1. 1 Computer Games Provides a completely new form of entertainment Game can create new worlds for users to play in Players may be allowed to take on a new persona

2. 2 Game Technologies Representing and animating physical objects Providing world dynamics Physics Physics Artificial intelligence Artificial intelligence Supporting user interaction Graphics Graphics Sound Sound Input devices Input devices Networking Networking

3. 3 Game Expectations Create experience for players Player will usually be in some environment Environment has rules for interaction Rules exists and there is a defined criteria for success Computer will manage player interaction

4. 4 Approaching Design Computer games are an art form Game design practices can be taught Design is a technical discipline like music, film, poetry Design is the art of making dynamic models

5. 5 Models Represent Things Mental/Cognitive Concepts Concepts Beliefs Beliefs Maps MapsLocationsRelationships Mathematical Equations Formulas Algorithms

6. 6 Approaching Design Abstract model Conceptual and idealized Conceptual and idealized A tool for investigating specific questions A tool for investigating specific questions Simplifies thinking to help understand problems Simplifies thinking to help understand problems May include assumptions thought to be false May include assumptions thought to be false Abstract game One rule One rule The piece is moved to the open square

7. 7 A Player-Game Model A model of the player – game relationship

8. 8 A Player-Game Model Mechanics Things the player does Things the player doesInterface Communication between player and game Communication between player and gameSystem Underlying structure and behavior Underlying structure and behavior

9. 9 Game Mechanics Gameplay Feelings of playing a particular game Feelings of playing a particular game Activities engaged in a particular game Activities engaged in a particular game Game Mechanics Specific to game activities Specific to game activities “What the player does” “What the player does”

10. 10 Overview Game Design Come up with a good idea Create storyboard (rough sketches, game world, char, and action) List details of game + take everything in game universe into account Write a design document

11. 11 General Advice Make games you would enjoy playing yourself, but remember to focus on the player’s experience and not your own Communicate with your target audience Ask for consumer feedback (this means track it and use it) Play and evaluate games written by others

12. 12 General Advice Read game reviews and opinions (magazines and web sites) Attend conferences to exchange ideas and make new contacts

13. 13 Creativity Classic approach - Graham Wallace Preparation Preparation Background research and comprehension Incubation Incubation Mulling things over Insight Insight Sudden illumination – Eureka! Evaluation Evaluation Validating revealed insights Elaboration Elaboration Transforming the idea into substance

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

15. 15 Inspiration Board games Spatial relationships Spatial relationships Card games Resource management Resource management Paper RPGs Dynamic narratives Dynamic narrativesBooks Fantasy and agency Fantasy and agencySports Team competition Team competitionFilm Continuity techniquesTelevision Serialized storiesMusic Temporal systems Martial arts Discipline in actionChildren Invention

16. 16 Getting a Creative Idea Go to an extreme along one dimension of a game Mix ideas from several games Use ideas from books, movies, comics, etc. Take a good game idea and make it better (e.g. improve graphics, AI, etc.)

17. 17 Brainstorming Make sure everyone attends meeting and is involved Ensure free interchange of ideas Make goals clear Stay focused – don’t allow distractions Make sure everyone is heard Take notes

18. 18 Brainstorming a Game You can start with game play This often dictates player interaction and style of play This often dictates player interaction and style of play Determines hardware needed Determines hardware needed Total resources needed for game Total resources needed for game You can start with story In some genre (RPG) story is central In some genre (RPG) story is central May determine how players and NPC’s interact May determine how players and NPC’s interact Technology should match story line Technology should match story line

19. 19 Brainstorming a Game You can start with technology Game engine characteristics (rendering, AI, language parsers, etc.) Game engine characteristics (rendering, AI, language parsers, etc.) Often dictates type of game that can be developed Often dictates type of game that can be developed May dictate type of story May dictate type of story May define user interaction possibilities May define user interaction possibilities It is generally better to find a topic first and then select a genre rather than the reverse It is generally better to find a topic first and then select a genre rather than the reverse

20. 20 What makes gameplay good? Interactivity (little passive observation by players) Pursuing and achieving goals Require interesting choices to achieve goals Provide feedback to players about progress toward goals Consistency and fairness

21. 21 Achieving Goals Always something for players to achieve Make sure goals are not too easy or too hard Three levels of goals Long term (e.g. complete game) Long term (e.g. complete game) Medium term (10-30 minutes) Medium term (10-30 minutes) Short term (0-60 seconds) Short term (0-60 seconds)

22. 22 Common Game Goals Eliminate other players Score points (e.g.sports games) Get some place first (e.g. racing games) Solve puzzles Gain territory (e.g. strategy games) Improve abilities (e.g. role playing) Develop social relationships (e.g. mulitplayer games) Play god (e.g. simulations)

