Monthly Archives: August 2009

Why comics in game design?

  • The gutter – an action that happens inbetween the art is a lot like the activities the player does in a game
  • They are both a “low art” form surround by lots of fear. In the 50ies, people were scared of “tales from the Crypt” they eway they are scared of GTA now.

McCloud defines a comic as “Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or produce an aesthetic response in the viewer”

Is the Bayeux Tapestry a comic by this definition? Myan Murals/Writing and Art? Egyptian Hieroglyphics?

Icons

Icons are any images used to represent a person, place or idea.

Abstracting allows us to focus on what we want to draw attention to. Its not a matter of reducing detail as much as picking the details that are important.

Words can also lie within a continuum from received to perceived.

Closure

Comics are fractured snapshots of a continuous timeline. From this, we all construct a unified reality. The world on the other side of the comic page is assumed to have a reality and we are trying to make sense of it.

ballence.001These last few weeks I’ve been doing a series of presentations out of a fantastic book on game design, The Art of Game Design – A Book of Lenses, by Jesse Schell.

In the beginning of chapter 11, Jesse begins the description of two ways that fairness can be created in multiplayer gaming. The first is what is called symmetrical balance and many games such as football, chess, tennis and halo use this to create a fairness in play.

I think the most simple example of symmetrical balance is found in the classic game of tic-tac-toe. In this game, both players have the same actions available to them, namely the ability to fill any of the empty squares with their symbol. They are able to do this once per turn, then they wait for their opponent to make their move. The players also have an identical goal to win the game; they must place their symbols so that three are in a row either horizontally, vertically or diagonally. The first player to do this wins.

Because both players have identical affordances and goals, this game is completely symmetrical. The only imbalance is deciding which player goes first, which gives them a slight advantage. In many games like this, a random draw to decide clears up this final problem.

ballence.004On the other hand, asymmetrical games give players different possible moves or different goals to win. On the simple side of things, the board game risk does this when played by the mission rules. Here players have the same kinds of moves, but they have different goals. A more complicated example is one of my current favorite games, Team Fortress 2.

TF2 has 9 player types, including:

  • The heavy –  has a huge machine gun and a lot of life, but moves very slowly
  • The scout  - has a small shotgun for close range combat, little life and moves very fast
  • The engineer – has a shotgun similar to the scout’s, but can build things such as a robotic sentry gun or a set of portals to warp themselves and other players
  • The spy – Can disguise themselves as opponents and even become invisible for a short time, but has no ranged weapons

ballence.005

So which character is the best? Well, that is where the asymmetrical balance is seen. Each of the characters have strengths and weaknesses. No single character is the best because if we assign values to things such as speed, maneuverability and firepower, we see that they all have the same value overall.

It should be obvious that designing an asymmetrical game is quite a challenge. Despite our mathematical models of predicted value, it is impossible to say how important each category really is for victory. In addition, the use of this characters is impossible to predict, all kinds of emergent and unplanned activity takes place. The bottom line, is that the only real way to find balance is to playtest the heck out it and see what players do. As soon as one character shows a clear domination, we change the attributes.

So there it is: Symmetrical vs. Asymmetrical Balance. Symmetrical games are easier to balance for fairness, but Asymmetrical games allow for a much richer set of player choices at the expense of much harder game design.

ENGAGE Collaboration LogoThis week, Lindsey Schmidt worked up the results from the surveys we did concerning our work to integrate collaboration technologies into 34 courses, effecting about 1400 students here at UW Madison.

Here are some of the findings I found interesting:

  • In the pre-test, only about 50% of students said they “enjoy using tools like wikis, blogs, chat, discussion board, etc” with a slight increase in the post test.
  • 89% of the students said their group benefited from using technology tools for collaborative work. 80% of faculty said the same about their students work. About the same amount said that the tools made their work more convenient.
  • Over 80% of the instructors felt that using technology tools enhanced the quality of the final work.
  • Only about 65% of the students said they were “glad” technology was integrated into the course
  • The top tools that were ranked “extremely or quite helpful” were: F2F Meetings (85%), Email (83%), Wikis (58%), Discussion Boards (55%), Content Management Systems (52%), Chat (48%)
  • The top tools for coordinating F2F meetings were Email, Social Networking Sites, and IM Chat
  • Top tools for creati†ng presentations were: Email, Wiki, then Google
  • How did technology tools help? Convenience (39.9%), Reduced F2F time (31.3%), Common Place to Store Work (21.7%), Easy to Communicate (17.4%)
  • Students that understood exactly how the project related to the course objectives were much more likely to say they learn better in groups

More info about the ENGAGE Collaboration Project

GameQuest

Les, Cid and I just finished a 3.5 hour worshop presentation at the 2009 Distance Teaching and Learning conference. Like the other presentations we have done in the GameQuest line, it entailed a simple card game with scoring to facilitate some great conversations and stories from our experiance designing video games over the last few years. Here are the handouts from the game if you are interested.

GNS Triangle

The GNS Triangle is a way to describe what role players want in a game. The edges of the triangle are Gamist, Narrativist and Simulationist.

  • Narrative – Most of the narrative events in many games are pre-chosen. In a successful design, the narrative fragments will have an impact because of the choices that the player performed beforehand.
  • Simulation – Thought the simulation is set, it allows people to navigate though them in many different ways. This is the sandbox side of a game.
  • Games – The game system, the other side of the sandbox. Things to do, ways to do them and challenges to get in the way.

Example: Hearts of Iron – a WWII game. WWII has a set narrative. The designers are interested in the design of the game set in historical events. Triggers happen no matter what, for example, the break up of the western european nations, but many things are flexible.

Bartle’s Player Types

There are 4 main types (Barte had 8 actually): Explorers, Socializers, Achievers and Killers.

Take the test yourself: http://www.gamerdna.com/quizzes/bartle-test-of-gamer-psychology

RPG Triangle

Actors, Gamers and Role Players

  • For example, in a mock trial, the person that stands up and wants to bring the confounding piece of evidence, they are likely an actor.
  • The person that wants to win is more in the gamer camp.
  • The person who wants to be an accurate lawyer is more of a role player.

Between these two player taxonomies, we need to understand what our players are expecting. We can also design around the majorities. People self report these preferences inaccurately, but it sure would be nice to know.

Creating Role

  • Whatever the game is about, make them at the middle of the action. This could include subgames that highlight their specific roles.
  • Create an environment where something is really at stake and the players can understand it.
  • Consequences, Mirroring, Social Context and Freedom all lead to the investment in a role.