Lewis Pulsipher(lewpuls)United States
Three Subjects in One Blog Post
• Games are not inherently nice
• The Supernatural as an explanation of history - Bad Idea
• Heavy dependence of Ancient and Medieval armies on their specific leader
I am "old school" in the sense that I think of games as involving conflict and opposition, as challenge and mastery, not as story-telling or being nice to everyone. Games are not inherently nice.
But the latter sentence is why I stopped playing games against other people more than 40 years ago, and prefer to play co-operative games: fantasy role-playing is the epitome of co-operative game.
Add to that I dislike puzzles. so I'm not at all attracted by parallel competitions (Euro "games" commonly) even though, for the most part, they are "nice" games - if you can call them games at all.
One of the worst examples of historical "scholarship" is to attribute causation to the supernatural. The supernatural, whether gods or spirits or something else, can always be adduced as a cause of something, but explains nothing. The historian's job is to explain not only what happened but Why, and using the supernatural as a why is a waste of everyone's time.
I don't think "supernatural" exists. The trend of human history begins with suggestions that the supernatural is involved in many phenomena, then finding naturalistic explanations that don't require the supernatural. "The supernatural" keeps shrinking. Is there any reason to think this won't continue? No.
Yet even if I did believe the supernatural exists, I'd object to its use in historical scholarship. It's not an explanation.
One of the most marked, and interesting, characteristics of ancient and medieval armies was their psychological dependence on a single leader.
If their leader was killed, or even wounded, they lost heart and retreated or even broke. There's a story that William the Conqueror's horse was killed under him twice, and that nearly did in the Normans even though he was unhurt. There wasn't a clear chain of command so that a second leader could take over. Very different from modern armies, of course.
This is perhaps understandable when the leader was the king (or wannabe king), and there was no adult heir present. But it happened with non-royal generals with great frequency. Yet the leaders were expected to be in the thick of the fighting. Alexander the Great was crazy brave for a monarch, once leading an escalade on a city (Tyre?). At least once he was barely saved from battle death by a companion.
Even Napoleon took some big chances when he was younger. I should think the French army might have lost it if the later *Emperor* Napoleon had been killed in battle (there was no adult heir anywhere), but in general armies survived the loss of their leader without breaking. Many, many generals were killed during the Revolutionary and Napoleonic wars, though rarely the commander of an army - but artillery nearly hit Wellington at Waterloo.
This heavy dependence on one leader is why the death of William or Harold, in my game Hastings 1066, makes so much difference (though less than it would have historically). Whereas in Stalingrad Besieged (1942) using a variation of the same system, there are no leaders, it's all faceless struggle.
A reminder that my “Game Design” channel on YouTube continues to offer free videos about game design, one every Thursday, nearly 300 available. I say free: I cannot control the advertising, and don’t make any money from it as I don’t have enough subscribers. The channel exists thanks to contributions from my patrons (https://www.patreon.com/LewisPulsipher).
Latest video has the LONG title "Good and weak gamers, with respect to chance and randomness, and how this affects game design" at https://youtu.be/0Kg3NbqHrAU
This blog contains comments by Dr. Lewis Pulsipher about tabletop games he is designing or has designed in the past, as well as comments on game design (tabletop and video) in general. It repeats his blog at http://pulsiphergamedesign.blogspot.com/
Archive for Design "Theory"
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Three subjects in one blog post
• Yomi vs minimaxing
• Changes in habits from Corona/Covid-19
• Solo and Co-op Games
Yomi vs minimaxing
I realized recently that what I’m trying to do in my block games is to emphasize the uncertainty of warfare by offering opportunities to use Yomi rather than the typical wargame minimaxing. Yomi is a Japanese word referring to reading the opponent’s intentions that has been adapted to games. When you rely on Yomi you’re attempting to read or guess or divine your enemy’s intentions and take advantage of that. It is a riskier, more romantic way to do things. But it’s absolutely necessary in real warfare because there is insufficient information.
In a wargame, where typically a great deal of information is known, it’s possible to use a minimax strategy, that is to play the game as a game rather than as warfare. You can calculate what to do to maximize your minimum gain, assuming that your opponent is a perfect player; if they prove to be a less than perfect player you will do better than you expected. (This all flows from the mathematical theory of games.)
By using the hidden identity and hidden strength possible with blocks I try to move the game towards Yomi and away from minimax.
Which is all a bit strange considering that I’m a minimaxer rather than a Yomi player. But I design games for other people, not for myself.
Changes in habits from Corona/Covid-19
The coronavirus affects games because most game shops are closed. I’m told by one of my publishers that money from the typical hobby distribution through distributors to the game shops has dried up, though webstore sales are okay. But it all makes for precarious cash flows.
I hear that in the comic industry, where everything is distributed by one company (Diamond), things are precarious. Diamond has already suspended shipping to comic shops because they’re not getting paid by comic shops (most of which are closed). This lack of payment has also led them to suspend payments to comics publishers. Comics publishers aren’t nearly as strong as they used to be, in fact superhero style comics have been in decline for a decade despite the success of superhero movies. I don’t think Marvel any longer make any money from the movies, as the Marvel movies are owned by Disney. Whether publishers will be able to survive the lack of payments is unknown.
Diamond is a distributor for some RPGs as well as comics. Alliance, the main distributor for hobby tabletop games (and the same ownership as Diamond), has closed down temporarily.
I wonder if our local game store is likely to survive the hiatus. It was struggling as it was, as the local area has a smallish population for a game store (250,000 for the entire county), mitigated by the presence of 70,000+ college students. But in my experience, few college students actually buy games.
(Minor calculation: if there are 330,000,000 people in the US, and 3000 games stores (I believe that’s much higher than reality), each store serves on average 110,000 people (about the population of Gainesville without students). If there are 1500 games stores then each would serve on average of 220,000 people. Someone started a second game store in Gainesville, but it lasted only a year.)
It doesn’t take a crystal ball to recognize that habits will change for some people after the pandemic. The pandemic has forced people to do things remotely, and to do digital rather than physical (for example in comic books and RPG books). How many of those people will continue to do things digitally rather than physically after the pandemic? This puts even more pressure on local game shops, even if they’ve survived the pandemic itself.
As I discussed this with my wife she said that if game shops fail then after while there will be other entrepreneurs who try their luck at running a game shop. But if the comics collapse, it will be that much harder to run a game shop, as many game shops rely on comics sales as well. And many people are aware of the old joke, “how do you make a small fortune in game retail?” Answer: “Start with a large fortune.”
Solo and Co-op Games
How much demand is there for tabletop games that only offer solo play? One of the major strengths of tabletop games is their socialization aspects, yet it’s well-known that many people play military games solitaire for lack of opponents.
Solo and cooperative versions are increasingly popular even for games that are designed to be competitive. I have designed three or four co-op games lately, and I’ve been putting solo versions into my games (as in my latest, Stalingrad Besieged, as best I could (that is, without increasing the cost).
But the typical co-op game is rather Euro-like, whereas mine are wargame-like.
Latest (free) videos on my YouTube “Game Design” Channel:
What causes exceptions to the rules?
Exceptions to the rules make a game more complicated, Even in a video game, where the rules are enforced by the software, the players have to learn what the exceptions are. So what causes a game design to have rules exceptions?
Pros and Cons of RPG character ability generation methods
What are the pros and cons of the two fundamental methods of RPG character generation, the stochastic (dice rolling) and the deterministic (point buy)?
