Category Archives: WIT

Building Trust

How can we build trust as game designers? This is a question I’ve been asking myself, and in doing so came across an awesome video by James Everett, Lead Game Designer at Magic Leap (talking at Game Connect Asia Pacific).

In the above video James discusses the following.

Saruman vs Hobbit

Don’t be a Saruman, someone who ‘dispenses wisdom’ from an ivory tower. Instead be a hobbit. Be a comrade, a facilitator, filter, and collaborator for the people around you.

Trust

Everett breaks down trust into two components.

Logical

The logical component is based on the societal structure that we expect from normal, rational human beings, comprised of:

  1. Contractual obligations
  2. Past behavior
  3. Following social norms
  4. Following the law

Emotional

Emotional trust is:

  • The default in healthy teams
  • Reciprocal
  • Pleasant and efficient

Everett then discusses three ways in which designers can build or break trust.

Continue reading Building Trust

Grapes of Wrath – Map Design Lessons

Last week I designed Grapes of Wrath, a concept for a multiplayer level in Battlefield 1. Reflecting on the experience I will detail my process, and lessons learned in the hope of enriching myself and others.

I initially split design into two segments. Theme & Structure.

Theme

Given an aim to create a post apocalyptic theme I began my research with reference images.

This slideshow requires JavaScript.

In addition to reference images I sought out other forms of media such as movies, book and games that were set in a post apocalyptic setting.

This slideshow requires JavaScript.

What struck me most when reviewing this material was the desolate landscapes, and ruinous infrastructure. I intended to include these elements in some manner in the map I designed.

Structure

In the context of Battlefield 1 I define structure as map objectives, points of interest, unit design, and player flow.

Research

My research into structure began with two of Battlefield 1’s modes, Conquest & Rush, both of which I intended to accommodate within my map design.

Modes

Not only did I experience these modes by playing them, but I used spectator mode to watch the battle play out at a meta level. This allowed me easily see how objective placement, and points of interest affected player flows.

This slideshow requires JavaScript.

Unit

I then looked at Battlefield 1’s units. A study of the different infantry classes, tanks, airplanes, and vehicles revealed sub-categories, each of which had different play styles:

  • Air
    • A fast but weak plane
    • A slow but powerful bomber
    • A hybrid plane
  • Tanks
    • Glass cannon artillery
    • A fast but weak tank
    • Slow but powerful tank
    • A hybrid
  • Infantry
    • Short
    • Medium
    • Long range
  • The Behemoth – A lead breaker

Battlefield 1 is a web of balance, and what I found was their vehicles cater to extreme playstyles with disadvantages, and usually a third averaged option.

Cerebral Design

Combining map knowledge and player elements I created a ‘cerebral map’ for Rush and Conquest. These maps included player flows, and major elements such as the Behemoth route, and an underground bridge.

For Rush mode the map intended to convey that attackers would become weaker over time, and defenders stronger whereas in Conquest it should be balanced strength. I hoped to achieve this experience with various measures such as:

  • Placing map objectives progressively further from attackers and closer to defenders in Rush
  • Giving more elite kits and vehicles to defenders as the attackers captured objectives in Rush
  • Balancing elite kits and vehicle spawns in Conquest

This slideshow requires JavaScript.

My cerebral map was an initial pass at an experience, which was all well and good, but it clearly was not a map! What I had created was akin to a disfigured skeleton which needed a layer of flesh, and its bones tweaked.  A location was needed to root these abstract concepts in. Therefore Location became the third segment of my design process.

Continue reading Grapes of Wrath – Map Design Lessons

Difficulty in Difficulty

How does one convey difficulty levels?

The most common method in video games is through a menu from which players choose terms to set the difficulty of the game. Such menus generally take the form of the following:

  1. Easier than Easy
  2. Easy
  3. Medium
  4. Hard
  5. Harder than Hard

With each term developers have two ‘paths’ they can take. A generic or idiosyncratic term.

  1. Generic – Commonly used terms which have no thematic basis in a game
  2. Idiosyncratic – Terms that have a thematic basis in a game

Generic

The following are examples of generic terms:

  1. Beginner
  2. Easy
  3. Medium / Normal
  4. Hard
  5. Expert

A clear advantage to using such terms is they are established concepts in the gamer zeitgeist making them more likely to be know across cultures, and languages.

On the other hand a number of issues arise when using generic terms such as:

  1. Different MeaningsNintendo Hard’s easy is harder than Western easy
  2. Different Connotations – There are many interpretations of the term. For example Easy can have negative connotations to a players self sense of skill though it may be appropriate. This may cause them to choose a higher difficulty than is appropriate resulting in a less enjoyable experience.
  3. Not Thematic – Alone they add little flavor to the game

Continue reading Difficulty in Difficulty

Shadow of The Colossus, Visual Story Assignment

As part of our Visual Story course at Carnegie Mellons Entertainment Technology Center we were required to briefly analyze visual imagery in a piece of media. I choose the game Shadow of The Colossus as my subject matter.

