Waatednted to Know About Video Game Designnealen/game/gameworkshop.pdf · Procedural Game Narrative...

Workshop

E thi Y AlEverything You Always Wanted to Know About a ted to o bout

Video Game Design

Andrew Nealen©Nintendo

Andrew NealenAssistant Professor

Department of Computer ScienceDepartment of Computer Science

2/26/2009 1Andrew Nealen, Rutgers, 2009

What is this workshop about?What is this workshop about?

Game designGame designReal world abstractions

Visuals Life meter (Castlevania)

Interaction

Design iterations

Gameplay mechanics

Rapid prototypingPower ups (Super Mario Bros.)

Many examples

FUN ! Bosses (R‐Type)

(Built from three previous courses)

Andrew Nealen, Rutgers, 2009 2/26/2009 2

Playing with powerwww.1up.com/do/feature?cId=3151392

About myselfAbout myself

Andrew NealenAndrew [email protected]://www.cs.rutgers.edu/~nealenp g

Assistant professor of computer science

Research and teachingComputer graphics + interactive shape modeling

Video game design and programmingg g p g g


AgendaAgenda

Definition of a game and game designDefinition of a game and game design

Game design in small teams

Q i k d di id iQuick and dirty: rapid prototyping

Abstraction of the “real world”

Games as systems/simulations in software

Prototype design (+ programming) strategiesPrototype design (+ programming) strategies

Game “feel”: principles of virtual sensation


What is a game?What is a game?

And what is game design?


What is a game?What is a game?

Many definitions existMany definitions exist

Common in many definitions:P ti i t ( l )Participants (players)

Decisions (interactions)

( )Conflicts (opposition)

Resource management (game tokens)

Pursuit of a goal (or goals)

(and all of this in a closed, formal system)


Aspects of video game designAspects of video game design

What is video game design?What is video game design?Player mechanics and controls?

Game rules dynamics and goals?Game rules, dynamics and goals?

World and level design?

Ch i f l i d tti ?Choice of colors, icons and setting?

Interactive sound and music?

I i i l d d f d i d d ?Intuitive tools and code for designers and coders?

Enemy/ally intelligence and behavior?


Aspects of video game designAspects of video game design

Answer:Answer:

All of the above (and more)Video game design is inherently interdisciplinaryinterdisciplinary

Try to learn as much as you can about all aspects of a video game and you will be aaspects of a video game, and you will be a better video game designer


Game designGame design

A form of modern day AlchemyA form of modern day AlchemyIf we knew the formula for a great game we would always use it

Alchemy has advanced to chemistry, so we can advance to a science too, right ?

Define rules / guidelines of the game

Design interesting InteractionRisk and reward (e.g. interesting decisions for player)

Advance the „plot“ (score, level, skill, narrative, etc.)

Keep the player challenged, not frustrated


Fundamental meaningful playFundamental meaningful play

DescriptiveDescriptiveRelationship between player action and system outcomey

EvaluativeDiscernable

Perceive the immediate outcome of player action Explosion, sound effect, game state change

IntegratedOutcome of an action is woven into the game systemActions on earlier levels“ influence gameplay later onActions on earlier „levels influence gameplay later on


Game Design TeamsGame Design Teams

For small/medium sizedgame projects


Small design teamsSmall design teams

Team lead / designTeam lead / designOrganize team

Schedule milestones

Iterate game design and game rules

d hStudy game theory etc.See „Rules of Play“,„Theory of fun“ ywww.theoryoffun.com,and „The Art of Game Design“ i t l lDesign


www.experimentalgameplay.com

www.2dboy.com


GameplayGameplay programmer

The „AI“ of the game:generally refers to rule‐based aspects

The software engineerThe software engineer

Encode „behaviors“, path planning, state machines, etc.

Works closely with leadgame designergame designer



Graphics programmerGraphics programmerRendering technology

Work with content creator on „procedural content“

Interface withInterface with gameplay programmer (collision detection, events, etc.)