"Yomi" versus Minimax
Some people play opposed games (such as historical representations of warfare) according to game theory notions (minimax), others act as many generals have and try to read the intentions of their opponents, then act accordingly. Yomi is closely related to intuition, minimax to logic. I've discussed intuition and logic in another video, https://youtu.be/M63j6_8D6iI
Getting started: World-Building
Some questions to ask yourself, and an admonition that it's the game (or novel) you should spend most of your time on, not the world.
21st century gamers are usually deficient in military strategy
In my experience (mostly with tabletoppers), 21st century gamers are poor at military-style strategy. They don't think in long-term, don't see in long-term. It is, after all, the Age of Instant Gratification. It's not different in video games, because video game "wargames" are usually resource management games, not wargames. And video games encourage the "instant gratification" point of view.
10 "need to knows" about level and adventure design
Level and adventure design is related to game design, but not the same thing.
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Three development paths for Britannia-like games
On the occasion of the Kickstarter for a reissue of my game Britannia https://www.kickstarter.com/projects/1992455033/lew-pulsiphe..., I had some thoughts about the different ways development has gone for Britannia-like games. The reissue shows some of this, with plastic figures and other improvements in the interface but no changes in the rules, along with a two player newly-designed Duel Britannia that takes me 65 to 75 minutes to play.
Britannia was originally published in 1986 by HP Gibsons in the United Kingdom. It was picked up by Avalon Hill and published in 1987. (I had submitted it to Avalon Hill a few years before, but they told me that games of that era didn’t sell. Evidently Gibsons proved to them that they could sell.)
To make a long story short, I was not participating in the game hobby at this time, I was playing Dungeons & Dragons and making additions for Dungeons & Dragons to use with my friends, period. When I received a couple copies of Britannia from Gibsons I opened the box, looked at the contents, said “that’s nice” and did not actually see a published version of the game played until 2004.
In all that time some people liked the Britannia game system and adapted it to other situations. I think the first was the Avalon Hill Maharajah, which came close to being a slavish copy except that it was set in India. And went into the gunpowder age (which I would not do). So it continued the simplicity but considerable length of the parent game. This is the first branch of Britannia development. Other semi-commercial games such as the Dragon and the Pearl and Rus followed the same path. I’ve designed Normannia originally in this development path. I designed my prototype Caledonia as a somewhat cutdown version of Britannia, but I think I’m going to reduce it to the small development path.
But with Hispania we saw another branch of development, the bigger and more complex game. Where Britannia has about 200 pieces, games in this branch have over 500; where Britannia has only armies and cavalry and leaders, this kind of game adds elite units and sometimes fleets. More recently, Italia, by the same designer, continued this branch, and in the past year we have had a Kickstarter for Invasions (of Europe) by French designer Philippe Thibault. He has ready a successor chronologically to that game as well. These games violate my philosophy of design, which relies on simpler games where the players can play the other players. Or as Albert Einstein put it, “Everything should be as simple as possible, but not simpler.” Or at least so I thought at the time, though I’ve since found that I can make games much simpler than Britannia.
My own prototypes “MegaBrit,” Dark Ages, and Helennia, use a larger form though not with as many pieces. More recently a Spanish designer designed Corsica, with more than 500 pieces, which is scheduled to be published, probably next year.
Of course, I was designing Britannia in the early 1980s, when long games were much more acceptable than today. (I made an all-of-Europe prototype during that period but the one time we played it (1980) we took 12 hours, so I set it aside and forgot it until I found the prototype 30 years later.) When I heard from the Mayfair guys at a convention that they were working on a “broad market” version of Catan (later published as Catan Junior) I said to myself, “I ought to try doing that for Britannia.” After quite a few years I ended up with Conquer Britannia which has just 12 nations and six turns and has been played in as little as 84 minutes. This is the third path, to make the game much simpler and smaller. (This requires a new board; in the late 2000s I designed a version of Britannia to play on the original board in a couple hours, as an expansion, but Fantasyflightgames who had published the Second Edition were not interested in the expansions.) There are something like 18 to 20 land areas on the Conquer board compared with 37 on the original board.
Having more or less perfected this method I have gone on to make prototypes for Frankia (also diceless), Barbaria (Europe from 410 to 1250 in six turns, has been played in 1:40), Rule Britannia (diceless), and have others in mind. And of course, when I got the assignment to design a two player 60 to 90 minute version of Britannia itself, which became Duel Britannia.
Why would anyone make these massive games like Hispania and Invasions? May as well ask why people make Monster wargames (though the reasons are different). I suppose because they can; but I also suspect that the smaller the game is, the harder it is to balance. By including lots of units and lots of everything you have a game that’s easier to balance, and yet can show more detail. I think that’s probably a general balance rule for asymmetric games. Furthermore, individual nations may be more survivable/less likely to suffer a great disaster when they have more armies, and some players may prefer that.
From a marketing point of view the smaller game path makes much more sense for modern gamers, many of whom say they can’t handle even a three-hour game (although you can see many of those same people play a three-hour game if they’re enjoying it and if it has enough substance). Yet Thibault’s kickstarter for Invasions got 900 backers. (I suspect the French are more willing to play 80s style games than Americans are.)
Some years ago, when I was developing the “small” style, I made tables that used various formulas of multiplication using nations, areas, and turns, to try to focus on what would help make a game “small”. But the following table is more informative.
Characteristics of Brit-like Games:
Original “Big-huge” “Small”/Broad Mkt
Number of armies About 200 400-500 or more 100 or less
Number of turns 16 16 or more 6 or 7
Areas on board 37 + 4 sea 50 to over 100 18-25
Number of Nations 17 Several dozen 12 or fewer
Use Figures? Cardboard; Latest Brit uses figures
Too many armies for figures, practically
Designed to use figures
Timescale Does not seem to matter, but usually centuries
Not every game is going to conform in every category, of course. I can see making a Small game that has more than 12 nations, for example. Or a Big-huge game with only 17 or 20 nations.
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27 Feb 2018
A Board Game that only Uses Cards, OR,
What Matters is Function, not Appearance OR
How to make a board game that costs you a lot less
My game Hastings 1066, about the famous battle where William of Normandy conquered England, is a board game in disguise. It functions as a board game, yet uses cards, with the result that it costs buyers a lot less than if a physical board were included. Yet I’m told by a publisher that wargamers don’t generally care for card games. I think I understand why, but the objections do not apply to Hastings 1066.
When most gamers think of “card games” they think of Magic: the Gathering, Yu-Gi-Oh, and Pokemon. These are a combination of slick marketing scheme and appeal to children, so it’s not surprising that wargamers (who tend to be older people, often Baby Boomers, who don’t “get hooked” on things) are put off. Moreover, these games make more revenue than all other kinds of tabletop games put together. MtG alone makes more than all board games combined. (Figures from IcV2, US and Canada only.)
Moreover, collectible card games (CCG), certainly the three I’ve mentioned, are far from depicting warfare. There is no maneuver, next to no geospatial relationships. Perhaps that makes a little sense in a wizard’s duel (though I don’t think so), but you cannot depict battles that way. "Battles are won by slaughter and manoeuvre. The greater the general, the more he contributes in manoeuvre, the less he demands in slaughter." --Sir Winston Churchill
If you’re not depicting maneuver (and the geospatial relationships that make maneuver meaningful/possible) then you can’t depict battles – and it’s hard to depict wars. We can’t model wars in games, we model generalship, but without maneuver there is no generalship.
Wargamers may also feel that card games are “taking over,” and they don’t like it. I recall walking around the dozen tables in use at a big meeting of the NC State Tabletop Gamers, noticing that every game being played (none of them a CCG) was primarily a card game, and the only board game was the one being playtested at my table.
