Wednesday 30 November 2011

Week 9 Reading - Why We Play Games by Nicole Lazzar (Additional Reading)

Players play games to change or structure their internal experiances' (2004:8)
What are these experiences and how can they categorised?
Does this accord with your own experiences of Gameplay?

Why We Play Games - Four keys to More Emotion without Story, by Nicole Lazzaro

The Player Experience:
Emotion
- Anger
- Excitement
- Sadness
- What makes failing 80% of the time fun?
- Do people play to feel emotions as well as a challenge?
  • "People play games to create moment-to-moment experiences".
To overcome:
- Game challenge
- Seeking relief from every-day worries
"The day joy of figuring it out".

Storyline - Triggering emotions?
Graphics? - Fun - Value Proposition?

1. What players like most about playing?
Hard Fun:
- Emotions from meaningful challenges, strategies and puzzles.
- Creates emotion by structuring experience towards the pursuit of a goal.
Easy Fun:
- Grab attention with ambiguity, incompleteness and detail.
- Maintain focus with player a sense of attention rather than a winning condition.
Altered States:
- Generate emotion with perception, thought behaviour and other people.
- "This is why I play games because to me it feels like a sense of escapism/temporary therapy".
The People Factor:
- Create opportunities for player competition, co-operation, performance and spectate.

Week 9 Reading - Why We Play Games by Nicole Lazzar (Additional Reading)

'Players play games to change or structure their internal experiences' (2004:8)
What are these experiences and how can they be categorised?
Does this accord with your own experiences of gameplay?

Week 9 Reading - Natural Funativity by Noah Falstein

What makes a game fun? - Initially I thought to my self, that this is a subjective questions. Meaning what one person might find fun another person may not.

Paleolic Pastimes: Games re a specialised form of play based on human interaction.
"Anyone who thinks there is a difference between education and entertainment doesn't know the first thing about either". - Marshall McLuham, Communications Theorist.


"We must do a few things to survive. Everything else is entertainment". - Marvin Minsky, Artificial Intelligence expert at GDC lecture March 24 2001.

- Aagh: Always goes to hunt. Even when full.
- Bohg: Passes his time by kicking back and catching nothing more challenging than some rays.
- Cragh: Only hunts when hungry. Practices throwing/running/fighting.

Physical Fun:
Anything that directly threatens our survival automatically commands our full attentions.
Games - Survivial to capture attention of players.
Focus on:
- Soldiers
-Violence
- Criminals
- Police
- Others who deal with a matter of life and death.

Survival Instinct - Strong muscles and good co-ordination. This explains why sports are popular within most cultures.
- Like (Ritualizing combat or hunting)
"Deer hunter" - Not all popular games need to focus on complex fantasy or science fiction themes or cutting edge 3D graphics if they can tie into this fascination with basic survival, as reality tv shows have also discovered.


Gathering as Physical Fun:
- Casinos
- Gathering items: Pacman, Pokemeon - "Gotta catch em all".

Exploration as Physical Fun:
- Postive as a development for evolution in the human speicies:

Social Fun:
- Meeting and attracting mates as evolution.
- Online Multiplayer Games
- Cell Phone Games
- IM based Games
- GPS based Games
(Social aspect of Video Games)

- Tribal creatures.
- Shopping and trading, collectable items.
- Social chat over best parties.
- Social bonding and gossiping with friends.
- Stories.
Virtual communities due to social gaming experiances:
- Tribes
- Clans
- Virtual marriges/Real-World
- Friendships.

Improved AI and voice recognition all make new kings of social interaction possible.
The Sims:
- Everyday live.
Physical fun is associated with out upright posture and tool use.
Social fun is associated with another important human advantage, our language ability.

Team Sports:
- Tetris = Neither of these survival instincts.

Mental Fun:
- The essence of intelligence is the perception and manipulation of patterns.
- Puzzle games - music.
Although the literal action of Tetris is at best a servere stretch to link to social activities, more abstract function of quickly recognising - and acting on patterns is quite useful.

Natural Funativity - Value of various hobbies that have little obvious survival value but also involve pattern recognition and appreciation from stamp and coin collection to appreciation of all forms of Art and Music.
- Workout of the brain.

