Game Design Workshop A Playcentric Approach to Creating Innovative Games

Fourth Edition

Tracy Fullerton

LacnCRC Press V G * ^ J Taylor & Francis Group

Boca Raton London New York

CRC Press is an imprint of the Taylor & Francis Croup, an informa business

A N A K PETERS B O O K

Contents

Foreword xix

Preface xxi

Acknowledgments xxiii

Image Credits and Copyright Notices xxvii

Introduction xxxi

Part 1 Game Design Basics 1

Chapter I The Role of the Game Designer 3 An Advocate for the Player 3

Playtesters 4

Passions and Skills 6

Communication 6

Teamwork 7

Process 7

Inspiration 8

Becoming a Better Player 9

Creativity 70

A Playcentric Design Process 12

Setting Player Experience Goals 12

Prototyping and Playtesting 12

Designers You Should Know 13

Iteration 76

The Iterative Design Process 18

Prototypes and Playtesting in the Industry 21

V

V i Contents

Designing for Innovation 23

Conclusion 23

Designer Perspective: Christina Norman 24

Designer Perspective: Warren Spector 27

Further Reading 29

End Notes 29

Chapter 2 The Structure of Games 31 Go Fish versus Quake 31

Go Fish 3?

Quake 32

Comparison 32

Engaging the Player 38

Challenge 39

Play 39

What is a Puzzle? 4 0

Premise 45

Character 45

Story 46

Dramatic Elements 46

The Sum of the Parts 47

Defining Games 47

Beyond Definitions 48

Conclusion 50

Designer Perspective: Jane McGonigal 5?

Designer Perspective: Randy Smith 54

Further Reading 56

End Notes 56

Chapter 3 Working with Formal Elements 57 Players 57

Invitation to Play 58 Number of Players 58

Roles of Players 58

Player Interaction Patterns 59

Persuasive Games 65

Objectives 68

Summary 73

Procedures 74

Connect Pour 74

Super Mario Bros 74

Contents VII

Comparison 74 System Procedures 75

Defining Procedures 76 Rules 76

Rules Defining Objects and Concepts 77

Rules Restricting Actions 79 Rules Determining Effects 79 Defining Rules 80

Resources 80

Lives 87

Units 87 Health 82 Currency 82 Actions 82

Power-ups 82 Inventory 83 Special Terrain 83

Time 84

Conflict 85

Obstacles 86

Opponents 86 Dilemmas 86

Boundaries 87

The Mechanic is the Message 88

Outcome 91

Conclusion 92

Designer Perspective: Tim LeTourneau 93

Further Reading 95

End Notes 95

Chapter 4 Working with Dramatic Elements 97 Challenge 97

A Challenging Activity That Requires Skill 99 The Merging of Action and Awareness 99

Clear Goals and Feedback 99 Concentration on the Task at Hand 700 The Paradox of Control 700 The Loss of Self-Consciousness 707 The Transformation of Time 707 Experience Becomes an End in Itself 707

VI I I Contents

Play 102

The Nature of Play 702

Types of Players 704

Levels of Engagement 704

Premise 105

Character 108

Story 112

Directing Games for Emotion 114

World Building 117

The Dramatic Arc 117

Conclusion 122

Designer Perspective: Dr. Ray Muzyka 723

Designer Perspective: Don Daglow 725

Further Reading 127

End Notes 127

Chapter 5 Working with System Dynamics 129 Games as Systems 129

Objects 730

Properties 730

Behaviors 737

Relationships 737

System Dynamics 133

Deconstruct ing Set 134

Tic-Tac-Toe 736

Chess 737

Mastermind versus Clue 738

Economies 740 Simple Bartering 740

Complex Bartering 747

Simple Market 742

Complex Market 743

Metaeconomy 744

Emergent Systems 746

Interacting with Systems 148

Information Structure 748

Control. 749

Feedback 757

Interaction Loops and Arcs 153

Tuning Game Systems 159

Conclusion 160

Contents IX

Designer Perspective: Alan R. Moon 767 Designer Perspective: Frank Lantz 764

Further Reading 166

End Notes 166

Part 2 Designing a Game 167

Chapter 6 Conceptualization 169 Where Do Ideas Come From? 169

Brainstorming 171

Brainstorming Best Practices 772 Alternative Methods 174

List Creation 774 Idea Cards 774

Electronic Arts Preproduction Workshop 175

Mind Map 779 Stream 0/ Consciousness 779 Shout It Out 779 Cut It Up 779 Surrealist Games 7ÖO Research 7ÖO

Editing and Refining 181

Technical Feasibility 182 Market Opportunity 7Ö2 Artistic Considerations 7Ö2 Business/Cost Restrictions 7&2 A Conversation with Will Wright 183