Polish the visuals withparticle effects etc

© Bizarre Creations

particle effects, etc.



Content creatorContent creator2D Sprites (Photoshop)

3D Models

Textures, Normalmaps

2D/3D animations

Sound design

Role of an art directorCoherent look‐and‐feel

Adapt style to gamemechanics and story“mechanics and „story


God of War™, © SCEA


None of these roles are carved in stoneNone of these roles are carved in stoneThe previous example is one way of splitting work among a group of fouramong a group of four

Many successful projects have been completed by groups of two, and also solo developersgroups of two, and also solo developers

Tip/trick: realistically adjust your design ambitions to the expected man‐hours you will be able to invest


Rapid PrototypingRapid Prototyping

Getting the idea in the open

Or: how to avoid the “it designs well in your head” pitfall


In the beginning…In the beginning…

Start with rough prototypesStart with rough prototypes

Typical game situationN d t t d t i d t lNeed to eat and progress to in order to evolve



A real world example: flOwA real‐world example: flOw

Immersive ambient sound and visuals

Easy to pick up and play

B if lBeautiful



Think in 2D for initial game designsThink in 2D for initial game designsYou can always move to 3D later

But first generate interesting and fun 2DBut first generate interesting and fun 2D object‐to‐object interaction and rules

Check out other stuff and get inspiredCheck out other stuff and get inspiredThis is not limited to games

N t h i l/bi l i l h llNature, physical/biological phenomena as well as personal issues often serve as good starting points

Pl ( ) l t!Play (your) games a lot!


Game Design and Rapid Prototyping

Rapid Protoypingiis

G D iGame Design

But: game design is not necessarily

http://www.rodvik.com/rodgames/

rapid prototyping


Prototype vs. Design Doc.

Design Document

Prototype vs. Design Doc.

PrototypeDesign Document

Very cheap

Prototype

Cheapy p

Static

Boring

p

Interactive

Sexy

Faith in developers

Tedious to parse

Science

Can be very complex

Tedious to create Can (and should) be thrown away and redone

[Gingold 2006]



What is Rapid Prototyping ?at s ap d ototyp g ?Fast, dirty demos of gameplay mechanicsEasy to implement, test, iterate and throw awayHave an idea, ask questions, build prototype [Gingold 2006]

Talk build talk again build more etc etcTalk, build, talk again, build more... etc., etc.

Ask questionsCan moving a character through blobby obstacles be fun?

Surprising one self with new ideas Speed/number of iterations correlates with good designWorks best if technology issues are not in the wayWorks best if technology issues are not in the way



What is Rapid Prototyping ?What is Rapid Prototyping ?

In a nushell:

ABSTRACTIONABSTRACTION


Interaction AbstractionInteraction Abstraction

Abstraction examples of complex tasksAbstraction examples of complex tasks

Motion

Manipulation + button

Gathering+ collide

Player should learn skills as the game progresses (Many Nintendo games master this)

E l M t id i U kill ft i itiExample: Metroid series. Use skill after acquisition

Example: Zelda series. (Re)learn set of skills for final battle


Visual AbstractionVisual Abstraction

A map of visual iconographyA map of visual iconography

© Scott McCloud, Understanding Comics2/26/2009 26Andrew Nealen, Rutgers, 2009



Lower left: visual resemblance (e.g.Lower left: visual resemblance (e.g. photography)




Lower right: iconic abstraction (e.g.Lower right: iconic abstraction (e.g. cartooning)




Top: picture plane („pure“ abstraction)Top: picture plane („pure abstraction)




Far right: from realism to cartoons… words asFar right: from realism to cartoons… words as the next logical step




Interesting tool for thinking about comics andInteresting tool for thinking about comics and games as art


The Game Design ContextThe Game Design Context

Areas of game design iconographyAreas of game design iconography

PrototypeFinal GamePotential PrototypeFinal GamePotentialUncanny Valley


The Game Design ContextThe Game Design Context

Iconography creates emotionIconography creates emotion

© Scott McCloud, Understanding Comics etc.