Blended Fun:
- Physical
- Mental
- Social
(MMORPGS)

Applying Natural Funativity:
Survival - Fun?
- Evolving
"Grand Turismo"
- Physical: Learnings to move as quickly as possible.
- Social: Competing with our peers and gaining status and recognition
- Mental: Appeal of pervieving constantly changing patterns in the midst of a race and acting on them instantly and correctly all connect back to our pre-history.

Sunday 27 November 2011

Royal Game of Ur

“With particular reference to the readings you have undertaken related to game design and game mechanics, discuss the design problems you have encountered in tweaking the dynamics and game mechanics in The Royal Game of Ur, and explain how you overcame them. Support your answer with close reference to your readings using an appropriate method of citation. Append a bibliography listing the sources you have consulted.”
I will be discussing and looking in-depth into an ancient game entitled ‘The Royal Game of Ur’. I will also be outlining the in game rules as well as analysing the featured mechanics and dynamics of the board game itself. From this I will be discussing the outcomes of my own iterations to which I have implemented into the game. I then tested with follow peers on how this changed to games mechanics and dynamics to make for a more interesting game for better or for worse. Throughout my study and later iterations of the game a significant amount consideration to the study and work of Robin Hunicke, Marc LeBlanc and Robert Zubek into the ‘MDA’ (Hunicke, 2004, pg.1-2) framework is used and put into the thought process upon analysing this game.

The story of ‘The Royal Game of Ur’ started around the early to mid 1920s where explorer Sir Leonard Woolley first discovered the game within the Royal Tombs of Ur in Iraq upon undertaking a team based exploration. It is said to be one of the oldest known board games that has been discovered which dates all the way back to 2600BC. Sir Leonard Woolley excavated a number of different game pieces and game boards within the Royal Tombs, which included binary dice as well as a number of black and white counters. The layout of the board is somewhat abnormal to your typical modern board game although it still makes for an interesting game dynamic. The gaming board layout consists of what Becker calls a “larger body” (4x3 squares) and a “smaller body”, 2x3 squares which connected with a “narrow bridge” of “two squares”, 2x1. (Becker, 2008 pg.11-14)

Friday 25 November 2011

Zotero [zoh-tair-oh]

For Eddies lesson we were given a task to compile a short bibliography using a Firefox add on called 'Zotero'. It's a handy way of keeping all of your online literature nicely organised and easily accessed.

I have decided to create a bullet point list breakingdown each area of reference for future assignments:

Books - How to:
  • Auther, Surname followed by their initial(s)
  • Year of book e.g. (2008)
  • Name of book
  • Edition of the book
  • Place of publication
  • Publisher name
Articles - How to:
  • Auther, Surname followed by their initial(s)
  • Year of article e.g. (2008)
  • Name of article
  • Journal Name
  • Volume Number
  • Part Number Identified
  • Page Number Identified
Contributions - How to:
  • Auther, Surname followed by their initial(s) - Subsequent Auther(s)
  • Name of article
  • Editor Surname including Initials
  • Year of Publication
  • Full title
  • City of Publication
Books:

- Simons, I. (2007) - Inside Game Design, [Laurence King Publishing LTD]

- Koster, R (2004)  - A Thoery of Fun for Game Design, [Paraglyph Press, Inc]


- Rosenweig, G (2011) -ActionScript 3.0 Game Programming University, Second Edition, Updated for Flash Professional CS5 [Que Publishing]

- Brathwaite, B., and Schreiber, I. (2008) - Challenges For Games Designers, [Charles River Media]

Articles:


 - Dugan, P. (2005) - Rag Doll Development – An Interview With Rag Doll Kung Fu's Mark Healey [Gamasutra]

Tristan Donovan (2011) - To Play Or Not To Play? [Gamasutra]

Wednesday 23 November 2011

Week 8 Reading - Richard A. Bartle: Players Who Suit MUDs

HEARTS, CLUBS, DIAMONDS, SPADES: PLAYERS WHO SUIT MUDS


- How do different styles of player relate to the game world?
- How do different styles of player relate to themselves and others?
- How does this link to your own game play experiences of online worlds?