Not surprising that wargamers would rather not have deal with card games.
The Board Function
The fallacy of this perception is that you can use cards without a physical board to depict maneuver and geospatial relationships, as in my game. In practice, Hastings 1066 is a board game, not a card game, that happens to use cards for units rather than using blocks or tiny counters.
The purpose of using a board in games, originally, was to depict maneuver (or placement) and geospatial relationships. Think of Chess, Checkers, Go, even race games such as Pacheesi and Backgammon. They’d be very difficult or impossible to play without a board. What’s important is not the physical board itself, but the depiction and control of maneuver/placement and spatial relationships. It’s the function that counts in the game, not the appearance. (Computer Civilization, for example, is a board game.)
A board game isn’t a game that uses a board; many games that use a board are only tracking various statuses that could be tracked as easily in other ways. For example, some of the recent Munchkin (deluxe) versions have a board, but all it does (in Zombie Munchkins at least) is to track the experience level of each player. This has been done in other (non-board) ways for many years. Is Zombie Munchkin a board game? Not only no, but “Hell No.” The appearance is of a board, but the function is not.
Hastings 1066 uses cards for double duty, as units and as the board (in conjunction with two strips of cardboard). The layout looks like a grid.
I could have used a board with that same grid, but that would have raised the price of the game drastically. A board is the most expensive part of a board game, and if it’s a mounted board, it requires use of a much larger box. Mounted boards are printed in 11 by 11 inch segments; that requires an 11.5 by 11.5 inch box. The larger box costs significantly more than a smaller box.
Moreover, Hastings is not only a deck of cards. There are the map strips, the cubes for marking arrow wounds, and the markers for William and Harold. Those components would be the same if it were a “board” game.
CCGs vs Hastings
A comparison of Hastings with CCGs shows great differences. CCGs are usually “special powers card games”, as I call them for lack of a better name. Each card has a different exception to the standard rules. They tend to be tactical games, and rely on combos for much of the interest. My game uses no combos or exceptions, though it is tactical as any game about a singe battle is likely to be. It is much more like a board game than a CCG.
In appearance, CCG cards have tiny text and numbers. Everything you need to see in Hastings is in large print on an uncluttered card.
I’ve designed a number of card games, but none of them in the CCG category, nor in the special-powers-combo style. Yet wargamers may tend to assume that a card game is CCG/combo style.
As an example of the latter, recently a game called “Tears to Many Mothers” (really?) that is ostensibly about the Battle of Hastings was Kickstarted. But if I can judge from its Kickstarter, it’s a special-powers game with virtually no maneuver or geospatial relationships. That is, it cannot be a wargame despite the supposed topic. But with gorgeous artwork, and an audience on Kickstarter that tends to like gorgeous art (and special powers combo games), it Kickstarted very well. Wargamers, however, might point to it as “what’s wrong with card games”.
Pay attention to the components of a game that count. It’s function, not appearance, that determines whether it’s a good game to play.
Another topic that comes to mind is microgames. These were popular board games of the 1970s and eighties. The most popular was Steve Jackson’s Ogre in 1977, while my game Dragon Rage (1982) was another. These games had thin, tiny unit counters and cardboard boards, and originally came in a plastic bag (DRage was in a small box). You could carry them with you and play (most of) them in less than an hour. Yet they were fully functioning board games, usually for just two players.
Microgames disappeared a long time ago - people no longer accept thin, tiny cardboard units. They have largely been replaced in the market by card games, CCGs and otherwise. DRage cost $10 in 1982, which is equivalent after inflation to $25.42 in January 2018. A $5.95 game from 1970 would be $37.82 today (big inflation in the mid-70s). The pre-order price for Hastings is $24 (same as the Kickstarter price), MSRP is $35. Hastings 1066 is an example of a “new” microgame, something you can carry with you and play quickly when you have a little time.
Dragon Rage was reissued in 2011 with large, thick cardboard pieces, a mounted board, and an additional map and scenarios on the other side of the board. It cost more than three times the $24. Hastings 1066 could have been made much more expensively, but it would no longer fit that niche of a board game microgame.
The Kickstarter for Hastings 1066 ends tomorrow (Wednesday Feb 28). https://www.kickstarter.com/projects/1456271622/hastings-106...
Preorder (version with black core French Linen cards only available via KS) at: https://worthingtonpublishing.com/?product=hastings-1066-pre...
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[Originally appeared at gamasutra.com]
Harmony and its opposite, the kludge, are fundamental to good game design. Games that lack harmony or have in-harmonious aspects have a handicap, though some succeed. Fortunately, most of the in-harmonious games are never published, or only self published. Players don't always recognize the in-harmony but its existence still affects the game. Designers may not recognize in-harmony if they think of the game as “My Baby.” But designers need to recognize it and get it out of the game.
So what is harmony? This is hard to pin down. It's like harmony in music, something you can hear and can recognize when harmony is not present. Here is a long quote from a 1997 lecture where this concept of harmony comes from:
Brian Moriarty: http://ludix.com/moriarty/listen.html
“It’s something you feel. How do you achieve this feeling that everything works together? Where do you get this harmony stuff? Well, I’m here to tell you that it doesn’t come from design committees. It doesn’t come from focus groups or market surveys. It doesn’t come from cool technology or expensive marketing. And it never happens by accident or by luck. Games with harmony emerge from a fundamental note of clear intention.”
I think Moriarty moves into the touchy-feely as he goes on, but you can look it up and see what he has to say. I'm using a simpler definition: “everything in the game feels as though it belongs there and contributes to the purpose and feeling of the game as a whole.” That's harmony. It's important because games are not just collections of mechanics. Not just data. Not just metrics. Games make intellectual and emotional impressions on players, and lack of harmony is noticeable, sometimes clearly, sometimes in subtle ways. The effect is not good for the intellectual and emotional impression.
Harmony is not the same thing as “elegance,” in fact I hesitate to use the word elegance because it's used by fans of certain kinds of tabletop games as a bludgeon to attack fans of other kinds tabletop games, who in turn react very negatively to the word. ”Elegant” is often used in much the same sense as “clever.” It's usually used in relation to abstract games or practically abstract games, games that are not models of some reality.
Harmony isn't cleverness, it’s something that affects the game as a whole. It's about appropriate fit. Now what's appropriate fit depends on what standards people are using, and those standards have changed and very much loosened over the years. Think about movies and TV shows over the years. What makes sense? The screen has always required a heavy “suspension of disbelief”, but those entertainments have consistently become less believable. People will accept all kinds of foolishness and huge plot-holes because the program is otherwise entertaining. and we’re getting the same thing in games.
I love Star Wars for the adventure, but when I first watched the original Star Wars I came out of the theater and said “this is dumb” and “that is a big plot-hole” but I (in the long run) accepted it because “it’s a movie.”
I still have SOME standards even for movies. The Starship Troopers movie (monsters in outer space) had us travel 80,000 light years and then forget that we can use tanks or helicopters! Monsters farted unguided missiles, yet the human fleet stayed tightly packed together in space to make itself a good target! It's just ludicrous. Yet it was a popular movie that begetted a couple sequels.
The same kind of loosening of standards of disbelief has happened in game design. People often treat games more as time killers or something mildly engaging to do while they socialize, than as actual entertainment or something worth *focusing* on. So they let things go by that would not have been accepted many years ago.
All right. What's the opposite of harmony? The Kludge. I borrow this term from software (“kludgy” is the adjective that's used.) A kludge is a tacked-on solution to a particular problem, or a solution that works but isn’t consistent with the rest of the program. In software though not in games it's also hard to understand and modify.
