the name of the designers as a method of categorising games when they have been released. An example of which includes Metal Gear Solid, being introduced as a 'Hideo Kojima game'. This method is used with major game titles because there is a belief that the designer carries a sign of merit, or a symbol that the game will be part of the designers 'legacy', for want of a better word. This method of labelling is often the downfall of games in the modern industry, a game that carries the title of a legendary developer will be weighed down with expectations to appear very similar, if not identical, to a previous game in said developers designs. Another idea behind this is that it is a method of attempting to relate video games to other forms of media, such as film.
If there is to be more classification found it can be made through the use of coin-op versus home gaming. As mentioned in the chapter these are two varied methods of gaming. The coin-op is required to earn money repeatedly, therefore offering much shorter and harder sessions than you would find on a home system. Another difference between the two is the interface, coin-op games often use specialised equipment, such as a light gun, or perhaps a mock-setup of a car seat whilst at home you would be gaming with a joystick and keyboard. Another difference between the two set ups is the atmosphere of the location, where at home you will mostly be alone or with friends, a coin-op game is played with a sense of public display and you are often being viewed by strangers as they observe your gaming.
The chapter also brushes on what a video game isnt, and slightly causes a contradiction with an earlier statement. A statement made by Rollings and Morris is that:
a game is not:
a bunch of cool features
a lot of fancy graphics
a series of challenging puzzles
an intriguing setting and story
This statement contradicts the classification method stated earlier by Geoff Howland, who described that games are classified based on the majority of these features. I believe that what Rollings and Morris are trying to get across is that individual sections as found in this least alone do not make a video game. My belief is that a video game utilises all of these features collaberatively in order to function as the interactive artwork that modern gamers have found to enjoy.
The chapter continues to ask the question: 'Why do players play?'
It begins to explain the different reasons that gamers may take when deciding the kind of games that they would like to engage in. One such reason is a statement made by Rouse, who believes that:
Players expect: A challenge
Immersion
To do, not watch
These reasons, when thought about carefully, are true. A player will not feel stimulated to play a game if there is no interaction. Likewise he will not feel the need to interact with an easy game that does not challenge him. Also, notably important in RPG games, the player needs to become immersed in the world and feel like he is making a difference with his choices.
Non-interactive cutscenes, or 'movie sequences' can ruin a gamers immersion. I do not disbelieve that the immersion of a gamer is an important factor, however; I heartily disagree with this statement because, although a game is an immersive experience and I would enjoy playing instead of watching, I believe that cutscenes are a necessary evil in a video game because they are needed to help progress the games story, or to show off necessary sequences. Not always are they good for the game itself, however they often offer the player backstory, or reasoning into the actions that will be made into the game. The change in viewpoint, or character, or backdrop does not bother me as long as the cutscene is there for a reason, and not just for the sake of being a cutscene.
The chapter continues to discuss the immersive experience of 'being there' in the game and relates the concentration of the player to the game and how games designers try to keep that and not to 'detach' the player from their experience.
The chapter begins to talk about rules in videogames and 'ludology', or the study of games and play and how poorly developed it is. The chapter discusses how gaming is voluntary and offers its own rewards, thus encouraging players to seek them out. However it could be argued that gaming is not voluntary, such as being forced to play in order to repeat a certain task that is repeatedly failed. An idea that the key to this is the rules that bind and constrict a game. There is the notion that to 'play' is to be free and unrestricted, whilst a 'game' follows rules and conventions.
There are two terms that are used in relation to rules found in games, these are paidea and ludus, which are simple and complex rules respectively, as stated by Piaget. More research claims that playing does in fact have a ruleset, as set by Daniel Vidart and finally Frasca suggests that the difference between play and game is the outcome, because there is victory and defeat in games whilst not in play.
This new ruleset based upon victory also redefines paidea and ludus. Paidea is an activity that has no objective and is performed for pleasure, whilst ludus is an activity that follows a ruleset with the players aiming for a victory or defeat.
The chapter continues to discuss these topics in relation to video games, relating Paidea to Sim city and The Sims, whilst also insinuation that you are able to create your own ludus whilst playing, creating your own rules and goals. In relation to a gaming world, the chapter explains that whilst many of these worlds have restrictions and goals, they leave it up to the player on their method of reaching this goals and thus cause a mix of the two terms. The idea that this notion of discovering the methods of reaching the goals and discovering the rules is the appeal of some games is brought to the readers attention and then the chapter imposes that players may either purchase new games or impose new ludus rules to help enrich their experience.
The chapter suggests there are 4 different types of games:
Agon: Where competition is dominant
Alea: Where change and randomness are dominant
Ilinx: Where pleasure is derived from movement
Mimicry: Games based around mimicry, simulation and roleplaying.
This types are not exclusive, they are able to work together in different methods in order to create a game. An example could be a game that is Agon and Ilinx using racing cars as the method of competition and movement.
The chapter then goes onto discussing puzzle games and their methods of solving. The discussion as to puzzle games having a single solution is brought up, allowing the arguement as to whether Tetris is a puzzle game or not to be delivered. The chapter continues to talk about how puzzle games can introduce different mechanics and ludus rules to enhance the experience and keep gamers interested, instead of having linear paths of repetition.
The chapter mentions that playing a game is to interact with the apparatus that works beneath or behind the game, therefore the underlying mechanics. This is then expanded by mentioning that games offer the choice of how to interact with this apparatus and interact within the boundaries of the rules set.
