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Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev.

Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

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Page 1: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Game Design

TC 455Brian Magerko8.30.05From Rabin’s Intro. to Game Dev.

Page 2: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

What is a Game?

How do games differ from static media?BooksFilmStories

How do they differ from toys?

Page 3: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Computer Games

A new form of entertainmentHow do they differ from traditional

games? Board games?Even the simplest games, like Pong,

give an experience wholly novel compared to others

What makes a game fun?

Page 4: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Natural Funativity Theory

Basic concept is that all fun derives from practicing survival and social skills

Key skills relate to early human context, but often in modern guise

Three overlapping categoriesPhysical, Social, and Mental

Page 5: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Physical Fun

Sports generally enhance our strength, stamina, coordination skills

Exploration is funBoth of local area and knowledge of exotic

placesHand/eye coordination and tool use are

often parts of fun activities – crafts

Page 6: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Social Fun

Storytelling is a social activityA way to learn important survival and social

lessons from othersGossip, sharing info w/friends popularFlirting, showing off, finding mates is a

key interest in social funLanguage has become paramount

Page 7: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Mental Fun

Our large brains make humans uniquePure abstract reasoning practice is funPattern matching and generation

Music, Art, and Puzzles all pattern based

Page 8: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Multipurpose Fun

Many fun activities have physical, social and mental aspects in combination

Games that mix these aspects tend to be very popular

Incorporate ways to practice these skills to increase the popularity of games

Page 9: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Descontructing Halo

Physical Mastering controls Hand-eye coordination Move combinations

Social Playing in teams against others Following stories Sharing stories of previous games

Mental Developing tactics Choosing weapons Adapting to others

Page 10: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Definition of a Great Game

Sid Meier’s paraphrased canonical definition:

A great game is a series of interesting and meaningful choices made by the player in pursuit of a clear and compelling goal

Page 11: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Interesting and Meaningful Choices

Choices may be dull and uninteresting because it was easy to code that way

Or it may be the reflection of a lazy designer

Meaningful choices are perceived by the player as having significant consequences

May not have actual consequences…

Page 12: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Clear and Compelling Goal

Clear goalsBecause it is not fun to flounder aimlessly

Avoid the “protagonist with amnesia” cliché

Compelling goals follow the concepts in Natural Funativity

Survival is always a compelling goal

Page 13: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

A Series of Choices

No choice

Page 14: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

A Series of Choices

Meaningless choicesObviously fold back into same pathPlayers discover this quickly

Page 15: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

A Series of Choices

Infinite choicesQuickly become unmanageable

Page 16: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

A Series of Choices

Choose wiselyKill off player with any wrong choiceBetter but frustrating (Dragon’s Lair)

Page 17: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Classic Game Structure

A convexityStarts with a single choice, widens to

many choices, returns to a single choice

Page 18: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Convexity Qualities

Go from one to many to oneCan be a level, an act, an episodeCan be any kind of choice

Geography, weapons, tools, skills, technologies, quests

ExamplesExploring an islandTechnology build tree

Page 19: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Fractal Structure

Large scale structure repeated on medium, smaller scales, like a coastline

In the case of convexities, each circle is not a single choice, but a convexity

Age of Empires example “Take a defensive stance” create squad

to defend left flank, collect resources to build a legionnaire, etc.

Page 20: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

A Series of Convexities

Many games are chains of convexities

Points of limited choice (A) alternate with points of many choices (B)

A A A A ABB B B

Page 21: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

A Series of Convexities

Many overlapping convexities in great games

Examples include Halo, Zelda games, Civilization, Diablo II, many others

Player can be starting one task or area, in the middle of another, and at the end of a third, all simultaneously

E.g. choosing which skills to build right before a boss encounter

Page 22: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Why Is This Structure So Good?

Give the player choice but not an infinitely expanding set of choices

Mix of some “any order” choices (B) and some in fixed order (A), blending freedom with linear storytelling

Can be structured so players see most of the game, minimizing waste

Can have difficulty go up in new levels

Page 23: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Design Overview

There is no one “right” way to designThere are many successful approaches

Specific requirements and constraints of each project and team determine what works and what does not.

This introduction is but a scratch

Page 24: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

The Language of Games

Game development – a young industry

Standards are still being formulatedTheoryPracticeTerminology

Page 25: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

The Language of Games

Debate continues over high-level views

Lack of standard (concrete) definitionsGamePlay

High-level concepts tricky to articulate

Page 26: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Aesthetics and Frame

AestheticsEmotional responses during play

Naïve practical approach, not classical

FrameThe border of a game’s context

Inside the frame is in the gameOutside the frame is real life

Page 27: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Approaching Design

Computer games are an art form Game design practices can be taught Technical discipline like music, film, poetry