The Kludge is hard to define in game design because one man's kludge is another man's “nothing wrong with that.” How do you notice the kludges if the game is a model of something? The kludge will usually be inconsistent with the rest of the model, and may have nothing at all to do with what's being modeled. It may be there to fix some design flaw. When I play games I sometimes ask, why am I doing this particular thing? If the only answer I can find is “because it fixes a design flaw,” or “because the designer liked it,” or “I have no clue why it's here,” then it is probably a kludge.
What about kludges in abstract games? A kludge is less obvious because the game doesn’t represent anything (other than “a game”). Abstracts are collections of mechanics, different from a model where the context should help people play the game, and the mechanics are expected to represent something that happens in a real world. Nonetheless, in abstracts you can have a mechanic that doesn't fit with the rest, that doesn't mix well or doesn't seem to have a useful function, or clearly should've been replaced with something else, or simply should have been removed from the game.
Where do kludges come from? Often they are added to games to solve a problem that appeared in testing. Or perhaps the designer realized it would be a problem, and added it before the testing. Most of the time it's added to fix a demonstrated flaw, but at other times, it's in the game because the designer liked it, even though it doesn't fit with what he ended up with. (Remember, games often end up some “distance” from where the designer originally intended.) He or she isn't willing to take it out, isn't willing to “shoot their baby”. It could be the original idea itself, yet the game has developed in another direction. At that point, the designer should shoot the original, get it out of there, but it's emotionally hard for a designer to do.
Now some examples. These are from well-known, successful games, so that you’ll be able to relate to what I’m explaining. Games can succeed despite kludges; but the more you have, the less likely that the game will be good.
Catan, which used to be known as Settlers of Catan: both the robber and the monopoly cards. Keep in mind there’s not a lot of interaction in Catan between the players except for the trading, and there's little you can do to actually hinder another player after the initial setup.
I think the designer saw the difficulty of hindrance, and decided to add the Robber, which has *nothing* to do with the rest of the game. It doesn't fit at all in any way, shape, or form, but was added to provide a way for a player to hinder another player or at least have the potential to hinder other players. It has nothing to do with the settling model. If it represented mere bandits, a player’s soldiers would be able to do something about it, nor do bandits affect a budding newly-settled region the way they can an old, over-populated region.
Catan is supposed to be a game about trading, but I've seen many players who don't trade much. The monopoly card takes all of a particular resource from all the other players and puts them into the hand of the player who played the monopoly card. Then others are forced to trade if they want to get that resource, or wait a long time for more of that resource to be produced. Perhaps someone can come up with an explanation (not excuse) of how this would happen in the real world, I cannot. I think the designer added that card to make people trade, thinking of the groups where there's otherwise not much trading.
Catan is very popular and is a decent design that was in the right place at the right time, although technically speaking it has these kludges.
How about Risk, the US pre-2008 version, not the newer version based on missions? Some of those earlier versions had mission cards, but they didn't work well. In 2008 Risk was revised with missions to make it quite a different game. In old Risk, the territory cards are kludges in two senses. First, they were an artificial method, and by artificial I mean there's no correspondence with reality, of encouraging players to attack. You have to a conquer a territory to get a card; it was something to try to discourage turtling, which is nonetheless quite common in Risk.
Second, you turn in the cards for armies. That's there to bring the game to a conclusion, because you have an increasing number of armies that can get very large. The game is pretty long as is, but it's very long without increasing numbers of armies, which I have played a number of times. Instead of going up to 50 armies and more I used 4-6-8-4-6-8-4-6-8, but that makes it a very long game.
Two kludges to solve (or at least mitigate) a fundamental problem in the game: the game didn't naturally come to a conclusion. The game didn't naturally encourage people to attack. So the cards were added for those purposes.
Let’s consider the online video games World of Tanks and World of Warships. In big video games like these both harmony and the kludge become obscured. We could probably say that it's easier to make a harmonious game that's relatively small and focused rather than one quite big.
In World of Tanks the entire idea of 15 versus 15 randomly assigned teams is a kludge, in the sense that it has nothing to do with real warfare, but it's necessary to make the online game practical for a very large audience. In World of Warships the overall kludge is to play in a small area, usually amongst lots of islands, places where real world battleships and aircraft carriers virtually never went. In both games we have the bizarre mix of nationalities of equipment: German and French and English and Russian tanks or ships on the same side, and possibly 15 different tanks or 12 different ships on a team. It's also a necessary kludge but has nothing to do with reality. So both games break down as models of reality, and the kludges are obvious.
But in video games there are many conventions, normal modes of design, that are ridiculous kludges but necessary to make a game of it. (Consider the ammo and medpacks sitting all over the place in shooters, or even respawning itself - awful kludges.) When is a kludge no longer a kludge? When almost everyone accepts it as necessary, I guess.
Let's take a tabletop game such as Eclipse, which is ostensibly a Euro-fied 4X space game. It's almost a wargame, almost an exploration game, almost this, almost that, but ultimately unsatisfactory (for me). The major kludge in the game is that players are awarded hidden-value victory points for fighting, and fighting early on tends to give you higher value points because you draw a number of VP pieces and throw some back into the supply. You’re encouraged to fight repeatedly as you can draw again whenever you fight. I think this was added when the rest of the game resulted in little fighting, because people didn't gain enough from fighting. What they were likely to lose in assets was more than they were willing to risk for the possible gain. So the victory points were added well.
Rewards for fighting make no sense in the 4X model, or any reasonable model. Your surviving units gain experience when you fight, yes, but you lose a lot of ships and people, and that experience in the overall context should not be worth a lot (if any) of victory points. Military forces are a means to an end, not an end in itself. In a game I watched, about half of the overall points for five of the six players came from fighting, which is ridiculous. They were roughly equal to the points for holding the solar systems that had been discovered. In the long run what do you think is more important? Wars are economic, after all.
There are other flaws in the game. For example, the results of exploration are that space is mostly impassable. I think that's deliberate, to avoid and out-and-out wargame, but it doesn't fit one's idea of space as wide-open territory. That makes the extermination part of 4X (Explore, Expand, Exploit, Exterminate) ineffective even with the fighting points.
Again, how do you recognize a kludge? I’d say it's easier to find things you think are kludges in a game you don't like than ones you do like. Also we have the limitation that some designers of puzzle-like games, whether they’re single player video games or solo tabletop games or cooperative games, tend to add things to make the puzzle solution more difficult. I come in heavily on the side of this motto: “A designer knows he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away.” I think that’s an alternative definition of harmony. Given that motto, I see many of those puzzle-maker additions as kludges.
This is not something you can rigidly define or easily pin down, it requires self-critical thinking. It doesn’t matter what specific mechanics you use, whether already very popular or brand new (the latter very rare). What matters is how they work together as a whole. Designers need to recognize the in-harmonious, and excise it!
My Patreon is at: https://www.patreon.com/LewisPulsipher
My thanks for the generous support from Rossan 78.
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[This is adapted and improved from screencasts available on my “Game Design” channel: http://www.youtube.com/user/LewGameDesign - search for "monster"]
Fairly close to my heart is devising role-playing game monsters. What expertise do I have in this subject? In the 70s and 80s I made up a lot of monsters that were published in White Dwarf and Dragon magazines, as well as for my own campaign. I designed several monsters that are in the original Fiend Folio. The Princes of Elemental Evil are particularly well-known and even have their own entry in Wikipedia (archomental). I'm also relying in this piece on a panel discussion I attended at GenCon 2015 early on a Sunday morning with, among others, Wolfgang Bauer and Jeff Grubb up front.