This weeks reading I found to be very interesting, I took a lot from this one especially and thought it was interesting how such things are defined into specified terminology.

Abstract:
- Four approaches to playing MUDS are identified and described.
- The approaches may arise from the inter-relationship of two dimensions of play style.
- Action vs Interaction
- World Oriented Vs Player - Oriented.
Labelling of MUDS either being "Social"or "Gamelike".

Preface:
Trubshaw's 1978 game (Bartle, 1900; Burka 1995 - Regarded as "Games" by their "Players"

MUDS can be considerable value in non-game ie ("Serious") applications.
Roush, 1993.
There is a dispute over MUDs and weather they really are games or whether they're something else instead.
Game in the Dictionary = "Pastime", "Sport", "Entertainment", "Amusement".

Are MUDs
- Games like: Chess, Tennis, ADSP?
- Pastimes like: Reading Cooking, Gardening?
- Sports like: Hunting, Shooting, Fishing?
- Entertainment like: Nightclubs, TV, Concerts?

Wiz level


A Simple Taxonomy: - Organising things you see "Gamelike" aspects over "Social" aspects of MUD.

- The four things that people typically enjoyed about MUDS were:

i) Achievement within the game context:
- Players give themselves game - related goals, and vigorously set out to achieve them. This usually means accumulating and disposing of large quantities of high value treasure or cutting a swathe through hordes of mobiles (ie. monsters built in to the virtual world).

ii) Exploration of the game
- Players try to find out as much as they can about the virtual world. Although this means mapping its topology (ie exploring the MUDs depth), later it advances to experimentation with its physics (ie exploring the MUDs depth).

iii) Socialising with others
- Players use the games communicative facilities and apply the role - playing that these engender as a context in which to converse (and otherwise interact) with their fellow players.

iv) Imposition upon others
- players use the tools provided by the game to cause distress to (or, in circumstances, to help) other players. Where permitted this usually involves acquiring some weapons and applying it enthusiastically to the person of another player in the game world.

- Achievers = Diamonds (They're always seeking treasure)
- Explorers = Spades (They dig around for information)
- Socialisers = Hearts (They emphasise with other players)
- Killers = Clubs (They hit people with them!)
  • These can cross-over depending on players mood or play style.
  • Players will often drift between all four, depending on their mood or current play style. Players do not have a primary style and will only switch as a means to advance their main interest.
i) Achievers:
- Regard points - gathering and rising in levels as their main goal, and all is ultimately subservient to this.
- Exploration - is necessary only to find new sources of treasure or improved ways of earning point points from it.
- Socialising - Is a relaxing method of discovering what other players know about the business of accumulating points, that their knowledge can be applied to the task of gaining riches.
-  Killing - Is only necessary to eliminate rivals or people who get in the way, or to gain vast amounts of points.

ii) Explorers:
- Delight in have the game exposed its internal machinations to them. They try to progressively esoteric actions in wild, out-of-the-way places, looking for interesting features (i.e. bugs) and figuring out how things work. Scoring points may be necessary to enter some next phase of exploration, but it's tedious, and anyone with half a brain can do it.

iii) Socialisers:
- Are interested in people and what they say the game is mealy a backdrop of common ground where things happen to players.

iv) Killers:
- Get kicks from opposing themselves onto other players, they're often bad mannered.

There needs to be a balance in all of these different types of players otherwise too much of one type causes other types of players to leave.
- The need to maintain a balance in types of players is important with games that rely heavily on player to player count.

Player Types:

Interest Graph - is a representational structure which can chat what players find of interest in a MUD.

i) Achievers are interested in doing things i.e. acting on the world.
ii) Exploreres are interested in having the game surprise them i.e. interacting within the world.
iii) Socialisers are interested in interacting with other players
iv) Killers are interested on doing things to other people i.e. in acting on other players

Changing the Player Type Balance:

A stable MUD is one where the four principal styles of player are in equilibrium.
Balance: Whereabouts in their interest graph the centre of gravity the individual players point lies.

