Wednesday, April 01, 2015

Gameplay Depth versus Variety

These are two out of about a hundred screencasts in my as-yet-unpublished course "Strategic Wargame Design."  Slide text below. 

(My preview is showing a blank for the screencasts, but last time this was just a delay in Blogger.  In case the embedded videos don't show up, the URLs are:
 Gameplay Depth and Variety (Breadth) part 1  http://youtu.be/AM31HXkdLDo
Gameplay Depth and Variety (Breadth) part 2 http://youtu.be/7Ky99m2WwRs)



Here is the text of the slides; I say more in the screencasts, of course, than that.
Gameplay Depth versus Variety
Dr. Lewis Pulsipher
PulsipherGames.Com

A Difficult Topic
Because everyone seems to mean something different when they say “depth”
And because there are several kinds of depth
My main focus here is on gameplay depth
But we’ll talk about breadth (variety), and about other kinds of depth in games.

Gameplay Depth
A matter of making good choices:
When there are several plausible choices
Only some of them viable (likely to lead to success)
Which viable one is best depends on the situation (there is no always-correct solution)
And which one you choose makes a difference in whether you succeed
Furthermore, in deep games, choices tend to lead to other decisions you may not have been aware of beforehand

A Large Number of Decisions?
NO!
Gameplay depth comes not from the NUMBER of decisions, but from the quality of the choices and their importance to the outcome of the game
If there are too many decisions, ultimately no individual decision really matters
Or if some decisions are much more important, why are the trivial ones still in the game?????
What if you Can’t Lose?
Think about this: if you can’t lose, can it be a deep game by this definition?
If decisions don’t really make a difference, what does it matter?
This is the case with many video games
Even in Rogue-likes, you can get out of the game, copy the save file, then go back
Lack of losing is also in the nature of puzzles, and most single-player video games are puzzles more than games
Yes, you can give up before you solve the puzzle
Transparency
In a transparent game it’s easy to see what the right decisions are
So someone can play once or twice and know most of what he/she needs to know to play as well as just about anyone
You can’t play a deep game a few times (or for a few hours) and then have a good handle on how to win/succeed
You just haven’t seen enough of it
But most (especially tabletop) games these days are designed so that you DO have a good handle, after one play
This avoids frustration/work for the players
But often results in a game that is only played once or thrice
Decisions without Always-Correct Solutions
Games that repeatedly put players "on the horns of a dilemma", decisions that do not have always-correct solutions, are more likely to have gameplay depth.
Resource management games can put you on the horns of a dilemma as there's always more you want to do than your resources allow.  But the consequence is quite different than from, say, a wargame
And there’s often a single optimal solution
Depth in Wargames
In a wargame, if you make the wrong decision, it could result in losing a territory, or having a ship sunk, or an army destroyed.
In a RM game, it results in less-than-optimal progress
In RM you're looking for optimal moves, and there usually is a solution.
In wargames, especially multi-sided (more than two) games, there may not be an always-correct solution (almost never is in multi-sided)
Other Kinds of Depth in Games
I’ve been talking about gameplay depth, but there are other kinds of things that people call “deep”
Puzzle depth
Model depth
And even story depth
But these are not about gameplay decisions, they’re about other aspects of the game
Well, puzzle depth is about decisions; but in a never-changing, ultimately predictable, environment

Puzzle Depth
Depth here in the sense of a long sequence of choices leading to ultimate success
Where you must make the right choice
Keep in mind, puzzles have always-correct solutions
Which means always-correct choices
And an essentially static environment
Beyond formal puzzles we have “games” that are solvable, such as chess, checkers, tic-tac-toe
Puzzles
Beyond that we have single-player games that may not involve random elements such as “dice”
When you solve it, you “beat the game”
Any game you can “speed run” in a few minutes is essentially a puzzle with an always-correct solution
Even if there are some random elements
Good games don’t have always-correct solutions (a “dominant strategy” is bad)
Story Depth
Lots of branches to the story, lots of choices that make or break the participant(s)
The old Final Fantasy games have a lot of story, though the gameplay is quite repetitive (and shallow)
So “depth” here is related more to intricacy than to right choices
Face it, in many if not most great stories, the protagonist is very lucky in his choices (and in what happens that he cannot control)

More in Part 2

Model Depth
The question here is, is the game a good model of whatever it is depicting?
Don’t confuse looks (photo-realism) with decisions
Are the decisions you make the same kind of decisions, same kinds of choices, a person could make in that real situation?
Do the things that happen in a game correspond with things that happen in the situation depicted?
The more that decisions, choices and occurrences correspond with the actual situation, the better the “model depth”
So, for example, FPS fail dismally as models
World of Tanks has the trappings of model depth to attract “war buffs”, but what you DO deviates immensely from reality in several vital respects
Same for World of Warships
Which isn’t to say they cannot be fun, they’re just not good models of war in the most important respects

Contrast with Variety
When contemporary  gamers talk about “depth” in a game, they often mean variety
They confuse depth and variety because they haven’t played many games with real gameplay depth
There’s a lot of decisions because there’s a lot of variation
But those decisions don’t necessarily matter, both in what you choose and in how it turns out
Moreover, if there are too many decisions, individually they tend to cease to matter, even if there’s a winner and loser
Especially in single-player video games, which can quickly get quite repetitive without sufficient variety, because there’s no human opponent
Variety is Breadth, not Depth
Perhaps they don’t recognize actual depth because they play games where you can respawn and can go back to saves
Variety is providing more things to do, but the decisions and choices don’t change their character, decisions don’t lead to “deeper”, hidden decisions
Instead, some of the parameters of the decisions change
Such as, when you play a spell-caster instead of a hack’n’slasher
You do things differently, but there’s nothing deeper about it
The result is breadth rather than depth
In a loot-fest like Diablo III you don’t even have to stick with your decision, you can change when you like (skill allocations etc.)
Think how much players like customizable characters
But what they choose mostly doesn’t matter to the outcome

Too many decisions:
Too many for the player to keep track of
So many that each one, individually, doesn’t really matter even if there’s a winner and loser
This is one reason for keeping games fairly simple, if you want a deep game rather than a broad game

