Monday, 4 May 2015

DE4108: Design Practice 2: Game Jam Analysis

Futureworks Game Jam: Exploration Game Design Framework

Event Review and Research Outcomes Analysis: Design Practice: What are the Implications of this Exercise on the Research Project?

Investigating the emerging genre of video game experience currently known as an “Exploration” game, with an aim to create a new fit-for-purpose Design Framework for developers.



Event Review


The Game Jam event was held at Futureworks School of Media in Manchester on Saturday 25th and Sunday 26th April between 11am and 6pm as scheduled (appendix 1). 15 participants attended and contributed to the event. The participants were separated up into small teams consisting of between three and six members each and participants with specialist skills (i.e. Programming and Audio) were allowed to ‘float’ between teams to make up for any shortcomings. This, coupled with tutor support, provided each team with the range of skills and knowledge required to create a small prototype game, based on the genre and game elements that were suggested.

Participants who are currently undertaking a Diploma in Game Development were initially introduced to a basic concept that was based on the suggested game elements (appendix 2). However, this concept was not well received, and ultimately all participants chose the alternative approach in designing their own concepts based on the suggested game elements.

The original basic concept provided to the Game Development
 Diploma participants was not well-received.

Before any development took place, participants were provided with a Welcome letter (appendix 3), which defined the research being undertaken as well as introducing them to the Suggested Game Elements. Participants were informed that they should use these elements as a guide when designing their games, but that they could also deviate from them if they thought it would benefit the overall design. Participants were then provided with an initial questionnaire based on the research being undertaken (appendix 4) before beginning the development process.



An Analysis of the Initial Questionnaire Responses


From the responses obtained from the initial questionnaire (appendix 5), it was clear that all participants had played games which they considered to be Exploration games. This was beneficial as it allowed me to gauge their expectations and make comparisons to games they were familiar with. In regards to whether the participants believed the designers of those titles were successful in what they were trying to achieve, most of the participants believed they were. Participants stated that they believed the designers of these titles wished to create a world in which was intriguing and somewhat mysterious to the player; thus sparking the players’ sense of intrigue and encouraging them to explore the game world. Certain participants believed that the creative freedoms to manipulate the environment provides players with a greater sense of personalisation, identity and ownership; this backs up my findings within the research carried out so far. However, some participants also noted that games that included large expansive environments could sometimes feel overwhelming. Participants suggested that sparse content could also be an issue with large scale open world environments. Other responses indicated that certain exploration games employed mechanics that became repetitive over time- although these responses did not specify which titles they were referring to. This is an interesting point, and one that merits further research. It could be suggested that by providing players with greater freedom and power to manipulate the game environment, the means in which this can be done should be carefully considered. Considerations should be given not just to the boundaries of the game-world (and the limitations of players’ abilities within it), but also to how players go about manipulating the world. Examples here include the building mechanics in games such as Minecraft (Mojang), which force players to spend time mining and collecting resources, crafting them and then using them to build structures. Further study should be given between the sense of value through time invested in, in-game activities, to potential laborious tasks. This echoes Jesse Schell’s comments in both his “Design Outside the Box” DICE presentation (Schell, 2010) and his thoughts on the relationship between work and play at DICE 2013.

The participants were then asked what they believed to be the most important aspects when designing an Exploration game. Here responses were more varied but certain trends were able to be identified. Most participants believed that a detailed open world was essential, whether this be in the form of multiple collectable items, detailed environments, to a large number of side- quests within an intricate background narrative / lore. Other responses included the importance of allowing the player to figure out their own purpose within the game-world, and, in multiplayer games, allowing the player to freely communicate with other players and collaborate towards a common goal.

The following question asked participants if they believed there are any constraints when designing games within the Exploration genre. Again this drew a range of different opinions, from those believed there are no fundamental constraints to those who believed that the game-world should change with every play-through. The reasoning behind this is to provide longevity to games that rely on mystery and uniqueness to the game world. Interestingly, some of the games I have analysed during the course of my research have implemented procedurally generated worlds, to some degree or other, perhaps to specifically tackle this issue (i.e. Sunless Sea (Failbetter Games)). Other participants believed that the scale of the game-world may also cause issues, again linking this to a sense of overwhelming the player.

Sunless Sea by Failbetter Games uses a degree of
procedural generation for it's environment.

