1 / 44

GamePlay

GamePlay. Game Idea Development. The first question a player has to answer is…. Do I play alone or with friends? Interactivity mode Player-to-game Player-to-developer Player-to-platform Player-to-player One-on-one Unilateral Multilateral Team. Then the player asks….

luz
Télécharger la présentation

GamePlay

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. GamePlay Game Idea Development

  2. The first question a player has to answer is… • Do I play alone or with friends? • Interactivity mode • Player-to-game • Player-to-developer • Player-to-platform • Player-to-player • One-on-one • Unilateral • Multilateral • Team

  3. Then the player asks… • What are the rules? How do I win?

  4. As a designer – you should be asking yourself if… • Winning and loosing is part of the game. • Is it important to win? Why? What does it have to do with the concept behind the game? • Go back to the purpose and evaluate your goals for making this game. • Does the game have to have a “pay off”

  5. Game Theory

  6. Zero Sum • Describes a situation in which a participant's gain or loss is exactly balanced by the losses or gains of the other participant • NIN • http://www.youtube.com/watch?v=ckUcL7JJ8H0 • What do the visuals have to do with the concept of zero sum?

  7. Game Theory: Dilemmas and Traps • They say "life is a game." What this metaphor means, is that in life there are rules, and your role is to play by the rules, attempting to maximize your gains and minimize your losses. • When you utter the phrase "life is a game," it is usually in response to some dissatisfaction with the rules such as a personal setback, and is a way of distancing yourself from the emotional impact or the reality of things. • A perfect example is the Oscar winning Italian film "Life is Beautiful," where a father convinces his very young son that being in a concentration camp is only a game. • http://www.time.com/time/magazine/1998/int/980223/the_arts.cinema.its_a_be17.html

  8. The Prisoner's Dilemma • The Prisoner's Dilemma game was first proposed by Merrill Flood in 1951. It was formalized and defined by Albert W. Tucker. The name refers to the following hypothetical situation: • Two criminals are captured by the police. The police suspect that they are responsible for a murder, but do not have enough evidence to prove it in court, though they are able to convict them of a lesser charge (carrying a concealed weapon, for example). The prisoners are put in separate cells with no way to communicate with one another and each is offered a deal to confess. • If neither prisoner confesses, both will be convicted of the lesser offense and sentenced to a year in prison. If both confess to murder, both will be sentenced to 20 years. If, however, one prisoner confesses while the other does not, then the prisoner who confessed will be granted immunity while the prisoner who did not confess will go to jail for life. • What should each prisoner do?

  9. Outcome?

  10. Scoring Matrix

  11. Trap: The tragedy of the commons • is a type of social trap, often economic, that involves a conflict over finite resources between individual interests and the common good. • http://www.youtube.com/watch?v=L8gAMFTAt2M

  12. World Of Warcraft • Struggle between the horde and the alliance • On PVP servers players are thrown into traps to fight for the same resource

  13. Traps • When you play to win, you can be drawn into a trap. You are self-assured about your ability to reach your goal. It is like waiting for the bus. You wait, it doesn't come, you wait some more, and then you wait just a little bit more to justify the time already spent waiting. • And now we are back to the Theatre of the Absurd – remember Waiting for Godot?

  14. More on Traps • Traps are the hook that ruins gamblers, who make one more bet to justify the losses already incurred. The late Jeffrey Z. Rubin (1941-1995), Professor at Tufts University suggests that traps can be avoided if you set limits in advance regarding the level of your commitment and involvement, and more importantly, stick to it! Also, avoid asking others for advice. • Like waiting for the bus, if others are waiting there too, even if they are complete strangers, then you are more likely to wait a little too long. • And watch out if you have a need to impress. While everyone wants to be loved and respected, people get entrapped when they know they are being judged, and feel they have to prove something about themselves.