Leverage: cultural knowledge, memory, nostalgia

Constructing Artificial Emotions: A Design Experiment

, g

Constructing Artificial Emotions: A Design Experimenthttp://www.gamasutra.com/view/feature/1992/constructing_artificial_emotions.php?print=1


Towards a Procedural Game Narrative

A ThesisA „game narrative“ can be expressed and conveyed though the abstraction of both interaction and visuals, and need not necessarily rely on explicit storytellingy p y g

Further reinforcement of this thesis( )Sound and music, for example Everyday Shooter (video)

Discernable and integrated actions and outcomes

Cultural and personal experience

The Bottom Line: Create emotions that drive player motivationCreate emotions that drive player motivation


MDA FrameworkMDA Framework

Hunicke, LeBlanc, ZubekMDA: A Formal Approach to Game Design and GameGame Design and Game Research


Games as SoftwareMDA Framework

CodeCode

H i k L Bl Z b kHunicke, LeBlanc, Zubek. MDA: A Formal Approach to Game Design and Game Research2/26/2009 36Andrew Nealen, Rutgers, 2009


Code ProcessCode Process



Code RequirementsProcessCode RequirementsProcess




lRules




lGame

RulesGame

“Session”




l “ ”Game

Rules “Fun”Game

“Session”


A Design VocabularyMDA Framework


l “ ”Game

Rules “Fun”Game

“Session”



RequirementsProcess RequirementsProcess

“ ”Game

Mechanics

“Fun”Game

“Session”



RequirementsRequirements

“ ”

Mechanics Dynamics

“Fun”



Mechanics AestheticsDynamics


DefinitionsMDA Framework

Mechanics The rules and concepts thatMechanics: The rules and concepts that formally specify the game‐as‐system.

Dynamics: The run‐time behavior of the game‐as‐system.

Aesthetics: The desirable emotional responsesevoked by the game dynamics.


The Player’s PerspectiveMDA Framework

M h i A th tiD iMechanics AestheticsDynamics


The Designer’s PerspectiveMDA Framework

M h i A th tiD iMechanics AestheticsDynamics


AestheticsAesthetics

Emotional requirements of the SoftwareEmotional requirements of the Software

Q iQuestionsHow to get past words like fun and gameplay ?

What kinds of fun are there?

How to recognize a particular kind of fun when we see it?


AestheticsEight Kinds of Fun

1. SensationGame as sense‐pleasure

2 F t

5. FellowshipGame as social framework

6 Discovery2. FantasyGame as make‐believe

3. Narrative

6. DiscoveryGame as uncharted territory

7. Expression3. NarrativeGame as drama

4. Challenge

Game as self‐discovery

8. SubmissionGame as pastime

Game as obstacle course


AestheticsClarifying Aesthetics

Quake is funQuake is fun.

Final Fantasy is fun.

Quake: Challenge, Sensation, Fantasy

Final Fantasy: Fantasy, Narrative, Expression, Discovery, Challenge


AestheticsClarifying Goals

As designers one can choose certainAs designers, one can choose certain aesthetics as goals for the game design.

As with other software the process is drivenAs with other software, the process is driven by requirements, not features.

However, one word is not enough to describe a goal.


Dynamics and MechanicsDynamics and Mechanics

Dynamics: state machine(s) feedback systemsDynamics: state machine(s), feedback systems

Mechanics: Sh t A iti S P i tShooters: Ammunition, Spawn Points

Golf: Sand Traps, Water Hazards

Mechanics vs. DynamicsDynamics and Mechanics are different views of games.

Dynamics emerge from Mechanics.H i k L Bl Z b kHunicke, LeBlanc, Zubek. MDA: A Formal Approach to Game Design and Game Research2/26/2009 53Andrew Nealen, Rutgers, 2009

Prototype designPrototype design

Basic “how to”


Protoype ProgrammingProtoype Programming

What is importantat s po ta tAgility

Quick rethinking of ideas and easy change

VelocityThrow away and rebuild from scratch fastTry out many ideas very fastTry out many ideas very fast

What is not importantRobustnessElegance and/or optimal code (important later ☺)

Do not fall in love with your idea and/or tech !

