DE4106: Learning Agreement

I have finally uploaded my Learning Agreement that will help to define my intended Masters project. Please feel free to leave comments, and suggestions are always welcome.

Explanation / Outline of Project

To design a completely new design model for the emerging genre of video game experience currently known as an “Exploration” game. This is a game that is centred on the emotional experiences of the player, rather than necessarily presenting the player with challenges to overcome. Titles included in this emerging genre are Journey, and Flower (ThatGameCompany), and The Unfinished Swan (Giant Sparrow). Other titles that explore this genre to a lesser extent are Katamari Damacy (Namco) and the upcoming title The Witness (Number None, Inc.). Journey, Flower and The Unfinished Swan have all received critical acclaim and have all sold well upon commercial release. This supports the claim that there is a demand for this type of game. However, despite their success, each game experienced unique development challenges and problems due to the nature of what they were trying to achieve. I believe that this is because the developers were constrained to traditional game design fundamentals- particularly challenge-driven designs- which are not completely appropriate for, or perhaps even compatible with, this genre. This suggests that a new design model is required, that will help future developers fulfil the potential of this genre without experiencing the difficulties experienced by the developers mentioned above.

The Exploration Game model should be designed in such a way that it can be followed by game developers to produce high quality, tailor-made and fit-for-purpose Exploration games across multiple platforms. At the present time, Exploration games are not gender or age specific, so the design model needs to reflect this.

Context / Rationale

Currently all games (according to the author’s knowledge and experience) are designed using challenge-driven design models. As Exploration games are meant to be focused on the emotional experience of the player, presenting challenges to the player both limits and focuses the emotional experience to the endeavour, failures and accomplishments of overcoming the challenges that are presented. This in turn limits the potential of what Exploration games can include and ultimately provide the player in terms of a ‘gameplay’ experience. To overcome this problem, a new model needs to be designed that does not limit the player’s experience to overcoming these challenges, but instead focuses on shaping their emotions through their choices and the subsequent outcomes from these choices. By focusing on the intended emotional responses of the player, a designer can tailor the visual and audible aspects of the game, as well as the gameplay, to maximise the probability of these outcomes. This should be achieved without the use of a challenge-driven experience, which as previously mentioned, limits the emotional responses of the player.

Key Areas of Research

• Current Exploration games, and the design rationale and methodology behind them. An analysis of these games and a reflection of the designers in terms of success compared to what they set out to achieve.

• Current game design fundamentals, including rationale.

• In turn, investigate how most practicing designers would approach a Exploration game if they were tasked to make one. Main considerations should include their perceptions of the genre and what they consider to be important factors/ components when making a game of this type.

• Toy design fundamentals, as products that are designed to invoke emotional responses in those who use them. This should include key emotional triggers such as exploration, empowerment etc.

• How games can invoke emotions depending on content and game play?

• The psychological differences between work and play and how this effects how experiences are perceived.

• How players perceive Exploration games as game play experiences. In what way(s) they appeal to the player and the rationale behind this?

Intended Outcomes of Project

To invent a new model that is appropriate and acts as a ground-work for Exploration games. The model should include fundamental design guidelines and principles that work together to ensure the player experiences the emotional responses intended by the developer. Depending on the findings of my upcoming research and testing, the model may or may not include challenge-based player objectives. However if these are included, they should not be the driving element behind the design. The model should be compatible with any current gaming platform and should be, to an extent, future-proof. From the key areas of research that I undertake, I intend to use the findings to inform the plans and designs of the model I intend to create. The model can then be tested with the development of prototype games. To keep the outcomes unbiased by my intentions, I aim to have these prototypes developed by game design students (with the possibility of input by practicing professionals). I intend to utilise the Futureworks Game Jams throughout the course of my studies to test the various iterations of the design model. The students will be given certain constraints on the games that they can create based on the principles of the model, although they may not be informed of the intentions of these constraints. This should allow for an unbiased test of the model’s effectiveness to be carried out. Other prototypes may be constructed independently as the model is revised and iterated upon during the design process.

 Date: 20th February 2014

DE4106: A closer look at atmospheric games

As part of my practice, an invaluable source of reference is those games which focus on creating a strong sense of atmosphere, as this appears to be a primary driver behind the 'Zen' experience. Atmosphere in games can be achieved in many different ways. From my own experience, I have played several different games of differing genre and art / audio styles that are considered atmospheric. In order to expand and reflect upon my own experiences playing these types of games, I decided to investigate if any research had been done in this area and then compare it to my own experience. A very good article titled 'Atmosphere in Games- Part 10- The Overview' written by Matthew Bentley is featured on Gamasutra, and can be found at the following webpage: 

http://www.gamasutra.com/blogs/MatthewBentley/20131123/205550/Atmosphere_in_Games__Part_10__The_Overview.php?print=1


To summarise, within the article, Bentley breaks down atmospheric games into several components, and then uses these as a source of reflection. He concludes:

"How do we round this off? Well:

(a) Think things through so your player doesn't have to.

(b) Obscuring things only works if there's something to be obscured. If the player senses that behind your mask of opaqueness, there's actually nothing worth feeling sad/scared/happy/angry about, they won't care - and neither will you.

(c) Think about your music - most people don't. Make sure it fits. Make sure it stands up in it's own right, not just as background or wallpaper. If it doesn't contribute to the feel, kill it. Kill it dead.