Ideally . . .
Ideally you have both depth and variety
But some game players don’t want to think hard, to work to find the hidden decisions
For them, variety is quite sufficient
I think this is much less true for strategic wargame players, than for gamers as a whole

Digression: Another Kind of “Depth”?
Audience suggestion that there’s another kind of depth, that requiring highly-developed physical skills
In other words, we might call it Athletic Depth
And it’s only going to apply to games requiring dexterity, eye-hand coordination, etc.
This does also involve making good decisions related to the physical needs of success
It also requires a very high standard of athleticism, so that most people just won’t be able to do some of the harder things
Like the proverbial “200 actions per minute” in Starcraft
It’s more a part of “athleticware” than of “brainware”

Just scratching the Surface
I’ve written more than 6,000 words about depth in games
And I have to revise and extend it!
These videos are 135-140 words per minute . . . 6,000 would be about 45 minutes
But this will have to do for this course
I am planning a separate advanced course just about depth in games

Party games don’t have much depth, but may have breadth.  Traditionally, hobby games had depth.  Now, they tend to have breadth – variety - or puzzle or story depth, not gameplay depth

Sunday, March 15, 2015

Video (screencast) 10 “Need to Knows” that Make a (Hobbyist) Game Good

Well, Blogger seems to be defective.  In editing I see the images of the two videos I've embedded.  But the preview shows a big blank space.  Same thing for past four days with two browsers.  I even published temporarily a post with just one embedded video, and the published version showed nothing.  So I have to include the URLs for the videos:





The following is the text of the slides; there is more to the presentation, of course, than just this text.
10 “Need to Knows” that Make a (Hobbyist) Game Good
Dr. Lewis Pulsipher
Pulsiphergames.com
“Game Design” channel on YouTube
Overall considerations
Doesn’t matter whether it’s a video game or tabletop
You can’t say “because it’s fun!” – “fun” depends on the player, there is NO UNIVERSAL FUN
Know your audience (NOT you, unless you’re designing only for yourself, not for publication)
You have to satisfy what they think/feel is “fun”
Playtest with your audience
Keep in mind the three kinds of games/game players:
Math (chess)
People (multi-sided games)
Story (Japanese RPGs)
We can’t specify universal “Good Traits”
Because types of games vary so much
party games, family games, kids’ games, games for adults, “adult” games, single-player games, games for more than one player (or more than two), cooperative games, drinking games, etc.
So here we’re talking primarily about “hobbyist games”, games played by adults for whom game-playing is a hobby
Even within hobby games:
 some people “hate dice” (chance), some people like them; some people dislike “long” games (however long that is), some people prefer them; some people want to challenged, some just want to relax; etc.
K.I.S.S.?
If it’s a game: "A designer knows he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away."  Antoine de Saint-Exup'ery
If it’s actually a puzzle: complexity may help make the puzzle harder and the “game” last longer before it’s solved
Most single-player “games” are mostly or entirely puzzles
“Multiplayer solitaire” is a puzzle
The List
Interaction (with players, with the game)
Interesting, non-trivial choices
Replayability
Memorability
Player control
Balance (fairness)
Customization
Easy-to-use interface
Asymmetry
Hook/early play
And we have an 11th that isn’t something to make games good, it’s something to make games more marketable: visual appeal
Interaction (with players, with the game)
Two major types of interaction
With the game (the environment, the system – PvE)
With people (which, obviously, requires at least two players - PvP)
Single-player games/puzzles have virtually no people interaction
And several flavors of people interaction
Targeted (hinder or help specifically and immediately)
Or Anticipatory (blocking)
Direct (player-to-player)
Or Indirect (temporarily controlled intermediating entities involved)
(I will do a separate screencast about interaction…)
Interesting, non-trivial choices
Sid Meier’s (Civilization, Pirates) definition – a series of interesting, non-trivial choices (or challenges)
As for trivial:
Chutes & Ladders, Candyland, LCR (Left Center Right), have no choices at all
For children or for (slightly drunk) partiers
But they’re not “hobby games”, either
And “solved” games have no choice in practice, such as Tic-tac-toe
Replayability
Avoiding “sameness” in a game, providing new experiences
Phases provide replayability, of a sort, within a single game
See my blog post, http://gamasutra.com/blogs/LewisPulsipher/20120624/172937/Phases_in_Games.php(Sorry I can’t make that clickable)
Or my screencast about level/adventure pacing on my Game Design YouTube channel
Replayability can come from depth (nature and quality of decisions), or from sheer variety, or both
Designer can include variable setups (such as Settlers of Catan’s hex tile board layouts), additional scenarios, characters, other asymmetric aspects
Memorability
The events in the game are so striking that players discuss them after (and long after) the game is done
“Water-cooler moments” or “the anecdote factory”
How do you make a game memorable?
It’s harder to do with an abstract game (even one with an “atmosphere”)
When events can be related to some reality, they’re easier to remember
Variety, whether from lots of options or from depth of options, can throw up memorable moments
Games where players “write their own story” (emergent, sandbox)
And a game where the story is imposed on the players is memorable (but that quickly wears out, it’s kind of a one-shot) (progressive, linear)
Player Control (?)
Hobby gamers like to feel that they have some control over what happens to them
Especially the really “serious” players
On the other hand, some players, especially casual, are happy to go along with a story (I call it, “being led around by the nose” – I like control)
So one person’s feast is another person’s famine
Balance (Fairness)
Fairness is important in the West, not so much in East Asia
Appropriate reward for effort & skill (single-player)
An equal chance to win (more than one player)
Balance of power of character classes (in “experience” games)
No advantage in going first (or last) in turn-based games
Chess is very unfair (white wins far more than black), but tournaments are organized to account for this
Customization
Ways for a player to modify the game as they like
Especially in character creation
Or as in Risk Legacy, where customization is available (and, MOST unnecessarily, destructive)
Games that lend themselves to variants, such as Diplomacy
Level editors in video games
Relatively easy modding in video games
Easy-to-use interface
All games have interfaces – ways to manipulate and command the game, and to find out what happens
Board and card games have been around so long, interface tends to be standardized
A poor interface can ruin the experience of playing a game, especially a video game
Moreover, Interface is one of the parts of a game where non-standard methods should be avoided
They throw players off their game
Asymmetry
Symmetric – everything/everyone starts the same
Asymmetric is the opposite – typical in two-player historical wargames
Asymmetric presents more problems and more opportunities – built in replayability
But it’s much harder to balance (my bane: Britannia)
Hook/early play (21st Century)
In days of Instant Gratification, you have to grab a player early in a game, or they might quit
Really, before he or she plays the game (this is where miniatures make a big impact – the “toy factor”)
A strong hook is also important for marketing in days when there are thousands of games published, instead of dozens
“Discoverabilty” is a big problem
“What happened to Story?”
All games have narratives (an account of what happened), but thousands have no formal story (something constructed to entertain, with plot, characters, conflict, climax, resolution, etc.)
Historical games are more or less in between
Some players aren’t interested in games without formal stories – but most players don’t require them
I have to say, many video game designers appear to be frustrated fiction writers
See/hear “Are you a game designer or a fiction writer” on my Game Design YouTube channel
Marketing (Modern): Visual Appeal
Many modern games depend heavily on visual appeal
Take a game as simple as (and as solved as) Tic-tac-toe and make it look really good, and some will buy it
Battleship is an example, a traditional graph-paper game made to look much better (and 3D) at great cost
People who don’t even play chess will buy fancy chess sets
Miniature figures sell lots of not-very-good games – the “toy factor” is powerful
Fun?
A graphic about the variability
of fun
From Rob Donoghue
on Google+
Made with RPGs in mind, I
think, but applies generally.
Lots of possible axes, not just
Challenge and Story
More details in . . .
All of these issues are discussed at much greater length in my book-length audiovisual course, “Learning Game Design, as a job or a hobby”.  See PulsipherGames.Com for information (and a discount).