Players:
- Putting the emphasis on player rather than the game easy - you just provide the system with lots of communication commands and precious little else.
Wold:
- Tilting the game towards the world rather than its inhabitants is also easy: you simply make it so big and awkward to traverse that no-one ever meets anyone in it; alternatively, you can ensure that if they do meet up then they are very few ways in which they can interact.
Interacting:
Emphasis on interaction rather than action can go along way.

Acting
Without depth you have no MUD.
(Programming being the "nature" of a MUD and administration being the "nurture")

Ways to emphasise Players over World:
- Add more player communication facilities.

- Make communication facilities easy and intuitive.
- Decrease the size of the world.
- Increase the connectivity between rooms.
- Maximise the number of simultaneous players
- Restrict building privileges to a select few
- Cut down on the number of mobiles.

Ways to emphasise World over Players:
- Have only basic communication facilities.
- Have few ways that the players can do things to other players.
- Make building facilities easy and intuitive.
- Maximise the size of the world.
- Use only "rational" room connection in most bases
- Grant building privileges to many.
- Have lots of mobiles.

Ways to emphasise Interacting over Acting:
- Make help facilities produce vague information.
- Produce cryptic hints when players appear stuck.
- Maximise the affects of commands (add depth).
- Lower the reward for Achievement.
- Have only a shallow/level class system.
- Produce amusing responses for amusing commands.
- Edit all room description for consistent atmosphere.
- Limit the number of commands available in any one area.
- Have lots of small puzzles that can be solved easily.
- Allow builders to add completely new commands.

Ways to emphasise Acting over Interacting:
- Provide a game manual.
- Include auto map facilities.
- Include auto-log facilities.
- Raise the rewards for achievement.
- Make commands be applicable whenever they might reasonably have meaning.
- Have large puzzles, that take 1 hour to complete.
- Only allow building by top quality builders.

"The 'feel' of a MUD is derived from the position on the interest graph of the MUDs players, from which a 'centre of gravity' can be approximated".

Small puzzles - Emphasise Interaction
Large puzzles - Emphasise Acting 

The Social Versus Gamelike Debate:
- Competitiveness
- Anti - Social Behaviour

"There are two basic types of MUD, those which are like adventure games and those which are not."

Distinguishing a MUD from Adventure:
- A MUD is not goal orientated; it has no beginning or end, no score and no notion of 'winning' or 'sucess'.
- MUS isn't really a game at all but 'Players' are callers 'Players'... this is not necessarily true as the first MUD was programmed to be a game.

Player Interactions:


Achievers Vs Achievers:
- Friendly competition.
- Lack of time or luck to be as good as their contemporaries.
- Co-operate with one another - to perform a collective goal (usually).
Achievers Vs Explorers:
- Achievers regard Explorers as loser's because they tinker with the game mechanics because they can't cut it as a player.
Achievers Vs Socialisers:
- Achievers tolerate socialisers.
- Achievers talk to socialisers in a patronising manner.
- They feel pity.
Achievers Vs Killers:
- Don't like to loose or being battered in some grand scheme for points.

'Increasing Killers lowers Achievers and vice versa'
Killers promote excitement & intensity in the game

Explorers Vs Achievers:
- No more to life than per suing meaningless goals so they look at achievers as nascent explorers.
- Can live alongside without too much friction.
- Numbers aren't affected.
Explorers Vs Explorers:
- Good explorers hold respect for each other.
- Generally get on well unless fake info is given.
- Enjoy each others company.
- Not many people have this type of person so it's difficult to increase (hold onto the explorers)

Explorers Vs Socialisers:
- People whom they can impress.
- No population affect.

Explorers Vs Killers:
- Respect for killers if a Explorer kills a Killer it's a big deal for the reputation of the killer especially if they're a higher level.

Socialisers Vs Achievers:
- Like Achievers because they provide running gossip open.
- Don't like talking to achievers unless they can get them to open up.
- Men and Women relationship is arguably the same.
- Increasing numbers has a subtle affect.