[Gingold 2006]


Rapid Protoypingwww.experimentalgameplay.com

Setup: “Rapid” is a State of MindEmbrace possibility of failureDevelop in parallel

Design: Creativity and “Myth of Brainstorming”Formal brainstorming = 0% success rateGather art + music to create emotional targetSimulate in your head: pre‐prototype the prototype

Development: Nobody knows how you made it and nobody caresDevelopment: Nobody knows how you made it, and nobody caresBuild the toy firstFake it. Nobody cares about your great engineering

General Gameplay: Juicy FunGeneral Gameplay: Juicy FunComplexity does not equal funCreate a sense of ownership for the playerBuild toward a well defined goalBuild toward a well defined goal


Rapid Protoyping

Shigeru Miyamoto:

Failure is not the end of the world

Shigeru Miyamoto:... and Miyamoto himself would say that he did not want any documents. He would just say, "Find the fun, and I'll be back in three months to take a look at what you have."

Th L “The „Lessons“Give yourself a short period of time to 'find the fun' in a designfun in a designIf the fun isn't there, move onIf you do fail it isn't the end of the worldIf you do fail, it isn t the end of the world

[Lost Garden 2007]


Examples (1)Examples (1)

The MarriageThe Marriage

http://www.rodvik.com/rodgames/


Gameplay Mechanics (1)

Situation:


Situation:Need to keep both partners happy

Takes some learning and „interpretation“

Interaction is minimal, but very interesting

„Winning“ is not as simple as it looks



OsmosOsmos

http://www.hemispheregames.com



Situation:


Situation:Need to eat all , and travel by preservation of linear momentum

?

Introduces trade‐off (speed/direction vs. size)

Ambient sound and visuals

Small change in design = large difference in gameplay

Compared to ?2/26/2009 61Andrew Nealen, Rutgers, 2009


flOwflOw

© Jenova Chen2/26/2009 62Andrew Nealen, Rutgers, 2009


Situation:


Situation:Need to eat and progress to in order to evolve


Start with Abstraction (1)Start with Abstraction (1)

Situation:Situation:Need to get from to , while avoiding enemies

Problem (Trivial) Solution Other Solution


Implementation Example (1)Implementation Example (1)

This principle is implemented in some gamesThis principle is implemented in some gamesMost recently: Bioshock (August 2007)

© Irrational Games2/26/2009 65Andrew Nealen, Rutgers, 2009

Start with Abstraction (2)Start with Abstraction (2)

Situation:Situation:Need to get from to , in possession of 2 „doors“

?

Problem (Trivial) Solution Other Solution


Implementation Example (2)Implementation Example (2)

This principle is implemented in NarbacularThis principle is implemented in Narbacular Drop, also known as Portal

© 2007 Valve2/26/2009 67Andrew Nealen, Rutgers, 2009

Prototype vs. Final GamePrototype vs. Final Game

Prototype:Prototype: Tower of Goo(Demo)(Demo)

http://www.gamasutra.com/features/20051026/gabler_01.shtml

Final:World of Goo(Video/Demo)

htt // 2dbhttp://www.2dboy.com


Abstraction vs. Actual GameAbstraction vs. Actual Game

Is an abstraction less playable and/or fun ?Is an abstraction less playable and/or fun ?

