Archive for the ‘Design’ Category

Shoot the Critic – Design by Critical Averages

Friday, July 23rd, 2010

Design a game, and you are bound to find plenty who don’t like it. They might hate the art style, or the gameplay mechanics, the story or the cutscenes. Now you can take your game and respond proactively to criticism by adjusting the design. Little by little it will transform into a bland average of the favourite games of your critics. To improve game design you can’t just clip back all the bits the critics hate – no, you have to carefully prune and nurture them into something worthwhile.

Shoot The Critic

I’ve been working on mission design this week, starting with the simplest of mission types: Goto, Fetch and Kill. If you listened to the critics bashing these simple missions in RPGs and MMOs you would think that players hate them with a passion and yet they provide the basis for generation after generation of game. There is certainly a strong critical emphasis on boring, pointless and repetitious quests that are necessary to advance. But what would these games be like without mirco-quests to encourage the player to roam, fight and explore? Well, probably a grind-fest on random encounters between boss battles. But the situation is not much improved if questing itself becomes a grind activity.

However as the care taken over these quests increases, when they become integrated into the larger gameworld, more complex in length and twists, and most importantly of all if they offer choices of how to achieve or even rebel against the quest goals – then they they can become an enriching part of the game rather than a cynical length booster.

Another alternative is to clearly mark the micro-quests as optional activities, and let the player choose to use them as an opportunity to advance. For example in role-play Sim games you often have to choose what activity your avatar takes each day, and the choice will result in a fairly predictable outcome of money or stats improvements. The choices are the same each day, and it becomes more of a meta-strategic game choosing a good mix of activities than a test of how well you perform each task.

In Spice Road, there are three kinds of mission. The first is a veiled hints system – so if you are bewilldered by the scale and opportunities available in the sandbox, the hint mission will find you a suitable trade route, or exploration area – nothing you couldn’t have done on your own, but adding structure for those who need it. The second covers reactive and progressive missions to protect and advance your companies towns and trade routes. For example, if a bandit camp is reducing the safety of one of your caravan routes a mission is generated after a caravan is lost urging you to seek and destroy the bandits. Or if your building requires a skilled workman to progress a mission might spawn to help you find one. Lastly there are tactical missions to progress the causes of the nations and guilds. These are more complex nested missions trees that offer useful rewards in the way of new units, skills and access to new parts of the map – however you must pick your allegences carefully as many missions are at the expense of other factions.

Fortunately as a true sandbox, you are not tied to any set of missions and can achieve the same results through your own cunning, persistence and might. The missions are there to compliment the gameplay.

Desert Trading Simulation Game

Saturday, July 3rd, 2010

Spice Road features trading as a game mechanic. The desert wilderness is surrounded by fertile and industrious nations who want to share their varied goods with each other. You can make money by trading goods from producing nations where the price is low to consuming nations where the prices are higher. You can also trade in-between making the most of local price gradients and fluctuations in the desert and mountain outposts.

As well as goods like silk and spice, you can also take people into your caravan – pilgrims, travellers and slaves all can make goods returns for safe passage.

Once you have picked a profitable item to trade you should examine your route carefully. If the destination is a long way away it is a good idea to find a oasis or tradepost along the way to restock on water and supplies. Your party design depends on your route – a long desert travel will benefit from hardy camels, while  a run through northern foothills would need some soldiers in your caravan to ward off bandits. The further you have to travel, and the more support people are in the caravan the more supplies you will need to take – reducing your capacity for profitable goods.

Finally you can stock up on the goods themselves – and hopefully a few months later… Profit! Unfortunately there are many dangers on your way so you better look sharp and think fast to adapt to whatever circumstances are thrown at you.

Once you have become a skilled trader you can train others to run caravans between Trade Houses you build in different towns. This also has the effect of improving your relationships with the towns and expanding your network of information. Complete networks of trade routes from production to the final consumer are a fine accomplishment that earn you respect and great wealth.

On the shady side of trading – some goods are frowned upon by respectable authorities. If you want to sneak opium or weapons through a controlled land you will have to be fast and inconspicuous. A small mounted party is fastest, but avoiding guard posts will lead you into hostile bandit lands.

Trading in desert lands with bandits and caravans has never been so much fun.

