Game Design Workshop: A Playcentric Approach to Creating Innovative Games. Pages·· MB· Downloads·New! and the commercial viability of . GAME DESIGN WORKSHOP A Playcentric Approach to Creating Innovative Available online at h p://www. musicmarkup.info~hunicke/pubs/musicmarkup.info Veja grátis o arquivo Game Design Workshop-A playcentric approach to creating innovative games-2nd musicmarkup.info enviado para a disciplina de Design e.
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“Tracy Fullerton's Game Design Workshop covers pre y much everything a . Game design workshop: a playcentric approach to creating innovative games. WORKSHOP. A Playcentric Approach to Creating Innovative Games. 3RD “ Tracy Fullerton's Game Design Workshop covers pretty much everything a working International Standard Book Number (eBook - PDF). GAME DESIGN WORKSHOP A Playcentric Approach to Creating Innovative Games by Tracy Fullerton with a foreword by Eric Zimmerman 3RD EDITION.
Author s Bio Summary Game Design Workshop is a truly great book, and has become, in my opinion, the de facto standard text for beginner- to intermediate-level game design education. This updated new edition is extremely relevant, useful and inspiring to all kinds of game designers. The updates refresh elements of the book that are important as examples, but don't radically alter the thing about the book that is great: a playcentric approach to game design. She covers game theory, concepting, prototyping, testing and tuning, with stops along the way to discuss what it means to a professional game designer and how to land a job. When I started thinking about my game studies course at the University of Texas at Austin, this was one book I knew I had to use. Tracy Fullerton demystifies the creative process with clear and accessible analysis of the formal and dramatic systems of game design. Using examples of popular games, illustrations of design techniques, and refined exercises to strengthen your understanding of how game systems function and give you the skills and tools necessary to create a compelling and engaging game.
I play games to feel new feelings and to see the world in a new way. So this evolution of our creative ecosystem is really exciting to me. I start thinking about the unique feeling or aesthetics I want players to experience as the result of playing a game.
Fleshing out the mechanics comes next, and finally tuning the dynamics. But I always start with the feeling first. Generally, I have my best ideas when my body is occupied, but my mind is relatively free. I also read a lot of related literature, watch films, or do activities that are in line with the themes of the work… trying to immerse myself in inspirational material from a variety of mediums so that the project itself will be informed by more than just games.
Once it feels like the underlying theme has coalesced, I begin to look for the seeds of its mechanics. That starts with talking about it with my team or trusted developers in our community.
The act of describing the game and its nascent rules o! I believe very strongly that design is best done in collaboration. And just when it feels like my mind is about to explode with the possibility of the game, I sit down to write a couple of solid pages that describe the idea as succinctly as possible. With a simple digital or paper prototype, the design conversation can shi! Building the prototype makes them concrete.
And then, each player brings unexpected information or impulses to the actual gameplay dynamics. So the only way to really shape the mechanics and emerging dynamics for predictable outcomes is to test it with lots of players. As people explore the prototype, you can see and feel how close or far it is from communicating the essential aesthetic goals that inspired it.
The playtests guide future development, helping you weed out bad mechanics and hone in on the soul of your game. This is how you build something elegant, which feels tight, composed, and solid. Start with the A, discover the M, then perfect the D for a range of players and situations. In my experience, this process works for all kinds of creative projects! It is universally applicable and immeasurably valuable. And yet, the core interaction of the game has been frustrating for certain playtesters.
Specifically: younger players typically ignore UI cues and just do what feels right given the tuning of the game system. So I began testing without the initial UI. Giving them less instruction gave them more confidence to engage their inner child and … just explore through play! Now, instead of feeling like they have failed to do what the game requires, they feel clever for discovering what works within the system, through trial and error.
Furthermore, Game Developer magazine puts out an annual career guide bonus issue to connect the study of game development to the practice of it. This book encapsulates the experience we have gained by working with our students to design, prototype, and playtest hundreds of original game concepts. The method we present here has proven to be successful over and over again. Whatever your background, your technical skills, your reasons for wanting to design games, our goal with this book is to enable you to design games that engage and delight your players.
Our approach is exercise driven and extremely nontechnical. This may surprise you, but we do not recommend implementing your designs digitally right away. The exercises contained in this book require no programming expertise or visual art skills and so release you from the intricacies of digital game production while allowing you to learn what works and what does not work in your game system.
Additionally, these exercises will teach you the most important skill in the game design: the process of prototyping, playtesting, and revising your system based on player feedback. There are three basic steps to our approach: Step 1 Start with an understanding of how games work. Learn about rules, procedures, objectives, etc. What is a game? What makes a game compelling to play? Part I of this book covers these game design fundamentals. Step 2 Learn to conceptualize, prototype, and playtest your original games.
Create rough physical or digital prototypes of your designs that allow you to separate the essential system elements from the complexities of full production. Put your playable prototype in the hands of players and conduct playtests that generate useful, actionable feedback. Part II, starting on page , covers these important design skills. Step 3 Understand the industry and the place of the game designer in it.