Wednesday, January 14, 2015

Video (Screencast): 7 ways to learn game design

This is primarily for beginners, not for experienced pros, of course.



Here is the text of the slides.  The video includes much more than this text, of course.
7 Ways to Learn Game Design
Dr. Lewis Pulsipher
Pulsiphergames.com
“Game Design” channel on YouTube

It’s not Game Production
Game design isn’t about programming or art or sound
It’s about specifying how the game works, how it plays, which has to be enjoyable for players in your target market
Video games are software, but nothing in game design requires software
See “10 ‘Need to Knows’ about Game Design” on my Game Design YouTube channel (http://www.youtube.com/user/LewGameDesign )

Preliminary Considerations
You won’t be good at it, when you start out
Just as with most anything else that’s complicated
Just as with most big games you might play!
If you think it’s simple, you’ve got a big problem to overcome
What makes you a good game player, isn’t what makes you a good game designer
So forget about your gaming prowess
It’s not about “getting ideas”, it’s about execution

It’s a list, but not either/or – do several at once
Start with tabletop games
Start with Gamemaker
Start with the combination of Unity and Playmaker
Make small modifications to existing games
Read - a lot (and listen)
Take online classes
Earn a degree
Start with Tabletop Design
You don’t need programming skills to make tabletop games – you do need such skills (which have nothing to do with game DESIGN) to make software
You can’t “hide behind the computer” in tabletop
You can make quick changes and see how gameplay changes
Much harder to do with software games
I discuss this at greater length in my “Learning Game Design” online course

Start with Gamemaker: Studio
Originally created for learning (on PCs), but there are some commercial games made using this engine
Free version (though there’s a “pro” as well): https://www.yoyogames.com/studio/download
Drag and drop interface, no coding required
But it has coding built in
Excellent tutorial books available

Start with Unity and Playmaker
This is a favorite combination of university instructors
Unity is a professional, but inexpensive (free just for learning) development system
Used now by many developers for commercial games
Can be converted to many platforms

Make Small Modifications to Existing Games
For video games, this would be levels, using a level editor included in the game
More extensive modding requires extensive programming skills
For tabletop, make variants of well-known games such as Risk, Settlers of Catan, Diplomacy, even chess

Read - a Lot - and Listen, Too
Read about game design
Books, magazines, blogs
But also, read about how the world works, good history, good economics, good literature, etc.
Challenge yourself in your reading
Listen to podcasts, watch videos
Take online classes
But lots of classes with “game design” in the title are actually about game development, especially programming
In fact, aside from my own classes, there are just one or two MOOCs that are very basic
I recommend my own classes (of course!)

Take a degree in games
Be very careful
Lots of private, for-profit schools take advantage of student dreams
Many “colleges” are not regionally-accredited colleges, so the degree generally doesn’t count as a real degree
National accreditation, oddly enough, doesn’t count
Many “game degrees”, even when called game design, teach almost no game design, or the instructors have no clue
Often because the degree is offered to provide students for programming instructors to teach
Even not-for-profit degrees are very expensive (exception: community colleges)

In the end, you must Complete games
There is no substitute for completing games
Who cares about half-completed (half-baked?) games?
No one who counts in game development
You have to show you can do it if you want to be hired
Intention counts for little, it’s ACTION that counts
You have to submit a complete game to a publisher, not something partly finished, certainly not just an idea
More detail?
I discuss this topic at greater length in my online courses “Brief Introduction to Game Design” and “Learning Game Design, as a job or a hobby”
More info (and discount URLs (coupons)) at PulsipherGames.Com

Saturday, January 03, 2015

Video/screencast: What Attracts backers to Kickstarter Board and Card Games?




13+ minutes
Dr. Lewis Pulsipher
Pulsiphergames.com
“Game Design” channel on YouTube

Notes
I’m going to use the abbreviation KS for Kickstarter at times
I’m only talking about KS for board and card games – board games seem to fare better than card - not for video games or anything else

It’s Different – a “Dream machine”
I recently realized, “[Board and card] Games are works of and for the mind, not for the eyes.“
Traditional-style games are about thinking, not about looks
But that’s not how KS works
KS is a “dream system”, not a pre-order system (though sometimes it’s used for that, usually for an established franchise)
People go “all-in” for dreams, even others’ dreams; they don’t go all-in for pre-ordering, or for “pros”
They want to feel like they’re part of something new and cool

Selling “Dreams”

I received this tweet out of the blue one day: “ @lewpuls Soccer & design lovers should have this board game! RT and help making our dream come true!” [sic]
[RT = retweet, send to your followers]
Make our dream come true
People want to be something more than a “consumer”
And some people value intentions as much as actions
Young people value intention much more than in the past, I think.  Older people tend to remember “The road to hell is paved with good intentions.”

