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Thursday, March 11, 2010

The Potential of Game Design

In case any of you haven’t seen it, Jesse Schell of Carnegie Mellon gave a great talk at the DICE game development conference.  He discusses a lot of the psychological tricks that many cutting edge designs use to monetize their games (Punishment and Reward Systems and Base Mechanics).  Very worthwhile for anyone interested in learning about what lots of designers in the industry are thinking about now.

Check it out here

Comments: 2 Comments to Read

Filed Under: Base Mechanics, Punishment and Reward systems, Video

How Megaman 9 Resembles…Real Life?

[Many of you haven't had a chance to see this.  I've been hard at work on my new book for students, and so for this week I'm reproducing an article of mine that ran on Gamasutra a while back.  Enjoy!]

Thmagic of the title therefore is not what is new and fresh, but rather a walk down memory lane for those of us who struggled alongside Megaman during a more innocent time in our lives. Fans of the Megaman series, including myself, have felt bright smiles appear on our faces as the game transports us back to our childhood. Capcom did everything they could to make sure that the game was a faithful sequel, so that if you could go back in time and release it amidst the other Megaman games, no one would notice anything strange.
But there is something fascinating about a game company releasing a title made for a different time; it provides a snapshot of how games as a form of entertainment have changed through the last twenty years. Obviously changes in graphics and sound technology have come about, and these are readily identifiable. Latent changes and trends in our industry, however, lie revealed in the design choices of the game. Megaman 9 is a kind of time capsule, a blast from the past, and in playing it, you can’t help but feel that even beyond the large pixels and bleeps and bloops, the game layout and design itself result in a gameplay experience that is almost extinct.
Unreasonably difficult and the risk of time
When picking up Megaman 9, almost all players notice something almost immediately: The game is unreasonably difficult.
The feeling that many players and reviewers have expressed, that the game is too hard, comes from the lens of our current industry. As interactive entertainment grew and expanded, our industry has become a place where games are targeted at the mass market, tuned for a perfect challenge ramp, and sculpted to provide the most entertaining experience possible.
Megaman 9 refrains from this philosophy; the game is notoriously unforgiving. Each stage consists of only two save points, a mid point and right before the boss. Thus, if you happen to die when you are 49% of the way through the stage, which is a 10 minute experience at minimum, then you are yanked all the way back to start.
This is unheard of among games nowadays. No developer with sales in mind would punish Megaman so ruthlessly, because players would simply decide the game wasn’t worth their time, turn off the system, and go on with their lives. To entice players of today, who are short on time and have even shorter on attention spans, positive feedback and progress must be much more frequently communicated than once every few hours.
Recently, after successfully jumping and shooting my way through one of the stages over the course of a full sixty minutes, I arrived at the boss, the final enemy. On my way to his room I had managed to lose all of my extra lives, and so as I fought him, I knew that it was all on the line. For about thirty seconds or so the fight raged on; I was doing my best to recognize his pattern and avoid his attacks while sneaking in a few shots of my own. It seemed like a normal gaming experience until I noticed something odd: my heart was almost pounding right out of my chest. My hands were shaking and my palms were sweaty, and I had even stifled my breath.
Why was this happening? Why was I, an adult far removed from my childhood world, so nervous and invested in this game? The reason was that if I was unsuccessful in the battle, if this robot master defeated Megaman, then I was going to have to replay the entire stage all over again. An entire hour of play, try after try after try, would be flushed down the drain. Unless I came away with a victory, I might as well have not played the game at all, it seemed. But if I did win…then I was victorious! All of my work would be rewarded, and I would not have to replay the stage. It would be done, completed, defeated by Megaman. With such high stakes, the battle was as epic as ever. Even though I was only watching tiny pixels dance around on my television, I was as emotional as when my high school tennis team was playing in the district finals.
Within another 30 seconds, I fired a final shot, and the boss was defeated. I let out a yell as a wave of triumph washed over me and I slumped back into my futon, a silly grin plastered on my face.
What struck me was that this was a collection of sensations that I hadn’t felt since I was a child, a realization which made me think how much games have changed. By being bold enough to make a game of such intensity, the developers of Megaman 9 tapped into an emotional reservoir that allowed for such memorable gameplay. Since a loss in the game held the real life consequences of requiring me to play through the stage again, our goals became one. Megaman’s potential death carried with it not just a fictional weight, but a real cost to my personal life, and thus a victory carried with it a true emotional reward. It was a temporary marriage of the world of Megaman and reality.
However, this level of challenge comes with a price. Because the learning curve is so steep, those who aren’t willing to risk the time, perhaps the many who don’t have a childhood attachment to Megaman, miss out on the experience. By choosing to make the game so difficult, the developers rewarded a few but alienated many. This is the reason that Megaman 9 stands in such stark contrast to the games of today. Emotional investment or not, what matters to a for-profit game company is the number of SKUs a title has sold, and most players simply will not survive without more frequent sips of positive feedback and some signs marked “well done”.
A lesson in persistence
Megaman 9’s difficulty and subsequent capability for emotional investment brings with it another broader life lesson. At the time of this article’s writing I’ve beaten about six of the eight robot masters, over the course of about a month. In half hour increments, I’d suspect I’ve invested about six or seven hours into the game. But today when I went to go load my game, I glanced at the “playtime elapsed” statistic, and was puzzled. Instead of six or seven hours, the clock only read about 55 minutes, just under an hour.
At first I was perplexed by this, since I had surely played the game much more than that. But I quickly understood what was going on. This playtime statistic didn’t represent all of the times I’d played the game, it only represented the time accumulated after I saved the game. And unless I had completed a stage, there was no reason to save the game. All of those hours I had spent playing a stage three quarters of the way through before quitting were not recorded. As far as the game was concerned, I had made no progress.
