Nov 102015

I posted up the slides to my talk at SGC earlier; now the conference has released video of the session.

This talk was a joint keynote for both the Sweden Game Conference, which was a typical industry conference, and the smaller VS-Games conference for serious games academics. So I tried to straddle the line by doing a talk that would be helpful both to indies and interesting to game studies folks.

Questions start right around the 49:00 mark, and in particular there’s a bit of a rant on my part about the value for interdisciplinary learning for people who are going to creatively lead projects. After that answer, Rami Ismail (who was there, of course, he is everywhere) asked if I could list the five most important or relevant books for covering the various fields that I had described in the talk. I couldn’t… so I listed more like 30.


Sep 192015

Slide15I had a great time in Sweden, despite the fact that there did not seem to be a canonical way to pronounce the city was in (Skövde — sort of hghuheffdduh-ish, but depending where I was in the country, it was also hgheffduh, hghuffda, and a few others).

The talk I gave, put together after some rather late nights with boardgames and beer (well, hard cider in my case), was called “Teaching to Fish.” It had to work as a joint keynote for both the Sweden Game Conference, which was a typical industry conference, and the smaller VS-Games conference for serious games academics.

I ended up doing a bit on game grammar, but focusing more on the fact that given the breadth of the field, it is important that practitioners know what sort of thing they are making, and use the right tools for the job. And that they take their field seriously, study the relevant literature from both games and the countless other disciplines that interact with and impinge upon games.

A lot of the audience was students; I was told afterwards multiple times over that I might have scared half of them right out of the course of study. I was asked two questions at the end, and one of them was “so, since learning all that is impossible, what then?” more or less, to which I answered “it’s not impossible, I did it.” That was followed by a question from Rami Ismail basically designed to force me to prove it, asking me to list of some relevant books; so I gave title and author recommendations for each of the fields in the slides — more like twenty than the requested five. :)

Besides Rami, I also got see old friend Lee Sheldon and Mike Sellers, and make many new ones. I learned a lot about the Nordic LARP scene, which is utterly fascinating. Tommy Palm (formerly King, now doing VR) and Ben Cousins and David Goldfarb (now at new studio The Outsiders) were kind enough to host me for meals on the last day as I attempted to sightsee Stockholm on foot. Twelve miles, one blister, and I had managed to walk most of the core of the city in the rain, visiting museums, tourist traps, and sites from The Girl with the Dragon Tattoo.

Slides for the talk are here. It was filmed, and I imagine that at some point I may get a link to that to share it with you. For now, you will have to make do with a parable about fish with a couple of bad puns. Well, one REALLY bad pun, a few middling ones, and one fairly decent one.

Game talkPAXDev Game Grammar talk

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Sep 092015

At PAXDev I gave a talk on Game Grammar. It’s an overview of my current understanding of how all the parts of games fit together. I don’t touch on how every part works — that would have taken far too long for the time allotted — but I do provide the overview, what I have taken to calling my “map of game.”

For the last few years, the tension between the various different ways of looking critically at games has often run high. With this view of things, I wanted to reconcile things a bit. It draws a bit on the stuff from the essay “Playing with ‘game'” and also from the presentation with the same title, which is actually about something else entirely. It pulls in stuff from Games Are Math and from the deck on Social Mechanics.

It tries to map it all out in terms of how it fits into the classic interaction loop that we’re all familiar with, and discusses the techniques used not only for creating solid game mechanics but also what sorts of rhetorical and artistic techniques work best when you are working towards, say, Tadhg’s Kelly’s notion of “storysense,” or towards putting someone in shoes that are not theirs, as in the efforts that are happening so much in the indie narrative game scene.

This also has a few little examples of how you can use simple game diagrams to look at game designs and assess them for flaws or scope.

It’s dry and full of diagrams. Enjoy!


Game talkGames affecting people

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Jun 302015

This comes up, especially in relation to questions about free speech. It comes up, in terms of working with compulsion loops some might term addictive. It comes, in terms of whether or not game designers worry about what they do.