Turning Ideas into a Game 188

Focus on the Formal Elements 7Ö9 Practice, Practice, Practice 790 Feature Design 790 Getting the Most out of Focus Groups 191

Feature Storyboards 793 Experimental Gameplay 194

Ideas vs. Designs 198

Conclusion 198

Designer Perspective: Josh Holmes 799 Further Reading 201

End Notes 201

X Contents

Chapter 7 Prototyping 203 Methods of Prototyping 203

Physical Prototypes 203 Battleship Prototype 204

More Examples 206 Up the River Prototype 206 Prototyping a First-Person Shooter 209 Catastrophic Prototyping and Other Stories 210

Perspective on Physical Prototyping 275 Prototyping Your Original Game Idea 216

Visualizing Core Gameplay 276 Building the Physical Prototype 277 The Design Evolution of Magic: The Gathering 219

Refining Your Visualization 233 Making the Physical Prototype Better 234

Beyond the Physical Prototype 234

Conclusion 235

Designer Perspective: James Ernest 236

Designer Perspective: Katie Salen 238 Further Reading 240

Chapter 8 Digital Prototyping 241 Types of Digital Prototypes 241

Prototyping Game Mechanics 242 Prototyping Aesthetics 244

Prototyping Kinesthetics 245 Prototyping Technology 247 Using Software Prototypes in Game Design 248

Prototyping Cloud 252

Designing Control Schemes 254

Prototyping for Game Feel 257

Selecting Viewpoints 260

Overhead View 267 Side View 267 Isometric View 267 First-Person View 262 Third-Person View 262

Effective Interface Design 264

Form Follows Function 264 Metaphors 264

Contents XI

Visualization 2ö5 Grouping Features 265 Consistency 266

Feedback 266 Prototyping Tools 266

Programming Languages 267 Game Engines 267 Level Editors 267

Conclusion 271

Designer Perspective: David Perry 272 Designer Perspective: Elan Lee 274

Further Reading 276

End Notes 276

Chapter 9 Playtesting 277 Playtesting and Iterative Design 278

Recruiting Playtesters 278

Self-Testing 278 Playtesting with Confidants 279 Playtesting with People You Do Not Know 280 Finding the Ideal Playtesters 280 Playtesting with Your Target Audience 280

Conducting a Playtesting Session 281

Why We Play Games 282

Introduction (2-3 Minutes) 285 Warm-Up Discussion (5 Minutes) 285

Play Session (75-20 Minutes) 285 Discussion of Game Experience (75-20 Minutes) 285 Wrap-Up 286

Methods of Playtesting 288

How Feedback from Typical Gamers Can Help Avoid Disappointing Outcomes 289

A Primer for Playtesting: Don't Follow These Rules! 293

The Play Matrix 299

Taking Notes 3 0 0

Basic Usability Techniques 302

Do Not Lead 302 Remind Testers to Think Out Loud 302 Quantitative Data 302 Metrics in Game Design 303

Data Gathering 306

Test Control Situations 308

X I I Contents

Playtesting Practice 309

Connect Four 309 Final Analysis 370

Conclusion 310

Further Reading 310

End Note 310

Chapter 10 Functionality, Completeness, and Balance 311 What Are You Testing For? 311

Foundation 372 Structure 372 Formal Details 372 Refinement 313

Is Your Game Functional? 313

Is Your Game Internally Complete? 314

Solution #7 3?5 Solution #2 3?5

Solution #3 315

Solution #4 3?5 Discussion 375 Loopholes 376 Loopholes versus Features 377 Dead Ends 320 Wrapping Up Completeness 320

Is Your Game Balanced? 321

Balancing Variables 327 Balancing the Dynamics 322 Reinforcing Relationships 322 Dominant Objects 323 Dominant Strategies 325 Balancing Positions 325 Symmetrical Games 326 Asymmetrical Games 326 Asymmetrical Objectives 328 Ticking Clock 328 Protection 328 Combination 329 Individual Objectives 329 Complete Asymmetry 329 Balancing for Skill 337 Balancing for the Median Skill Level 332

Contents X I I I

Balancing Dynamically 332 Balancing Computer-Controlled Characters 333

Techniques for Balancing Your Game 333

Think Modular 333

A Conversation with Rob Pardo 334

Purity of Purpose 341 One Change at a Time 347 Spreadsheets 347

Conclusion 342

Designer Perspective: Brian Hersch 343

Designer Perspective: Heather Kelley 345 Further Reading 347

End Notes 347

Chapter 11 Fun and Accessibility 349 Is Your Game Fun? 349

Challenge 349 Play 357 Story 354 Analyzing Appeal 354

Improving Player Choices 355

Types of Decisions 356 Dilemmas 357 Cake-Cutting Scenario 35Ö The Prisoner's Dilemma 359 Puzzles 367 Rewards and Punishments 362