Multiple Revisions – Part of the Plan for GUI and Gameplay

Thursday, June 3rd, 2010

Spice Road Art Prototype
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I read a paper on GUIs and usability for games. It said to expect to remake the GUI 4 times with a 50% improvement per revision on usability.

Luckily a on-paper design counts as a revision, and can be analyzed for usability factors and UI rules of thumb. So I am up to v2 on paper and v3 will be a playable mockup in my game engine. I expect v4 to be made after I have some user-feedback.

Now I suspect the same revisions will apply to my gameplay ideas – I have some great stuff on paper, but I know it will feel a lot different when translated into my game engine and actually played. If I can get a 50% improvement on gameplay on each revision it makes sense to have as many revisions as I can afford before shipping the game. Of course this could take the form of game sequels instead of a 7 year development cycle!

Pathfinding Strategies in Dangerous Worlds

Thursday, May 27th, 2010

How do you get from A to B in a world that has its heart set on your unpleasant demise? That is the challenge that faces travellers on the Spice Road every day whether their journeys be for trade, justice or adventure.

The two major dangers are the environment and other people. Mountains and Deserts have fairly obvious environmental health risks both to men and to their animals, while Forests and distant wildernesses are favourite spots for ambushes by your human opponents. Another factor to consider is the travel speed across different terrain – the longer you have to spend travelling through a region to more risks you are exposed to.

So, to work out the best route we need to compare times and dangers from alternate routes and pick the best comprimise. The usual way to calculate paths in games is the A* (A-Star) algorithm. This is a good method of finding a shortest path – and can be modified to work out the quickest path by modulating the cost of travel between a pair of cells. To work out the safest path the cost between cells can be made more for danger zones – in proportion to the level of risk multiplied by the time spent travelling through.

For the player the task extends to party design too. If you want to travel fast you will need horses to ride over the hills and wilderness, but on occasion a small on-foot troop could make better speed with a shortcut over the mountains. For desert trade routes camels are essential where horses and wagons would simply run to a halt and die.

This all makes for quite a complicated pathfinding process – but to simplify it Spice Road has a simple route optimiser that will get a suitable path for long journeys depending on your party’s design, strength and alliances – as well as avoiding well patrolled areas if you are on a smuggling run. If you want more control you can either make your own route exactly, or set route preferences to tell the pathfinder your priorities over different land types and risks. You can even upgrade your pathfinding with perks to your caravan leader and scout classes.

Regroup and Deepen – Refactoring a Game Design

Tuesday, May 11th, 2010

After a years design work the Spice Road design documents have spread to several notebooks and massive piles of densely worded papers. There is far more material and ideas than should ever be crammed into a single game.

Most ambitious games go through a phase of design sprawl and ambitious planning only to be cut short by schedules and shipped as half-games with noticeable holes around each unfulfilled feature. So to save the desperate tradelands of Spice Road from this disappointing fate I have decided to cut back to some carefully chosen core mechanics, simplify the additional gameplay elements to serve the core, and then add depth to the core areas rather than sprawl out with ever shallower sub-game activities.

I gather together a lot of ideas and sort them into a balanced structure using note paper or filing cards.

Linear systems like text documents and spreadsheets don’t suit game design refactoring where you have to work in many dimensions at once, and see interconnections between a wide group of game elements at once. On the other hand a simple pile of papers with a couple of headline words on each lets me spot new groupings while working out how much of the gameplay should be spent on each area.

The image above shows the early stages of this process, there are a few core gameplay elements and important sub-elements below each, and they are all closely linked so each improves and develops the others. Now I can fit my larger collection of gameplay ideas and mechanics into context of the core and ruthlessly remove or tame anything that does not fit in.

So what have I kept as my Core?

Leadership – of Party and Settlement

Travel – Trade and Adventuring over a World Map

Conflict – Troop battles and Town defence

and to glue these elements further together and provide an interesting context for leading, travelling and fighting…

Plot – Story missions and Faction mission trees

Progress – Building personal Renoun and party member Skills

Activities – Sandbox play along the Spice Road

Of course this simplification brings cutbacks and losses to the wide complexity of the game concept – but at the same time I think it will make the game more accessible to a wider range of gamers and also will let me deepen the variety and longetivity of the core.

Density of Gameplay Mechanics

Friday, March 19th, 2010

Alex Wheldon wrote about reducing the sprawl of game mechanics and a focus on core mechanics to improve game designs in his Bene Factum blog post Density, not volume.