Now I'm talking about monsters primarily for tabletop RPGs because there's a big difference between tabletop RPGs and video games. In video games, you have the boss mentality: boss monsters, really big, bad-ass, lone monsters that are very, very dangerous. I have never thought in those boss terms as I'll explain. I've always used a large number of monsters in a big climax led by some powerful leader. But the leader is not individually nearly as powerful as the character group. It's just that with all the other monsters around both the monsters and the leader collectively become very dangerous.
The big difference is that in tabletop RPGs, unlike video games, if you die you don't have a save game to go back to. Bosses are designed with the idea that there's a save game to go back to. They are designed to kill you several times before you succeed. You can't play tabletop RPGs that way, even today with all the easy healing, because if you die you’re dead (more or less). So in video games the purpose of any monster can be to kill the characters the first several times, whereas in tabletop the purpose is to scare the snot out of the players by threatening their characters in some way, but not by actually killing the characters. Death may happen occasionally (just to keep everyone "honest"), but it can't happen frequently, or you're not going to have much of a campaign.
So video game bosses tend to be much tougher in relation to the adventuring party or individual than the monsters you meet at a climax in a tabletop RPG. This is a fundamental difference. Video gamers would be disappointed if almost every time they had a climax they win the first time. They'd feel cheated, that it was too easy. It's a matter of expectations is much as a game functionality.
Of course, there are many ways tabletop RPGs are unlike computer RPGs and many of those are because of "save games" or lack of same. When you're making up monsters I think you should focus on the element of surprise, not just on making them super tough. Some game designers, including R. Knizia and S. Miyamoto ("We want to entertain people by surprising them ...") espouse this view. Likely Miyamoto would say that a major objective in any game is to surprise players, so perhaps the most effective way to design RPG monsters is to surprise the players, and many of my suggestions derive from surprise. A specific surprise is only going to work once, but that's one reason why so many people keep making up new monsters, to provide new surprises.
So what do we look at? Here's a list, then I'll discuss each one:
• The Unknown
• One Unusual Characteristic (kind of a loop)
• Two Types of Monsters Cooperating
• Characteristics from two types combined into one
• “Worse things than killing you”
• Really Smart Enemies
• Time Pressure
• Relentless Hordes
Fear of the Unknown is the first one. A major reason to make up new monsters is to surprise the players with something they don't already know. The players will probably feel it's more fair and perhaps more true to life if they can derive some of the characteristics of the unknown monsters from past experience or from appearance. "It looks like a giant, it may be about as tough as a giant." "With those big teeth, I bet it bites HARD."
Sometimes it'll be just one unusual characteristic. This may work particularly well if you take a well-known monster and give it a single surprising quirk. The obvious that comes to mind is regeneration. Regeneration is very powerful and should be used sparingly, but if you have an ordinary monster that regenerates, it will surprise the heck out of players, especially when a monster gets back up off the dungeon floor.
A single characteristic can be a focus of an unknown monster as well. Some refs won't want to go to extremes such as flying orcs or regenerating orcs, on the other hand, we don't mind the flying monkeys from the Wizard of Oz. I once made up a group of several kinds of lightning spitting monsters roughly analogous to military tanks (in my mind), although the players never realized that. They were big and they looked dangerous, and they were even without the lightning. The catlike ones were faster, sluglike ones really hard to kill, and so on. But it was lightning that set them apart and scared the players, in many encounters with them.
You can take two types of monsters and have them cooperate. Keep in mind the truism, there's hardly anything original under the sun; but combinations of things can provide new experiences, and that can surprise. We see this kind of cooperation whenever a monster type is said to normally employ a different monster type as guards. Of course, powerful monsters may enslave entire groups of weaker monsters and those weaker monsters can nonetheless provide good interference when our heroes show up.
We can also take the characteristics from two monster types and combine them into one. There's the classic owl bear, chimera, gryphon, dragon turtle, and so forth. You can take normally unintelligent monsters and provide them with human intelligence or normally intelligent monsters that aren't intelligent now. Some combinations may not be very believable, and I like believability in games and try to avoid them, but in this the age of TV and movie silliness not too many people care. The standards have changed over the past half century, so you can do things that would've been laughed out of the building, so to speak, 50-60 years ago, which now most people shrug at and accept.
Another way to make monsters interesting is misdirection. Play on the expectations of the players: change the appearance of the monster, pretend to be another monster, change stats (although it's easy to overdo that so I try to avoid just changing the stats of an existing monster).
There are worse things than killing you. Monsters don't have to kill to be frightening. They can turn your bones to rubber. The rust monster eats equipment. Permanent level drain, even temporary can be bad. Characters can be captured - slavers are monsters too. Theft - lots of monsters that nick your items such as leprechauns. There lots of things you can think of that are not death but will frighten the players. Threaten their characters' well-being, their possessions.
Foreshadowing is something you can do with any monster. It helps foster fear of the unknown. You can provide clues signaling danger - tracks, even something as simple as noises. Maybe the players will find something in writing that indicates that some intelligent monster is around - somewhere.
Really smart enemies. Face it, classic movie enemies are often stupid. This is why the Evil Overlord list of vows exists, and if you haven't read the Evil Overlord list I strongly recommend that you do so. http://www.eviloverlord.com/lists/overlord.html . Relatively dim monsters can be cunning: the great boxer Muhammed Ali was often said to be a dim brained man, but he was a cunning boxer. Consider though, you have to put your brain into the monster preparation. If you're not trying to be smart, how can the monsters be smart?
Time pressure is the classic videogame way to make monsters more dangerous. There's just not enough time to do all the characters want to do. But you can do this in tabletop games as well. Time stress leads to mistakes. “Watch out, it’s going to blow up!” or the enemy has diverted water into a room that's filling up with you trapped in it, or there's a fire spreading or the monster itself has some time limit associated with it. There are all kinds of ways to implement time pressure even if you're playing strictly on a turn basis. You know there only so many turns before something happens, you're still under pressure.
Positioning is another thing you can do with any monster. The classic is that you have a balcony that protects otherwise vulnerable archers because they're up there and you're down here on the floor or on the ground. Simple barricades, very low ceilings with/for short monsters: you're going after Duergar and they've kept their ceilings low so that humans have to bend down and are much less effective in every way, especially in a fight. Burrows of monsters can be hard to move around in. Water barriers can make a big difference. You can think of lots of ways to do this, but you have to think of it to make it happen.
You can have societies or factions or groups where the group as a whole may be more effective than the sum of its individual parts. I've often found that a group of monsters, even if individually weak, is more effective than one powerful monster, especially if they're subordinate to a leader that organizes them, a commander or "mastermind."
The last one is relentless hordes. Sheer numbers can be terrifying even if the monsters are individually weak. The Dungeons & Dragons 4th edition "minions" rule is quite brilliantly simple. Any damage kills a minion, but you can have lots of them and they're easy to keep track of (tabletop) because either they're doing fine or they're dead. Relentless hordes are the opposite of the videogame boss syndrome where an often-lone monster is super tough, but try it, you may find it interesting.
I have talked about the Do's and not the Don'ts, now let's look at the other side. The general principle is, give the players a chance, don't spring something on them. Don't rely on them having to die to find out something. (Some people have given a name to that particular characteristic but I don't recall what it is.) You don't ever want to force the players to die to learn something. I'm thinking in terms of a large set of players of many different attitudes, and trying not to really piss off any of the subgroups.