Socialisers Vs Socialisers:
- Positive feedback: can talk for hours about any subject and still come back for more.
- More Socialisers = More Socialisers attracted to the game.
Socialisers Vs Killers:
- Most fractious relationship.
- Hate killers = Anti-Social motive.
- Whereas Socialisers have would have little to talk about.
- Without evil there is no good (Contrasting).
More Killers = Less Socialisers
More Socialisers = Less Killers.


Killers Vs Achievers:
- Natural prey.
- Increasing Achievers increases the Killers.

Killers Vs Explorers:
- Tend to be left alone.
- Explorers don't fret about being attacked.
- Increasing Explorers slightly decreases Killers.
Killers Vs Socialisers:
- Killers like the dreadful act of killing socialisers.
- Like a bad reputation.
- Controversy is triggered by Killing Socialisers which in turn triggers the Socialisers to talk upon these acts.
Killers Vs Killers:
- Try not to cross paths.
- Reputation, therefore avoid risking it.
- Population of killers can take a long time.
- Will occasionally work in teams.
- "Killer Killer" = Wiz - Level Players.

Monday 14 November 2011

Week 7 Reading - Space of Possibility and Pacing in Casual Game Design – A PopCap Case Study

Abstract: The subject of casual game design is far too vast to be discussed in a work of this magnitude, only the aspects relevant to 'pacing' will be emphasized, paving the way to follow up works that are able to connect all other elements of electronic game design related to this matter.

Keywords: Game Design, Casual Gaming, Pacing Space of Possibility

Introduction:
"Accessibility", "Family - Friendly" --> In Games

"A casual revolution", from Jesper Juul [2009, to Appear] --> Back to basics

There's a lot to learn between games like tetris/peggle in understanding what makes games special.

John Rose [2008] - Player experience

This paper is about Casual Games: = Critical vocabulary
Types of Casual Games.

Stated that "Games that genreally involve less complicacted game controls and overall complexity in terms of gameplay or investment required to get throught the game"

- 'Casual Gamer' term
- Not necessarily of smaller complexity - Plants Vs Zombies became considerably complex.

Casual Games = 'Pick up and play'

Pacing and Complexity as presented
* Smaller objects in the system that the casual game build its own kind of complexity [Zimmerman]

Peggle went though 9 months of playing/prototyping an additional year for full scale production and then an addition 9 months for polishing.

Establishing a Critical Vocabulary:


5:1 Pacing - Crafting Player Experience:
Is the concept related to the overall rhythm of a game, the relative speed at which the different moving parts of the system are put in motion. By indirectly crafting the player experience - through mechanics, aesthetics and dynamics to create relaxation, tension and repition the designer "paces the game"
- Relaxation
- Tension
- Repetition

5:2 Related Concepts:
Lower arch of pacing...
- Movement Impetus
- Tension
- Threat and Tempo

Upper Arch of pacing...
- Player & Game (relationship)
- In how much time the user is willing to invest before getting bored etc.

"Perceived Danger" overcoming the "Real Danger".

*Threat is generated on a level game mechanics *3ptL2
- As a sense of peril the player believes that he is under belongs to the "real" threat is mechanical and genreated by the direct conflict between players and system or players and opponents.

6:1 Space of Possibility and Player Experience:
Space invaders Example: Patterns of enemy ships and movements

"The natural instinct of a game player is to make the game more predictable because then they are more likely to win"

No surprises = No fun.

- Hard games, the play can't play it "right", not able to figure out the patterns required by the system.

Relation to tempo space and possibility.

Space of Possibility (Diagram)

Tempo (Diagram)

6:2 Replacing instead of Adding:

The idea is to replace some non-core mechanics and sometimes even the core itself in a perceptibly constant rhythm.
Day/Night and Rooftop/Pool Mechanics (PvsZ)

6:3 Peggle

Plants Vs Zombies 6:4

6:5 Creating a Perceivable Pattern of Continuous Learning:

Additional Notes:
- Complexity is hidden
- From the player
- Really good visual/sound feedback to players
- Short bursts of play.
- Very easy and varied access to these Games

Monday 7 November 2011

Week 6 Reading - [Chapter 5 & 6 of Challenges for Games Designers] - Elements of Chance

Why is chance an important component in games and what tools does the designer have at their disposal to deploy this element?