The final question asked if the participants how important they believe traditional design fundamentals, such as providing challenges to the player, are for an experience that focuses on exploration. In addition, the participants were asked if they believed there are any alternative approaches or goals that they would present to the player instead. This question generated some interesting responses, with most participants believing set challenges form an important part of maintaining player engagement. The form of these challenges however, differed across the range of responses that were submitted. Some participants believed that the challenges presented should be story-based, providing further context to the narrative and the role of the player. Other participants believed that the only challenges that could realistically be presented are that of environmental hazards and enemies to defeat. Interestingly, these are two of the suggested game elements that are presented within the Design Framework. One participant believed that while set-challenges are important, ‘good’ game mechanics can provide means for a player to set their own challenges. Another participant believed that challenges should not be immediately apparent and that part of the ‘joy’ of exploration is allowing the player to discover themselves what it is they want or need to achieve rather than having it presented to them via the design or narrative. An interesting response to this question was presented when a participant suggested that “presenting a world rich enough for the player to explore and find meaning in could easily replace traditional concepts”. This participant provided the game Proteus (Curve Studios) as an example.



Game Jam Observations


During the Game Jam, I made several observations based upon the participants’ initial reception to the theme and suggested game elements, how they planned their designs based upon these, and how ultimately they approached the development of their prototypes.

As previously mentioned, the majority of participants did not well-receive the initial basic concept provided to them by the Game Development Diploma tutors. Interestingly, on the whole this is not because they did not like the concept, but rather they believed it was too restrictive in terms of providing them with creative freedom. Instead, all of the participants opted to create their own concepts based on the suggested game elements.



Certain students initially struggled to think of concepts that included all of the elements, and became frustrated by this. However, with the help of the Game Design Degree students (acting as design consultants) all of the teams eventually came up with their own unique concepts. The scope of the concepts was also an issue, given the amount of suggested game elements involved versus the amount of development time available within the game jam. Despite indications to the contrary, all of the participants felt compelled to include all of the Suggested Game Elements in the concepts, which seemed to overwhelm several of them. Another point of interest was that the participants chose to use reference material from other popular Exploration titles such as Journey (ThatGameCompany) to inspire their theme and art styles. It was clear that the participants felt safe to emulate the look and feel of these titles as this is what they identified as forming the expectations within the genre. In order to share ideas, participants relied primarily on verbal communication rather than centralising their ideas on a basic initial concept document or a simple GDD. When questioned about this, one participant replied that they did not see the need for such documentation, as they all knew the basic theme, art-style and game mechanics and were using the Suggested Game Elements for consistency.

In regards to the development process, the range of technical skills and design knowledge within the group was evidently quite wide. This, coupled with the scope of what each team was trying to achieve in the limited amount of time, had a profound impact on the quality and level of completeness of the final prototypes. Again, the assistance, guidance and technical competency of the tutors, Degree students, and from the single Game Audio Diploma student, went some way to negate the teams’ skill-gaps.

The final prototypes produced at the end of the game jam have been included within the appendix link (please see appendix link below).


Various teams at work at the Futureworks Game Jam



Analysis of Post-Game Jam Reflective Questionnaire Responses


Once the game jam was completed, participants were asked to reflect on their practice and the effectiveness of the Suggested Game Elements. The questionnaire (appendix 6) first asked the participants if their perception of Exploration games had changed now that they had worked on developing their own. Responses indicate that for a slight majority, their perceptions had changed with participants indicating that they now had a greater awareness of the various game mechanics that encourage players to explore the game-world. Other comments suggested that some participants now had a greater appreciation for the way combinations of mechanics, narrative and an interactive environment worked together to encourage certain player behaviours while still allowing for a sense of freedom and self-direction.

The participants were next asked what aspects of an Exploration define the genre. Here the responses were more varied but certain trends did appear. Specifically, most participants felt that an open world was crucial, but also suggested that the world needed to be content-rich and allow for a good deal of interaction. Participants believed that this approach was crucial to making the world engaging and able to keep the player’s interest. Customisation of the player character was also mentioned by one participant, stressing that a sense of personalisation was important to them. Progressive goals was also identified as an important aspect for the majority of participants, with one participant stressing that allowing the player to progress at their own pace was one aspect that set Exploration games apart from games in other genres. This factor is interesting, as I believe it ties in with allowing the player a greater sense of freedom over their own actions, and ultimately, their own successes or failures within the context of the game. Forcing the player to act at a set pace works well in games that strive to create a sense of tension, or allow the designer a greater amount of control over in-game events. However, this approach may also make the game-world feel less authentic and may remove the sense of control and responsibility from the player. I believe this aspect is one that merits further study, and may tie directly into the emotional experience of the player.