DEMODi

DEMODiscuss:

Why is this still ok ? Is this still ok ?Familiar music character and/or setting ?Familiar music, character, and/or setting ?Game balance is independent of rendering ?Player control is more important than visuals ?y p


Ideas are EverywhereIdeas are Everywhere

„Three Hundred“„Three Hundred Mechanicshttp://www.squidi.net/three/

400 Rules listhttp://www.theinspiracy.com/Current%20Rules%20Master%20List.htm

Indie Game List(s)Indie Game List(s)http://www.indiegames.com/play.htm

http://www.gametunnel.com/articles php?id=620articles.php?id 620


Further ReadingFurther Reading

Rules of PlayyUnit 1: Core Concepts (but the ideas are interspersed throughout the book)

The Chemistry Of Game DesignThe Chemistry Of Game Designhttp://www.gamasutra.com/view/feature/1524/the_chemistry_of_game_design.php?print=1

Flow in Gameshttp://jenovachen.com/flowingames/thesis.htm

Library of Game Mechanics (page 385) http://acta.uta.fi/english/teos.phtml?11046

MDA Frameworkhttp://www.cs.northwestern.edu/~hunicke/pubs/MDA.pdf

Formal Abstract Design Tools http://www.gamasutra.com/view/feature/3357/formal_abstract_design_tools.php?print=1


Game FeelGame Feel

Steve Swink, Principles of Virtual Sensation


Game Feel ExperimentDemo

Any (small) difference(s) in control + physics ?y ( ) ( ) p y

Which version is more fun to control ?


Game Feel ExperimentResults

Result: no differences in control + physics ...What changed ?

Maybe helpful / eye candy: motion trailEye candy / obfuscating: dynamic background


Game FeelGeneral

Sensation ofKinesthetic feeling (e.g. Super Mario)Controlling some virtual avatar (direct / indirect)M ki th h t t i f illMaking the character an extension of your will

Principles of virtual sensation / Game FeelPrinciples of virtual sensation / Game FeelBased on gamasutra essays/papers by Steve Swink http://www.steveswink.com/

Deeply embedded in Human‐Computer‐Interaction (HCI) research( )

© Nintendo


Principles of AnimationThomas & Johnston: The Illusion of Life

• Squash and Stretchq• Timing

– spacing actions to define the weight and size of objects• Anticipation

– the preparation for an actionthe preparation for an action • Staging

– presenting an idea so that it is unmistakably clear • Follow Through & Overlapping Action

the termination of an action and establishing its relationship to the– the termination of an action and establishing its relationship to the next action

• Straight Ahead Action & Pose‐To‐Pose Action• Slow In and Out

A• Arcs• Exaggeration

– Accentuating the essence of an idea via the design and the action • Secondary Action• Appeal

http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation/principles/prin_trad_anim.htm

Game FeelTowards a More Formal Definition

We often use physical analogiesWe often use physical analogiesThe game feels: floaty, smooth, slow, loose

Best/Worst Game/Control/Camera everBest/Worst Game/Control/Camera ever

How to delineate animation and virtual ti ?sensation?


Principles of Virtual Sensation (1)Principles of Virtual Sensation (1)

1 Predictable Results (Input + Response)1. Predictable Results (Input + Response)Allowing a sense of mastery and control by correctly and consistentlyinterpreting player input

2. Novelty There are an infinite number of results from the same input

3 Good Feedback3. Good FeedbackEnabling mastery, control, and learning by rewarding player experimentation

4 L Skill Fl Hi h Skill C ili4. Low Skill Floor, High Skill CeilingMaking the mechanic intuitive but deep; it takes minutes to pick up and understand but a lifetime to master


Principles of Virtual Sensation (2)

5. Context

Principles of Virtual Sensation (2)

Giving a mechanic meaning by providing the rules and spatial context

in which it operates

6. Impact and Satisfying ResolutionDefining the weight and size of objects through their interaction with each other and the environment

7. Appealing ReactionProducing appealing reaction regardless of context or input


1. Predictable Results (1)Principles of Virtual Sensation

Design clear, simple and consistentg , pplayer controlsPitfalls

l hMapping inputs to results that are too difficult to processCreating mappings that are g pp gunnatural or counterintuitiveOverwhelming the player with states and possibilitiesstates and possibilities