From there you can pursue the specialized skills used in the game industry. For example, you can pursue producing, programming, art, or marketing. You might become a lead game designer or perhaps one day run a whole company. Part III, starting on page of this book, covers the place of the game designer on a design team and in the industry. The book is full of exercises intended to get you working on game design problems and creating your own designs.
When you reach the end, you will have prototyped and playtested many games, and you will have at least one original playable project of your own. We emphasize the importance of doing these exercises because the only way to really become a game designer is to make games, not just play them or read about them.
Best of luck! Part 1 Game Design Basics Since there have been games, there have been game designers. These early inventors might not have thought of themselves as game designers—perhaps they were just amusing themselves and their friends by coming up with competitions using the everyday objects around them—but many of their games have been played for thousands of years.
And although this history stretches back as far as the beginnings of human culture, when we think of games today, we tend to speak of the digital games that have so recently captured our imaginations.
These digital games have the capacity to take us to amazing new worlds with fantastic characters and fully realized interactive environments. Games are designed by teams of professional game developers who work long hours at specialized tasks.
The technological and business aspects of these digital games are mind-boggling. And yet, the appeal of digital games for players has its roots in the same basic impulses and desires as the games that have come before them. We play games to learn new skills, to feel a sense of achievement, to interact with friends and family, and sometimes just to pass the time.
Ask yourself, why do you play games? Then we will look at the essential structure of games—the formal, dramatic, and dynamic elements that a designer must work with to create that all-important player experience. These are the fundamental building blocks of game design, and they provide an understanding of what it takes to create great games. She create the objectives, rules, and procedures, thinks up the dramatic premise and gives it life, and is responsible for planning everything necessary to create a compelling player experience.
As the impact of digital games has increased, there has been an explosion of interest in game design as a career. Now, instead of looking to Hollywood and dreaming of writing the next blockbuster, many creative people are turning to games as a new form of expression.
But what does it take to be a game designer? What kinds of talents and skills do you need? What will be expected of you during the process? And what is the best method of designing for a game? Let the art director worry about the imagery, the producer stress over the budget, and the technical director futz with the engine. Your main job is to make sure that when the game is delivered, it provides superior gameplay.
At this point in An Advocate for the Player 3 the process, your view of the game and that of the eventual new player are similar. Playtesters Situations like these are when it becomes critical to have playtesters.
Playtesters are people who play your game and provide feedback on the experience so that you can move forward with a fresh perspective. By watching other people play the game, you can learn a great deal. Observe their experience and try to see the game through their eyes. Or perhaps they are afraid that feedback will force them to change things they love about their design. Or they might be under the impression that testing is something only done by marketing people.
This is because games are not a form of one-way 1. In some ways, designing a game is like being the host of a party. The results are not always predictable or what you envisioned. What type of party will your game be like? Or will they laugh and talk and meet new people, hoping the night will never end? When you learn to listen to your players, you can help your game to grow. Like any living system, games transform throughout their development cycle.
No rule is set in stone. No technique is absolute. No scheme is the right one. And learning how to More playtest groups work creatively within this process is what this book is all about.
And you will have designed, prototyped, and playtested at least one original idea of your own. We recommend creating a folder or notebook of your completed exercises so that you can refer to them as you work your way through the book. Exercise 1.
Go play a game and observe yourself as you play. Try to create one page of detailed notes on your behaviors and actions. Then repeat this experience while watching a friend play the same game. There is no one simple answer, no one path to success. There are some basic traits and skills we can mention, however. First, a great game designer is someone who loves to create playful situations.
A passion for games and play is the one thread all great designers have in common.
As any experienced designer can tell you, testing their own game for the thousandth time can become work, not play. As the designer, you have to remain dedicated to that ongoing process. You have to keep that passion alive in yourself and in the rest of 1. Perhaps one of the hardest things to do in life is compromise. In fact, many game designers think that compromise is a bad word.
But compromise is sometimes necessary, and if done well, it can be an important source of creative collaboration. For example, your vision of the game might include a technical feature that is simply impossible with the time and resources you have available.
How can you adapt your idea to the practical necessities in such a way as to keep the gameplay intact? The interesting and challenging thing about game development teams is the sheer breadth of types of people who work on them.
From the hardcore computer scientists, who might be designing the AI or graphic displays, to the talented illustrators and animators who bring the characters to life, to the money-minded executives and business managers who deliver the 1. Whether there is a team of designers on a single game or a collaborative environment where the visual designers, programmers, or producer all have input to the design, the game designer rarely works alone.
But, unable to see this mistake, the designer keeps making changes, while the problems grow worse, until the game becomes such a mess that it loses whatever magic it once had.