I agree that ignoring the minute mechanics underneath a game while focussing on a high concept is dangerous (and tempting). However a lot of AAA games fixate on the given mechanics of a genre be it platform/FPS/RTS and just bulk up the art and story around it – making dense gameplay but really just clones of old design ideas.

Usually I come up with a game mechanic, then fill it out with story, levels, upgrades, scores, bosses, achievements etc. It is this kind of volume that actually adds length and fun to the game – compared to psychologists lab tests of skill or abstract puzzles.

However I agree very much that non-essential vagueries of mechanics are unhelpful – both for the player and for the developer. Unfortunately some genres seem to need a lot of little mechanics to play out – Simulations & RPGs are particularly bad for this, as the ‘High Concept’ clearly precedes the mechanics. Still it is an interesting challenge to minimise the mechanics and still create an engaging simulcrum of the concept.

Exactly the king of challenge I am working out on the Spice Road design. As there are a wide range of activities the player can carry out and lots of stories to engage with – it is important that the basic interactions remain consistent and I should minimise adding new mechanics that will hardly get used. To this end I am focusing on four mechanics that will drive the vast majority of the gameplay – Travel, Combat, Trade & Conversation. The minor mechanics like party management, city policies, inventory management will all share a consistent dialog style interface, while the complexities of politics, diplomacy and  questing will fit into the Conversation system.

So, while not as minimalist as Mario – Spice Road will be a lot simpler and cleaner than a lot of Simulation/Strategy/RPG hybrids.

Tasks and Challenges – Is Easy always Boring in Game Design?

Saturday, March 13th, 2010

Can Easy be Fun?

With all the varied genres and styles of game it is easy to lose track of the fundamental elements of gameplay they contain. Playing a game usually involves the player performing a sequence of actions to reach a goal. For example a platformer has the actions of run and jump, with the correct sequence guiding the avatar over platforms and around hazards to his target. Taking a broader view, these actions also include navigating the start menu, clicking through tutorial screens, and any story events. All of these actions take time and the total play time for a game has a calcuable mix of time spent on each action. We can add here the non-action of simply waiting to see the game unfold, whether in a cutscene or during play – for example watching where the ball travels after taking a shot at golf.

This is a very reductive view of gameplay, if we add the context of an action to a unit of play we get a more varied list of elements – for example jumping to get up a step, compared to jumping onto a moving platform in time to excape the falling spikes and while timing the jump to avoid spinning blades. For the player the first action is routine and easy, whilst the second is skillful and risky. The simple action I call a Task, the tricky action a Challenge. Tasks are routine, habitual parts of a game – there is no substantial threat compared to the abilities of the player. Challenges need the players attention, they have a reasonable chance of failure that has consequences to the player such as losing health or the delay of having to replay a section.

I can broaden the definition of a Task from a micro-action like pressing the jump key to any duration of gameplay that contains purely tasks. For example – traveling back over conquered screens in a platformer with a key, navigating the shop screens, defeating grunt level enemies in an RPG perhaps while grinding for goods or XP. In some games the Challenges are well spaced – perhaps a boss battle every quarter of an hour, the rest of the time gameplay is safe and routine.

At this point it may seem that I am attacking rote gameplay and tedium in games – but I am not. Neither do I equate Task with Easy and Challenge with Hard. I am not a fan of Hard games, but I love plenty of Challenges. I mentioned the non-action of waiting, to me routine riskless gameplay is closely akin to waiting and so I would like to discuss Tasks in that context. Waiting sounds most tedious – and often even a shiny well crafted cutscene with a genius plotline will leave us hammering our controller looking for a skip button. But sometimes we are happy to wait and watch – indeed in the real world we will wait and watch entire sports events, theatricals, movies – with decreasing opportunities for interactivity. I suggest that some active parts of a game can be less fun than other purely waiting parts. For example – retracing your path over routine platforms with a key is less fun than watching an intricate sequence of bombs explode to solve a puzzle. Perpetual interactivity is not crucial to a game’s enjoyment. Risk free Task oriented sections of a game – while interactive – are not demanding and are only subtly different to waiting and watching.

