Thursday, 14 March 2013

Games Britannia, Part 2


Games Britannia, Part 2

Greetings, mortals.

Well, with my lack of wit persisting into the morn, I have little to say to (at) you other than the serious notes about my second viewing of the Games Britannia series.

In this episode, some more modern board games are discussed, most of which were developed and published in the mid to late 20th century. The first game discussed was Mansion of Bliss; in the late 19th century, as school became a mandatory part of the life of Britain's children, a game was adopted and popularised in schools to entice them to attend. Mansion of Bliss is an entirely chance-based race game, much like Snakes and Ladders is, with moves being dictated by a chance mechanism similar to a die, and is intended to teach children while they play. These teachings the game was intended to impart were focused around supporting virtues, such as obedience to parents, and deterrence of vices, such as animal cruelty.

This was the case with this game to the point where the 34 playing spaces on the board are split into virtues and vices, virtues offering rewards to the player who lands on them, and landing on vices resulting in a forfeit. The goal of the game is to reach the centre space, the Mansion of Bliss, before anyone else.




Next was a game designed around the politics of Britain at the time, during a time of major political reform. Brer Fox an' Brer Rabbit ultimately inspired Monopoly, which was released in 1936. This game included a great deal of buying land for profit, and was intended as a critique of the reform, or a particular party.



There was more to this episode, but unfortunately enough, the library's streaming tool (I believe it's legal) is not functional for this particular piece, meaning I can't re-watch the episode and continue to take more thorough notes. The main focus was politics, however, and the Brer Fox an' Brer Rabbit was a major part of this.

That's enough from me for now, I think. Praise that Emperor!

Games Journalism: Old vs New


Games Journalism: Old vs New

Evening, mortals.

Ok, so, I think this might be the last post. Let me check... Ah, I need to upload the Games Britannia pt 2, but other than that, this is my last post for the foreseeable future.

Right, journalism!

New journalism is a form of literary expression, a creative and/or artistic way of writing. New journalism and fiction writing are not (apparently) mutually exclusive, as one can display aspects of the other.

I don't know if I'm comfortable with fiction overlapping with journalism...

One major difference between new and old journalism is that while the old will assert objectivity when possible, new journalism will tell a story from the author's point of view.

New journalism developed after a reporter named Tom Wolfe was having difficulty writing in the old format of journalism in 1963, and sent his editor his notes on the event rather than a full-blown article.

So, basically, the main difference between the two is that old journalism offers an objective summarisation of the event being reported on, whereas new journalism is closer to the author's account of what happened to them personally.

In my opinion, both of these can work, and should be applied to different situations as the author believes it suitable. Less formal publications, such as magazines or web logs, can and perhaps should use new journalism methods, whereas newspapers and other formal publications would be better off using old journalism.

There's not really much more for me to say on this matter; I've given the essential facts and my opinion on the matter. This post still feels short, though...

Well, mortals, it's been fun. I've thoroughly enjoyed boring the life and soul out of your host bodies, but now you can end this. Go! Be free, before I change my mind!

Hail the Emperor!

Bibliographical Things


Bibliographical Things

A fine evening to you, mortals.

So, bibliographies.

Bibliographies are, for those of you who don't know, a collection of information about a source of information created for the purpose of providing credit to the source, and helping other to find that source if need be.

There are many ways to format a bibliography; I have been taught one of the Harvard systems, and will be using that.

First thing's first, let's cover books.

A full-length book has it's information listed in the following order in a bibliography:

Author surname, initial, (year of publication), title of publication, Publisher, city of publisher.

So, for example:

Braithwaite, B., Schreiber, I, (2009), Challenges for Game Designers, Cencage Learning, Stamford.

Fullerton, T., (2008), Game Design Workshop: A Playcentric Approach to Creating Innovative Games, Elsevier Inc., London.

Next, contributions to books; these go something like this:

Contributor surname, initial., (year of publication), title of contribution, "in" author's name, initial, title of contribution, city of publisher, publisher, page number(s).

More examples:


Becker, A. (2007), The Royal Game of Ur, in Finkel, I., Ancient Board Games in Perspective, London, British Museum Press) pages 11-15.