Since the game is incredibly hard, you may play the game for hours before you receive the positive feedback of completing a stage. So what’s happening during all of those hours? If the game thought it only took me an hour to run through six stages, what was going on during the other five hours I had spent getting 90% of the way through each stage before colliding with a spike? Were they simply a waste of time? If I played through to a robot master and was defeated, then was my struggle for naught?
The answer to this question depends on the outlook of the player and how they choose to assess the “Game Over” screen. Stanford Professor Carol Dweck has researched the mindsets of children and adults alike for decades, and her studies have resulted in a dichotomy of two distinct worldviews.
The first and more common is the Fixed Mentality, the belief that one’s skills and lot in life are constant and unchanging. People who subscribe to this mentality are more likely to give up in the face of adversity (or in the case of Megaman, the inability to complete a stage). They see their efforts that end in Megaman’s death as fruitless, and become frustrated by the game.
The second mindset is called the Growth Mentality, which is where a person believes that their skills are constantly improving as a result of their actions. When they see a challenge, then they persist, because they believe that through effort they will eventually master it. When they are presented with the “Game Over” screen, then they don’t see a waste of time, instead they reflect on the learning experience that their previous playthrough has given them.
“Experience is what you get when you don’t get what you want,” goes the old adage. In Megaman 9, the player obviously wants to clear the stage. However, if the player goes through the stage and then dies right before completing it, the Growth Mindset dictates that they have not truly wasted their time. They have learned a great deal on their journey, and this knowledge will serve them better next time. They have learned that it takes three shots to defeat the springy robots. They’ve learned that there are spikes coming up at the next screen, and they had better move left if they want to survive. They have learned that it’s best to run full speed through the deluge of bullets instead of trying to tiptoe.
All of this information, gained through painful trial and error, is valuable. While some players may view death as a failure, others will watch Megaman explode into a million bits and say, “Well, that’s okay. I know not to do that next time.” Thus, almost every time the player dies, they are actually making progress. Their reflexes are getting faster, they’re learning and memorizing the stage, and they’re finding the best route through it.
Player driven vs. game driven feedback
The difference between Megaman 9 and other games today is the pacing of the positive feedback that the game imparts on the player, and this pacing decision affects where the feedback originates from. If you listen to the death sound effect that plays every time Megaman runs out of health, the game is communicating that the player failed. And indeed, according to the bits and bytes stored on the hard drive, the player has made no progress. Other present day games would not dare be so ruthless. They would encourage the player, either by stamping that they played the game that day at all (as in Brain Age), charting their progress against themselves instead of the game (Wii Sports), or allow them to save more often, breaking their triumphs into smaller increments (the Half Life series).
But interestingly, the difficulty of Megaman 9 demands that the player keep track of their progress themselves.
In order for a player to be successful at any challenge that gives little positive feedback, one of two items is required. The first is readily available to many children but not many adults: the luxury of time. When players enjoyed the old Megaman games, the fact that they were so difficult was not a problem, because we could wake up, play the game until school, come home from school, and play until bedtime. Day in and day out, we knew the game would be beaten eventually.
However, when an abundance of time is not available, then another attribute must be present for a person to be successful and enjoy the journey: player driven feedback, which is born out of a player’s Growth Mindset. People of all ages become frustrated when they sense they are making no progress. But if they believe that progress is being made internally, that they are learning from their failures, then they encourage themselves to continue pressing on.
After playing the game, I came to develop this outlook towards it, and it has made the game very enjoyable to me, even though I am not one who enjoys difficult games in my adult life. I would often go over to other friends’ homes and notice that they would also have downloaded Megaman 9, which I would pick up and play.
It didn’t matter that my save file wasn’t on their console, because the experience I was gaining wasn’t stored on their hard disk, it was stored within me. As I learned to navigate Galaxy Man’s stage on my friend’s Xbox, I didn’t view it as a loss that I couldn’t save my progress, because the next time I picked up the game on my Wii, that experience would show through as I would go even further than before. When I played through Splash Woman’s stage before going to sleep, only to die right at the end and be presented with a “Game Over” screen, I wasn’t discouraged, because I knew that the next time I played her stage I would likely win. By believing that I was making progress within myself, despite the absence of positive feedback from the game, my eventual victory was assured.
The difficulty curve of life
The difficulty curves in real life are more similar to Megaman 9 than today’s games, and to be successful they also require internal positive feedback. In reality, achievement is not recognized until a massive performance has been completed. Students don’t receive points for memorizing a single vocabulary word; they only receive a grade that assesses their familiarity with a collection of 100 words. Tennis players don’t hear a pleasant “Nice shot!” after they hit a good forehand at tennis practice, they only are congratulated after winning an entire match. Employees don’t receive a smiley face sticker every time they contribute to their project; they only receive a single pat on the back from their yearly performance evaluations.
In the same way, players of Megaman 9 aren’t rewarded along the way, but only after completing an entire stage, the result of hours of struggle. To reach that accomplishment, the positive feedback must be generated by the player, not the environment.
Of course, being successful in Megaman 9 does not necessarily translate to success in life. But the lessons from the game design of years past sing the same tune. The lack of well tuned positive feedback in a game environment evokes a different play experience with different requirements for success. Learning to create positive feedback and encouragement from yourself and deciding to view every failure as a learning opportunity applies to both Magma Man’s fortress as well as one’s real life career.
It may take me until New Years, but I’m coming for you, Wily!

