Giovanni Viglietta of the University of Pisa has posted up a paper called “Gaming is a hard job, but someone has to do it!”. 

In it, he not only analyzes a variety games to determine their complexity class, but he also arrives at a few metatheorems that are generically applicable for all game design. In other words, “include these features and your game gains fun.”

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When I said that narrative was not a game mechanic, but rather a form of feedback, I was getting at the core point that chunks of story are generally doled out as a reward for accomplishing a particular task. And games fundamentally, are about completing tasks — reaching for goals, be they self-imposed (as in all the forms of free-form play or paideia, as Caillois put it in Man, Play and Games) or authorially imposed (or ludus). They are about problem-solving in the sense that hey are about cognitively mastering models of varying complexity.

Some replies used the word “content” to describe the role that narrative plays. But I wouldn’t use the word content to describe varying feedback.

In other words, perverse as it may sound, I wouldn’t generally call chunks of story “game content.” But I would sometimes, and I’ll even offer up a game design here that does so.

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This is the original essay in which I worked out the basics of my game grammar approach. It later became a GDC talk. This essay was written in 2004, and the genesis of it was working through issues with the crafting system in Everquest II with Rod Humble. This essay no longer represents my current understanding of game grammar, but it’s a decent start.

This essay has never been publicly posted (it was originally posted only to a private game developer forum, on June 26th of 2004), but I thought I should make it available both for historical interest and also for the sake of clarifying some of the things that I now take for granted when I discuss game design here on the blog. I can’t expect everyone to have read everything I have ever written, of course, and in this case it’s even worse since some of the material was only delivered at conferences. So many of the responses to the article on narrative were clearly from folks unaware of some of this work that it felt like the right time to post it up.

Since this was written, I have met fellow travelers — boy, was I pissed when Dan Cook’s “Chemistry” article came out a few years later, and had such nicer diagrams! I also found Ben Cousins’ work on “ludemes” later, a term I gladly stole. And I think this served as some inspiration to folks like Stéphane Bura and Joris Dormans who have pushed this in fresh directions I would never have pursued. There have been grammarian get-togethers, Project Horseshoe whitepapers, and more. I even have a pile of blog posts that fit under the “game grammar” tag here on this site for those who are curious about more.

Lately, I’ve been spending a lot of time thinking about the nature of fun. I’ve reduced it down to a cognitive challenge, the notion that fun is the feeling you get when you are exercising your brain by solving a cognitive puzzle. Sometimes the puzzle is provided by a computer, sometimes by another player, but either way, your brain is basically trying to perceive a pattern; victory usually comes from identifying the pattern, then correctly executing on some action that the pattern does not account for. For further thoughts on this and its implications for game design as an art form, I refer you to my presentation “A Theory of Fun.”

This suggests that there are probably ways to break down or otherwise analyze what makes a given puzzle or challenge fun. Now, challenges or puzzles come in a very wide array of forms—spatio-temporal challenges like Tetris, and physical dexterity ones like soccer. What do all of these have in common?

Building a subgame atom
The following algorithm came about from attempting to map the basic features of MMOG combat systems onto MMOG tradeskills, which are usually regarded as not having met a sufficiently high bar of fun. Interestingly, MMO combat itself is often not regarded as having reached that bar either, and yet it succeeds in keeping players captivated for many months on end, when correctly executed.

A successful MMO probably needs to have many individual subgames (of which combat may be one) in order to be successful, and for maximum impact, each of them needs to fulfill all of the following requirements. In fact the atom needs to have certain known “system inputs” and “system outputs” so that it can be hooked together to build game “molecules” if you like.

We typically refer to each atom as being “a game system” in game design, but part of the point of this essay is to show that this definition is to a degree recursive. Once you have knitted together several atoms into a molecule, the molecule as a whole must also meet all the criteria for what makes an atom fun. When looking at a piece of interactive entertainment, it is made out of at least one atom, and possibly many molecules, as in the case of MMOGs. In the end, what we refer to as “scope of a game” is really measure of how many atoms it has.

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I love stories. My chief hobby is reading. I was formally trained as a writer, not as a game designer (there wasn’t really any formal training for game design I got started, but that’s another story). I think most game stories are not very good. And I quite enjoy games with narrative threads pulling me through them. When I find a game with a good story, I frequently prefer to the story to the actual game! So please keep that in mind as you read: I love story.

Narrative in a game is not a mechanic. It’s a form of a feedback.

This simple fact is frequently ignored, particularly in games aimed at the mass market.

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Ian Schreiber posted on Twitter asking

Game designers: in your everyday use of the terms, is there a difference between “rules” and “mechanics”? If so, what?

I do make the distinction, and I had to think a bit about how to even phrase it. So here’s a quick thousand+ words on it.

