On Gaming’s Future

Xbox 360 GamesE3 2010Guitar Hero 5

My main disagreements with Jesse Schell’s lecture:

  1. Right now external rewards are an ‘ooh shiny’ within culture.  We have struck some gold with the vein of behavioral psychology, and now everyone is rushing in believe there is gold enough for eternity in there somewhere.  The mind is being cracked open like some blue ocean market.  If there’s anything we know about these things it’s that they saturate.  With each further achievement system that latches on to our daily lives, the rewards become less and less novel.  After enough of them, the benefits will settle down into the background noise of our daily motivations.  Like any drug, the brain develops a tolerance.  Assuming his dystopian vision comes to pass, those reward system will be background noise – expected within any new system or promotion, but not a bullet point feature.  When opening up a new airline company, saying that you have offer frequent flier miles isn’t going to turn any heads.  We’ve dealt with reward structures that have turned background before, and like other drugs, there will need to be an escalation to get any attention.
  2. The escalation won’t be more of the same.  Eventually while spelunking in the brain, something new will come along – another ‘ooh shiny’ that will no doubt be the topic of some future ominous keynote.  If anything, external reward schemes aren’t the future, they’re the emerging present.  If we put all our best minds on sapping this gold vein for all its worth, no one will ever find that minerals like uranium might have their value.
  3. Many good game designers ARE working on the problem right now and to say that they aren’t present in the field is a bit insulting.  What’s important is that we push the discourse in the direction that benefits both games AND society as a whole.  We as game designers have the power to prevent this rat-and-pellet scenario by pushing the persuasive envelope in the right direction.  There will be no shortage of marketers cum game designers willing to tweak the spreadsheet pivot a bit more.
  4. Reward structures are only ONE of the many neural motivators for gaming, and while the most basic and exploitable with our current understanding, they do not represent the true power of games.  If anything we’ve learned from the last decade or two of ludology it’s that games and learning are inexplicably linked – creating reward mechanisms that are devoid of learning and the introduction of new elements seems backwards.  In the old ‘depth and breadth’ game design metric, achievement systems for brushing your teeth have neither – the entire ruleset is one item long and mastery is immediate.  Sure the ‘game’ is in taking advantage of the system as a whole, not just the teeth part, but without learning and mastery how soon will it get stale?  Most facebook games lose my interest after a short while for this reason – I feel I’ve learned everything there is to learn and the rest is just rote repetition.  We’ve fought to elevate this (to some notable successes) within the Free to play and MMO arenas.  Why does he think our future is to give up these efforts and succumb to age old formulas?

I have a lot of respect for Mr. Schell, but I can’t see this one as much more than fear mongering – stirring the pot.  Based on the amount of ‘check this out’ and ‘awesome video’ tweets and the general lack of criticism, I can’t say he’s succeeded.  In summing up, I think the trend is exactly as he put it – but this is a short term trend (really just the last two years) in a long term history of games.  Remember with Full Motion Video was the future of games?  Virtual Reality?  Hyperbole is dangerous, but the exercise of it for sake of argument is good in that it gets people thinking.  Just because the current trend is moving in this one direction does not invalidate all other work and studies that have come before regarding future predictions.

February 24, 2010

Tatha: Cantor

Also called nanomages, they act as host and controller to a swarm of progressively smaller and smaller technological microbes, which and consume and tear down matter with just a thought from their master.

Source: Matter Feast

Nanomagic is powered by almost infinitesimally small machines: nanoscale machines which can build and manage swarms of picoscale which can build swarms of femtoscale and so on.  Swarms of russian dolls that can create themselves at will from available materials.  They are not limited at the scale of nanomachines, however the name stuck.  These machines also function as the fuel for their abilities, machines recklessly cannibalizing each other to serve the will of the master.  They are networked through the host (the mage) who can control them by will alone.
Source is gained by devouring raw material (Major action) at a rate based on its content:
  • 3 Source – Silicon, Germanium, Diamond, Supercarbons, Rare Crystals and Metals (1cm2)
  • 2 Source – Carbon-based Life, Petrocarbons, Fossils, Ferrous Metals, Graphite, Coal, Soot (10cm2)
  • 1 Source – Anything Else (100cm2)
Root is gained by spending a scene devouring and isolating a given component

Abilities

Differential 3

[Customize: Energy Type, Appearance] Examples: Light/Dark, Electricity, Heat, Velocity/Wind, Gravity
Build an energy attack by ‘plussing’ one side and ‘minusing’ another
The attack does 1 Damage per Delta for every Major action spent charging it
After every turn beyond the first, roll to see if it backfires at difficulty (turns-1)
If it backfires, prana cost is moved to Dead and effect is cancelled
Major+, Cost: 2 Prana
Variables: Multitarget, +Stun, +Hold