Bittanti, M (2003) "The Technoludic Film: Images of Videogames in Movies" In Nakatsu and Hoshino., Entertainment Computing: Technologies and Applications. Springer. 307-312.

And, finally, journal articles are laid out thus:

Author surname, initial., year of publication, "article title", journal title, month/season/part number.

Keighron, P., 1993. “Video Diaries: What’s Up Doc?” Sight and Sound. October. 24-25.

Gonzalez et al. (2013) "Learning to Stand in the Other’s ShoesA Computer Video Game Experience of the Israeli–Palestinian Conflict" Social Science Computer Review. 31. 236-243.

That ends my ranting on bibliography; hail Emperor, mortals.

Ian Schreiber on Game Balance


Ian Schreiber on Game Balance

How do, mortals?

This appears to be the final entry in my notes before I hit the stuff I've already blogged about.

After this, I probably still have a few more things to post on, so I'll get any of those out of the way, but after that, I think we're done.

Balancing, according to Schreiber, is best left until after you have a good set of core mechanics.

Balancing means different things with different types of games;

  • Singleplayer - to make sure the challenge level is appropriate.
  • Asymmetrical mutliplayer - to find out if one starting position is easier than the other.
  • Strategy - to find out whether one strategy is more powerful than another.
  • Game objects - to find out if different objects have the same cost/benefit ratio.
When balancing a singleplayer game, it's important to note that the audience's skill level will increase as they play the game. The way the level of challenge increases over the course of the game is called pacing or skill-ramping. Finding the level of challenge appropriate for the audience's level of skill can only really be done in one way: play-testing.

One problem about the audience's skill level is that, when plotted on a graph, the number of people in relation to the level of skill will form a bell curve; the highest number of people with have a middling skill level, and a lower number will be more/less skilled at the game, meaning that you can't reach all of them with one difficulty ramp. The best thing you can do when balancing is to try and hit as many members of your audience as possible.

One alternative measure is to incorporate support for those players who are more or less skilled than your target audience, through methods such as multiple difficulty levels, handicaps, and alternative rule sets.

Asymmetrical multiplayer games involve the two (or more) players or teams of players having different starting positions and/or resources. Balancing this means making sure that, while the teams are different, neither has an unfair advantage over the other.

Truly symmetrical multiplayer games are rare; even Chess, in which both players have more or less similar starting positions and resources, is asymmetrical to a point because one player gets to make the first move. Of course, that doesn't mean that Chess is imbalanced, it's just not perfectly symmetrical.

The general rule is that the more asymmetrical a game is, the more playtesting is required in order to ensure it's truly balanced. A good way to check for balance is to quantify the resources into a comparable system, such as numbers. This isn't always possible, however, and the harder direct comparisons are, the more playtesting is required.

Strategy games, or games in which different strategies are used against another player or the game itself to achieve victory, have a gaping potential problem: a dominant strategy. Once a single strategy is found to dominate all other strategies, that strategy will be used by all players that know it, and the game will cease to be fun or interesting. This is what happens with Tic-Tac-Toe (also known as Noughts and Crosses); once players know of the winning strategy, the player who goes first automatically wins the game, provided they know the strategy. If a dominant strategy is found, the best thing to do (to the best of my personal knowledge) is to remove it from the game.

If a strategy game has several potential winning strategies, however, it is best for these to be well-balanced to make the game more interesting. Te ensure this (and to find any dominant strategies), the game will require a great deal of playtesting. Note down any strategies that seem to be used more than others, and which strategies seem to win. Remember that players may well choose the easiest or simplest strategy rather than the most optimal.

Game objects can be anything that have an effect in a game; cards in a trading card game, units in RTS and war games, weapons, armour, and so forth in RPGs. Try to ensure that any and all game objects have a similar cost/benefit ratio. When balancing a game with game objects, you want to prevent two things:
  • any game object from being so powerful that it becomes a dominant strategy.
  • any game object from being so weak that it becomes a false choice.
According to Schreiber, there are three ways to balance game objects: transitive, intransitive, and fruity.