Though it’s been out for a few months, I only recently downloaded Capcom’s Megaman 9, an anomaly among other recent game releases. It is the latest offering in the classic Megaman series, whose heyday was in the late 80’s and early 90’s. But while other sequels of cherished franchises do everything in their power to take advantage of the newest technology available, going places that the old games were not capable of going, Megaman 9 has done the opposite. Instead of targeting a new generation of players, Capcom has sought now adult players of the old games by painstakingly emulating every graphical restriction, sound channel limit, and level design choice as it would have occurred on the original Nintendo Entertainment System, and the result is an entirely new game that appears as though it belongs in the 1980’s.

The magic of the title therefore is not what is new and fresh, but rather a walk down memory lane for those of us who struggled alongside Megaman during a more innocent time in our lives. Fans of the Megaman series, including myself, have felt bright smiles appear on our faces as the game transports us back to our childhood. Capcom did everything they could to make sure that the game was a faithful sequel, so that if you could go back in time and release it amidst the other Megaman games, no one would notice anything strange.

But there is something fascinating about a game company releasing a title made for a different time; it provides a snapshot of how games as a form of entertainment have changed through the last twenty years. Obviously changes in graphics and sound technology have come about, and these are readily identifiable. Latent changes and trends in our industry, however, lie revealed in the design choices of the game. Megaman 9 is a kind of time capsule, a blast from the past, and in playing it, you can’t help but feel that even beyond the large pixels and bleeps and bloops, the game layout and design itself result in a gameplay experience that is almost extinct.

Unreasonably difficult and the risk of time

When picking up Megaman 9, almost all players notice something almost immediately: The game is unreasonably difficult. WAIT! There is more to read… read on »

Comments: 6 Comments to Read

Filed Under: Classic Games, Games and Real Life

To Be or Not to Be: Ingredients for Meaningful Choice in Games

valkyria-chronicles

Valkyria Chronicles is a game that embodies well designed choice.