  15. Influence of Game theory in Psychology: I'm OK, You're OK • The psychiatrist Thomas Harris (19??-1995) wrote a book on interpersonal interaction entitled "I'm OK, You're OK." The following table invented by Frank Ernst, called the OK Corral, was inspired by this book, for which he got an Eric Berne Memorial Award : • I'm OK, You're OK, the healthiest way to interact, encouraging words • I'm OK, You're not OK: Arrogance, putting others down, using discouraging words. • I'm not OK, You're OK: Learned helplessness • I'm not OK, You're not OK: We are both very sick! • Note that all options in game theory have a certain probability of being selected.

  16. Concern about the effect of games • Think about the school incident in Littleton, Colorado where 14 students and 1 teacher were killed in a rampage by two students. They just got fed up of being told that they were not OK, and said, you are not OK either and then....kaboom! • This is what the people who talk about games being an instigator of violence in our world are thinking. They see games as a trap. It is game theory being used against games. • We all know that there is no scientific evidence to back up such a claim. • And it is my personal thoughts that when people point fingers at the arts (music, games, movies etc) they are looking for an easy answer to a difficult question.

  17. But… you do still have creative responsibility • This is a concern of all creative professionals • In art when we talk about creative responsibility we mean that everything we use (imagery, color, composition, choice of medium etc) has a reason to be in the piece. • There is no gratuitous nudity or violence. • Everything has a reason to be there – the reason is, it helps to convey the message.

  18. Shock art • Damien Hirst • http://www.nytimes.com/2007/11/09/arts/09hirst.html?ex=1352350800&en=9bd3fe441ca0fd2b&ei=5124&partner=permalink&exprod=permalink • http://en.wikipedia.org/wiki/Shock_art • http://findarticles.com/p/articles/mi_m0HMU/is_3_28/ai_73023799

  19. That’s it for Game Theory for now. • You know a bit about the game theory big picture • You know that you have a responsibility to your players to make your designs conceptually and formally tight.

  20. So what do we need to know about play? • It is important • Play has steadily disappeared from elementary curriculum • Kindergarten teachers report that when they give children time to play, the children "didn't know what to do" and had "no ideas of their own.“ • How can our world thrive if its citizens have no ideas of their own? • What kind of world are we creating? • Sidebar - This is a lab that studies gameplay • http://www.indiana.edu/~games/research/GPA_Lab.html

  21. Sometimes I wonder where the “Play” is in Gameplay • http://video.google.com/videoplay?docid=-7154267193186361838&q=gameplay&total=145323&start=0&num=10&so=0&type=search&plindex=6&hl=en • To be honest – it is this kind of work/experience that has caused the other forms of expression to look down on games as a viable medium.

  22. Here is the art equivalent • http://www.museumofbadart.org/collection/landscape-4.html

  23. You are responsible for • The user experience. • You need to define what that experience will be. • You need to think about your audience and the experience they will have.

  24. Examples of art created with the user experience in mind • http://salavon.com/ClassOf/ClassOf.shtml • http://www.zonezero.com/exposiciones/fotografos/thomas/default.html

  25. Formal tools for game creation • The next slides will be about formal tools that you need to use, be in control of and even manipulate

  26. Types of Challenges • Implicit vs. explicit • Strategy vs Adventure • Checkers vs Lara Croft • Perfect vs. imperfect information • Knowing vs not knowing • Monopoly vs Poker • Intrinsic vs. extrinsic knowledge • Learn inside the game vs stuff you already knew • http://www.youtube.com/watch?v=biTH-DJgMqU • Pattern recognition & matching • Tetris, Bejeweled (‘nuff said??) • Spatial awareness • Rez, racing games • Micromanagement • http://www.youtube.com/watch?v=tAEppDYTG-4&feature=related • Exercise: explain the micromanagement in this clip (surround, tower rush) • Reaction time • FPS (‘nuff said??)