Transitive relationship: find the cost curve of the game, and directly alter the item's cost or benefit to match the correlation of the other objects.

Intransitive relationship: similarly to rock-paper-scissors, have one object defeat another, and be defeated in turn by a third object, which will in turn be defeated by another (potentially the first object).

Fruity: when the game objects simply can't be related and compared as in a transitive relationship, being just too different, the only way to gain balance is through excessive play-testing, tweaking, and reiteration of the object.

Next, Schreiber tells us three general game balancing techniques:
  • Mathematics (which is difficult and can be wrong)
  • Instincts as a game designer (which can be inaccurate)
  • Playtesting (which relies on the quality of the testers)
And finally, he gives us a few tips and techniques.

  • Be aware of the different objects and systems in your game and their relationships. (What is the aesthetic core? Look at the interconnections.)
  • Make one change at a time.
  • Learn to love Excel, as this has a huge number of benefits, such as keeping/organising lists, task management, and collecting and manipulating statistics.
  • Use the rule of 2 when altering game statistics; if something is too small, double it; if something is too large, half it.
  • Balance the first turn advantage; rotate who goes first, give the disadvantaged players some kind of support, or reduce the effectiveness of early turns.
  • Write down your own game design rules as you learn them.
This reading overall made another great deal of sense (how about that, all of these wonderful, informative pieces of reading filled with great advice!). Game balancing isn't something I've put a whole lot of thought into, but this has reminded me that it's very important to perform to ensure the game is both fun and... well, balanced.

Well, that's about that, mortals. It's been a good day for this blog, I must have written and uploaded at least three or four new posts.

I apologise if the previous one and this one have some bad grammar or spelling mistakes; the spellchecker seems to be broken. I'll see if I can fix this once this is posted.

[Edit - this has now been fixed. Still don't know what the problem was.]

Praise the Emperor!

Game Design: A Brainstorming Toolbox


Game Design: A Brainstorming Toolbox

Hello, mortals.

New reading, "Game Design: A Brainstorming Toolbox" written by Dave Perry and Ruses DeMaria.

"What is a puzzle?" According to the authors, it is "a baffling problem that is said to have a correct solution."

There is a problem and it has a solution.

I don't personally feel that is a terribly good definition of a puzzle, it doesn't incorporate the intention for puzzles to be fun.

Next, the authors mention that, while puzzles are challenges, not all challenges are puzzles; the distinction should be made between the two.

It can be said that puzzles are situational challenges (still ignoring the purpose of puzzles here); they can appear in more or less any game genre, and can range from putting pieces together to finding missing objects, to making difficult decisions, to making the right choices when faced with a particular scenario or set of clues.

There are also puzzles which involve moving objects; movable objects can be utilised by the player as a jumping platform, a barrier, a route-blocker, as part of a configuration puzzle, as a trigger or weight, to fill a hole or raise the level of a body of water, as a floating platform, or as a material for another problem.

There are a huge number of ways something like a movable object can be used for, and a huge number of game objects and mechanics other than movable objects.

Another example can be a key; a key doesn't necessarily need to be an actual key or keycard. It could be a weapon, or part of a corpse (such as a severed head or hand), a piece of fruit, some jewellery, a tattoo, and so on. Literally anything could be a key in modern video games.

While we're exploring potential game puzzle mechanics and objects, let's mention configuration puzzles, sequences of tasks, follow-the-leader puzzles, obscure objects of desire, barriers, chaos management, moral dilemmas (seriously, I want more of those in my games!), riddles, signs and wonders, devices, mental puzzles... you get the picture.

There are so many available puzzle mechanics at the hands of digital game designers, they can more or less make any puzzle they can think of. This goes to the point where there are entire games based around nothing but puzzles, such as Tetris. These often employ slightly different mechanics, including:

  • Matching colours and shapes
  • Alignment
  • Constructing an image
  • Moving/Rotating pieces
  • Memorising
  • Spotting differences
  • Time pressure
  • Calculations
  • Strategy
Both digital and non-digital games can also include codes and cryptography, in the form of transposed letters in text, letters shifted according to a certain formula, text that can only be read with a mechanical device, colour codes, and so on. It's also perfectly possibly for the designers to create an entirely new language.