The most common answer is “no,” likely because it’s an uncomfortable question people would rather not think about, or one that positions games as somehow an implicitly risky medium and vulnerable to censorship, or because of a disclaimer of responsibility embodied in the notion that we’re just providing entertainment and anything past that is the player’s problem. Sometimes there’s an implicit idea that mere entertainment cannot have any effect.

So do designers worry?

Yes. I have, personally.

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Game talkGame design vs UX design

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Jun 292015

Short form: UX design is about removing problems from the user. Game design is about giving problems to the user.

In both cases you look at users’ cognitive reasoning and process capacity. And these days, we have UX designers on game teams, and they are incredibly valuable. But they are in a different discipline from game design.

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Game talkGames vs Sports

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Jun 222015

044515-glossy-black-icon-sports-hobbies-medalFrom a game design “formalist” point of view, they are not different. A rules-centric view of games doesn’t care whether the interface is computerized, mediated via apparatus, or physical, so it makes no distinction between computer chess and physical chess; similarly, it makes no distinction between the rules of, say, baseball, implemented within a computer or by players on a field. They’re both still recognizably baseball. You can diagram them; you can port the higher level rules between media; you can implement even a phsyical version with a ruleset that requires everyone to play on their knees, or in wheelchairs.

The major distinction arises with subgames and interfaces present within the rules. For example, baseball-the-sport makes use of extensive implementations of physics, thanks to the real world providing a very robust physics engine. It also has a very rich set of subgames regarding mastering the controls of the human physical body. Computerized baseball is relatively limited on that front, mostly requiring mastery of just your hands as they manipulate the controller.

Sports historically refers to physical games, but of course even many non-sport games have large physical components involving either strength or dexterity. Many children’s games, such as jacks and tiddlywinks immediately come to mind (not that jacks was always a children’s game…).

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Game talkGamemakingA Jedi Saga

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Apr 162015

Yoda_TPM_RotSContinuing here with the questions that were sent in by Jason Yates! Yesterday it was the TEF system… today it’s Jedi! Some of this stuff has been told before, but it’s actually kind of hard to find it all in one continuous tale. I have to preface this with a huge huge disclaimer, though: it’s been fifteen years since this particular story started, and a dozen since it ended. My memory may well be faulty on many details.

#2 What were the thoughts on Jedi and why were such drastic changes made in patch 9 to the entire system?

-Jason Yates

Well, my opinion is Jedi are evil. Heh.

You see, Jedi are an immense attractant to players, readers, viewers. As a kid, I too waved around plastic lightsabers (we kept bending them as we struck one another, I am pretty sure my mom got really sick of buying new ones). Who can resist the fantasy of having this awesome sword, effectively magical powers — mind control, telekinesis, telepathy, and more — and of course, the classic Hero’s Journey? I mean, it’s basically an ideal play scenario.

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Game talkThe Game Design section

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Feb 122015

Slide1It has taken me almost a year, but the Game Design section of the site has seen truly massive revisions.

Among other things, I have managed to find several presentations which were never on the site:

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GamemakingWorking on Crowfall!

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Jan 222015


Those of you who follow me on Twitter may have seen me mention that after a couple of years of being fairly quiet, a lot of game announcements would be hitting soon. Well, one of them hit today! I am very happy to be able to tell the world (finally!) that I have been working with Todd Coleman and my other friends at ArtCraft on Crowfall!

I’ve been hopping on Skype every couple of weeks to go over game designs with Todd & crew for almost a year now. It started out as general brainstorming stuff, and as the team grew, we’ve been able to move on to working directly on designs and even picking apart UIs. I’ve helped out on everything from economics and materials design to yeah, dipping my toes into Todd’s bloodthirstiness and the warfare design that is embodied in “play to crush.” :) (If there was any doubt this is Todd’s game, that should be a hefty clue!)

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ArtGame talkMusicPracticing the creativity habit

 Posted by (Visited 2749 times)  Art, Game talk, Music, Writing  Tagged with: ,
Dec 032014

In the wake of posting up the video of my talk on “Practical Creativity,” I got this:

What a great question.

First, I have to admit I slack off a lot. :) But, here are some ways in which I practice, or have practiced it. You might notice some commonalities across media.

Hope you’ll bear with me, because I will get to games last.

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