At the start of week twelve polishing the game was on the forefront of our minds. In this regard, design wise we continued to struggle with small, but vitally important decisions namely considering the visual representation of angles during gameplay and the introduction our scaffolding tool (the protractor from week eleven).
We met with Jessica Hammer on Thursday to get a perspective on what we had done and the issues facing us. She told us the following:
Clarify our learning goals and sort it out into a table
Make red and blue gems beam movement uniform, so red always goes anticlockwise, and blue always goes clockwise
Reconsider the visual representation of clockwise movements
Interest in protractor tool introduction and suggested we put it on level three where we introduce no new things and so cognitive load is not high
Jesse to the Rescue!
Following this we met with Jesse Schell on the evening of the same day. Being the masterful designer he is, Jesse gave us a suggestion of displaying the spatial representation of the angle.
Jesse’s suggestion was when the beam rotated clockwise, the beam maker would make the full 360 degree representation pop out, and be subtracted from when the beam moved past 0. In the case of the beam rotating anticlockwise the sector would grow as the beam moved anticlockwise.
We implemented this feature, then spent the rest of the week playtesting the levels we had, and weeding out one gem solution angles.
Starting Week 11 we finished creating digital versions of our remaining puzzles. In addition we began working on the various aspects of the game that we presented to our playtesters at the end of Week 10.
We added a map to replace the original level select screen. The new map would serve two functions.
It would display the progression of the game to the player
Create a more visually appealing method of level section
We also implemented a reward system in the form of trophy’s added to ones treasure room after completing a ‘boss level’. We hoped such an addition would add a motivational factor for completing the game.
Later in the week Jesse Schell played the game, and suggested a new way to show treasure room. Instead of having trophys placed on the desk, have shelves arranged in a geometric way with numbers on them to reinforce the central theme of angles. In addition to this we considered including random treasures which we hoped would add a surprise factor.
During Week Ten we prepared designs for the final levels of the game. These levels were in line with the complexity metrics we established during Week 9.
During this process we also documented our puzzles, and their solutions. This document would not only help recreate these puzzles during development, but could be handed off to teachers as a supporting document.
Meanwhile we began preparation for The Entertainment Technology Centers playtest day. This would involve members of our target demographic visiting our project rooms to playtest our game. For this day we came up with a number of questions to ask our playtesters as well as prepared video and screen recording equipment to capture gameplay footage.
On Playtest day we had five groups of playtesters. Each group played the game for approximately fifteen minutes. We then conducted a short interview with them, and found several good insights such as:
They really enjoyed the game, we never had a case of a bored playtester
Even when playtesters got stuck they cried out for help, and we had cases of playtesters working together to solve puzzles
The protractor tool was useful, but since there was no clear tutorial playtesters found it by mistake
Playtesters liked the art, music as well as the treasures we would reward them with
Playtesters didn’t object to the main character, but found certain animations weird
Recently we have been working to create an educational game on angles. Part of that requires designing puzzles that try to provide educational value. The following blog post is a continuation of a look at our process.
The most important part when analyzing our puzzles was first to recognize our puzzle metrics. Initially these metrics were as follows:
Number of slots
Number of gems
We began our first pass using these metrics to craft the thirty puzzles that would form the core structure of our game. The process essentially boiled down to a table of each of these metrics listed in columns. We incrementally increased metrics until key climax moments which we referred to as ‘boss levels’. Following a boss level we dropped the metrics to allow for the introduction of a new system in a simpler environment.
Our first pass at developing the puzzles allowed us to create the initial structure of the experience. On further examination, points three and four actually had more depth to them. We broke these points into each and every gem value. This additional depth warranted further analysis.
We then went about constructing a meaningful method of presenting what we called ‘angle distribution’. Using this we mapped out each and every gem per level. This method of analysis revealed several levels that were problematic for different reasons such as:
High angle overlap
Had no garbage
Levels that were similarly structured
These key points conflicted with our main educational objective of improving familiarity with both numeric and visual representations of angles. As for one having a large degree of similar angles meant that the exposure to different angle values in the 360 angle system was lower. So for our second pass we went about redesigning certain levels adding in garbage, and choosing angle gems carefully to avoid overlap.