Ok, that's this one done. There were a LOT of examples in this one, things which any of the readers can take and go and use when creating a game. I didn't know there was such an extensive list of possible uses of movable objects in games. This reading gave me a lot of ideas for making puzzles and making them more interesting, which I can hopefully apply at some point in the future.

Praise the Emperor, mortals.

Game Mechanics Support Puzzles


Game Mechanics Support Puzzles

Greetings once again, mortals.

No preamble to be found here, let's discuss Jesse Schelle's view on puzzles in games.

Puzzles form a key part of many games, visible or not; this isn't an opinion, this is a flat-out fact A lot of games use puzzles, that's not news.

Schelle tells us that the defining way to spot these is when you stop in a game and think about how you're going to do something. It can even be argued, he says, that any time that you stop and think in a game, you are solving a puzzle.

A lot of people don't want to classify puzzles as games; a lot of puzzles simply don't fit with established mental perceptions of games (such as Rubik's Cubes, Crosswords, and so on).

Some people have argued that many games give the same output when completed, and can be completed an infinite number of times by applying the same input. This would classify these as puzzles rather than games. Such games include Legend of Zelda and Final Fantasy.

Personally, I would argue that games like Zelda and Final Fantasy include random elements which mean that the same input doesn't work.

Schelle then mentions Scott Kim's definition of a puzzle: "A puzzle is fun, and has a right answer." Once we have that right answer, Schelle says, the puzzle ceases to be fun, meaning that they have no replayability. Games, on the other hand, have dynamic elements, meaning the problem is usually slightly different each time you play, making it fun to play more than once.

Another way to define a puzzle is as a game with a dominant strategy. From this viewpoint, puzzles are games which aren't fun to replay, and where the real goal is to find the dominant strategy.

Another personal opinion to shove in here; the difference between most puzzles and games is that a puzzle is static, it doesn't change it's goal or challenge. A game, on the other hand, is a dynamic piece, which changes in ways the player doesn't control.

Next, Schelle asks whether puzzles are dead; a lot of students or younger people may think puzzles are outdated, for example. But he answers that no, they're not dead. Many modern games include puzzles in one form or another, but these are often better-hidden by the designers than in older games. Remember that anything that makes you stop and think in a video game is a puzzle.

A sign of a good puzzle, Schelle tells us, is that the player knows what they are meant to do right away; this doesn't mean they solve the puzzle right away, but they know how to go about doing it. To help up identify and create good puzzles, Schelle gives us a series of "Puzzle Prinicples".

Puzzle Prinicple #1: Make the goal easy to understand.

Puzzle Principle #2: Make it easy to get started. Scott Kim says that to design a good puzzle, you should first build a good toy, as the player will be drawn into manipulating the toy and experimenting.

Puzzle Principle #3: Give a sense of progress. If a player doesn't feel like they're making any headway, they'll eventually give up. This is the main difference between a puzzle and a riddle (though riddles can be turned into puzzles, such as with 20Q).

Puzzle Principle #4: Give a sense of solvability. Make sure the player knows it's possible to complete the puzzle, especially if it's particularly hard. Rubik's Cubes do this by coming pre-solved, and the player then proceed to unsolve it first.

Puzzle Principle #5: Increase difficulty gradually.

Puzzle Principle #6: Parallelism let's the player rest. A danger for all puzzles is that when the player stops to think, they find themselves unable to think their way past a certain problem, which can cause them to give up entirely. This can be solved by giving the player other puzzles of similar difficulty to focus their attention on instead. "A change is as good as a rest."

Puzzle Principle #7: Pyramid structure extends interest. A series of smaller puzzles can each provide clues to a larger puzzle.

Puzzle Principle #8: Hints extend interest. A well-timed hint can restore a lost player's hope and curiosity.

Puzzle Principle #9: Give the answer! Arguably the best part of a puzzle is that moment of solution, when the player sees how to solve the puzzle, even if they didn't solve it themselves.