Decon Field 2

Physical Armor 2
Minor, Cost: 2 Prana, Variables: Multi, Tilt

Synthesize

Create a material item outside of the scope of typical resource rules
Takes one major action + 1 prana and 1 root per Resource Class of the item
Major+, Cost: 1 Root + 1 Prana Per RC
Variables: Speed, Accuracy

Consume

Using their source generation on a living target does damage AND generates source
Major, Cost: 1 Prana

Kinesis

Apply force to target(s), moving them through space or keeping them aloft
Can be used to fly, jump higher, do damage
Major, Cost: 1 Prana
Variables: Multiple, Mass, Speed

Sculpt

Reshape matter or energy
Major, Cost: 1 Prana
Variables: Mass

January 15, 2010

Tatha – Mujin

The Mujin are also called Void Samurai – they do not fear death and instead flirt with it in order to achieve wu wei – actions without a master. Mujin use weaponry and specialize in one and two handed melee weapons, thrown weapons, flex weapons and one handed ranged weapons, the most common being katanas, armknives, claws, pistols, blasters, spears, staves, cutters, heatwhips, sectional staves, kama, scythes, and various implant weapons.  There is a story of one even using a Bow.  However, they pretend weapons that are up close and personal, and ones that aren’t too hampered when there are multiple attackers.   They favor fluid movements and weapons that can become part of the body’s kinetics – they train endless katas and tactical subroutines so that during battle it can be as close to pure reflex memory as possible.  Mujin are often employed as guardians or assassins.

Source: Wu Wei

Generate one source by spending time based on their condition:
Quiet mind – if living prana is equal to half or less max prana, take a major action
Silent mind – if living prana is equal to 1/4 or less max prana, take a minor action
No mind – if living prana is equal to 1/10 or less max prana, take a quick action
Source cannot be regenerated if living prana is greater than half max prana
To gain root, spend a scene meditating on a specific aspect or property
Root may also be gained by a taking the source generation action following an attack or affliction on the mujin and generating root instead of source
Root gained this way takes on the aspect of the attack and the attack may not be disrupted or healed
Taboo: Fear compulsion – Mujin lose source if they are subjected to an aversion compulsion

Abilities:

Natural +4 vs Fear compulsions

Shadowstep 5

Defense Dice, Dodge Physical (Attack must be observed; Matter+Energy)
Reaction, Self, No Cost

Imbalance

An attack that steals time from the target on success (1 Tick per 2 Delta)
Major, Cost: 1 Prana, Variables: Piercing, Multi

Disrupt

Disrupt effect, releasing it
Critical success may ban the effect for a scene or more
Root may be used as well but must contain an aspect that is found in the target
If root is used, the DC is dropped by 3
Major, Contact, Cost: 1 Prana (1 Root), Variables: Distant

Divide Heaven

Roll next attack twice, take the better one
Minor, Self, Cost: 1 Source + 3 Prana

Phantom Recourse

Damage is nullified
Reaction Delay 2, Self, Cost: 3 Root

Empty Mind

The Mujin shows no pharon trace (invisible to Witch senses) – roll skill as defense
Armor (Symbolic) 2
Reaction, Self, Cost: 2 Prana

January 13, 2010

Tatha – Concepts

Preview post of the concepts chapter for Tatha

http://docs.google.com/View?id=dhpn5xkg_44g9fpxwsj

October 25, 2009

Incoming

Look forward to a big announcement soon – my project and company are about to go into alpha and out of stealth.

September 28, 2009

Little King’s Rough Start

I’ve been playing a lot of Little King’s story lately and I can’t help but notice one major design curiosity:

The game becomes more usable and coherent as you go along.

Normally it makes sense to introduce concepts to the player in a nice smooth logarithmic/sigmoid fashion to optimize learning.  A game begins as simple as it can and adds complexity after enough time to digest the previous mechanics has passed, limiting the amount of instantaneous new mechanics.  However, with Little King’s story, nearly every time a new feature was added (especially in the early stages of the game)… I felt like it was a convenience issue or it was long overdue.

Each time a feature was added it didn’t feel so much like a new thing to learn, but a shortcut to a boring or frustratingly impossible task previously.  It feels as if they started with the final game and removed interface and features until they arrived at the beginning.  Some may feel this is a sound design methodology, but I do not.  The beginning experience is the most cruicial to the game – it can be looked at as a subtractive version of the game’s concepts, but it should be just as compelling as later play.  On examining this I noticed even I noticed some conflicting viewpoints on this issue, even within myself.

On one side, the beginning should be representative of the gameplay, pure and enjoyable in its own right.  This is especially true of casual games and seems to come from the casual game part of my brain.  The idea is that there is no immediate ‘end’ which you are going to, you are enjoying the gameplay as it is and as it progresses.  To me, this is the very zen-like concept that attracts me to more mechanics-based and casual games to begin with.