23. 23 Goals and Objectives Objectives Designed tasks players must perform Designed tasks players must perform Rigid requirements – formal Goals An intentional outcome An intentional outcome Notions that direct player action Scales all levels of motivation From selecting particular strategies… From selecting particular strategies… …to basic motor actions (e.g. pressing a button) …to basic motor actions (e.g. pressing a button)

24. 24 Choice and Outcome Choice A question asked of the player A question asked of the playerOutcome The end result of a given choice The end result of a given choice Possibility space Represents the set of possible events Represents the set of possible events A “landscape” of choice and outcome A “landscape” of choice and outcome

25. 25 Choice and Outcome Consequence or Weight The significance of an outcome The significance of an outcome Greater consequences alter the course of the game more significantly Choices are balanced first by consequence Choices are balanced first by consequence

26. 26 Choice and Outcome Well-designed choice Often desirable and undesirable effects Often desirable and undesirable effects Should relate to player goals Should relate to player goals Balanced against neighboring choices Balanced against neighboring choices Too much weight to every choice is melodrama Orthogonal choices – distinct from others Orthogonal choices – distinct from others Not just “shades of grey”

27. 27 Qualities of Choice Terms in which to discuss choices Hollow – lacking consequence Hollow – lacking consequence Obvious – leaves no choice to be made Obvious – leaves no choice to be made Uninformed – arbitrary decision Uninformed – arbitrary decision Dramatic – strongly connects to feelings Dramatic – strongly connects to feelings Weighted – good and bad in every choice Weighted – good and bad in every choice Immediate – effects are immediate Immediate – effects are immediate Long-term – effects over extended period Long-term – effects over extended period Orthogonal – choices distinct from each other Orthogonal – choices distinct from each other

28. 28 Gameplay Consistency and Fairness Consistency of actions and outcomes A reason for each failure or success A reason for each failure or success Good players can anticipate and make plans Good players can anticipate and make plans Don’t solve problems by unlikely actions Don’t solve problems by unlikely actionsFairness Players believe they have a fair chance Players believe they have a fair chance Don’t allow game to be won by a single simple strategy Don’t allow game to be won by a single simple strategy Plot twists are allowed, but must be explainable Plot twists are allowed, but must be explainable

29. 29 Game Design Start with simple concept Design around computer limitations Minimize player confusion Importance of play testing Incorporate a smooth learning curve Accommodate all skill levels

30. 30 Establishing Focus What is it about the game that makes it compelling? What is the game trying to accomplish? What sort of emotions is the game trying to evoke in the player? What should the player take away from the game?

31. 31 Establishing Focus How should the game be unique? How is it different from other games? What sort of control should the player have over the world? Note: Answers to these question should be one page long. You want every team member to carry these answers around in their head during development.

32. 32 Design Choices Arcade vs. strategy Graphics vs. game play Single player vs. network Core game market vs. wider audience New technology vs. wider base Custom built vs. off the shelf tools Standard distribution vs. shareware Legal issues

33. 33 Game Design Sins Poor production style Bad writing Bad writing Breaks in suspension of reality Breaks in suspension of reality Linear plot or gameplay Micromanagement of user actions or play Repetition of user actions or graphics Ignore user’s learning curve Poor game balance Same strategies always works Same strategies always works Trial and error is not fun Trial and error is not fun

34. 34 Game Design Sins Not enough variety Graphics, objects, monsters, levels, etc. Graphics, objects, monsters, levels, etc. Awkward user interface Limited feedback Player confused about goals or progress Player confused about goals or progress Story inconsistencies continuity problems) continuity problems) Player dies and does not know it

35. 35 Nokia Top 10 Usability Recommendations 1.Provide a clear menu structure 2.Simplicity is key 3.Provide help when needed 4.Be relentlessly consistent 5.Don’t waste the user’s time Allow user to skip introduction Allow user to skip introduction Do not require re-entry of data Do not require re-entry of data 6.Use natural controls

36. 36 Nokia Top 10 Usability Recommendations 7.Enable save and pause 8.Conform to real-world expectations Realistic physics model Realistic physics model 9.Go easy on sound Use for feedback Use for feedback Allow it to be turned off Allow it to be turned off Make game playable with sound off Make game playable with sound off 10.Implement a high score list

37. Meanings and Markets Lecture 3

38. 07/01/2004 Introduction 38 It’s all about players Games need people to play them Games need people to play them We shall term a “successful” game as one that has found a passionate audience with significant market penetration. We shall term a “successful” game as one that has found a passionate audience with significant market penetration. What about critical acclaim? What about critical acclaim? The Longest Journey (great game, but no one played it).The Longest Journey (great game, but no one played it). No real game critics at the moment, The Escapist is the closest to a critique.No real game critics at the moment, The Escapist is the closest to a critique.