So, no "invulnerable to everything but X," though that's not so bad IF players know about it ahead of time. For example, we know about iron golem invulnerabilities in the older versions of D&D, which is to say virtually nothing hurts but +3 or greater weapons, and so we have time to prepare or avoid. We don't always manage to do that, but we've got the chance. At least that's what counts.
Another is sudden, unwarned-about death as in Monty Python and the Holy Grail, where the carnivorous bunny kills in one attack. (Yes, "Tim" warned them, but it was not a believable monster so the warning had no effect.)
Another no-no: take an innocuous looking thing and make it a super monster, which turns out to be (again) like the Carnivorous Rabbit from Monty Python's Holy Grail. You may think that's funny, but serious players won't think that's funny when they're the victims. (As with everything else, "it depends".)
The golden rule applies. In fact, both golden rules, the general Golden Rule and the golden rule of RPGs. The general Golden Rule, "do unto others as you would have them do unto you" is pretty good. Ask yourself how you'd feel if such-and-such happened. The RPG golden rule is, "what's good for the players is good for the monsters and vice versa," that is, if the monsters can do something wild or drastic shouldn’t the players also have a chance to do it? And if the players can do something, shouldn't the monsters be able to as well? Think about it. Try to be at least halfway sensible and always put yourself in the shoes of the players and ask yourself how you would react if this happened to you.
Someone sufficiently steeped in the myriads of RPG rules published since 1974 could probably write a book (with many examples) about monster design. But this is enough to provide a guide for the inexperienced.
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In a 2011 survey published by Josiah Lebowitz and Chris Klug, people who identified themselves as "gamers" were asked to provide the three most important factors when determining whether or not to purchase a game. The most popular response? 52% of all respondents included "story" as one of the three most important factors. The second most popular determining factor was "gameplay mechanics", ranking in at 42%. Genre came in third at 37%.
Let's differentiate between narrative - an account of what happens, which is in every game ever played - and story, something with characters, plot, conflict, setting, point of view, and climax/denoument that is imposed on or part of the game, coming from the designers/developers.
Every game has narrative, even abstract ones. Someone can tell you the "story" (narrative) of a chess game they played. Such narratives may not be interesting to anyone but themselves and their friends, because it lacks some (many?) of the elements of professional stories.
"Story" in the above sense is primarily used to help sell/market a game. When players actually play, most are interested in the play of the game.
Stories wear out. You finish the story, you're finished with the game. Games, if they're really good, don't wear out, there's something new each time that keeps players coming back (much more common with tabletop games than video games). Much of that newness comes from the unpredictability and boundless creativity of human opposition.
Commenters on a tweet bout this pointed out that some games (e.g. Once Upon a Time, Betrayal at House on the Hill) have many stories built in. I don't know OUaT, but in Betrayal the "stories" are so simple they're more alternate narratives. Another said "Timeless stories don't wear out." True for Lord of the Rings or Star Wars, but even those you probably won't revisit more than once a year, probably much less.
Puzzles in "games" wear out just as stories do, once you've solved the puzzle(s).
For that reason, during development, when there's a conflict between the story and the gameplay, gameplay usually wins out. Which makes it hard for a game to have a coherent professional story.
An "atmosphere" is the trappings of a story without the content.
Atmosphere doesn't alter how the game plays, whereas story ought to.
You can add an atmosphere to a game late in the day. Story has to be built in.
But atmosphere can be used to sell the game, it doesn't really need to have a coherent professional story. And as John Carmack (Doom and many other games) said, story in a video game is like story in pornography, an excuse to get to the action.
Many game devs are frustrated film-makers or novelists who want to tell a story. But in the main, games - other than RPGs and expensive video games, perhaps - are poor mediums for story-telling. It's like using a spreadsheet to do word processing. You can do it, but it's very inefficient, and limited.
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10 Jan 2017
I rarely get around to posting individual links to my "Game Design" YouTube channel, so I decided to list the most recent five screencasts instead.
Special Powers Card Games (SPCG)
Special Powers Card Games (Magic:the Gathering, Munchkin, many others) is a category that attracts many aspiring designers. But designers should avoid CCGs, and look at other kinds of SPCG.
Charlemagne and "Yomi"
This is about two different and conrasting game playing styles. I use Charlemagne to represent "minimax" and "yomi" is a Japanese word adopted by David Sirlin to represent those who try to read the intentions and anticipate their opponents.
The Demise of "Favorite" Games
When I taught video game design classes I asked students about their favorite games. Turned out, many of them had no favorites, or could only pick the game they were currently playing. How different from many years ago. Here's why, which has a lot to do with changes in the nature of games and how people play them.
Why is it so hard to persuade people to playtest prototypes?
I've just added this video to my online course "Playtesting: the Heart of Game Design" (about 6.5 hours). Discount URL: https://www.udemy.com/game-playtesting/?couponCode=PT25
This is by far the most comprehensive discussion of game playtesting in the world, to my knowledge. Converted to words, it's the size of a small novel, in 64 parts, including examples of playtesting notes I've taken over the years.
Flexibility in Games
A seldom-discussed aspect of games - especially tabletop games - is their flexibility. Can the game be played to varying lengths, by varying numbers of players? Can players join in after the game has begun?
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Are you designing a game, or throwing one together?: You can’t design a game as though you were playing a video game
27 Dec 2016
(First appeared on Gamasutra.com)
This is a vital topic in game design: are you designing a game or you throwing one together? Yes, creativity is part of game design, but it only amounts to about 10% of the whole. The rest is more or less engineering: you identify problems and propose solutions, implement the solutions, test the results of those solutions, and so on. Scientific method is involved in your testing, and engineering is involved in your solutions. Occasionally inspiration and creativity are involved.
Just Say No to Guessing
What game design definitely is not, or at least should not be, is trial and error. I'm using the meaning that was prevalent when I was young: guessing what might work, and then checking to see if it does. I now call it "guess and check", because there seems to be a notion today that trial and error is a form of scientific method. No, it's guessing. Game design is not a guessing game (though as in all other creative or engineering endeavors, sometimes you get a lucky guess).
Let me use an example from a beginning programming class to illustrate. While I was a college teacher I substituted for a teacher who was ill, in a programming class for beginners. Many the people were not going to become programmers, but everybody was required to learn some programming, which made good sense in a computer department. The students in the class already had a program to work on, a simple one, so I walked around trying to help in general, as their programs didn't work.
This is not surprising. Programming is very logical, and people often are not taught logical methods in K12. The proper response when the program isn't working is to figure out the program flow, identify where it went wrong, change the program, and test the solution. It works the same way in game design. Much of the purpose of playing a prototype is to identify problems and test solutions. This includes some intuition, and the solution might involve some creativity, but mostly it is logic.
But what did the students do rather than try to figure out why it wasn't working? They just guessed, changed the program in accordance with their guesses, and compiled/ran it again to see what happened. If that didn't work, they guessed something else. They were using traditional trial and error, guess and check, and they were frustrated, of course, because it wasn't working. I tried to show them how to figure out the logic and flow of the program rather than just guess.
Game design ought to be the same way; some people won't do it that way but I think it's the most efficient way, and it's the way that I like to teach people. Certainly different people have different design methods. Some design more from the gut than from logic. But it still involves hypotheses and tests: if you're actually designing something you are primarily using your brain in an organized way, I hope, and not just relying on inspiration.
Inspiration? Not Reliable
Inspiration is not very reliable. “Inspiration is wonderful when it happens, but the writer must develop an approach for the rest of the time . . . the wait is too long.” (Leonard Bernstein, the composer and conductor - and writer.) Inspiration comes and goes. The more you treat the modifications of your game as an engineering problem, the more efficient you're going to be.