First off, I think these are both terms that will feel different to a player vs a designer.

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Raph, aren’t there some situation where lack of feedback actually add to the experience? I’m thinking, for instance, something as simple as a game of hide and seek. You don’t really know if you’re well hidden until you’re found (or not)! Doesn’t “knowing you don’t know” add more tension and excitement?

-Olivier Carrère

Well, first of all, let’s not underestimate the amount of feedback there is for the hider while hiding; the sound of giggles and held breaths let go, the clear sounds of the seeker exploring the area, and depending on your location, actual visual tracking of the seeker. But all of that isn’t even really the feedback, as you state — it’s whether or not you’re found. Having to wait for that level of feedback is common in all sorts of games.

To address your question more specifically: yes, of course a certain amount of lack of feedback is fine. In the case of hide and seek, you are building a heuristic for “how the seeker seeks.” So it’s a psych game as well as a puzzle of finding decent hiding spaces. You are trying to determine how the seeker thinks, and outwit them. Worse, you have to do so with limited resources (limited environment, limited timeframe).

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GDC Vault – Social Mechanics for Social Games [SOGS Design] is a link that takes you to the GDC Vault where you can watch a full video of the presentation, with the slides side by side, for free.

Of course, you didn’t need that, right? Because you already paid to get access to the utterly awesome GDC Vault.

There are a couple more free talks released today as well, including the AI rant and an inside look at the Humble Indie Bundle. You can check out all the free talks here.

I got a request via Twitter for this old essay which had fallen off the Internet, so I am posting it here. This was originally written for Metaplace users… there is nothing here new to anyone who has followed the blog for a while, but since it was requested, here it is.

The fundamentals of game design

Starting out creating an interactive experience, of any sort really, can be rather daunting. In this tutorial, we’ll run through the basic components of a game, so we can get a handle on what the next steps are when you make the jump from the training tutorials to your own projects.

Often people have trouble when conceptualizing a game. The idea, after all, is often the easy part. It’s actually making it, and figuring out where to start, that is the hard part.

A friendly warning, though! Just like writers have different ways of working, and some composers write music in their head and others at an instrument, different game designers are going to have different ways of working. Some work better “in the code” and others like doing everything on paper beforehand. Some think in terms of story and narrative, and others are systems designers first and foremost. So this tutorial may actually run a bit against the grain for you, depending on your natural temperament.

In what follows, I am going to use the language of games, but really, every piece of advice in this article applies equally if you are designing any sort of interactive project whatsoever. So just because I say “game” in what follows doesn’t mean this article won’t be useful to you when you start making a classroom experience or a chat room or some other application. Read the rest of this entry »

The intent of this talk was to do a “powers of ten” sort of look at multiplayer mechanics… not really to describe anything new, but instead to try to take the whole big spectrum of what we think of as multiplayer game design, and do a cross-disciplinary look at it. I covered a bit of game theory, a bit of psychology, a bit of evolutionary biology, a touch of history, a heavy dose of sociology, a dash of social networking theory, and of course, game design stuff.

My hope was that when done, it would both serve as a good context for thinking about multiplayer games of several sorts, and also as just a plain old reference, something to point at when discussing things like what the impact of gifts and wall posts are in social games, or why some MMOs have longer retention cycles.

So here it is as a PDF, for your perusal. I tried to make the slides stand on their own as much as I could, but of course, the actual voiceover would make many slides more comprehensible. For that, look for the actual session recording to appear on the GDC Vault.

Long-time readers will notice that there are bits here that reference and repeat elements of much older presentations. I recommend following up this one with the math-heavy but extremely related presentation on social network theory Small Worlds: Competitive and Cooperative Structures in Online Worlds (PDF), if you have not seen it before… I gave it back in 2003, a year before Facebook launched. It digs a lot deeper specifically into many of the characteristics of large scale-free networks in games.

Using isomorphic graphs to analyze MMORPG combat

I have posted up the slide deck (PPT) and a page of images of slides for my GDC Austin talk, “Games Are Math: 10 Core Mechanics That Drive Compelling Gameplay.”

This talk starts out with some game grammar stuff that may be familiar, then moves into looking at a definition of NP-complete problems, then provides ten examples of how they can be used to look at games, then finishes by examining cognitive bugs in the brain that many games exploit. Please note, I am not a mathematician nor even claim to be very good at math.

As usual, this along with all my other talks can be found on the Gaming Presentations page, reached by clicking “Games” on the top bar of the site, then choosing Presentations from the sidebar. For those of you who never click the top bar and think all that is here is the blog — there’s a wealth of stuff available there. I’ve recently updated it to include a few presentations that were buried and hard to find, such as the audio for my Games For Change closing address, the videos for Living Game Worlds IV and Siggraph Sandbox, and more.