39. 07/01/2004 Introduction 39 Meaning for the player Meaningful play in a game emerges from the relationship between player action and system outcome; it is the process by which a player takes action within the designed system of a game and the system responds to the action. The meaning of an action resides in the relationship between action and outcome. Salen Players relate to games based on the feedback from their actions. Players relate to games based on the feedback from their actions. A game must! engage the player so that their actions in the world have an effect and that effect has meaning for the player. A game must! engage the player so that their actions in the world have an effect and that effect has meaning for the player.

40. 07/01/2004 Introduction 40 Player Verbs What does the player do What does the player do Key to game play is player action.Key to game play is player action. Clicking a button to go to next screen is not a game.Clicking a button to go to next screen is not a game. Verbs are doing words Verbs are doing words Describe a game in terms of the players action.Describe a game in terms of the players action. This is the core of the game mechanicThis is the core of the game mechanic All the flashy stuff just sits on top of the player actions.All the flashy stuff just sits on top of the player actions.

41. 07/01/2004 Introduction 41 Market Driven Design It’s fine to make games for your own amusement and artistic expression, It’s fine to make games for your own amusement and artistic expression,but if we want to be in the business of making games then it's not about what you like it is about what you can SELL.

42. 07/01/2004 Introduction 42 Selling the game You game needs to be sold many ways to many people You game needs to be sold many ways to many people PublisherPublisher Elevator pitch Elevator pitch TeamTeam CustomerCustomer Person scanning the shelf Person scanning the shelf Person looking at the box Person looking at the box Parent or girlfriend Parent or girlfriend

43. 07/01/2004 Introduction 43 You’re Always On My Mind A market needs to be considered right from the start of a game project. A market needs to be considered right from the start of a game project. Who is going to play your game? Who is going to play your game? Two approaches: Two approaches: Designing to a marketDesigning to a market Designing from a marketDesigning from a market

44. 07/01/2004 Introduction 44 Ethnography Cultural analysis, Cultural analysis, Who are your playersWho are your players Why are they playing your gameWhy are they playing your game Do they like the prototypeDo they like the prototype What hooks are there in their environmentWhat hooks are there in their environment Embedded vs laboratory Embedded vs laboratory Asking the right questions is vital Asking the right questions is vital

45. 07/01/2004 Introduction 45 TO a market An idea comes into your head, you think it would be fantastic. An idea comes into your head, you think it would be fantastic. You think it is “cool” now who else thinks the same way. You think it is “cool” now who else thinks the same way. People are odd and often don't know what they like until after they see it. People are odd and often don't know what they like until after they see it. Focus groups panned the Sims!Focus groups panned the Sims! Why would anyone careWhy would anyone care

46. 07/01/2004 Introduction 46 FROM a market You identify a untapped market for a potential game You identify a untapped market for a potential game Now ask yourself: Now ask yourself: Who will play it?Who will play it? How much will they commit to it?How much will they commit to it? How many people are in this category?How many people are in this category? What are related mediaWhat are related media What’s the basic interaction, and why is this a “fun” action for themWhat’s the basic interaction, and why is this a “fun” action for them

47. 07/01/2004 Introduction 47 Creativity There’s only so much we can calculate, predict, and/or engineer. There’s only so much we can calculate, predict, and/or engineer. There is a huge creative element to game design in just “guessing it will work” There is a huge creative element to game design in just “guessing it will work” Creativity can be termed as the successful intuitive design of elements into a meaningful system Creativity can be termed as the successful intuitive design of elements into a meaningful system Sometimes you just have to take a gamble and try it out Sometimes you just have to take a gamble and try it out Iterative designIterative design

48. 07/01/2004 Introduction 48 The Elevator Pitch Peter Molyneux – in an elevator Peter Molyneux – in an elevator Your going to need to be confident in communicating your concept to others Your going to need to be confident in communicating your concept to others This is true not only for selling to a publisher, but also to the player This is true not only for selling to a publisher, but also to the player It’s a critical part of the design process as it demonstrates or refines the elegance of your game’s representation It’s a critical part of the design process as it demonstrates or refines the elegance of your game’s representation Pong?Pong?

49. 07/01/2004 Introduction 49 The Elevator Pitch First 30 seconds First 30 seconds Interesting “hook”Interesting “hook” Doesn’t even matter if it’s superficial, it needs to rouse immediate attention Doesn’t even matter if it’s superficial, it needs to rouse immediate attention Relate it back to known successesRelate it back to known successes Example:Example: A Star Wars style space opera meets the open ended gameplay of Grand Theft Auto, except it’s all based underwater A Star Wars style space opera meets the open ended gameplay of Grand Theft Auto, except it’s all based underwater

50. 07/01/2004 Introduction 50 Who Are We Selling To? Are we really making games for people? or for publishers? Are we really making games for people? or for publishers? The pitch should work for both The pitch should work for both It’s up to you to convince the publisher what your target market will think of the game It’s up to you to convince the publisher what your target market will think of the game Publisher’s generally know the market better than developers Publisher’s generally know the market better than developers Existing market are easier to sell Existing market are easier to sell