(d) Don't skimp on voice-acting, or writing talent. These people know what works. You do not, typically, if today's games are anything to go by. Get a musical or creative director who oversees this, if you're already wearing too many hats to really give this the attention it deserves. You don't have to pay people. But they have to be excited. And don't screw them, either. Musicians and actors are people too, you know?...

(e) Make the art direction, sound direction, writing direction, level direction and overall world progression serve the core atmospheric engagement and 'feel/theme' of the game. You players may not be immediately engaged, but once they are, it will linger with them for far longer than a more explosive title ever could.

(f) Make the game realistic to itself! Not to the 'real world'! The gameworld only has to recognise itself as a logical structure, not planet earth necessarily.

(g) Gameplay is good, gameplay is great, but gameplay isn't everything. And inasmuch as everybody thinks everything should be expressed purely through gameplay at the present point in time, I believe this limits the scope of how to express ourselves, and how to achieve a feel in a game. The cutscenes in starcraft 1 weren't immersion-breaking, but rather served as level-complete rewards that both enhanced the mood of the game and progressed the story and the player's emotive drive to complete the story.

(h) Think globally, act personally: there's a reason why many indie games have been in recent years described as possessing 'atmosphere' and 'emotional depth' while the AAA titles continue to be emotional wastelands - you can't design a piece of magic by committee. Small groups, or smaller groups, along with good writing and direction, are what is needed to break out of the AAA loop. Don't worry about what everyone else will think so much -  make a game that appeals to you, and hopefully draw enough of the long tail in to serve your financial rewards."

What is particularly interesting here is the fact that gameplay is not considered the most important factor for this type of experience. This is contrary to everything I have ever been taught both from an academic stand-point and through my professional practice in the industry. If we move the design emphasis away from gameplay, can we really consider the end product to be a game - or at least rewarding to the player as a game?

Another question that  arises here is what is actually considered to be gameplay? Can gameplay be achieved if it is not challenge-driven? I believe it can. Looking back on previous research from my Contextual Review, one of the key drivers for successful toy/game design is the sense of exploration and discovery. This is an example of an aim that is not necessarily challenge- driven in the traditional sense of the term, as exploration and discovery does not necessarily have to be challenging to be achieved.

I will continue my research in these areas, and try and find practical examples that I believe help to explore the questions that have been presented. One of the first games that comes to mind is that of Limbo (Playdead). As a side scrolling Puzzle Platformer, gameplay is a definite fundamental factor in the design of this game. However, the controls are simple, and while the gameplay is effective it is not overly complex. To a degree the gameplay aspects of Limbo are intuitive, with no on-screen prompts or instructions ever being presented to the player. The game is incredibly atmospheric, and this is achieved through its art style and the direction of audio design.

Limbo (Playdead, 2010)

DE4106: Designing a Game Design Model for Exploration Games: An initial exploration

MA Game Design - Design Practice 1

Designing a Game Design Model for Exploration Games: An initial exploration


Yesterday I met with Josh to discuss my practice.

I have proposed the idea that I want to design a new game design model for Exploration 'games' / experiences, as the traditional challenge-driven model for video games does not adequately fit this emerging genre. It was discussed that Exploration games, may not even be considered to be games in that they do not have to involve some form of competition. This being said, solitaire is considered to be a game even though the player may choose whether or not to time or score themselves. For the purpose of clarity I may use both terms to define the Exploration genre as the project develops. The design model should be accessible for any developer who wishes to design a game / experience within this genre, although it should be adaptable enough so that a hybrid of the existing challenge-driven design model could be merged into it if required. The model is intended as a platform from which innovative new IP could be conceived.

It was discussed what factors would make up the 'Exploration' Game Model in order to ensure they player experienced a sense of enjoyment. While certain assumptions can be made at a preliminary stage, such as 'player emotional attachment', 'a high amount of immersion to the environment, or characters (narative?)', and achieving a sense of gratification from 'exploration', it is clearly apparent that further research will need to be undertaken to find out what factors in the few existing Exploration games contribute towards the desired emotional responses from the player. A closer look into how Toy Designers design toys to trigger certain emotions may also help within this area.

In order to apply my theory into practice, I will need to arrange for prototype Exploration games to be made based off the design model I create. It might be possible to utilise the Futureworks Game Jams to facilitate this in the future. Further arrangements will need to be made once an initial model has been created.

Journey (Thatgamecompany, 2012)

Defining Fun: How can neuroplasticity influence the design of video games?

Defining Fun: How can neuroplasticity influence the design of video games?

Background information: 'Neuroplasticity'

According to Erin Hoiland (nd. para. 1), Neuroplasticity describes how:

"...experiences reorganize neural pathways in the brain. Long lasting functional changes in the brain occur when we learn new things or memorize new information. These changes in neural connections are what we call neuroplasticity".

Reference:

Hoiland, H. (nd.) Neuroscience for Kids- Brain Plasticity. University of Washington. Retrieved 22nd October, 2013 from http://faculty.washington.edu/chudler/plast.html.

By researching the principles of Neuroplasticity, I believe I have found a link between the natural desire to learn and the enjoyment we experience as a result through play. It is widely believed that the act of learning causes the brain to release endorphins, however I believe an important factor in this is the circumstances in which we learn. Learning through work is not as pleasurable as learning through play. A practical example of this can be found in most lecture theatres across the globe. Compare this to mastering a new skill or gaining knowledge whilst at play and there is a noticeable difference in the levels of enjoyment experienced. I intend to research more into this throughout my studies, as I am not an expert in the fields of biology and chemistry. I can however, research into game designers who have also explored neuroplasticity and compare their theories and practice to my own.