Next, the participants were asked if the Suggested Game Elements they were provided were useful when designing their Exploration game prototypes. This question provided a wide range of results. From those participants who responded, seven participants believed the Suggested Game Elements supported their design and provided guidance; three believed they did not and were too restrictive in terms of creative freedom within their designs. In addition to this, some participants suggested that there were too many suggested elements and this made the possible designs too rigid. From the remaining two participants who completed the questionnaire, these did not provide a specific response to this question. These responses, coupled with my own observations, suggest that the way the Design Framework is presented to developers may be essential to how it is received, and ultimately utilised. It is apparent, that it is important to stress that the Framework and the Suggested Game Elements within, should not be portrayed as a set of compulsory constraints that must be followed. Furthermore, it also raises the underlying question as to whether such a Design Model is practical within a ‘real-life’ design and development environment.

In order to assist in any potential changes to the Design Framework, participants were asked if they had any recommendations to either the Suggested Game Elements or the way in which they were presented. The answers to this question was enlightening: Most of the participants found that the game elements were useful for initial concept work, but that if followed too literally they constrained and limited their creativity. This is interesting because it somewhat contradicts comments made by Arthur Parsons during my earlier research: “knowing where your boundaries are makes design easier because you are less likely to lose direction” (Parsons, 2013). However, a possible explanation for the participants’ response to this could be found in the following question which asked if they would make any specific changes should they carry out a similar project in the future. To this, almost all of the participants said that they did not have enough time to fully explore the recommended game elements to a level they were happy with. It could be, therefore, that with more time, the participants would have embraced and pushed the boundaries of the suggested game elements. This, in turn would have provided them with a greater amount of creative freedom and may have inspired more innovative designs. These in turn, would likely have pushed the boundaries of the genre itself. Further study is required to fully test this theory but I believe this is an encouraging development.



Implications Towards Future Practice and Research


Upon reflection, I believe this exercise has provided me with evidence that there is scope and demand for this type of design framework – at least, within the Exploration genre. In this regard, my findings would suggest that standard practice would benefit from such a structured approach, although I believe more refinement is needed to make this a fully-viable development aid.

In order to further test the theories that have come about from carrying out this Game Jam, it would be practical to attempt to carry out the exercise again but allowing for more development time. Ideally, if time permitted, it would be enlightening to test the Design Framework on the development of a fully-scoped game. It would also be beneficial to allow more experienced developers to attempt to create a prototype in order to gauge if developer experience is a factor in the effectiveness and usefulness of such a Design Framework. This, coupled with the User Guide I created earlier in the project, would help to ascertain if this type of approach to game development practice is more beneficial as educational material for students and graduates, or if it is universally beneficial for all developers within the Industry.

Another consideration that did not feature in the Game Jam was the order and priority of design and development for each of the game elements that were suggested. For example, should the environment be designed first and then the game mechanics, or should the game mechanics directly influence the design of the environment? It is highly probable that the order in which game elements are designed and developed will have a significant outcome on the overall design of the game. It could be argued that a specific order is not required, and attempting to standardise this would further restrict creativity within design. Again, this is something that merits further consideration as the project develops.



References


Curve Studios (2013). Proteus [Video game]. London: Curve Studios
Failbetter Games (2015). Sunless Sea [Video game]. Greenwich : Failbetter Games.
Mojang (2009). Minecraft [Video game]. Stockholm : Microsoft
Mojang (2009). Minecraft [Video game]. Stockholm : Microsoft.
Parsons, Arthur (2013) Video Lecture at UCLan, Recorded 8th February 2013
Schell, J., 2010. Design Outside the Box. Las Vegas, DICE.
Schell, J., 2013. The Secret Mechanisms. Las Vegas: DICE.
ThatGameCompany (2012). Journey [Video game]. Los Angeles. CA.: Sony Computer Entertainment



Appendix


Please click on the following DropBox link for all appendix items:

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