On the flip side, if you’ve designed a game that has a degree of complexity to it, you can’t give it all up at once.  So, like any good school – you introduce a problem, then a skill, and then test for application (designers take note: it’s more effective to introduce the problem before the skill than the other way around).  This method leads to a very ‘tutorialish’ beginning, especially if condensed together (skill-skill-skill-game vs skill-game-game-skill-game-game).

Neither side is wrong, but there’s definitely some nuances in the approach that make it worth exploring further.  As much as I do truly enjoy Little King’s Story, I did feel like I was playing through about 5 hours of a mediocre / frustrating / aimless game to get to a more polished, enjoyable game later – and I didn’t even know that was going to pan out that way through the first 5 hours (not quite like begrudgingly sitting through tutorials).

Regardless of the design method with respect to the beginning (additive or subtractive), one should never skip polishing the beginning and examining it from a ‘what if this were all it was’ viewpoint.

September 2, 2009

August 10, 2009

On Defining Art and Video Games

Normally whenever the question “Are video games art?”  is raised, I have to force myself to avoid it, as I feel that describing my take on the subject will take far longer to type than the given blog/tweet post’s comments will be active for.  However, recently having read Damion Schubert’s take on it and having seen the subject bounce around on #gamedesign a lot, I decided I should give this a shot, so here goes.

The biggest difficulty I tend to find in discussions on this subject is that people aren’t always aware of what it is they are asking nor do they come to the discussion table with a shared set of definitions.  I am going to attempt to clean up this mess a bit with some simple logical statements and metrics, peppered with just a bit of subjective thought process.  So first off:

What is Art?

Perhaps the biggest culprit is a unclear definition of Art.  If only this were a problem limited to those discussing it as it applies to video games.  The true definition of art has been argued for quite some time (see also Aesthetics).  I’m going to try to pluck off the relevant issues.

Art can mean a reference to a field of study, a technique related to creative skill as relates to aesthetics, a product or work of art, or more colloquially ‘fine art’.  We’re going to need to pick or build a definition.  How about the first line in the Wikipedia entry – it’s gotta be the most relevant, right?

Art is the process or product of deliberately arranging elements in a way that appeals to the senses or emotions“.

Yup, games definitely do this!  We’re done!  The answer is yes!   Not so fast.

There is much debate about this subject so it can’t possibly be that simple… Let’s try another definition.  How about Britannica Online’s defintion:

the use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others.” [my italics]

Well that one seems to fit with games pretty easily.  I don’t seem to be getting very far with this, so I’m going to work on my own definition.   I’ll use existing things that we readily call art as a way of removing away that which it is NOT, leaving that which it is.  Likewise, if the definition excludes things we conventionally call art, then the definition itself will be invalidated.

Is art a physical object?  No, or else music or performance would not be art.  Is it creative skill or technique?  No.  It cannot be simply a technique.  If you go a gallery to appreciate art, this definition works (appreciating the technique), but if you then buy the art, you are not buying the technique.  So clearly it is neither the sum of its materials nor the sum of its techniques – it is neither simply artwork or artistry.  What ties the two together but is wholly neither?  Well a concept does.  Concepts can be equated to thoughts and words.  Are words alone art?  Just a series of words strung together?  No, we do not call this art.  However, words written down or spoken can be poetry, which is definitely art.  So what is the difference between the intrinsic set of concepts floating along and that which we call art?

Well, both written and spoken word have the potential to communicate the concept from one individual to another.  So if I walk up to you and say something, is this art?  The problem here is that the communication is direct.  What if I yell the same words to a crowd, indirectly?  Now this is could be either performance art or the actions of a crazy person (or both).  We are now very close to the great writer Leo Tolstoy’s definition of art:

a use of indirect means to communicate from one person to another”.

I like to call this ‘proxy communication’.  Or in diagrammatic form:

Artist -> Medium -> Audience

Does it really need an audience?  Must a work of art be shown to one other than the original artist?  If an artist paints a work and it is left in their attic, and their house is bulldozed, did the work of art exist?  This is doubly ponderous if the artist is also a mime. Well, here we can satisfy that formula to say that perhaps the artist was also the audience.  But is this cheating?   Well, consider a person talking to themselves (casually like assurances into the mirror, not schizophrenia).  That is direct communication from yourself to yourself.  However, if that same person wrote a diary, and perhaps drew a sketch in a diary to try to express their feelings (to be later read by themselves again long after they do not recall the original feeling), then that is indirect communication and as such we can call it art.

August 10, 2009

July 21, 2009

Neuro

A couple quick links on the brain happened close together so I thought I’d group them here:

Disorderly genius: How chaos drives the brain
A great discussion about back channel and multitasked learning
A bunch of links about games and neuroanthropology

and because no post is complete without cats:
House cats and psychological purring

July 14, 2009