Anticipation 364 Surprise 364

Progress 365

The End 366 Fun Killers 367

Micromanagement 367 Tuning and Balance: Us vs. It 368

Stagnation 373

Insurmountable Obstacles 374 Arbitrary Events 375 Predictable Paths 375

Beyond Fun 376

Is Your Game Accessible? 376

Using Audio as a Game Feedback Device 378

X I V Contents

Conclusion 382

Designer Perspective: Robin Hunicke 383

Designer Perspective: Lome Lanning 386

Further Reading 388

End Notes 388

Part 3 Working as a Game Designer 389

Chapter 12 Team Structures 391 Team Structure 392

Publisher versus Developer 392

Developer's Team 394

Game Designer 394

Producer 395

Building Inclusive Design Teams 396

Programmers 4 0 0

Visual Artists 407

QA Engineers 403

Specialized Media 403

Level Designer 404

Publisher's Team 405

Producer 405

Marketing Team 406

Executives 406

Q>4 Engineers 407

Usability Specialists 407

User Research and Metrics 408

Team Profile 409

All Contr ibute to the Design 409

Team Building 410

Team Communication 410

Conducting Meetings 477 Ägi7e Development 477

Conclusion 412

Designer Perspective: Nahil Sharkasi 473

Designer Perspective: Matt Firor 476

Designer Perspective: Jenova Chen 478

Further Reading 421

End Note 421

Contents X V

Chapter 13 Stages and Methods of Development 423 Stages Defined 423

Concept/Contract 424 Preproduction 426

Production 427 QA/Polish 428

From Classroom to Console: Producing flOw for the PlayStation 3 429

Ongoing Production 431 Using Agile Development 431

Agile Project Planning 433

Goals 433 Priorities 434 Schedule 434

Budget 435 Scoping and Revising 436 Opportunities for Indie Gamemakers 437

Milestones and Approvals 440 Conclusion 440

Designer Perspective: Michael John 441 Designer Perspective: Jeff Wafson 445

Further Reading 447

Chapter 14 Communicating Your Designs 449 Visualization 449

Flowcharts 451

Tables and Spreadsheets 453

Concept Art 453

Description 454

Virtual Reality and the Oculus Rift 455

Formats for Design Documents 458

Contents 459

Design Macros 464

Conclusion 465

Designer Perspective: Anna Anthropy 466

Designer Perspective: Rob Daviau 468 Further Reading 469

End Notes 469

L

X Y I Contents

Chapter 15 Understanding the New Game Industry 471 The Size of the Game Industry 471

Platforms for Distribution 472

Consoles 473

Sony PlayStation 4 473 Microsoft Xbox One 473

Nintendo Switch 473 Computer (PC and Mac) 473 Mobile (Phone and Tablet) 474 Virtual Reality and Alternate Reality 474

Genres of Gameplay 474

Action Games 475 Strategy Games 475 Role-Playing Games 475 Mobile Game Design and Zombies, Run! 476

Sports Games 479

Racing/Driving Games 479 Simulation/Building Games 479

Flight and Other Simulations 480 Adventure Games 480 Educational Games 480 Children's Games 480

Casual Games 480 Experimental Games 481

Publishers 481

Electronic Arts 481 Square Enix 481 Nintendo 481 Sony Computer Entertainment 482

Developers 482

The Business of Game Publishing 483

Element 7: Development 483 Element 2: Licensing 484 Element 3: Marketing 4S5 Element 4-. Distribution 4S5

Conclusion 486

Designer Perspective: Keita Takahasi 487 Designer Perspective: Graeme Bayless 489

Further Reading 492

End Notes 492

Contents XVII

Chapter 16 Selling Yourself and Your Ideas to the Game Industry... 493 Getting a Job at a Publisher or Developer 493

Educate Yourself. 493 Academic Programs 494

Play Games 494 Design Games and Levels 494 Know the Industry 495 Networking 495 Organizations 495 Conferences 495 Internet and E-mail 496 Starting at the Bottom 496

Interning 497 QA 497

Pitching Your Original Ideas 497

Pitch Process 498

Pitch Materials 498 What Happens after the Pitch 500

Independent Production 501

Conclusion 501

Designer Perspective: Erin Reynolds 502 Designer Perspective: Matt Korba 505 Designer Perspective: Asher Vollmer 507

Further Reading 508

Conclusion 509

Index 511