1. CSCE 552 Spring 2009 Understand Games

2. Game Design Presentation Each has 15 minutes to present, 3 minutes to answer questions Expecting formal presentations with powerpoint files, pictures, musics, etc 10 points total for this presentation Grade will be group based, you can have the whole group or part of the group to present Grade will be based on scores from me and from the class

3. Contents for the Presentation Group members, group name, logo Description, specification, goals, game play System requirement, audience, rating Interface, input/output, interactions, cameras Premise/limitations/choices/resources Content designs/3D/2D/animation, audio Level designs, flexibility/scripting language? Actor/Verb/Noun/Use case/UML (rough) Engines (graphics, game, sound, physics) to use Version control/testing strategy/documentation Brief timeline (demo date is early May)

4. Tennis for two (1958)

5. Spacewar (1961)

6. Pong and Arcade Computer Space

7. NES (90% market) NES Game boy Mario contra

8. Playstation III Final Fantasy XIII Grand Theft Auto IV

9. Types Adventure (text-based/graphical) Action (shooting, combat sim)  First-person shooting  Combat sim  Action adventure  Platformer (Mario)  Fighting  Real-time strategy (RTS)  Survival Horror

10. Types Role Playing Game (RPG) Stealth Simulation  SimCity  Flight Simulator  Train Simulator Racing Sports

11. Types Rhythm  Dance Dance Revolution (DDR) Puzzle  Tetris Education  Typing  NSF funds many such games

12. Languages Assembly C/C++ VB Java Flash Script

13. Results on 9 th Grader By David Walsh

14. What is a game A game is a form of art in which participants, called players, make decisions in order to manage resources through game tokens in the pursuit of a goal. (Greg Costikyan) A game is a system in which players engage in an artificial conflict, defined by rules, that results in a quantifiable outcome. (Salen and Zimmerman)

15. Factors (Crawford) Crawford: The Art of Computer Game Design (1984) Identifies four common factors between all games:  Representation  Interaction  Conflict  Safety

16. Features (Costikyan) “ I Have No Words & I Must Design ” (1994) Identifies design choices that have to be made when games are designed And the main features necessary for games:  Decision making  Goals  Opposition  Managing resources  Game tokens  Information

17. 400 Projects (Rules) The rules consist of five parts  An imperative statement of the rule  A description of the domain of the rule  Rules which take precedence over the rule  Rules that the rule takes precedence over  A description of examples and counter- examples The rules are meant to be tools which can be used in different phases of the design process

18. Areas and Challeges (Adams, Rollings) Three different areas  Core mechanics  Interactivity  Storytelling  Narrative Categorizing different types of challenges:  Pure challanges (logic and inference, lateral- thinking, memory, intelligence-based, knowledge-based, pattern-recognition, etc.)  Applied challenges (races, puzzles, exploration, conflict, economies and conceptual challenges)

19. Basic Elements (Game Design Workshop) Identify eight basic formal elements:  Players  Objective  Procedures  Rules  Resources  Conflicts  Boundaries  Outcomes The design method is to use the formal elements to describe the current design and make sure that all aspects of a game design are taken into consideration

20. CSCE 552 Spring 2009 Understanding Fun

21. What is Fun? Game is all about fun Dictionary: Enjoyment, a source of amusement It is important to consider underlying reasons Funativity – thinking about fun in terms of measurable cause and effect

22. Why fun? It ’ s deep in our evolution root, and we must look to our ancestors (200 yrs of tech advancement haven ’ t changed our instinct) Cats, dogs, etc play to learn basic survival skills (physical and social) Games are organized play Human entertainment is also at its heart about learning how to survive Social rules are also critical to us

23. Surviving Life is all either work, rest, or fun To survive, we must work  Our ancestors were those who survive  The survive skills are passed down Who is more likely to survive?