Some people may think of a game as art, rather than craft, and the more that you think of it as art, the more you might be inclined to rely on inspiration and intuition. So we might say that you're not designing a game, you're creating a game, though it's mostly craft once you have a playable prototype. A playable prototype is going to change a lot if you're doing a good job. Game design is not throwing things against the wall to see if they stick, which is what trial and error and error amounts to. It's "try this and see what happens. Then let's try that and see what happens." Some things might happen better than others, but it's a terrible way to solve a problem.
Why Do People Design This Way?
When I did the video version of this piece, I had not realized why this guess-and-check method might be common. Unfortunately, changes in game playing have led to much greater use of trial-and-error (guess-and-check) than in the past, and to puzzle-solving rather than problem-solving.
When I was a kid (more than 50 years ago) I searched for games that required you to think to succeed, but which were not abstract. The classic games such as chess and checkers were just too abstract, I wanted something that represented, modeled, some (possibly fictional) reality. Avalon Hill's wargames finally filled the bill for me, followed by Diplomacy (for more than two players).
With the advent of video games, gaming became a matter of athletic skills more than brainwork. No matter how well you could think, if you didn't have the reflexes and hand-eye coordination needed, you'd not be good at most video games. Video games were athleticware, not brainware.
Moreover, video games tended to be single-player puzzles, where there was an always-correct solution, owing to the inadequacy of the computer opponent. There was no substitute for human opposition.
When you play an opposed game of strategy, a game you can lose - which is usually a tabletop game - you cannot afford to simply guess at what to do. That's the road to Loserville. But now we have so many single-player and co-op video games, games where you can save the game at will. Many players try lots of different choices to see what works best, saving each one, and then use the best to move on to the next challenge. They don't have to figure out anything, they can just guess-and-check. In the extreme I know of someone who, finding a chest with random contents, will open it, save it, open it again, save it, and so forth, dozens of times, in order to get the best result. Ridiculous! Alternatively, some play games with online help open. If something isn't working well, the player will look up the best way to "beat" it, and continue. But it's these kinds of mentality that are the opposite of what you should be doing when you design a game. These mentalities amount to "throwing things against the wall to see what sticks."
Further, with the advent of Eurostyle games in the latter 90s, we entered the era of parallel competitions (which I called "contests" in my book Game Design), players all trying to solve the same puzzle. Even though there were usually several different solutions ("paths to victory"), they were still always-correct solutions. Many tabletop gamers became puzzle-solvers. People learned to look for the solutions, because they didn't need to worry about the opposition. Some games coming out of the Euro style transcended this, but most have not.
In designing a game, you do have, in effect, a "Save Game" option. Because you can try a solution you've devised, and if you decide it doesn't work, you can go back to the old way of doing it. But this takes a lot of time (one playtest often isn't enough to determine the success of a modification). Maybe you have lots of time to waste guessing at changes, but I certainly don't, nor does anyone who wants to design for a living.
Furthermore, knowing that there's always a best move (as it true of puzzles) is quite different than having to decide among uncertain alternatives, as in a typical wargame. Game design is problem-solving far more than puzzle-solving. There is rarely an always-correct solution in game design.
As a result of these changes in how games are played, many people who want to become game designers have learned the wrong ways of doing things, learned the wrong set of skills, to design games! Obviously, not everyone plays games this way (I don't, even when I play a video game), but the majority of gamers do.
Illustration of Throwing Against the Wall
I've seen the throw-against-the-wall method dramatically illustrated. Recently a beginning tabletop designer had his simple, multiplayer, 30 minute game, which involved cards and scoring only, playtested by players new to the game. The game had already been successfully Kickstarted but clearly it was far from done. Most of the cards were handwritten (not even computer-generated) for example. He also made the error of playing the game without having any rules with him (to test the rules as well). I asked why? His response was, he played it six or seven different ways, and was also changing it to satisfy backers as well, so he didn't bring the rules!
So here we had a game that was already Kickstarted and the rules writing wasn't being tested. When he said he was trying out a particular rule change my reaction was, how can you try a change when the rest of the game isn't stable? You're only trying to change one of those half-dozen ways to play. When you playtest, you playtest the whole game, not just the part that you're experimenting with. If the rest of it keeps changing, how can you evaluate the effect of one change?
My next question was, how are you recording the results of the playtest? He said he usually had a notebook, but not today, but he did have a laptop and he took notes after he was eliminated. (Yes, he played in the playtest, worse, without rules at hand. Bad Idea.) I can point out here that it was a game with player elimination, which is not desirable nowadays, even in a 30 minute game, and it was a scoring game yet he hadn't bothered to bring the scoring devices, so everyone scored on their smart phones. This is just sloppy. You've got to test the actual game, not substitutes!
I've talked about some of the obvious flaws like player elimination, but there was another one. It was a card game of direct attack on other players. There was no overall constraint on whom you could attack; the lesser constraint involved categories of who you could attack that is, your strongest attack in your hand at any given time could only be aimed at some of the players rather than any of them, depending on their characteristics. They had about five or six players in this game. I didn't watch the game much as I was doing other things. I asked afterward if there was a strong tendency to attack the leader, and the answer from the players was, yes. The game suffered from leader-bashing. I'm not sure the designer actually recognized the term when I used it, and only had a glimmering of why it was undesirable. People then started to suggest solutions to the leader-bashing, but the first, only allowing attack on adjacent players, would have pretty drastically changed a game that's already Kickstarted! (I'm often critical of Kickstarted games because of the nature of the audience, but I'm really offended by the idea of Kickstarting a game that is so far from complete.)
As an aside, why is leader bashing undesirable? It takes the strategic decision-making out of the game, you just attack the leader. It makes people want to sandbag (if they can), they don't want to be the leader until the very end. In fact, given the nature of the game, there was virtually no decision-making involved. You picked your strongest attack that could affect someone in or near the lead, and that was it. I'm not opposed to simple, even shallow, games, but they should still give players viable choices, the "horns of a dilemma" of traditional board games. This one didn't.
To continue with this egregious example, what we have in this designer is a case of somebody throwing things against the wall to see what will stick. He tried to playtest the game in various ways to see what seemed to work better. It seems to me to be trial and error in the undesirable sense. It also helps show that Kickstarter is often about ideas and intentions rather about an actual game. He had a little bit of the art for the actual game for a small number of the cards and that looked quite good, and probably helped the Kickstarter a lot.
So let me talk briefly about the proper way to go about this part of design, not just trying this and that, not throwing things against the wall. I use a fairly detailed diagram and a simpler version. This is an engineering design process. It's also something like project management, because each time in project management you're doing something that's rather different than what you've done before. I'll discuss this simpler project management diagram here.
The Plan is about you creating the game to the point where you have a playable prototype.
Execute is playing a prototype, first of all solo, then other people.
While a game is being played, you Monitor whether it's doing what it's supposed to do, whether it's going according to your plan, the vision you had in your head.
Control is when you monitor something that isn't going to plan, you do something to fix it, to make it work the way you want to.
Successful changes go into the Replan, where you modify your prototype. Then you go back to Execute and you play it again, and you keep going round and round on that, gradually making your game better.