On making a third pass at the we again found a problem. Our third pass took the form of playing the levels. What we found was some gems were included that were direct solutions to problems in hard puzzles.
We needed to weed out as though it is good that players are able to discern such a solution, we felt that doing so would mean engaging less with the angle gems in the level as several other gems were left out entirely in the solution. Thus we weeded such scenarios out during our third pass.
Essentially the process boiled down to a number of steps:
Carefully study the components within our structure
Extrapolate areas for further fine grained analysis
Develop a tool for analysis
Apply the tool
Identify and address problem areas
Replay the experience
Using this process we iteratively analyzed our puzzles redesigning when necessary to ensure levels had particular solutions to problems with minimal overlap. Now with a clear design process, all thats left to do is playtest and hope the design worked!
At the beginning of the week 9 we had our halves presentation. Following this we met Jesse Schell on Tuesday, and presented our thoughts on how we would go about designing our puzzles. His suggestion was simple.
JUST MAKE PUZZLES. Worry about the details later.
So that is what we did.
The inspiration for our puzzles came from a combination of two sources:
The teaching material that our client used
A map of element complexity against time
The process of considering elemental complexity began with a consideration for the interest curve of the experience. Essentially we wanted an initial large peak then a period of rest, followed by ascending peaks with rests until a climax at the end.
When designing puzzles Level Design for Games by Phil Cosuggested listing the elements of a game, and systematically designing puzzles with incrementally harder arrangements of elements.
In our case we intended to use the elements to increase complexity, but explore fundamentally the same (problems related to the 360 angle system). The elements of our game were:
Receivers & Obstacles
With these elements we create a table of level against elements, and incrementally increased the number of elements. When a new element was introduced we would drop other elements to lower the difficulty experience for players to more clearly grasp the new element.
A brief description of the process you used to create your adventure. Include any brainstorming notes, etc.
I begun the process of creating my adventure with a theme/fantasy. I had a number of ideas including:
A sports adventure theme
A wild west themed game
A game with vampires
I settled on doing something set in the time period of the Roman Civilization. In particular I loved the setting of the movie Gladiator so my intention was to recreate a similar storytelling experience.
Next I searched for an interest curve that roughly mapped onto what I wanted to create.
Next, based on the five point on the interest curve I imagined the main scenes of the story with a brief description of what I wanted to achieve in that scene, and the main story beats.
Capture – I wanted the player to be captured.
Training Ground – A scene in the gladiator house of them learning skills and familiarizing themselves with their new world
Gladiator Battle 1 – First gladiator battle, high intensity
Villanus Mansion – A more social situation, with a puzzle
Gladiator Battle 2 – Last gladiator fight, high intensity, kill the boss to win one’s freedom, or kill each other.
I was inspired by the game Shadow of Rome, and wanted to find a system that support combat and social situations. I could have used the roleplaying 101, but I instead chose to use a system from a tabletop RPG game I had played before called Vampire The Masquerade (VTM). More specifically I used Vampire: Dark Ages (medieval setting) for their armour, and weapons.
To flesh out my world of I needed to perform significant research, namely:
Be aware of the different types of gladiators to give my players and generated enemies some grounding in the world
I also wanted to include animals at one points so I found applicable stats.
Made a list of important characters and some of their traits to help me roleplay them.
Each scene needed a map so I drew one, including details about who was in each scene.
Refamiliarize myself with VTM’s leveling scheme, social and combat systems.
Found example stats to base my NPC’s on.
There were also a number of things I did not do:
Also thought of adding in some currency and letting players by equipment but thought this might add too much added complexity.
Thought of adding special sections such as chariot racing but left it out due to the added complexity.
All of this I compiled into a long supporting document I used whilst DM’ing that I will include in the following section.
We began week 8 with preparing our digital prototype for playtesting, iterating on various artistic, and functional elements including sound, and animations. The following was used for our first internal digital playtest.