Choice is often necessary for the deeper emotions of life.  Choice are how people express themselves, design their lives, and make mistakes.  It is through choices that we build our pasts and shape our present.  Choices make life feel alive and real.

Choices can also appear in games, but for some reason, when many developers attempt to create meaningful choice in their games, they miss key components.  Oftentimes poorly executed choices in games tend to feel empty, unimportant, or as though there really was no choice at all.

Luckily, when trying to design something like meaningful choice, we are not groping in the dark (as with some other design challenges).  Meaningful choice is something that you and I experience every day in our real lives.  What can life teach us about game design in this area?

What is meant by meaningful?

Let’s start be defining exactly what our goal here is.  I am defining a “meaningful choice” as a choice that the player makes that they actually care about.  They deeply considered the choice.  They felt the weight of the choice.  And after the choice was over, they remember it and feel either satisfaction or regret.

A choice is a reflection of the player.  Interactivity is one of the most important aspects of games that sets them apart from all other media.  By giving the player a choice, you give them a chance to express themselves and differentiate their gameplay.  You give them the chance not just to tell a story, but to show them the meaning of the consequences of their own actions, not just a set of actions that was predetermined.  This lifts games above all other forms of storytelling.

According to the Game Design Canvas, meaningful choice is build using the bricks of the game’s Punishment and Reward Systems.  There are three essential components.  Neglect any one of them and the choice is rendered meaningless.  The three ingredients are awareness, consequence, and permanence.

First Ingredient of Choice: Awareness

This may seem obvious, but you would be surprised how many early developers (including myself in my first games) make this mistake.  For a choice to be meaningful, the player must first be aware that they are even being presented with a choice.  Failing to recognize a choice is not the fault of the player, it is the fault of the game and the developer. WAIT! There is more to read… read on »

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Filed Under: Punishment and Reward systems, Storytelling

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The Player’s Guide Giveaway!

Page

Hello TGP readers!  Based on the success of the Break Into Games e-book, we’re working on a new and more in-depth product for students interested in becoming professional game developers.  But I want this product to be as incredible as possible, and so I’m conducting a quick 2-minute survey to get your feedback and thoughts.

In return for filling out the survey, I’m giving away free copies of The Player’s Guide ($11).  This deal will only be around until Tuesday!

Click here to take the 2-minute survey and get your free copy!  Thanks!

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Filed Under: Uncategorized

Gameplay is King: Story is Distant Second

uncharted-2

I only recently got around to playing 2009’s  most critically acclaimed game title: Uncharted 2 for the PS3.  Personally as a player, this isn’t exactly my kind of game; I’m not a huge shooter fan and, like Avatar, the story and premise seemed a bit simple.  However, as a game designer, I can’t excuse myself from a game so highly regarded among players and developers alike.  Even if it didn’t interest me in the name of my own entertainment, it certainly interested me in the name of my design education.

After sinking a good number of hours into it, I can definitely say that it is worth the ride.  The game has a captivating story and interesting characters, but that’s not why it’s a great game.  It is a great game because of the only thing that can make a great game: great gameplay.  Let’s step through two of the best points of this game’s design and execution.

Don’t Tell Me About It; Let me Do It

Let’s start with Uncharted 2’s biggest selling point: you get to play everything you want to play.  You do everything you want to do.  Action?  You do it.  Talking?  It’s just a cutscene.  This may seem obvious, but it’s more difficult than it sounds. WAIT! There is more to read… read on »

Comments: 13 Comments to Read

Filed Under: Storytelling

Tags: , , ,

What Game Designers can learn from “Avatar”

avatar-poster-neytiri

Avatar recently became the second highest grossing film of all time, bested only by James Cameron’s previous blockbuster, Titanic.  I was skeptical at first when I saw the trailer, but the box office numbers pushed me over the edge and finally got me in the theater seats, and I was certainly not disappointed.

A film this successful accomplishes so much; whether you are a western anti-mainstream individualist or not, you must appreciate how difficult it is to make a single film that can touch the hearts of so many millions of viewers around the world.  The special effects and artistry put into the world were of course breathtaking and the story…well, we’ll get to that in a minute.

