PlayCrafter is launching open alpha, joining all the others: Sims Carnival, Gamebrix, Popfly… Looks to me like they lean heavily on Box2d.

One of the things about all of these is that they almost force a game grammar approach to things, in a way.

The two hardest and most critical skills for a game designer (IMHO):

• Be able to see the game with no hint of artwork, music, sound, anything — the bare rules, bare mechanics, bare actions, stats, feedback loops. The skeleton, the core, the bone and sinew of it, without any dressing, as a shifting, moving mechanical construct of guy wires and rigid struts. It’s not an attack, it’s force projection, it’s territory control in a graph. And you can see it in your head, and when a feature gets proposed, you can see where it slots in — or not, and know whether the whole construct will tip over.

• Be able to see the game without any mechanics, any rules, any knowledge of how it should play — to approach it as a user experience, the magical moment of immersion, the confusion, the dazzle and colors, the sheer sense of possibility and play. The skin, the surface, the way the music will swell when you step through that door, the way that moving will FEEL, the way the possibilities unfold. To know where someone would be confused, to know where they will be led, to see the whole construct as an innocent.

And a great designer? They should be able to see both in their head at once.

At this point, everyone is talking about the Age of Conan issue with DPS. In short, they tied doing damage to a trigger in the animation sequence, which meant that slower animations would do damage at a different rate than faster ones. And all the female combat anims are slower, so all the female characters do less damage per second.

From a game grammar point of view, this is a clear example of getting the wrong end of the stick. Recall the distinctions between the “salad” and the “dressing” of a game — the “salad” is the actual game, and it can be represented in many different ways.

In particular, you can certainly take the typical MMO combat game, even the realtime varieties, and model the game proper with cards, dice, or numeric outputs. In fact, hardcore players often do the latter in order to analyze how they are doing, because it’s easier to run statistical analysis on text logs than on 3d graphics.

As I have said before, if you get the “salad” right, then the dressing — the storyline, art, music, characters, setting, theme — can only serve to enhance. Start with the experience design, and if your core is rotten or an afterthought, you’ll be putting lipstick on a pig.

Folks working on teams tend to push for the primacy of their own discipline, and these days, with so many games being primarily about experience design and not about game design, it’s easy to put experience design at a higher priority than the mechanics. An animator is not going to want to be told that his carefully crafted ten second animation may be sped up and played in one second. He will rightly point out that a human being making a motion in one second versus ten stands very differently, and distributes weight in a different way, and that therefore the animation.

But the only reason to do the animation in the first place is to convey that the action happened. It is a piece of systemic feedback, comparable to turning a Magic card 90 degrees, or tipping over the king in a game of chess. You might as well light up a green light over the stick figure’s head. For that matter, the question of whether or not the character is female or not is also purely an aesthetic choice. They could be red or black checkers and play the same.

Just yesterday, I was commenting that there are two rare and vital skills a game designer needs to acquire: the ability to see the game in their head with no dressing at all; and then the ability to see the game in their head with no mechanics at all, as a player sees it.

There has been a lot of criticism towards the game industry, accusing them of being unoriginal. Sequels, sequels, everywhere. Diablo 3, Starcraft 2, GTA 4, Halo 3, The Sims 3, Far Cry 2, Fallout 3, not to mention the annual versions of various sports games. Why can’t game companies be more original? Because game companies are doing exactly what they are supposed to be doing, making the games that players want, and the players don’t want original games.

— Tobold’s MMORPG Blog: Follow the money

If I say to you, “do you want chocolate ice cream?” you probably say yes. If I say to you “do you want more chocolate ice cream, this time with sprinkles on top?” you probably still say yes.

If I say “by the way, there’s also this mango sorbetto,” you may or may not try it. But you aren’t going to ask for mango sorbetto without prior knowledge of its existence.

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ETech is on this year again, and this time I am not attending — too busy at work, even though it’s right here in town. Alas! Lots of friends are here and I won’t get to see most of them.

Coincidentally, my keynote there from last year on The Core of Fun is now available as audio from IT Conversations as a free download or stream.

Boy, it’s weird to listen to yourself!

Highlights for me:

• “You’d have to go to Poland to get this dish anywhere else.” — comments around the table as we ordered the “Polish sausage, Hunan style” at Henry Hunan’s on Natoma St. Read the rest of this entry »

Master Metrics:
The Science Behind the Art of Game Design

Dan Arey and Chris Swain, USC School of Cinematic Arts

Our purpose in putting this together — we are game designers, and this is directed at you as game designers. We got a survey from different folks in the industry about measurement-based design techniques, how they are used to create better play experuiences. They mostly involve analytics and measuring player behavior.

Method: talked to a lot of people we know, wanted to cover a lot of design aspects. Not intended to be a Best Of list, and if you have metrics-based techniques to share, let us know!

Important: these are tools to assist the creative process. period. We do not think you can or should put a formula on game design.
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I’m always looking for ways to become a better game designer. I frequently think I am no good at it, after all. (Just ask in random forums such as Blue’s News or the Fires of Heaven guild forums). So it’s with interest that I read articles like 50 ways to become a better designer.

Much of the list isn’t directly applicable, but some of it is, and it inspires a list of my own, centered around games. Not exhaustive, and probably not even accurate, but stuff I have often helped myself with. Many are cribbed and adapted.

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Abalieno at The Cesspit reacted kinda negatvely to “The Healing Game” and raised some interesting points. But I think we’re talking past each other to a degree, so I wanted to take a step back, and make sure we agree on terms. The below is the framework that I am using in thinking about “How Games Work,” which I am thinking about a lot because that is, broadly speaking, the next book.

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I just got my contributor’s copy of The Game Design Reader : A Rules of Play Anthology, by Eric Zimmerman and Katie Salen; I also just got Game Development Essentials : An Introduction.

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