Category: games

Timothy Burke has posted two pieces on MMOs:
Rubicite Breastplate Priced to Move, Cheap: How Virtual Economies Become Real Simulations was presented at the 2001 Bristol conference (feels like it was 10 years ago). It discusses economy and players in MMOGs and I think it was the first time I saw Bartle’s player typology in action.

The newer piece is The Narrative-Nudge Model for Massively-Multiplayer Games. This one deplores current MMOGs for not being true virtual simulated worlds:

If all we want is games with no world component, no sense of world simulation, then I might suggest that developers would be wise to stick to the design philosophy of City of Heroes: a no-frills, combat-oriented design that is essentially a first-person shooter with persistent statistics. There’s nothing wrong with that: I like City of Heroes quite a lot, and play it regularly. But it’s not and will never be a virtual world. Nor will any MMOG which starts from the design foundations that all MMOGs to date have adopted.

Wired article on the current slate of MMOs being cancelled.

While it’s hard to guess how big the market can become, it’s been pretty clear from the outset that the market was becoming too crowded. The game industry just never seems to recover from the “me too” TLA syndrome. It was FPS, then RTS, and now it’s MMO.

In case you haven’t heard, Public Beta is a project for “creating and publishing better material about videogames and videogame culture”.
For the time being, Iain Simmons and James Newman are working on a book titled “Difficult Questions About Videogames”.

Here are a few questions they’ve been asking people:

Q. What is a videogame?
Q. What is gameplay?
Q. How can you tell if a videogame is rubbish?

For the last one I took the easy “enjoyment is subjective” way out, with a few modifications.

A game is rubbish when … it just is, you know.

From Scott Miller’s Game Matters: The Hollywood Reporter interviews Scott Miller on games and movies.

THR: When you say that of the 5,000-plus TV series and movies produced by Hollywood each year, only two or three have potential in the video game space, do you mean that literally?

Scott Miller: Yes. And often it’s only one — or none. In my opinion, the vast majority of games licensed from movies, TV, novels, and comic books that are aimed at older teens and adults are a waste of time for the games industry to pursue.

Look, movies and TV are storytelling media. And while games can be a storytelling medium, they are really about interactivity and gameplay. What makes a movie or a TV series successful may or may not make for a good interactive experience. For instance, “Gone With the Wind” has a great story, but I can’t think of any sort of gameplay element that would be unique to that story. That’s the hurdle that trips up 95% or more of all mass media licenses; they simply don’t have the hook that makes for unique or compelling gameplay.

THR: Give me an example of a “gameplay hook.”

Miller: Take “Spider-Man,” which makes for a brilliant license almost solely because it’s so perfectly suited for a unique and fun gameplay experience. He’s a character who can do something very unusual — shoot out webs and swing from buildings. And he can climb walls, which puts an entirely new twist on navigating game levels. Other than “Spider-Man,” I can name fewer than a dozen other Hollywood properties that have the genetic material that makes for great games.

It is a games and stories angle – these days I can only reaaally find it interesting if it relates to actual production, lots of good examples, but this interview fits the bill.

Marilyn Yalom has published a book called “Birth of the Chess Queen” where she traces the appearance of the powerful queen in modern European chess. Article on the book in The Boston Globe.

It sounds like an interesting book, even if it could be over-reliant on the idea that there just must be a connection between ideology, society, and small things like the movement of a piece in a semi-abstract game. But let’s see.

BBC news has a wonderful, if incredibly bitter, piece on the misfortunes of England in the world of sports, the Euro 2004 soccer loss to Portugal being among the recent highlights:

It takes years of practice and dedication which mere amateurs would have no idea about. Anyone can lose anonymously or unmemorably, but raising your game to lose spectacularly takes a sense of drama of which Shakespeare himself would be proud.

Cheer up, mate!

Robin Hunicke recently posted the Mechanics – Dynamics – Aesthetics: A Formal Approach to Game Design and Game Research paper that was used as part of the game tuning workshop at GDC. It’s a co-authored thing by Robin herself, Marc LeBlanc, and Robert Zubek.

It’s a very precise description of a few of the most basic issues with games: The relation between the rules of the game [mechanics] and what actually happens [dynamics] (sometimes even referred to as emergence), and the experience of the player [aesthetics].
This is the kind of thing that people (myself included) have often gotten tangled into – are games open or closed? Is a game even interactive? Why talk about the game itself when games are really experiences? … and so on.
The MDA framework is a pretty good way of escaping such problems:

Mechanics describes the particular components of the game, at the level of data representation and algorithms.
Dynamics describes the run-time behavior of the mechanics acting on player inputs and each others’ outputs over time.
Aesthetics describes the desirable emotional responses evoked in the player, when she interacts with the game system.

Short and sweet.

P.S. Ever the ingrate, I do miss two things in the paper: 1) It’s very system-oriented – it would be nice to see how the mechanics connect to fiction. 2) The paper describes the player and the designer as working from opposite ends – the designer creates mechanics that lead to dynamics that lead to aeshetics, the player works the other way. I think the player experiences the game a bit more like a multi-layered package of mechanics, dynamics, and aesthetics – the aesthetic experience can even arise from watching the relation between the mechanics and the dynamics.

I’m giving a talk at the IT University this Friday at 16:15 with the above title.

“The past few years has seen the emergence of a number of new games that in many ways change our ideas about what a game is. Recent hits such as Grand Theft Auto 3, Legend of Zelda: The Wind Waker, EverQuest, and The Sims may seem like very different games, but they all share the fact that the player is free to perform other actions than simply striving towards a game goal.
In the talk, I will examine how the weakening of the game goal works both as a way of opening up a game for different styles of playing and for expanding the audience for video games.”

This is a talk where I draw lines between the entirely general “what is a game”-questions and specific game design issues. (Which is something I want to do.)