  27. Challenges & GameGoals/Objectives

  28. Take a moment to… • Ponder which one or combinations of the challenges and goals you are using in your game.

  29. Balance • Consistent challenges • Perceivably fair playing experiences • You shouldn’t think – Hey that wasn’t fair! • Lack of stagnation • When can I play???? Ughhhh…….. • I love Psychonauts but the beginning of that game is too long. • Lack of trivial decisions • What does this have to do with anything? • Ramping Difficulty levels • Ahh Centipede

  30. Static Balance:rules of the game • Ensuring balance • Obvious strategies • Trade-offs/economics • Not necessarily negative or positive • Judgment call • Combination • Resources and/or characters • Feedback • Positive – game gets easier • Negative – game gets harder • Symmetry • Same starting abilities • Relationships of resources • transitive vs. intransitive

  31. Dynamic Balance:this is what emerges when the game is played • Destroy – initially balanced; throw the balance off http://www.youtube.com/watch?v=eKVsPBdN9rk • Maintain – initially balanced; keep the balance from being thrown off • http://www.youtube.com/watch?v=vIJed3vYUJU • Restore • Unbalanced = Balance it • http://www.youtube.com/watch?v=TZ4FQc0zUtE

  32. What is gameplay analysis? • So we know some of the formal issues we are working with • But how do we get in control of all of these elements? • It can be overwhelming, so we analyze.

  33. Gears of war • http://www.youtube.com/watch?v=qtDFbIeyY5g • This is not gameplay analysis.

  34. Gameplay analysis is… • What are the things/players in the game? • What is happening in the game – when? • And how are all of those things working together to make the play experience?

  35. Deconstruction elements for gameplay analysis • Layer 0: TOKEN element or entity that modifies its state after player input or that has a remarkable role on gameplay • Layer 1: PROP properties are limitations or opportunities directly or indirectly connected to game tokens; should be described as nouns or adjectives. • Layer 2: DYNGame dynamics are those actions that give life to gameplay in the course of time through interaction. Terms in this layer should be essentially verbs.

  36. Deconstruction elements for gameplay analysis – part 2 • Layer 3: GOALThe third layer describes impulses driving the player to behave in a certain way within the game. These elements can often be connected to verbs in DYN layer. • Layer 4: METASome parts of a videogame are outside of the game itself, but they affect gaming experience, and consequently gameplay. Examples are subdivision in levels, or the use of lives to justify a limited number of trials. • Layer 5: PSYCHOThe last layer lists the desirable emotional responses of the player (all the different emotions, impulses, feelings, which are part of the game experience) and tries to connect them with the various sub-layer elements.

  37. You can make a chart for gameplay – guess what game this is.

  38. TETRIS

  39. OK – so how do you do this? • First decide how many sectors the game has • You can change it later if you need to • This is how you determine the vertical dotted lines • Second Identify Tokens • The rectangles at the bottoms • Third fill in the properties – use ovals • Game input is represented in rectangles

  40. Charting – page 2 • Then go for the rest of the chart • game dynamics for each token in each sector • goals for each token in each sector • Identify meta (I like to think of this as a programmer and think of it as metadata – stuff you cant see but is there and functioning) • Lastly think about the meta and how that informs the psychological impact on the player. • And don’t forget the power of intuition • It is nice to analyze and have maps and charts • But orchestrating gameplay is like composing a symphony • Everything must be in balance • Everything must have a reason • The experience must flow. • Bio Shock is a great example of designers who get this.

  41. Game analysis chart; group exercise • Pick a game you have all played • Work together to make a GPA chart

  42. Game analysis chart; individual exercise • Pick a game you are extremely familiar with… • Make a GPA Chart (you can use Visio or illustrator or word or paint) • Upload it to the FTP site

  43. Homework • Keep working on your design document. • This is Version 2.0 • Revisit goals and flesh them out better • Fill in rules, challenges, theory/game balance • Make a Gameplay Analysis chart for your game • Read the Halo 3 article.

More Related