These pitfalls make consistent results seem randomesu ts see a do


1. Predictable Results (2)

Use Natural Controller Mappings

Principles of Virtual Sensation

Use Natural Controller MappingsE.g. “genre conventions“

Exceptions• Some experiments,

Resident Evil 1-3, GTA IV2/26/2009 81Andrew Nealen, Rutgers, 2009


Clearly differentiate between player states


What are player states ? Example:Mario‘s controls on the groundas opposed toas opposed toMario‘s controls in the air

(Discernable) state changes are importantd

Demo

Expressivity and improvisation + Increase reaction sensitivity

Too many states may cause confusionFeel of control is lostExample: Tony Hawk Skateboarding series



Expressivity and improv with digital (!) input


Expressivity and improv with digital (!) inputCompare Donkey Kong to Super Mario Bros.

SMB achieves analog feel through simple (Euler)SMB achieves analog feel through simple (Euler) time integration (see XNASandbox)

But be careful: chosing timesteps and spring stiffnessOne more example: Precision (a Cactus game)



Consider direct vs indirect input methods


Consider direct vs. indirect input methods, or a combination thereof

Some examplesIco: Great sense ofemotional tiesemotional ties

Lost Winds: Control player indirectly via control of air flow



We have very little time to hook the player


e a e e y tt e t e to oo t e p ayeIf they don’t feel successful and oriented within the first couple minutes, we’ve lost them

The lowest order feedback loop is the virtual sensation

Th lThe moment‐to‐moment controlIf it doesn’t feel good at an intuitive level they’ll stop playingplaying

Virtual sensation + predictable results are the gatekeepers to all other game experiences


2. NoveltyPrinciples of Virtual Sensation

Infinite number of results from the same inputInfinite number of results from the same inputExamples

Improve character abilities over timeImprove character abilities over time(Metroid, Mega Man, etc.)Deterministic physical simulationsInteresting player states and

bi ti th fcombinations thereof

Demo: Ski Stunt SimulatorDemo


3. Good Feedback (1)Principles of Virtual Sensation

Enable mastery, control and learning byEnable mastery, control and learning by rewarding experimentationAllow player toAllow player to

Understand the structure and challenges of the gameGive immediate, clear and useful (Audiovisual) feedback

Without immediate feedbackthere is no virtual sensation


3. Good Feedback (2)Principles of Virtual Sensation

Clearly communicate the game statey gto the playerExample: Mario Kart

l dPowerslide: Smoke + SoundPowerslide boost:Blue / Red Sparks

Giving detailed audiovisual feedback results in consistent and measurable progress

Do not leave the player guessing and frustratedDo not leave the player guessing and frustrated


4. Low Skill Floor, High Ceiling (1) Principles of Virtual Sensation

Low skill floor = o s ooa virtual sensation is easy to learnThis is not a function of complexityp y

A relatively complicated input scheme may be easy to learn thanks to

A t l iA natural mappingPredicable resultsAvoiding state overwhelmProviding good audiovisual feedback

Conversely the opposite is also trueConversely, the opposite is also true



If controls are too complex to learn fast,p ,use Helpers / AssistsNo longer physical, but rather physically plausibleExamples

Jugglers (arc prediction and force attenuation)Aim assist in 3D shooters on consolesAim assist in 3D shooters on consolesGrav Ball (simple ball pass control)Forza Motorsport (oversteer control)

Why overcomplicate the control scheme?Let players do what they can, computer does rest



High skill ceiling = g s ce gmastering a virtual sensation is time consumingWhat is mastering a virtual sensation ?g

Try competing in Counterstrike or Ikarugaand you will know what I mean ☺B h i b k fBoth games are easy to get into, but take forever (literally) to master

Design mastery as learning a layer of skillsStart with skill atoms, and combine them later,



Try tuning the relation between input andTry tuning the relation between input and reaction sensitivity

Low Input, low reaction

Low Input high reactionLow Input, high reaction

Hi h I t l tiHigh Input, low reaction

High Input, High reaction



State switchingState s tc gMario hasLeft, Right, Jump, Rung p

State switching createsmany overlapping statesstatesHolding jump button longer results in higher jumpHeight of Jump also influenced by speedHeight of Jump also influenced by speed

Other examples of state switchingCombos, Spatial states (demo), p ( )


5. Context (1) Principles of Virtual Sensation

Give a mechanic meaning by providingG e a ec a c ea g by p o d grules and spatial contextExamplesp

Mario in empty space ? Boring ...Turning a car on an infinite field ? Boring ...