Feeling “in at the beginning” (or “part of the process”)
So expressing the intention to publish a game, is good enough for many younger people, not enough for many older people
Backers want to feel part of a creation
They want to see their name as a contributor
Backers love polls and votes about features to include in a game
They love reaching stretch goals that change the game
Consider the popularity of paid betas in video games (especially on Steam).  People want to be part of something that isn’t yet complete, hoping to influence it!

Eye-candy Sells, Especially on KS
Especially, miniature figures, but also lots of “cool” art
The quality of the actual gameplay is secondary with many backers
Or perhaps, they assume the gameplay will match the minis and art
Of course, there’s little or no correlation
Cool dice, even
And I’ll admit, I’ve supported three dice projects – but no board or card game projects

Lower than MSRP?

Getting a “deal” seems to be secondary
James Mathe suggests a five dollar discount is sufficient
Read everything James Mathe has to say about KS
Now when KS is acting as a pre-order/”P500” system, a larger discount may be expected, as is typical for P500

“Pre-reviews”
Maybe it’s my age, but I see “pre-reviews” as a call to “shenanigans”
And paying someone to do a review for you?  Good heavens!
Why would anyone trust such things?
But this comes back to intentions, I think.  Younger people don’t seem to be suspicious of what might be happening with these “pre-reviews”
If a large company did this, though, I’ll bet there would be far more suspicion
It’s a matter of “the little guy’s dream” and trust in that dream

“Momentum”
It’s not just in sports
There’s a bandwagon effect in KS, and reverse bandwagon
This is one reason why you “go low” with your goal and then push the stretch goals, to help encourage momentum
If you haven’t made the goal as the project winds down, Kicktraq.com will predict failure, and potential backers just won’t bother
Or will pull out!

Oddball Pledge Offers
These seem to work often enough to be worth trying, since a lot of $$$$ is involved
Autographed games, play a game with the designer, get a lengthy phone call from the designer, and so forth
I’ve seen offers taken where the designer of an RPG flies to the backer’s location and GMs a game for him/her and friends
(Sea Kings example)

Highly professional can be a barrier
A highly professional presentation may be a detriment!
Backers think, “they’re pros, they don’t need help”
Pros are often using KS as a pre-order system, not a “dream system”
Newbies, or “little guys”, elicit sympathy if not empathy
For example, “Lew Pulsipher” as designer does little for a KS; does more for normal marketing and sales
I’m not only established/have a track record, I’m OLD!

The Exception
When the game is a new edition or special reprint (e.g. Ogre, Age of Conan), then the audience already exists, will hear about it, and will support it
And a game with lots of eye-candy (especially miniatures) will work regardless of origin
Age of Conan has lots of minis; so did the special edition Ogre

Separate categories of publishers
Traditional publishers – self-fund and use traditional distribution (FFG especially)
P500 publishers – direct sales and distribution (GMT)
“Kickstarter” publishers – direct via KS, a little distribution (Minion, etc.)
Gamesalute may be unique in doing more KS than any game company, but then their own direct sales and distribution

Is Kickstarter a good gauge of how popular a game will be (how well it will sell)?
I doubt it greatly
The games don’t sell the KS to backers, dreams and intentions sell to backers
But that’s not how games sell in a shop, nor online
Stores and KS have different clienteles

Typical?
Matt Green recently described the audience of Dice Tower as: “chrome-obsessed 21-40 years olds with short attention spans.”
This might describe the largest portion of Kickstarter board and card game backers, as well
As one publisher said, “The sense of entitlement that pervades KS is a difficult thing to combat.”
This fits with Matt’s description, and with the Millennial generation

I don’t think we apply these generalizations to people who buy games via traditional distribution

So to succeed on KS, it helps to:
Sell a dream
Seem like a “little guy” even if you’re not
Offer participation in the form and content of the final product
Appear to need help, even if you don’t
Offer eye candy
Or, go to an established clientele . . .

An Addendum
Do card games do less well than board games on KS?
So I’ve read
If so, why?
There are no miniatures
Card games seem simpler, less a “big deal”, and so less worthy of the all-in excitement typical of very successful KS project funding

Resources
http://www.jamesmathe.com/dead-men-tell-no-tales/
Anything by Jamey Stegmeier (Stonemeier Games)
In RPGs, Fred Hicks

4,438 games successfully funded on KS (11/13/14)

Thursday, December 18, 2014

Video (screencast) What a convention or conference can do for a game designer

What a convention or conference can do for a game designer



Text of the slides is below.  Of course, there's much more to the screencast than the slides.





Dr. Lewis Pulsipher
Pulsiphergames.com
“Game Design” channel on YouTube

Why should game designers go to Cons?
I’m mixing video game (conferences) and tabletop game (conventions) in this discussion
(Brief difference: conferences focus on how to make better games; conventions focus on playing games)
Briefly:
Meet publishers and funders
Learn new techniques
Stimulate ideas
Find collaborators
Find playtesters

To meet Publishers / Funders
While much of the world is online/”virtual”, I’m convinced that face-to-face is a much stronger connection, especially for those designers without a track record (newbies)
So go and meet publishers at cons, talk with them, volunteer to work at their booths, and so forth

To Learn New Techniques
Conferences are all about talks to help you make games better
Examples: East Coast Game Conference 14
Putting stories into games
Game pitches
At tabletop conventions, seeing all the new games, playing them or watching them being played
Big tabletop conventions have many seminars (GenCon) about making and selling games
I do them myself at PrezCon, WBC, GenCon, sometimes ECGC

Stimulation of Ideas
When I go home from a tabletop convention or ECGC, I’m full of game ideas
In the case of ECGC, mostly for videos for my classes, and for things that would go into books
I drive (up to 650 miles one way), so I have lots of time to think, recording my thoughts on my easy-to-manipulate PDA-voice recorder
Of course, you have to follow-up once you get home

To Find Collaborators
I do not look for collaborators, but some people work better with another person
If you are looking for a non-local collaborator, where better to look than at a con?
If you hear someone speak about things that interest you . . . Talk with them

To Find Playtesters
As for playtesters, that’s more problematic, but you might find some willing to blind test
Of course, you might persuade people to playtest at the convention, but often people want to play the new published games, not prototypes

Keep an Open Mind. Everything at a con should be stimulating for a designer.