The art of making dynamic models

Page 28: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Approaching Design

Mental/Cognitive Concepts Beliefs Maps

Examples: Locations Relationships

Mathematical Equations Formulas Algorithms

A model represents something

Page 29: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

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

Page 30: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Designs as Models

Game designs are formal models of games

We need to understand and focus on the player experience

Games as a “co-processor model”Good abstraction is key“Potato chip” model of player reward

Page 31: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Game Rules

ProceduresThe processes and techniques used to

reach the game goalsDelimiters

The restrictions placed on possible actions (i.e. challenges)

Page 32: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

A Player-Game Model

MechanicsThings the player does

InterfaceCommunication between player and game

SystemUnderlying structure and behavior

Page 33: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

A Player-Game Model

A model of the player – game relationship

M e c hanic s Inte r fac e Sys te m

P LAYER G AM E

Page 34: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Control and State Variables

Defined by Isaacs in Differential Games

Control variables Inputs from players

State variablesQuantities indicating game state

Page 35: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Play Mechanics

GameplayFeelings of playing a particular gameActivities engaged in a particular game

(Play/game) MechanicsSpecific to game activities “What the player does”

Page 36: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Seven Stages of Action

Execution Intention to act Sequence of action Execution of action

sequence

Evaluation Evaluating

interpretations Interpreting perceptions Perceiving states

P e rc e ivings tate s

Inte rpre t ingpe rc e ptio ns

E valuat inginte rpre tat io ns

E xe c utio n o fac t io n s e que nc e

Se que nc e o fac t io n

Inte nt io nto ac t

G o als

T H E GA M E

Page 37: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

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

P e rc e ivings tate s

Inte rpre t ingpe rc e ptio ns

E valuat inginte rpre tat io ns

E xe c utio n o fac t io n s e que nc e

Se que nc e o fac t io n

Inte ntio nto ac t

G o als

T H E GA M E

Page 38: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Seven Stages of Action

Goals turned into intentions to act Specific statements of what is to be done

P e rc e ivings tate s

Inte rpre t ingpe rc e ptio ns

E valuat inginte rpre tat io ns

E xe c utio n o fac t io n s e que nc e

Se que nc e o fac t io n

Inte ntio nto ac t

G o als

T H E GA M E

Page 39: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Seven Stages of Action

Intentions put into an action sequence The order internal commands will be performed

P e rc e ivings tate s

Inte rpre t ingpe rc e ptio ns

E valuat inginte rpre tat io ns

E xe c utio n o fac t io n s e que nc e

Se que nc e o fac t io n

Inte ntio nto ac t

G o als

T H E GA M E

Page 40: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Seven Stages of Action

The action sequence is executed The player manipulates control variables

P e rc e ivings tate s

Inte rpre t ingpe rc e ptio ns

E valuat inginte rpre tat io ns

E xe c utio n o fac t io n s e que nc e

Se que nc e o fac t io n

Inte ntio nto ac t

G o als

T H E GA M E

Page 41: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Seven Stages of Action

The state of the game is perceived State variables are revealed via the interface

P e rc e ivings tate s

Inte rpre t ingpe rc e ptio ns

E valuat inginte rpre tat io ns

E xe c utio n o fac t io n s e que nc e

Se que nc e o fac t io n

Inte ntio nto ac t

G o als

T H E GA M E

Page 42: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Seven Stages of Action

Player interprets their perceptions Interpretations based upon a model of the system

P e rc e ivings tate s

Inte rpre t ingpe rc e ptio ns

E valuat inginte rpre tat io ns

E xe c utio n o fac t io n s e que nc e

Se que nc e o fac t io n

Inte ntio nto ac t

G o als

T H E GA M E

Page 43: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Seven Stages of Action

Player evaluates the interpretations Current states are compared with intentions and

goals

P e rc e ivings tate s

Inte rpre t ingpe rc e ptio ns

E valuat inginte rpre tat io ns

E xe c utio n o fac t io n s e que nc e

Se que nc e o fac t io n

Inte ntio nto ac t

G o als

T H E GA M E

Page 44: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Seven Stages of Action

Donald Norman’s approximate modelA game mechanic, at finest level of detail, is

one complete turn of the seven stages (e.g. jumping)

Actions not often in discrete stagesNot all actions progress through all stages

Page 45: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Seven Stages of Action

Scales to……an individual mechanic

A “primary element” Examples:

Move Shoot Talk

…an entire gameA generalized model of interaction

Page 46: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Designer and Player Models

Systems are built from designer mental models Design models may only anticipate player goals

Designer U ser

Us er 'sM o d el

D es ig nM o d el

S y s tem I m ag e

System

Page 47: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

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

“The user is not like me…”

Designer U ser

Us er 'sM o d el

D es ig nM o d el

S y s tem I m ag e

System

Page 48: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

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”

Page 49: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Premise

The metaphors of action and settingDirects the player experience

Provides a context in which mechanics fitPlayers map game states to the premise

E.g. The objects, characters and actions available to Link in The Legend of Zelda

Page 50: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Premise

Story is the typical example of premiseTimePlaceCharactersRelationshipsMotivationsEtc.