DemoEmpty vs. Full vs. MedPerception

Zoom vs. Angled speed perceptionTextured vs. Empty speed perceptionTextured vs. Empty speed perception



Make use of player perceptionMake use of player perception

Provide a sense of scale and weightE l Sh d f th C lExample: Shadow of the Colossus

Great use of speed (slow), sound (heavy) and visuals (particles dust size style etc )visuals (particles, dust, size, style, etc.)



Context and gameplay aestheticsContext and gameplay aesthetics

Example: Super Mario Kart vs. Mario Kart 64L SMK D t lik MK64 N t h ll i t llLove SMK. Do not like MK64. Not challenging at all

Many love MK64: „fun to play with friends“

Think about your aesthetics early on !


6. Impact

Define weight and size of objects through interaction with


each other + environmentAllow player to

Extrapolate the physical laws of the virtual worldExtrapolate the physical laws of the virtual worldMake good, educated guesses

Bad interaction modeling breaks immersion (flow)breaks immersion (flow)

Do this too often and the player will stop playing

Adapt rendering st le toAdapt rendering style to physical style

Fake / Exaggerate them both ☺(+ use particles)(+ use particles)


7. Appeal

Produce appealing reaction regardless of context


oduce appea g eact o ega d ess o co te tor input

Remember the demo in the beginning ?

Think about failure statesSki Stunt Simulator crashes arefun, even if the goal were unclear

Demo of cube movementHigh input, high reaction is clearlythe most fun in the absence ofcontext


The Bottom Line

Goal

The Bottom Line

Create a feeling of control and masterySo powerful that it transcends context and platform and becomes a powerful tool for self expressionand becomes a powerful tool for self expression

Create a sense of ownershipPersonal (time) investment( )Replayability and evangelismMastery and resulting ability to improvise

Adhere to these principles and you are more likely to succeedlikely to succeed


Further ReadingFurther Reading

Principles of Virtual SensationPrinciples of Virtual Sensationhttp://www.gamasutra.com/features/20061114/swink_01.shtml

Game Feel: The Secret IngredientGame Feel: The Secret Ingredient http://www.gamasutra.com/view/feature/2322/game_feel_the_secret_ingredient.php?print=1

Th Ch i t f G D iThe Chemistry of Game Designhttp://www.gamasutra.com/view/feature/1524/the_chemistry_of_game_design.php?print=1

Ron‘s Rules for Playtestinghttp://2dboy.com/2007/11/12/rons-rules-for-playtesting/


ResourcesResources

Stand on the shoulders of giants


ResourcesResources

Game development / careersGame development / careersgamecareerguide.com,gamasutra.com, gamedev.net,igda.comgamedev.net,igda.com

Game newskotaku com 1up com gamespot comkotaku.com,1up.com,gamespot.comtigsource.com,indiegames.com/blog/

dPodcasts1up.com,gamespot.com,b ibrainygamer.net


ResourcesResources

BooksBooksSalen/Zimmerman, Rules of PlaySwink Game FeelSwink, Game FeelSchell, The Art of Game DesignFullerton, Game Design WorkshopFullerton, Game Design WorkshopKoster, A Theory of Fun

ResearchResearchJesper Juul, www.jesperjuul.netGame studies, www.gamestudies.com, g


Date post:	06-Jul-2020
Category:	Documents
Upload:	others
View:	1 times
Download:	0 times

Waatednted to Know About Video Game Designnealen/game/gameworkshop.pdf · Procedural Game Narrative...

Documents