Wednesday, December 03, 2014

11 More "need to Knows" about game design

This 12+ minute screencast is primarily for aspiring designers, not for professionals.
This is a followup to "10 'need to knows' about game design" http://gamasutra.com/blogs/LewisPulsipher/20141020/228137/Video_screencast_10_quotNeed_to_Knowsquot_about_Game_Design.php





The text of the slides follows.  Of course, there's a lot more to the screencast than this text.
11 MORE “need to knows” about Game Design
Dr. Lewis Pulsipher
Pulsiphergames.com
“Game Design” channel on YouTube
Original 10 Wasn’t Enough
I started with 10 “ntk”
But I thought of more than 10, so here some more.  Keep in mind, the first 10, taken as a whole, are the most important
But these 11 are also important

The List
Focus on the essence
Professionals design for other people, not for themselves
Professional game design is about discipline, not self-indulgence
Game Design is not Mind Control
There is no perfect game
You probably won’t be good at game design, at first
Games are not just Mechanics
Making a good game takes a LOT of time
Piracy is everywhere (for “digital” goods)
You’re an Entertainer, or a teacher, not a gift to the world
“Fail Faster”

Focus on the Essence
My motto: "A designer knows he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away."  (Antoine de Saint-Exupery)
Another form, about Japanese gardening, is "Your garden is not complete until there is nothing else that you can remove."
If you’re making a puzzle, complexity might be a goal; If you’re making “an experience”, simplicity may not be a goal.  For most games, the goal is to keep only what you absolutely need

Professionals design for other people, not for themselves
 [As this has been misunderstood by someone who didn't listen to the screencast, I interject the following: Your primary goal (for most games, recognizing there are specialized such as educational) is to entertain other people, not yourself.  The goal is to entertain, the design is for other people.  As such, any list of features that you think will make your game a surefire hit will likely turn into a soul-less mess.  So perhaps I could have worded the slide, "Professionals work to entertain other people, not themselves".]
Your job is to entertain or enlighten other people
You are not typical, or you wouldn’t be designing games!
So what you like, may not be typical of what large groups like
Don’t rely solely on your own opinions about the worth of a game
I recently had a game published that I didn’t think was a Big Deal, just a nice little game – but others had different opinions
And I have had games I thought were outstanding, but have not been published

Professional game design is about discipline, not self-indulgence
Many designers are self-indulgent, often thinking of themselves as “artists” who are blessing the world with their brilliance – so they do whatever they want
POPPYCOCK! (Though you can do this if you’re not interested in selling any games . . .)
Do player-centric, not designer-centric (or art-centric) design
Game design is compromise.  It’s never “perfect”

Game Design is not Mind Control
Some designers want to, in effect, control all that the player is doing and thinking
And if you think about it, a novel can be approached in this way
Though most novelists want to influence, not control
Linear video games can approach this ideal
But most game players want to have the ability to control the outcome of the game (and want “agency” as well)
Better to think of game design as offering players opportunities, not forcing anything on the players

There is no perfect game
There are dozens of genres for a reason
Tastes of game players vary as much as tastes of music-lovers.  (I dislike rap.  I like classical.  Some people love rap.  Some hate classical.  And so on.)
And there’s no room for perfectionism in professional design
You need to get games DONE.  Especially in video games
The Law of Diminishing Marginal Returns sets in quickly for professionals, less so for hobbyist designers
So at some point, you have to finish even though the game isn’t perfect

You probably won’t be good at it, at first
How often do you start to do something complex, requiring a lot of critical thinking, and yet you’re immediately good at it?  Never!
Most complex things worth doing, take a long time to do well
Even playing a game well can take a long time to master
Some theorize that you need a great many opportunities to fail/succeed before you can become good at something
And there’s the “10,000 hours” notion, too, though I don’t take the quantification seriously

Games are not just Mechanics
What matters is the impression you make on the player(s)
MDA: Mechanics, Dynamics, “Aesthetics” (I prefer “Impressions” for the last)
Collections of mechanics can feel soul-less
If you choose mechanics based on a model, they tend to fit together; if they’re just collections, they’ll often not fit together

Making a good game takes a LOT of time
Most of what happens in game design takes place in the mind – of the designer, and of the players
Outsiders/non-practitioners tend to minimize the difficulty because they don’t see it happening
Moreover, it’s easy to get a game to 80%, it’s the last 20% that takes most of the game design time and effort
And then, if it’s a tabletop game, scheduling and manufacturing can take many months
Mayfair recently published a game they’d had for 8 years
I have a game that may be published in 2015, publisher accepted it in 2005 [sic]

Piracy
Piracy of “digitally”-produced games is rampant
And there’s practically nothing you can do about it
Free-to-play helps (in video games), but even the in-app purchases in F2P are pirated regularly
Fortunately, not much piracy in tabletop games (unless it’s primarily a rulebook, such as RPGs)

You’re an Entertainer or a Teacher, not a "gift to the world”
That is, if you want to be a commercial game designer
Publishers are in business to make money (mostly, but especially in video games)
Yes, you can self-publish
But a lot more people want games to entertain or enlighten them, than want games to be “art”
“We want to entertain people by surprising them, so I really don’t think we are psychologists – we are nothing but entertainers.” -Shigeru Miyamoto (Zelda, Donkey Kong, Wii Fit, etc. )
Reiner Knizia (over 500 [sic] published games) also says his purpose is entertainment

“Fail Faster”
You want to find all the ways your game can fail, and eliminate or fix them
So the faster you fail, the quicker you can eliminate or fix the failures
Or start over!
Get a playable prototype done as soon as possible – there is NO Substitute
If you’re doing a video game, try to make a paper prototype first, to try things out
Until I think of more ntk, enjoy your designing

Friday, November 28, 2014

Black Friday once-a-year online course sale for Lew's Udemy courses

Black Friday once-a-year sale: you've got to do it before someone beats you to it.
As you may know, I do not take part in Udemy's kamikaze marketing, nor in the craziness of affiliation. This may have cost me some money (all the big earners participate) but I prefer to treat online teaching as something like books and good college classes, not like get-rich-quick schemes and super-discounted PC video games. So I'm not part of Udemy's kamikaze Black Friday marketing.
I confess I haven't gone out to shop on Black Friday for longer than I can remember (and I'm 63). But I will "join in the party" online. I have not offered this kind of thing before and may not again, certainly not anytime soon.