Diagonal Lines

As the game begins with an eagle in the distance. The eagle descends into a mountain range flying rapidly, in a titled manner past our hero creating a momentary clear diagonal, and frame within a frame. The combination of techniques draw our eyes into that area of the screen where we our introduced to our hero clearly contrasted in brighter colors against the dark mountains.

Contrast

As our hero continues to travel under the cover of darkness, we see the moon peer out from the canopy. the contrast between the moon and the dark leaves draws our eyes in which the director then uses for a smooth visual transition to the next scene which has a horse’s feet moving at the position of the moon.

As our hero approaches his destination he encounters a pass. Our eyes are drawn to our hero in his bright cape, and the glowing pass which contrasts with the stone grey scene. The techniques help setup our eyes on to our hero and where he is heading.

Continue reading Shadow of The Colossus, Visual Story Assignment

Entwined, Impressions

Entwined is a rhythm game developed by PixelOpus for the PlayStation 4, PlayStation 3 and PlayStation Vita.

Warning there be spoilers ahead! Read at your own peril!

Entwined’s gameplay can be broken down into two sections:

PowerUp

  • An on the rails experience in a tube game space with a fish and bird respectively confined to a half of the tube.

  • Each side of the tube has a PowerUp bar that is filled by the player collecting objects contained on that side.
  • Objects are collected through the player moving the fish and bird using their controllers joysticks.
  • When the bar is full the player morphs into a dragon and goes into the SkyWrite section.

SkyWrite

  • A freeroam experience where players use their controllers joysticks to fly around a fixed area collecting orbs till the sections PowerUp bar is filled.
  • Once the PowerUp bar is filled the player can SkyWrite leaving a persistant trail.
  • When SkyWriting is complete the player can proceed to the next PowerUp section to continue the game.

Like

  • Beautiful visuals
  • When the bird and fish come close together their color melds into a green, which is the same color of the dragon they later morph into.

This slideshow requires JavaScript.

  • Little orbs used to direct player to fly interesting areas

  • Powerup system links into joystick controls well
  • Great tutorial. The developers employed practical examples with clear visual indicators in both PowerUp and SkyWrite sections.

This slideshow requires JavaScript.

  • Good use of orange and blue which are strong color themes throughout game

This slideshow requires JavaScript.

Continue reading Entwined, Impressions

Almost Famous, Heroes Journey Assignment

From suburbia to rock heaven and back again, Almost Famous is a story of an out of place boy sent into the unknown, to return with the truth.

Warning there be spoilers ahead! Read at your own peril!

The Known

The Heroes Journey of Almost Famous begins with our protagonist William, and his known world. William is a boy ahead of the curve, being significantly younger than his classroom peers.

Despite Williams gifts, he has his share of troubles due in part to two differences:

Physical examples:

  • Where are your pubes? – incident in Williams High School.
  • Looking out of place when brushing his hair in the bathroom due to not having a beard

Mental examples:

  • His joy when others are corrected – incident with the ‘Xmas’ painter where William happily looks on
  • An intense interest in his mother’s interests – whilst cooking soy cutlets
  • Nobody includes him. They call him “The Narc” – this is indicative of Williams dislike of drugs, a quality presumably gained from his mother

Due in part to internalizing his mother’s choices at a young age, William is an abnormality in the ordinary world, and he is scorned by his peers for it. Williams mother, and their home is what he knows, and is thus symbolic of the known world. The known world is not without conflict though.

Troubles manifest themselves through William’s sister who rebels against against the known. During this time William is shown not only to have a limited awareness of his problem, but is unable to influence his world. 

Watching helplessly Williams mother and sister fight infront of him. Ultimately Williams sister abandons the known for the unknown world, though not before aiding William. Williams sister increases his awareness of a need for change, through her music records.

Continue reading Almost Famous, Heroes Journey Assignment

Heart of The Swarm, Impressions

Recently I’ve been playing Starcraft 2 Heart of The Swarm, a military science fiction real-time strategy video game developed and published by Blizzard Entertainment. The following are my notes:

There be spoilers ahead, read at your own peril!

Like

  • The Hyperion mission! Having to manage one unit with a continuous stream of battling non playable characters takes away the added task of micro management and lets me enjoy a feeling of ‘distinctiveness’

  • How ‘cutscenes’ meld into gameplay e.g when saving Raynor, Kerrigan’s Leviathan arms smash into the prison ship which then transitions into the game level

This slideshow requires JavaScript.

  • Evolution missions really helps players understand how an evolution works and how to use it

Dislike

  • After Kerrigan’s battle with Narud, I felt she recovered too quickly. It drew from the gravity of the fight. She should have been in an injured state for the Leviathan section where characters could comment on her fight. Then by the next mission having recovered, there would be a contextual piece of dialog about it

Continue reading Heart of The Swarm, Impressions