The chapter states that 'Games are interactive because the actions of the player play a part in determining the events in the game'. This statement relates to how interactivity affects games. As stated before, gamers enjoy being immersed into the game and therefore they want to be able to interact with the game on a high level, therefore changing many aspects of how the narrative and game will pan out. Other comments include that it is the introduction of more ludus rules that define how a game is interactive, or how interactivity is what differs a video game from a static puzzle.
The chapter ends off on another question which states 'So what is a video game?' and leaves a quote by Frasca:
any forms of computer-based entertainment software, either textual or image-based, using any electronic platform such as personal computers or consoles and involving one or multiple players in a physical or network environment.
For me to finish off this blogpost I should give my opinion on what a videogame is, based on what ive read and experienced over this text. In my views a video game is an interactive computer based software, I claim for it to be computer based because otherwise it would become a board game. I believe that this software is created in order to entertain the target consumer, AKA gamers and allow them to immerse themselves in a fabricated world which is set up using a limited number of restrictions that still allow a gamer to engage in paidea. This paidea is then left open for a gamer to implement their own ludus rules into the game, therefore affecting how the final product will play. The games will then, beyond all of this apparatus that is 'under the hood', enjoy the game world that is created through a combination of graphics, sounds, mechanics, interfaces and narratives.
I personally enjoy playing games and believe that there is no classification. A videogame is what you want it to be, be that good or bad, exciting or boring or even a memorable experience. They are there to be enjoyed and played. So game on.
Sunday, 14 October 2012
The Beginning
This post is going to be my simply introduction. My name is Daniel Sparrow, I am an 18 year old student who lives at home in Felixstowe and I am studying video games design at University Campus Suffolk. This blog is going to end up getting filled with information I have found interesting that involves video games and the course I am on.
To begin with I have been told to write about this simple Q&A that has been given to us by Edd, in order to enable us to start up our blog. The honor of being my interviewer was given to Jason Fury, and below are the questions and their related answers:
The Questions
1. What is the title of a fiction book that you are currently reading or have finished reading?
Recently I have finished reading a book called 'The Kings Bastard'. The book is centered around a single royal family and has its themes set in royal intrigue, politics, betrayal, deception and magic. I enjoyed reading the book and getting immersed into the world that the author had created.
2. What is the title of a non-fiction book that you are currently reading or have finished reading?
I am currently reading Challenges for games designers; non-digital exercises for video game designers by Brenda Braithwaite. I enjoy how this book implements non-digital game challenges into digital game development and hope to continue enjoying the book.
C. What was the last live performance that you went to?
The last live performance I was at was to see a band called We Are the In Crowd. The performance was located at the Waterfront in Norwich. I was at the performance with my Dad, step-mother and step-brother.
IV. What is the title of the last film you saw at the Cinema?
The last movie that I watched was Taken 2. I saw the movie in Hull with my girlfriend and her Uni mates. The film is the sequel to Taken and I greatly enjoyed the re-developed characters and their interactions in this film.
Five. How often do you read a newspaper?
I neglect the news at the best of times, but whenever I do read news it is often over the internet through ads and such.
Sixth. Which art gallery/ museum/ exhibition did you last go to?
The last(and probably most awesome) exhibition i went to was Eurogamer at Earls Court in London. I got to play multiple games at this exhibition and make many of my non-uni classmates jealous.
7. How many hours a week do you spend playing video games?
The answer to this question can vary depending on the time of year but I will average it at around 30 hours.
VIII. How many hours do you spend playing games other than video games?
More recently this number has increased because of interest in card games such as Munchkin, and board games such as Pandemic. I would say this number varies between 5-10 hours a week.
And there we have the answers to the interview that shows off a little about me. I hope this blog becomes enjoyable for all as I hope it will be for me.
To begin with I have been told to write about this simple Q&A that has been given to us by Edd, in order to enable us to start up our blog. The honor of being my interviewer was given to Jason Fury, and below are the questions and their related answers:
The Questions
1. What is the title of a fiction book that you are currently reading or have finished reading?
Recently I have finished reading a book called 'The Kings Bastard'. The book is centered around a single royal family and has its themes set in royal intrigue, politics, betrayal, deception and magic. I enjoyed reading the book and getting immersed into the world that the author had created.
2. What is the title of a non-fiction book that you are currently reading or have finished reading?
I am currently reading Challenges for games designers; non-digital exercises for video game designers by Brenda Braithwaite. I enjoy how this book implements non-digital game challenges into digital game development and hope to continue enjoying the book.
C. What was the last live performance that you went to?
The last live performance I was at was to see a band called We Are the In Crowd. The performance was located at the Waterfront in Norwich. I was at the performance with my Dad, step-mother and step-brother.
IV. What is the title of the last film you saw at the Cinema?
The last movie that I watched was Taken 2. I saw the movie in Hull with my girlfriend and her Uni mates. The film is the sequel to Taken and I greatly enjoyed the re-developed characters and their interactions in this film.
Five. How often do you read a newspaper?
I neglect the news at the best of times, but whenever I do read news it is often over the internet through ads and such.
Sixth. Which art gallery/ museum/ exhibition did you last go to?
The last(and probably most awesome) exhibition i went to was Eurogamer at Earls Court in London. I got to play multiple games at this exhibition and make many of my non-uni classmates jealous.
7. How many hours a week do you spend playing video games?
The answer to this question can vary depending on the time of year but I will average it at around 30 hours.
VIII. How many hours do you spend playing games other than video games?
More recently this number has increased because of interest in card games such as Munchkin, and board games such as Pandemic. I would say this number varies between 5-10 hours a week.
And there we have the answers to the interview that shows off a little about me. I hope this blog becomes enjoyable for all as I hope it will be for me.
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