So here is a one-time-this-year promotion. I have discounted my classes much more than normal, but there are a *limited number* of coupons for the discounts: three each at "level one", five at "level two"; and an unlimited number at the "normal" discount (which exists only because I get a much larger percentage from my coupons than when someone signs up directly, without a coupon).
As always there are plenty of free previews available in each course, and a 30 day money back guarantee.

This was offered first to people already in my classes, so it's possible that some levels are already exhausted.

Level One (three coupons each):
$20 off Learning Game Design (list $59)
https://www.udemy.com/learning-game-design/?couponCode=LGD%2420off
$10 off How to Design Levels/Adventures for Video and Tabletop Games (list $33)
https://www.udemy.com/how-to-design-levels-and-adventures-for-games/?couponCode=LevDes%2410off
$10 off How to Write Clear Rules (and game design documents) (list $29)
https://www.udemy.com/how-to-write-clear-rules/?couponCode=WCR%2410off
$5 off Brief Introduction to Game Design (list $12)
https://www.udemy.com/brief-free-introduction-to-game-design/?couponCode=BFI%245off
$9 off Get a Job in the Video Game Industry (list $15)
https://www.udemy.com/get-a-job-in-the-video-game-industry/?couponCode=GJ%249off
In percentage terms this is a very large discount, 60%, because it is my one class not primarily about game design.

Level Two (five coupons each):
$15 off Learning Game Design (list $59)
https://www.udemy.com/learning-game-design/?couponCode=LGD%2415off
$7 off How to Design Levels/Adventures for Video and Tabletop Games (list $33)
https://www.udemy.com/how-to-design-levels-and-adventures-for-games/?couponCode=LevDes%247off
$7 off How to Write Clear Rules (and game design documents) (list $29)
https://www.udemy.com/how-to-write-clear-rules/?couponCode=WCR%247off
$4 off Brief Introduction to Game Design (list $12)
https://www.udemy.com/brief-free-introduction-to-game-design/?couponCode=BI%244off
$6 off Get a Job in the Video Game Industry (list $15)
https://www.udemy.com/get-a-job-in-the-video-game-industry/?couponCode=GJ%246off

The "Normal" discounts (you'll recall I receive a larger cut from a coupon than from someone who pays full price, so I always offer these):
$10 off Learning Game Design (actual cost $49)
https://www.udemy.com/learning-game-design/?couponCode=LGD%2410offnew
$4 off How to Design Levels/Adventures for Video and Tabletop Games (actual cost $29)
https://www.udemy.com/how-to-design-levels-and-adventures-for-games/?couponCode=LevDes%244offnew
$4 off How to Write Clear Rules (and game design documents) (actual cost $25)
https://www.udemy.com/how-to-write-clear-rules/?couponCode=WCR%244offOct14
$3 off Brief Introduction to Game Design (actual cost $9)
https://www.udemy.com/brief-free-introduction-to-game-design/?couponCode=BriefIntro%243off
$3 off Get a Job in the Video Game Industry (actual cost $12)
https://www.udemy.com/get-a-job-in-the-video-game-industry/?couponCode=VideoGameJobs20%25Off
"Joys of Game Design" is always discounted to $5 from Udemy's $9, no special discounts here:
https://www.udemy.com/joys-of-game-design/?couponCode=Joys%245


Conventions and Conferences
I have completed the first part of a free course about game conventions and conferences. I may not be able to post it on Udemy (it will be on courses.pulsiphergames.com) because so much of it is not yet done.

Digression
I'll be giving a talk about "Space Wargames" at PrezCon in Charlottesville, VA in late February.   I love designing them, though many of the published space wargames are too detailed for my liking (or too bloodless!).

Monday, November 17, 2014

Characteristics of game boards




Game Design: Discussing “The Board”
Dr. Lewis Pulsipher
Pulsiphergames.com
“Game Design” channel on YouTube

Describing, not Defining
Because as soon as someone says “definition”, someone else will nitpick it
Given the loosey-goosey nature of English, absolutely clear definitions are nearly impossible
So, I’m just going to talk about game boards, not “define”

Why Boards?
A board is a natural way to depict maneuver and geospatial relationships
Which are virtually required for wargames
Cards don’t naturally do this
Yes, you can use a “board” as a status indicator without any reference to spatial relationships
As in some Eurogames
We’re interested in boards as fields for maneuver that depict geospatial relationships

Is there a formula for designing a board?
I’ve seen novice designers ask for a formula, as though everything in game design can be reduced to rote, to always-correct solutions
In short: NO!
Game design is about critical thinking, the opposite of rote learning
But we can see common characteristics in many “classic” game boards
And common ways to make boards

Square Grid
Chess, checkers, tic-tac-toe, Stratego, many others (even the video game Civilization (I through IV, V went to hexes)
Easy to see, easy to make a prototype, easy for players to understand
But movement diagonally is very distorted (1.41 times as far, per square)
Adjacency is a problem: is it four
squares adjacent, or eight?
But if you’re depicting walls or a city
 road grid, squares are very useful

Areas (like a map)
Looks most natural of all boards
Diplomacy, Risk, Axis & Allies, Britannia, a great many games that cover a large geographical area
Often used when more than one piece can be in a location (though Diplomacy allows only one per area)
Provides room for “individuality”, avoiding the geometric precision of squares and hexes

Hexagons (“hexes”)
Hex means six
Adjacency is clear – six adjacent vice 8
The typical wargame grid
Do hexes put people off?
Not uniform
Looked at one way, there are two ways forward
Look at it 90 degrees from that, there are three ways forward
Less distance distortion than squares (but contrary to popular belief, there IS distortion)
Not good for straight lines (such as walls or city roads)
(Illustration is a hand-drawn prototype board for my game Dragon Rage (1982, 2011)

Connectivity
The illustration (a space empires game prototype) is for outer space, but most are for land areas
Allows easy representation of routes, paths, bridges,  chokepoints, impassable terrain