Avatar offers some great lessons to game designers who are looking to reach a broad audience through an magnificent work of art.  While there is much to learn from Cameron’s masterpiece, there are two main aspects that struck me as particularly timely to today’s game development landscape.  Indie developers are especially encouraged to read on.

[Note that this post is full of spoilers.  Proceed at your own risk if you haven't seen the film.]

You Don’t Have to Always Be Original

When I was younger and more foolish, I used to think that in order to create something great, to design a great game, to tell a great story, it had to be original.  It had to be made up of things that no one had done before, all my own ideas.  If everyone else was making first person shooters, I would make a 2D puzzle-adventure mash up.  If the industry was telling stories about love, I would tell a story about existentialism.  Go against the grain, as they say. WAIT! There is more to read… read on »

Comments: 13 Comments to Read

Filed Under: Aesthetic Layout, Movies and Film

Thanks to All My Customers!

The four-day book deal is now over, and I just wanted to say thank you to everyone who purchased a copy of Break Into Games!  It’s great to know that people think the information on this site is valuable; you make it all possible.

For those who were late to the party, the book is still available in The Game Prodigy store.

Thanks again!

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Filed Under: Uncategorized

Today is the Last Day for Book Deal!

Just a heads up that the Break Into Games book deal only lasts until tonight (Thursday, Jan. 14) at 11:59pm PST — 21 hours from this post.  If you want to get a job in the game industry, don’t miss out on this 20% discount and a free copy of The Player’s Guide (normally $11) along with your purchase!

Break Into Games

A $35.95 value for $19.95 if you order before midnight!

Once again, this deal will only be around for a few more hours! After that, the book will cost $24.95 and will not come with The Player’s Guide.

If you enjoy the free articles and content here on The Game Prodigy, please support the site by purchasing the book! And thank you so much to everyone who has already purchased a copy this week; your support makes this site possible!

Click here to order!

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Filed Under: Store

Why No One Plays Their Wii Anymore: A Design Analysis

Photo: BrittneyBush

I still remember back in 2005 when the Wii was announced at E3, and the entire games industry just gasped.  “What IS that?”  It just didn’t make any sense at all.  The words were coming out of their mouths and the demos were on the screen, but it just sounded like complete madness.  A revolution indeed.

While motion control seems obvious now, you’ll have to take a moment to appreciate how impossibly innovative and creative it was at the time.  No one else was anywhere near thinking something like controlling a game some way other than buttons was possible.  And thus you have the makings of a fascinating story, of a company going from just about out of business in the console world to being #1, with sales that are unmatched by any other platform, and its leaders being named the top CEO’s among all industries, not just games.  The Wii is certainly a lot of fun.  Everyone remembers their first time playing Wii tennis, hearing about it, and trying it out.  Everyone remembers being amazed that aunts, uncles, and grandparents were suddenly interested in games when they had displayed not a shred of curiosity before.  If nothing else, it makes a great first impression, and that first impression has led it to over 50 million units and the best selling single game title of all time.

But there’s something wrong, isn’t there?

Isn’t it odd, that though so many Wii’s have been sold, they are actually played significantly less than other consoles?  Isn’t it strange that despite how much fun everyone has swinging their arms wildly during Wii Sports tennis, eventually they are reduced to simply flicking their wrists?  Doesn’t it seem unusual that while there are seemingly hundreds of Wii games on the market, you could count the ones worth playing on one hand? WAIT! There is more to read… read on »

Comments: 7 Comments to Read

Filed Under: Base Mechanics, Game Industry

Break Into Games 4-Day Book Deal

I’ve given lectures on game development and getting into the games industry at libraries, college, and universities in the U.S. and abroad.  Many students ask me what they can do to get into a video game career, and I always tell them the same points that have worked for me and many of my peers who are now in the industry, the same things that I cover in my book, Break Into Games.

This week I’m making Break Into Games (114 pages) available here at The Game Prodigy, and we’re kicking things off with a deal for early customers!  Anyone who orders in the next four days (before Friday, Jan. 15) will receive a 20% discount and a free copy of The Player’s Guide (normally $11) along with their purchase.

Break Into Games

A $35.95 value for $19.95 if you order before Friday Jan. 15!

This deal will only be around for 4 more days.  After that, the book will cost $24.95 and will not come with The Player’s Guide.

If you enjoy the free articles and content here on The Game Prodigy, please support the site by purchasing the book!  Thanks!

Click here to order!

Comments: Read the First Comment

Filed Under: Store

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