So long as a Challenge is not too hard or frustrating it can be engaging and fun on its own merits and would stay fairly fun even with primitive graphics, an abstract setting and no context. The skill required to beat it and the risk of failure would be the same in either case and a big part of the fun comes from those aspects. Now on the other hand – imagine a stunning cutscene with amazing graphics and plot… then turn it abstract and you are left waiting in front of a blank screen. Clearly no fun at all to be had from abstract waiting in that case. You might get a little satisfaction watching a puzzle bomb sequence explode as a list of dissapearing circles – but much less than in the original, and mainly as satisfaction for solving the puzzle rather than any visceral enjoyment. The flip side to this is the fact that the simple routine parts of a game, the reassuring smooth sections between the rapids, have the opportunity to either be as boring and painful as the cutscenes we just have to skip, or as interesting and enjoyable as a bright unfurling story.

If it is not clear by now, I am not a fan of 100% Challenge based games. I enjoy having time to get absorbed in a game world without constantly fearing for my life, and sections of story and sightseeing are a welcome break from crazy hard boss fights. As the percentages shift, perhaps as far as 95% Task based I am happy spending the time building my skills in a fairly safe zone preparing those 5% tricky sections – but I am only happy to do so if the wider qualities of the game engage my interest and give me enjoyment. Grinding, retracking, repeating simple tasks for that 95% in a game that is boring is worse than a terrible cutscene – there is no skip button.

So there you have it – I admit that I like games that are mostly unchallenging – but a much greater challenge is to create an exciting and interesting game that stands up through the routine Tasks and manages to entertain throughout.

HeavenGames: Spice Road Interview

Tuesday, November 17th, 2009
HeavenGames: Spice Road Interview

HeavenGames: Spice Road Interview

I had a great time chatting to Scipii of HeavenGames about Spice Road, and he managed to squeeze a lot of details out of me about combat, town management and the trading gameplay. Check out the full interview here: HeavenGames: Spice Road Interview

Recipes for Gameplay

Sunday, November 1st, 2009

Example Kingdoms Trading Hex Game

Example Kingdoms Trading Hex Game


Are games Art? I think they might be more like Cooking.

Designing a work of art typically falls into a straight forward workflow – Sketch some ideas, Find some reference images, Draw some detailed sketches, and then paint/sculpt the finished work with as much time spent on detailing and polishing as is available. The workflow is pretty much the same each time, and while a lot depends on the skill and perseverance of the artist a good artist can follow the exact same pattern and create a series of good works.

Designing a game has a very different workflow. If you try and follow the Art flow you would begin with a description of the gameplay and some example screenshots as your ‘Sketch’ – or in game speak a pitch document. Then a good artist would turn to life to find reference material – what would that mean for a game? How much value do history, economics and psychology really have on in a typical game that has to balance fun, ease of use and player expectations of legacy gameplay. More often than not game designers just look at other games for gameplay ideas, and leave the more colourful research to dressing up that gameplay in a genre style.

Next in the art flow would come a detailed drawing of the finished product. This would be a first-playable demo for the game. Unfortunately while the drawing is quick to execute and easily changed, a first-playable often takes a massive amount of time and once made there is little scope for changing direction. Given a choice between cancellation and pressing ahead with a faulty design it is very common just to plow ahead, add the extra art assets and levels and try to ship the game. The polishing stage can help add an air of quality to the game at this point but fundamental gameplay issues are locked in by now.

For a game it is essential that there is enough flexibility at the first-playable stage – especially in a new genre/style. It is at this stage that there is enough working in the engine to start playing and fiddling with the mechanics, but not too much overhead that everything slows to a halt.

Back to the analogy – Art can be born of a good idea, and then fairly predictably be taken to a quality final item by an artisan – on the other hand Games might begin with a rough idea, but need to be made before they can be designed. And once they are up and running the design process is not an imitation of life, but a concoction of game mechanics – a mixture of separate elements brought together by a Cook, and carefully balanced by tasting the dish in progress. You can’t judge a game by it’s recipe as you could judge a masterpiece by the original sketch – a massive amount of the utility of a game rests in its preparation and the balancing of its ingrediant gameplay mechanics.

So while I wear my game designer hat I am happier to create lots of experimental dishes (mini-playable-games like the Kingdom Trader pictured) – so I can test them out in the tasting – than I am debating the value of individual gameplay mechanics and numbers on paper.