All grids are ways of showing connectivity
Here’s a connectivity diagram of the FFG Britannia map
The relationships between areas are exactly the same
But notice lines crossing in a few places

Other Grids
Circular (IMM prototype board)
Spiral (Four Elements prototype board)
And many variations
Not always Maneuver . . .
Some games only provide for placement, not maneuver, such as Ingenious, my prototype Law & Chaos (Mayfair someday)
These are hex boards, but it’s not always hexes for placement – tic-tac-toe for example
Go, of course, is placement-only, and uses the intersections of a square grid

What do they have in Common?
Number of areas in many classic games doesn’t differ wildly from chess’s 64
When it does, it’s often a hex board
Diplomacy 70-some (IIRC), Risk 42, Britannia 37 +6 seas
This also depends on number of pieces
Tends to be fairly high in games with lots of hexes, such as wargames
Piece count: Diplomacy 34, Risk “a lot”, Britannia about 55

Number of Connections?
If we want to analyze boards further, we’d count number of connections to each area (which I actually did with that space wargame)
Hex board, this is always 6.  Square board, always either 4 or 8, depending on whether diagonals are counted
Examples of Pacific Convoy and DS – number of connections does matter
And we’d relate number of areas and number of connections to typical number of pieces
But you can overthink anything in games.  Try actually playing on a board and you’ll find out a lot, if you pay attention

Think of a board as a connectivity diagram for maneuver (or placement), and go from there to choose the grid that works best for your game.

Monday, November 03, 2014

Sea Kings: Thanks

My thanks to those who helped achieve Worthington Publishing's Kickstarter for my Viking adventure game Sea Kings, whether they are backers, publicizers, or cheerleaders!

I am not a big fan of Kickstarter for board and card games, and there's a distinct learning curve to hosting one, but achieving the goal makes up for a lot.

Someday I may try a Kickstarter myself to support writing another game design book.  This seems to be the only practical way to avoid the effects of rampant piracy.

Thursday, October 30, 2014

Discount on Lew's online game design classes for Sea Kings backers

With 58 hours to go the Sea Kings kickstarter is $1,000 from its goal.  This offer won't persuade you to back Sea Kings if you who have already backed it, but it may make a difference to others, and I hope you'll pass the word.

As you may know, I am retired from college, teaching video game development and design the last few years.  I've also written a book about game design ("Game Design," McFarland 2012).  In the past year I have created the only non-degree (inexpensive) audiovisual online courses on game design (as opposed to game development) in the world.

I am offering 50% off any one of my courses on Udemy.Com for every backer of Sea Kings who buys at least one copy of the game (sorry $2 folks).  This applies only if the $15,000 goal is reached, of course.  So if you take my book-length  "Learning Game Design: as a job or a hobby" course (normally $59) you save $29.50.  Courses are listed at https://www.udemy.com/u/drlewispulsipher

Discount coupons available to everyone are at Pulsiphergames.com, but you'll see the discount for that big class is to $49.  I don't participate in the kamikaze discounts typically seen at Udemy.

(You can find lots of courses at Udemy that have "game design" in the title; they are actually about programming, as "game design" is used as a synonym for "video game development".)


Note also that Worthington has added a new level:
     Pledge $499 or more

    2 backers Limited (8 left of 10)

    "Sea Kings Celebration at Prezcon 2015" Receive 2 copies of Sea Kings plus all stretch goals reached PLUS one night's hotel lodging at Prezcon 2015 in Charlottesville VA PLUS meet the game designer, Lew Pulsipher, and the Worthington team PLUS attend a dinner and celebration for your contribution in making Sea Kings happen. Lew will autograph the game copies, PLUS play Sea Kings with the designer and the Worthington team. Also receive a third copy of the game mailed to your home at the time it is available for shipping. Free USA shipping on this copy, add $15 for Canada or $25 for international."
https://www.kickstarter.com/projects/1456271622/sea-kings?

A friend saw this and was surprised that I was actually going to play a game.  Maybe we'll alter the rules slightly (the wargame version I'm working on), as I have a record of never having played one of my games exactly as it was published!  (It's done, as far as I'm concerned.)

https://www.kickstarter.com/projects/1456271622/sea-kings




Finally, I've "published" a new online course, "The Joys of Game Design".  It's (mostly) about game design as a hobby, rather than as a job.

Udemy requires a price of at least $9, or free.  I don't like free because there are so many people who collect freebies without any actual interest or intent to make use of the class.  So I've gone for $9, but I will distribute coupons for $5.  This is a much bigger discount than I usually permit, but it's because I had to price it at $9 to begin with.

Joys, $5: https://www.udemy.com/joys-of-game-design/?couponCode=Joys%245

Lew  (designer of Sea Kings, Britannia, Dragon Rage, and others)

Monday, October 13, 2014

Video screencast: 10 "Need to Knows" about Game Design





Note: I saw someone refer to this as 10 need to knows about tabletop game design.  No, this applies to ALL game design.

Text from the slides is below.  Remember, I say more in the video than is in the slides, so commenting only on the basis of the text makes no sense.

10 “Need to Knows” about Game Design
Dr. Lewis Pulsipher
PulsipherGames.com
What this is, and isn’t
This is for aspiring designers – pros likely already know
It’s NOT about the business, not about marketing, it’s about designing games, creating gameplay that entertains (or informs)
10 is an arbitrary number – in fact, I’ll be making another screencast for another 10.  I’ve tried to pick the 10 most important here

A List
You are most unlikely to get rich
Ideas are mostly worthless
Especially if money is involved, game design is sometimes unappealing work
Don’t worry about someone “stealing your ideas”
Innovation is Highly overrated
Games are NOT stories
The most important question is, who is your target audience?
The second most important is, what is the player going to DO?
Playtesting is Sovereign!
Your goal is to complete games!