24. People working too hard?

25. People resting too much?

26. We must play to gain skills

27. Learning is fun Fun is about practicing or learning new survival skills in a relatively safe setting People who didn ’ t enjoy that practice were less likely to survive to become our ancestors

28. Hunting and Gathering Basic skills are hunting and gathering Current popular games reflect this It ’ s a good start point to design games Shooters, wargames = hunting Powerups, resources = gathering Sims, MMO = social, tribal interaction

29. Gathering and hunting

30. Natural Funativity Theory All funs are derived from practicing survival and social skills  Key skills relate to early human context  Often in modern guise: play chess, football, dance, etc Three overlapping categories  Physical  Social  Mental

31. Physical Fun Sports  Enhance our strength, stamina, coordination skills  Winning is also a mental fun Exploration  Knowledge of surrounding areas  Explore unknown Hand/eye coordination and tool use are often parts of fun activities – crafts Physical aspect to gathering “ stuff ”

32. Social Fun Storytelling is a social activity  First virtual reality  Learn important lessons from others Gossip, sharing info Flirting Showing off

33. Social funs

34. Mental Fun Humans have large brains Abstract reasoning practice Pattern matching and generation  Music  Art  Puzzles Gathering also has mental aspect, categorizing and identifying patterns Gambling

35. 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. For example: Wii

36. Definitions Some time lack standard (concrete) definitions Game: Object of rule-bound play Play: Interactions to elicit emotions Aesthetics: Emotional responses during play Frame: The border of a game ’ s context Inside the frame is in the game Outside the frame is real life

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

38. Approaching Design Computer games are an art form -- Digital arts Game design practices can be taught, and you do not need to be genius to design games Technical discipline like music, film, poetry

39. Approaching Design Mental/Cognitive  Concepts  Beliefs  Maps  Locations  Relationships Mathematical  Equations  Formulas  Algorithms A model represents something

40. 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

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

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

43. Control and State Variables Control variables  Inputs from players State variables  Quantities indicating game state

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

45. Actions Actions not often in discrete stages Not all actions progress through all stages

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

47. 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

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

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

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

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

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

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

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

55. 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

56. 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 ”

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

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

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

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

61. Premise Goes beyond setting and tone Alters the players mental model  Basis of player understanding and strategy  Possible: Capable of happening in the real world  Plausible: Possible within the unique world of premise “ Makes sense ” within the game ’ s premise Consistent with the premise as understood

62. 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

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

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

65. 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

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

67. 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

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

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

70. Game Theory  Branch of economics  Studies decision making Utility  A measure of desire associated with an outcome Payoffs  The utility value for a given outcome Preference  The bias of players towards utility

71. Game Theory Rational Players  Abstract model players – not real people Always try to maximize their potential utility Solve problems using pure logic Always fully aware of the state of the game

72. Game Theory Games of skill  One-player games  Outcomes determined solely by choices Games of Chance  One-player games  Outcomes determined in whole or part by nature (chance) Games of Strategy  Competitions between two or more players

73. Game Theory Decision under certainty  Players know the outcome of any decision Risky decisions  Probabilities of nature are known Decision under uncertainty  Probabilities of nature are unknown

74. Interface  Input, presentation, and feedback. Input  Player to game Output  Game to player

75. Interface Contains both hardware, software, and performance elements.  Hardware such as game pads  Software such as engines  Performance such as pressing a button Graphical user interface (GUI)  A visual paradigm of control  GUI is the first impression of the game  And hard to be cross-platform  First: 1984 Macintosh GUI with mouse

76. Interface Typical perspectives:  First-person  Over-the-shoulder (OTS)  Overhead (top-down)  Side  Isometric

77. First person

78. OTS

79. Overhead and Side

80. Isometric

81. Audio Interface General categories of audio  Music Powerful tool for establishing mood and theme Pay attention to license issues  The campus is cited 960 times last year  Sound effects  Dialog

82. Input Interface Controls  Physical input devices: mouse, key, motion, etc Control inputs  User manipulations of the controls They are not strategies  Example: a sequence of buttons to perform a combo Strategies involve deciding when to perform

83. Keys Key map or control table  A diagram showing control input, action, and context Mapping: An understood relationship between two things  Map keys by looking at your own hand  Suit your targeted players: small/big

84. Key maps Complex games have many keys and combinations Ship your game with a detailed key map Control diagrams  Show input, action, and context

85. Example

86. Front End Interface Front-end  In application software The visible portion of the application  In games GUI elements not displayed during play Used mainly for input/configure/choice

87. Hud Interface HUD (Head-Up Display) Displays during play  Shows and other information difficult to present directly in the game environment  Examples Scores Resource levels Mini Map Chat Alerts Level

88. Huds