Page 51: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Premise

Premise may also be abstractTetris operates under a metaphor

The metaphor: arranging colored shapes

Encompasses all game elementsPlayer discussions use the language of the

premise

Page 52: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Premise

Goes beyond setting and toneAlters the players mental model

Basis of player understanding and strategyDifferent premise with the same underlying

representation can vastly affect player’s model

Page 53: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

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

“A game is a series of interesting choices…” -Sid Meier

Page 54: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Choice and Outcome

Consequence or WeightThe significance of an outcome

Greater consequences alter the course of the game more significantly

Choices are balanced first by consequence

Page 55: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Choice and Outcome

Well-designed choiceOften desirable and undesirable effectsShould relate to player goalsBalanced against neighboring choices

Too much weight to every choice is melodramaOrthogonal choices – distinct from others

Not just “shades of grey”

Page 56: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

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

Page 57: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Goals and Objectives

ObjectivesDesigned tasks players must perform

Rigid requirements – formal

GoalsAn 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)

Page 58: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

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

D esigner U serSystem

F in d s w o r dKill d r ag o nR es c u e p r in c es s

F in d s w o r dR es c u e d r ag o nKill p r in c es s

Page 59: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Resources

ResourcesThings used by agents to reach goalsTo be meaningful, they must be…

Useful – provide some valueLimited – in total or rate of supply

Page 60: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

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?

Page 61: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Constraints

Platform General description of hardware and software

Personal computer – PC, Mac, etc. Console – Game Cube, PlayStation, Xbox, etc. Handheld – DS, Game Boy Advance, PSP, etc. Mobile device – Cel Phones, NGage, PDA, etc. Arcade – custom vending games (e.g. Time Crisis)

Page 62: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Constraints

Game SavesSave triggersSave-anywhereSave pointsCoded text saves

Page 63: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Genres

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

Page 64: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Genres

Action Adventure Arcade Casual Education Fighting First-person shooter Platform

Racing Rhythm Role-Playing (RPG) Simulation Sports Strategy Puzzle Traditional

Page 65: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Audiences

Target audienceGroup of expected consumers

DemographicsStudy of relevant economic and social

statistics about a given populationDemographic variables

The relevant factors

Page 66: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Audiences

MarketDemographic segmentation of consumers

Market segments Smaller sub-segment of the market; more tightly defined

Demographic profileTypical consumer attributes in a market

Page 67: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Audiences

Heavy Users Those of the numeric minority of potential users responsible

for majority of sales of any product “80/20 rule”

Hardcore gamer Game industry term for heavy video game users

Casual gamer Game industry term for all other gamers

Page 68: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Audiences

Typically assumptions of the hardcore: Play games over long sessions Discuss games frequently and at length Knowledgeable about the industry Higher threshold for frustration Desire to modify or extend games creatively Have the latest game systems Engage in competition with themselves, the game, and others

Page 69: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Audiences

Why We Play Games – Nicole Lazzaro Internal experience

Enjoyment from visceral activities

Hard fun Challenge of strategy and problem solving

Easy fun Intrigue and curiosity – exploration and adventure

Social experience Stimulating social faculties – competition, teamwork,

bonding, and recognition

Page 70: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Iterating

Waterfall method Development methodology Design and production are broken into phases

Iterative development Practice of producing things incrementally

Refining and re-refining the product

Page 71: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Iterating

Prototypes Early working models of the product Used to test ideas and techniques

Physical prototypes Non-electronic models; physical materials

Software prototypes Used regularly during iterative development

Page 72: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Iterating

Software testing Process of verifying performance and reliability of a software

product

Tester Person trained in methods of evaluation

Bug Discrepancy between expected and actual behavior

Problem/Bug report Description of the behavior of the discrepancy

Page 73: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Iterating

Focus testTesting session using play-testersTesters represent the target audienceLots of feedback at one timeData can be compromised by group think

Page 74: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Iterating

TuningDeveloping solutions by adjusting systems Iterations are fasterChanges are less dramatic

BalanceEquilibrium in a relationship

Player relationships, mechanics, systems, etc.

Page 75: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Iterating

Intransitive relationships Multiple elements offer weaknesses and strengths

relative to each other as a whole Balanced as a group Example: Rock-Paper-Scissors (RPS)

H e a v yI n f a n t r y

C a v a lr yA r c h e r s

Page 76: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Creativity

Ability to createAbility to produce an idea, action, or

object considered new and valuable

Page 77: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

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

Page 78: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

Creativity

BrainstormingGenerating ideas without discriminationEvaluation after elaborationCan be unfocused

Page 79: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

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

Page 80: Game Design TC 455 Brian Magerko 8.30.05 From Rabin’s Intro. to Game Dev

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