Puzzle Principle #10: Perceptual shifts are a double-edged sword. Some people just won't be able to make that shift and will lose hope of solving the puzzle. Either you get it or you don't.

I really liked this piece, all of the information makes sense and is very easy to understand. I don't feel entirely comfortable debating the differences between games and puzzles, if I'm honest; I have the fear that someone is going to present an irrefutable reason why they are the same thing, and everything I know will turn out to be a lie.

I personally believe that there's some fundamental difference between games and puzzles, but I have yet to pin that difference down and put it into words.

Another blog post, another reading piece covered. I'm not certain how many of these I have left, but I fully intend to go through all of them. The reading task each week has come to an end now, so my posts will be less frequent, but I have a good stockpile of notes here to upload.

Be praising that Emperor!

"What is a Puzzle?"


"What is a Puzzle?"

*grumbles quietly*

[Before I start this, I kinda want to explain something quickly; when I call you mortals or tell you to praise the Emperor, I'm not trying to force any kind of religious doctrine or belief on you (I personally hate people who force their views upon others), I'm just semi-role-playing a Warhammer 40k theme, based around the Holy Imperium of Mankind and their God Emperor. It's just to give this blog some flavour, something a little different from everyone else's. I don't by any means intend to offend anyone or attack their personal beliefs.]

Hey, mortals, if you read the last post like good little servants to His Will, you'd know all about me being behind on blogs, upcoming deadline, yada yada, let's get onto some content!

Scott Kim asks us "what is a puzzle?" in T. Fullerton's "Game Design Workshop: A Playcentric Approach to Creating Innovative Games", 2008.

And then he answers his own question.

The Roundhouse Dictionary defines a puzzle as "a toy or other contrivance designed to amuse by representing difficulties to be solved by ingenuity or patient effort."

From this, Kim gets two factors common to all puzzles, which he uses to create his definition of a puzzle:

1. A puzzle is fun.
2. A puzzle has a right answer.

So, to decide whether or not something is a puzzle, we ask "is it fun?" first.

There are different ways to decide if something is fun; for example, is it novel? Does it take something familiar and give it a twist?

Or perhaps it's simply not too easy and not too hard; or perhaps, it doesn't appear to be easy, and presents the player with something that looks harder than it is to keep things interesting.

Maybe the puzzle is tricky; using elements such as perceptual shifts can make a puzzle very interesting indeed. Perceptual shifts occur in many hypothetical or two-dimensional puzzles, forcing the solver to think in a different way to find the solution.

Remember, however, that in all of these, fun is in the eye of the beholder.

So, once we've established that the something is fun, next we must find out if it has a right answer. With puzzles, there is the potential for multiple solutions; keeping it to one solution restricts the puzzle, but also gives the designer the ability to define it as THE right answer, and create new elements based on this (such as a "PERFECT" rating).

How can we define a puzzle from a game, you may be wondering. Well, Kim tells us that games are rule-based systems in which the goal is for one or more players to win. Puzzles are also rule-based systems where the goal is to fins a solution. This makes them similar in many cases, but remember that they aren't; puzzles have little to no replayability (unlike games), and games are larger structures which often include puzzles, whereas a puzzle is more often than not a single, stand-alone piece.

Toys, on the other hand, are manipulable, but have no fixed goals like puzzles and games do. Stories involve fantasy play, but cannot be changed or manipulated by the viewer, like toys, puzzles, and games all can.

Finally, Kim gives us a quick rundown of puzzle design. Designing puzzles involves two major aspects: rule design, in which the overall rules, goal, and format of a puzzle are conceived, and level design, where all of these are put into place with a suitable challenge for the player.

Puzzle design, Kim says, has the same goal as game design: to keep the player in a pleasurably challenging state of flow (mentioned in the previous post). Good puzzle design should include an attractive goal, seamlessly teaching rules, giving feedback to the player, and rewarding the player appropriately.

This was a nice, short bit of reading; easy to get one's head around and make progress with, I thought. Overall, the message Kim tries to give is clear and makes sense, and I feel I have a better understanding of puzzlemaking having read some of his pieces.

Anyway, I'll leave it here, mortals. Praise the Emperor!