Games are fragile systems, and each element is inextricably linked to the others, so a change in one variable can send disruptive ripples throughout. The one thing that can rescue a game from this terrible fate is instilling good processes in your team from the beginning. Production is a messy business, when ideas can get convoluted and objectives can disappear in the chaos of daily crises.
What did the designers miss out on? How could the game be improved? Games are everywhere, from how we manage our money to how we form relationships. Everyone has goals in life and must overcome obstacles to achieve those goals. And of course, there are rules. When you play the markets, the act of investing becomes very similar to a game. If you want to be a game designer, try looking at the world in terms of its underlying systems.
Try to analyze how things in your life function. What are the underlying rules? How do the mechanics operate? Are there opportunities for challenge or playfulness? Write down your observations and analyze the relationships. You can use these observations and inspirations as foundations for building new types of gameplay. Why not look at other games for inspiration?
Well, of course, you can and you should. Instead, look at the world around you. Some of the things that have inspired other game designers and could inspire you are obvious: personal relationships, buying and selling, competition in the workplace, etc. Take ant colonies, for example. Well-known game designer Will Wright made a game about ant colonies in , SimAnt. But if you look at ant colonies, they sometimes exhibit a remarkable degree of intelligence.
What inspires you? Examine things that you are passionate about as systems; break them down in terms of objects, behaviors, relationships, etc. Try to understand exactly how each element of the system interacts. This can be the foundation for an interesting game. What we mean is using yourself and your experiences with games to develop an unerring sense for good gameplay. And if you want to be a game designer, you need to learn to play with the same conscious sensitivity to your own experience and critical analysis of the underlying system that these other arts demand.
The following chapters in this section look at the formal, dramatic, and dynamic aspects of games. Literacy is the ability to read and write a language, but the concept can also be applied to media or technology.
Being game literate means understanding how game systems work, analyzing how they make meaning, and using your understanding to create your own game systems.
We recommend writing your analysis in a game journal. As a game designer, these are valuable insights that you might otherwise forget. Discuss a meaningful moment of gameplay. Try to remember it in detail—why did it strike you? What did you think, feel, do, etc.? What are the underlying mechanics that made the moment work?
The dramatic aspects? Perhaps your insights will form the basis for a future design, perhaps not. But, like sketching or practicing scales on a musical instrument, the act of writing and thinking about design will help you to develop your own way of thinking about games, which is critical to becoming a game designer. Try to describe not just the features of the game, but dig deeply into the choices you made, what you thought and felt about those choices, and the underlying game mechanics that support those choices.
Go into detail; look for the reasons why various mechanics of the game exist. Analyze why one moment of gameplay stands out and not another. Commit to writing in your game journal every day. Some people come up with lots of ideas without even trying. Others 9 focus on one idea and explore all of its possible facets. Some seek out stimulation or new experiences to spark their imaginations.
Great game designers like Will Wright tend to be people who can tap into their dreams and fantasies and bring those to life as interactive experiences.
Think about your own life experiences. Do you have memories that might spark the idea for a game? One reason that childhood can be such a powerful inspiration for game designers is that when we are children, we are particularly engrossed in playing games. They make games and learn social order and group dynamics from their play. What can you make of such a strange combination?
The result was a hit game with such creative spark that it crossed the usual boundaries of gaming, appealing to players old and young, male and female. Sometimes creative ideas just come to you, and the trick is to know when to stand by a game idea that seems far-fetched. Keita Takahashi, designer of the quirky and innovative hit game Katamari Damacy, was given an assignment while working at Namco to come up with an idea for a racing game. The playcentric approach we will illustrate in this book focuses on involving the player in your design process from conception through completion.
By that we mean continually keeping the player experience in mind and testing the gameplay with target players through every phase of development. Notice that these descriptions do not talk about how these experience goals will be implemented in the game. Features will be brainstormed later to meet these goals, and then they will be playtested to see if the player experience goals are being met.
What are they thinking as they make choices in your game? How are they feeling? Prototyping and Playtesting Another key component to playcentric design is that ideas should be prototyped and playtested early.
By this we mean a physical prototype of the core game mechanics. A physical prototype can use paper and pen, index cards, or even be acted 11 out. It is meant to be played by the designer and her friends. The goal is to play and perfect this simplistic model before a single programmer, producer, or graphic artist is ever brought onto the project. This way, the game designer receives instant feedback on what players think of the game and can see immediately if they are achieving their player experience goals.
This might sound like common sense, but in the industry today, much of the testing of the core game mechanics comes later in the production cycle, which can result in disappointment. The work of professional usability experts like Nicole Lazzaro of XEODesign and Bill Fulton and Kevin Keeker of Microsoft see sidebars in Chapters 9 and 6 is becoming more and more important to game designers and publishers in their attempts to improve game experiences, especially with the new, sometimes inexperienced, game players that are being attracted to platforms like the Nintendo Wii and the DS.
In Chapter 9 we describe a number of methods you can use on your own to produce useful improvements to your game design.