I despise the word "iterate". Yes, this is an iterative (repetitive) process, but the word iterate, which is often used in video games, must be one of the ugliest words in the world, yet only covers half of what you're doing. You are modifying and testing, not just playing again and again. The scientific method is involved. To be termed scientific, a method of inquiry must be based on gathering observable, empirical and measurable evidence subject to specific principles of reasoning. A scientific method consists of the collection of data through observation and experimentation and the formulation and testing of hypotheses. (Wikipedia)
Game design is lot more than that, though. Unlike scientists, in most cases you have to rely on relatively few tests. (Nowadays in video games we see "open beta" testing, and testing after release, in order to increase the sample size and use statistical methods of analysis.) Unlike the scientist you're making changes in the design, an actual product, as well as experimenting to see what happens. Fortunately, this is usability testing, not scientific testing, and usability testing does not require a large number of trials. I strongly recommend that you check out the Nielsen Norman Group's website at alertbox.com, and read their articles. They are talking about web design usability, but most of what they say applies to game design, especially video game design where user interface is very important. We have user interfaces in tabletop games, but they have over many centuries settled down and don't change rapidly.
Being a literal-minded person, I don't venture into analogies much, but I'll try one here. This question of engineering versus trial and error (guess and check) is comparable to how people learn software or home appliances or electronics. Unlike most people I read the manual. It's amazing how much you can learn that way and it's far more efficient. But what most people do is a just dive in and try things, or they simply remain ignorant. I read the manual and find out all you can do (if it's a good manual) that most people who just dive in and try things are not going to figure out.
The engineering style of game design is like reading the manual, the trial and error style is like diving in and trying things. It's much less efficient, but it is easier, just like not reading the manual is easier, and we can apply this to games. I would rather read the rules to a tabletop game in order to learn it, unlike most people who would rather be taught. It may take longer, but I miss less when I read the rules and understand the game better when I read the rules, if they're good set of rules, than when somebody teaches me.
I've discussed the whole cycle of testing and modification in my "Learning Game Design" course on Udemy.com, and there's also a course just about Playtesting. The major point to make here is that you follow a process that relies on solving problems you've identified. You also have to know what kinds of problems might occur, like leader bashing in a card game, and that's why I make so many of my videos to educate people about those possible problems.
Method is important, and trial and error (guess and check) is poison unless you have no choice but to use it. If you rely heavily on intuition or inspiration, more power to you, but that's not something that I want to teach aspiring game designers. If you think it's all about inspiration, I think you're dead wrong, any more than getting ideas is all about inspiration. You have to work at something to do it well on a consistent basis. You can't hope to be bailed out by random flashes of brilliance.
As a teacher I want people to understand a good, efficient method: "inspiration," "intuition," and especially trial and error (guess and check) are not good, efficient methods.
Design a game, don't guess at it.
For the video screencast this derives from, see Youtube:
Part 1 https://youtu.be/USZQipf4GLM
Part 2 https://youtu.be/UOUItO3uCSk
Online courses: https://www.udemy.com/user/drlewispulsipher/
Free "Game Design" channel: http://www.youtube.com/user/LewGameDesign
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07 Dec 2016
(Except this time it’s four to get to a 1,000 words. . .!)
Programming is not “Integral” to Games
Special Powers Card Games
Programming is not “Integral” to Games
(Originally written in 2009. And we now see, with Unity, how much easier it is to make video game software than in 2009.) I don't regard video games as fundamentally different from non-electronic games. There are tens of thousands of non-electronic games that were never touched by a programmer. If the video game designer had some "magic" (technologically advanced) way to create the software - and as time goes on and technology improves, this will be the case - then programmers would be unnecessary.
That's why I regard programming as a necessary evil of video games, not fundamental to games.
It is already the case that someone who isn't a programmer by training or inclination can create the equivalent of Pac-Man with Gamemaker in a fairly short time. More and more complex video games will be made without trained/professional programmers.
Ultimately, programming is "donkey work," something that ought to be done by machines. But I could say the same about many kinds of work. Some of those kinds of work have already disappeared or are disappearing, some will disappear. Programming is going to be done by machines--already is, in many cases, though the machines are using software created by programmers - long before design or art is done by machines.
I read something recently about a game covering the fall of Rome in Britain, and about incorporating Arthurian stories into it.
Yes, I included Arthur in Britannia, but that was literary license, not history.
Yes, there are lots of books supposedly about Arthur, all amounting to "well, this could have meant that, and could have been about the person we call Arthur" that then transforms into "this was Arthur". It's a big industry of speculation with virtually no foundation, much more fiction than fact. There is NO contemporary evidence for "Arthur", almost no contemporary evidence for *anything* in this time period. ("Dark Ages", remember? Dark because of lack of information, not a comment on the standard of living.)
A big reason why history changes so much from one generation to the next, is that so much of it is malleable rather than certain. History becomes, not fact, but fiction intended to appeal to the desires or needs of contemporaries.
"Pop" history, video history as we sometimes see on the History Channel, is a reflection of this. It's history as modified by what "the masses" want it to be.
Special Powers Card Games
One reason why Magic:the Gathering became successful is that it was, if not the first game, one of the first games where the main interaction is between the cards of the two players, using special powers that are exceptions to the rules. That has been generalized for many card games, it's a kind of game that's easy to make, and I know several budding designers whose first game is of this type.
I am not a fan of them because they don't have anything do with reality. Some of the people who are designing the games may think so - but there's a weak grasp on reality these days. Yu-Gi-Oh is even worse because lacks the constraint of "lands".
For me any "theme" in these games is just a gloss. It's not something that actually affects how the cards are played or how the game is designed. It doesn't help people understand how the game works, either.
My name for this kind of game is "Special Powers Card Game" (SPCG).
Pundits are still pontificating about whether virtual-reality games (VR) will succeed as a business, and have been since the announced release date for the Oculus VR with the anticipation that it’s Valve and Sony competitors would be not far behind.
I have not used one of these contemporary VR systems, and I read that people who do are often converted to the cause. My experience goes back some decades when (at a convention I cannot otherwise recall) I put on a primitive VR-like device. It was suspended as a pair of eyeglasses, but with one side empty and the other side occupied by a small module. That module produced a red dot on black screen display (this tells you how old it was) that substituted for the screen display of typical computers of the time. You could see the “screen” with one eye while the other could see your normal surroundings. I didn’t try to play a game with it but I was quite impressed with how very well it substituted for a screen.
I also recall, in the early to mid 90s, watching a graphical “virtual tour” of a part of the new Womack Medical Center that was being built. The 486 computers of the day really weren’t fast enough to render the tour in more than slow motion. It was quite fascinating nonetheless.
More recently I’ve seen augmented reality (AR) games, and I understand that game developers are far more gung ho about AR than about VR, yet few of them are actually producing AR products. [Written before Pokemon Go was released! I bet a lot more are working on AR now.]
Within the past six or seven years I’ve also been in a virtual-reality chamber where three walls showed a seascape and you could walk around looking at it.
Recognizing that computing power is still advancing rapidly, and thinking about how the graphical capabilities of computers have changed from the old ASCII graphics to modern 3-D, it appears to me to be inevitable that VR will succeed sooner or later. Too many people want to reach the Star Trek holodeck stage for maximum immersion.
Whether the current products will start that progression, or fail as those of the past have failed, is subject to all kinds of chance and unforeseen factors (such as hygiene?). Remember, the best products don’t always prevail in the marketplace (Betamax versus VHS VCR for example). Timing is very important, and we have no idea, even now with products out there, whether the timing is good.
My Black Friday/Christmas sale on my online game design courses is listed on my website, http://pulsiphergames.com/#BlackFriday
Doomstar has sold better than the average mobile game, though how it compares with other PC (and Mac/Linux) games I do not know. It’s on Steam as “Lew Pulsipher’s Doomstar” but Doomstar is good enough to search. Or buy from the publisher https://largevisiblemachine.itch.io/doomstar
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