Why is skill an important component in games and what tools does the designer have at their disposal to deploy this element?

Chapter 5:

Introduction:
- Chess and Go are purely strategic - All information to all players, and the same actions always end in exactly the same results.
- Rock-paper-scissors has dynamics that appear random.
- Explores the random aspects of games and how a designer can use them

The Role (Roll?) of chance in Games:
- Element of chance - Games, why?
- Games that include an element of luck are approachable an winnerable by a wider audience.

Delaying or Preventing Solvability:
- A game is solvable if the entire possibility space is known ahead of time and can be ex-ploited such that a specific player, playing correctly can always win (or draw)
   - 'Tick-tac-toe' = Easily solved.

"Once a player solves a game, that game loses part of what makes it a game.
- An uncertain outcome and 'struggle towards its goal'.

Random Element - keeps a game fresh.

Making play "competitive" for all players:
Chess = Stronger player will always beat weaker player

Players know if they win that it's through their own skill as appose to a random element e.g. (dice roll) - it's hard to match two equal players

Radom elements - keep the weaker player(s) chances to win. (Adantage at least)

Interest through players:
- Change of victory
- The string of defeat is lessend when a player can blame her own bad luck.

Increasing veriety:
Games with no random elements always start exactly the same, and certain patterns often emerge - player experience is similar from one game to another, find themselfs making the same stratigic choices.

Random element = wider veriety of situations.
- 'Settlers of Catan' = tile based games
- 'Risk' = random battles.
- 'Axis and Allies' =

^
Require players to change their strategise and often play in unconventional or innorvative ways when the dice do not act as one would hope.

Random elements - Adding the in the right way increase the variety of players experiance, thus the replay of the game

Creating dramatic moments:
Strategy = to see if the plan succeeds that moment of truth can be tense.
e.g. "will you spell kill the building before the monster kills you".

- Even without strategy watching a random process play out can be extremely compelling in the right circumstances.
- 'Roulette' table - the level of excitement or tension created.
- 'Crops' table - by chance increases in direct proportion to how much one has riding on the results = vital.

Enhancing Decision Making:

- Essence of video games is the decisions the players make
- Strategy, players need to know the exact out come of every move.

Random elements within a game means there's no longer any strategy (That is always right)

Since there are unknown elements, the decisions become more complicated and thus more compelling.

Mechanics of Chance:

Dice:

Cards:

Pseudo/Random Number Generators:

Hidden Information:

Other Game Bits:
- Spinners
- A dreidel
- Cardboard tiles
Games such as 'Carcassonre' and 'Tigris and Euphrotes', similar randomness to a deck of cards.
All randomness is not equal:
Poker - luck or skill, elements of both.

"Mesured randomness"- the nature of the random elements are known and can be planned for by players.

Completely Random Games:
Childrens games & Gambling games

Childrens Games:

Gambling Games:

Chapter 6 - Challenges for Games Designers:
Elements of "Strategic" Skill:
Stragety makes players come back to games.
- A theory of fun for Game Designers - Mastering a pattern

The Role of Skill in Games:

Immediate and obvious feedback.
- "Magic circle".
- Player constantly making decisions
= state "flow" - work hard to
- Optimal play state achieve (designers)

Type of Decisions:
Decisions within the game affect the outcome of the players skill.

Obvious Decisions:

Meaningless Descisions:

Blind Decisions:

Tradeoffs:

Dilemmas:

Risk Versus Reward Tradeoffs:

The frequency which the players make decisions is paramount. The quality of the game is affected by the player making decisions every 20 minutes instead of every second.

Frequency or Anticipation of Decisions:

Strategy and Tactics:

Completely Skill Based Games:

Mechanics of Skill:

Tradeoff Mechanics:

Auctions:

Purshaces: Player have the ability to purshace items, abilitys, or actions at fixed prices.

Limited - Use speical abilities:

Dynamic Limited - Use Special Abilities:

Explicit Choices:

Limited Actions:

Trading and Negotiation:

Strategic Evaluaton:
Designers access the success of strategy and tactics they hope to create by interviewing players or watching them = info.