You are most unlikely to get rich
You might hear of independently wealthy game designers
But they’re very rare
Most game designers don’t make a living, just as most novelists, playwrights, painters, sculptors, film-makers, and composers don’t
The tabletop games industry is very small, and there’s not much money there
Video games involve much more money, but there are so many games published that the average designer makes little
The tabletop mass-market is likely beyond your reach, and competition there is FIERCE

Ideas are mostly worthless
“Ideas are like ___holes, everybody’s got one”
What you think is a great idea, almost certainly isn’t
And likely has been thought of a hundred times and more
Ideas don’t sell, GAMES sell - no one will buy your idea
No one will make your game for you – they want to make THEIR games
Most game players think they have ideas for good games
But few ever complete a game design

Especially if money is involved, game design is sometimes unappealing work
It’s not always fun, and it definitely isn’t “playing games”
You’ll play fewer games if you’re a game designer
Playing games is pretty unproductive, isn’t it?
And you may enjoy game playing less
Because you’ll be seeing “the innards”, how the game is structured
The tedium of finding a programming bug, or of gluing together boards or cards, is just that: tedious

Innovation is Highly Overrated
“There is nothing new under the sun” – very little, anyway
Surprise is important in games, and a mechanic the players aren’t familiar with might surprise them
But most mechanics have already been used even if YOU don’t know it
Example: Stratego/L’Attaque
Where “new” comes into play in games is in the combinations of mechanics and settings you use
“The idea is like your finger, we all have them, but the implementation is like your fingerprint, everyone's is unique.”

Don’t worry about someone “stealing your ideas”
It’s a small industry (even video games)
If someone steals something, the word gets around
Game ideas aren’t worth much, and everyone seems to think they have good ones of their own
Parallel development happens often
Yes, there are lots of video game clones (deliberate copies), and that’s really annoying, but there’s usually nothing you can do about it because game ideas cannot be copyrighted
Almost always, cloning occurs after the original game is released

Games are NOT Stories
Games are activities.  Stories (traditional ones, anyway, novels, plays, film) are passive
Typically, when aspiring designers want to design a game, they think of stories instead of games
There are thousands of games that have no story
Yes, there’s always a narrative – an account of what happens – but not a story meant to entertain, with various standard elements
“An experience” is often a goal of RPG and video game designers – but they still do it through the mechanics of a game
If you don’t know what mechanics your game will use, you don’t have a game – maybe you have a story

The most important question is, “who is your target audience?”
Game design is always about constraints
The first set of constraints comes from your intended audience
No game can appeal to everyone – you have to CHOOSE
And then you have to understand that audience
And test your game with that audience

The second most important is,“what is the player going to DO?”

Games are activities
Players of video games have been conditioned to expect to be doing something more or less constantly
Visualize what the player is doing.  Is that enjoyable?  Does it fit with your target audience?
Get rid of anything that doesn’t contribute to what the player is going to enjoyably do in the game

Playtesting is Sovereign!
Game design isn’t like other individual arts such as sculpture, painting, composing
Because game playing is active, while enjoying those other arts is largely passive
You cannot be a good judge of the quality
You have to rely on representative members of your target audience
They play the game, you watch, you get feedback, you modify the game accordingly
The longest chapter in my book “Game Design” is about playtesting
Because it’s “the heart of game design”

Your goal is to complete games
No professional, no publisher, no funding person, is impressed with a partially completed game
You’ve got to prove you can make a complete game, the same way a would-be novelist must prove he/she can complete a novel
Another reason why starting with tabletop games rather than video is more practical, you don’t need programming skills
This is the most common advice I’ve seen for aspiring designers: “You must make complete games!”

All of these are discussed at greater length in one or another of my courses, usually in “Learning Game Design.” And there will be 10 or so more in another screencast.

Thursday, October 02, 2014

Really Small Games (Card Version)

I attended a meeting of a NC game designers’ guild for the first time last week.  The organizer, Matt Wolfe, asked about my design Sea Kings, which is currently on Kickstarter run by Worthington Publications (https://www.kickstarter.com/projects/1456271622/sea-kings ).  At some point I said it was, at about 45 minutes, inevitably a filler game; and he responded, that’s not a filler game any more, fillers are 20 minutes!  While it’s true that 45 minutes is sometimes more a serial filler (played several times consecutively), it’s surely not a destination game (you go to a regular game meeting with the intention of playing this particular game).  (See http://pulsiphergamedesign.blogspot.com/2014/03/categorizing-board-and-card-games-by-use.html for my definitions.)  So as the meeting went on I got educated about a segment of gaming I wasn’t familiar with, mostly and often entirely abstract card games that sell for $10-$20 and take 10-30 minutes to play.  (Abstract in design and play, but with a manufactured story tacked on after design.  Abstract games without a story are hard to sell.  Look at a game box sometime, you’ll find a lot more about the story, usually, than about how the game actually works.)

This put me in mind of a game designers’ weekend I attended in Charlottesville, VA about 10 years ago, hosted by Stephen Glenn.  At one point one designer said, “I want to play games all day, but none longer than an hour.”  I thought (and still think) that was an odd point of view; if you’re willing to play all day, why not allow longer games?  Today I suspect the sentiment would be “I want to play games all evening, but none longer than 30 minutes” (which might be a commentary on shortening attention spans and a need for instant gratification).

Why would people limit how long a particular game is going to take, when they’re intent on playing all day, or all evening?  I’m guessing, because it’s not the way I (or my generation, really) do things.  First, you get the ultimate feedback quickly, whether you’ve won or lost.  Second, you can switch from one game to another quickly, and play several different games.  This is more important in modern short-attention-span times, and also fits with the change from gameplay depth to variety as a goal of a good game.  The “Cult of the New” is in ascendance.  Third, it also lets you play games with more people in one game meeting, if there are enough people to play several games at once.  As you change games, you change the composition of your group.  Fourth, you’re not putting your ego on the line when you play so many short games.  If you play a three hour game and don’t do well, the psychological effect is much stronger than if it’s a 30 minute game.  (And you’re not likely to lose six 30 minute games in a row.)

The ideal, to me, is a game flexible enough that it can be played in 10 or 20 minutes, even if the most satisfying version (to me, anyway) is 30 minutes up to an hour.  I have designed several card games exactly like this (point games, not surprisingly), but they all use 110 cards, and 110 is too many for a $10 game, even for a $15 game unless you have a big print run.  The inexpensive games I was shown mostly contained 55 cards or 16 cards (versions of Love Letter), not 110.  (In case anyone reading isn’t aware of it, the most common card printers do 55 cards per sheet, which may be gradually changing to 54.)  AEG has quite a few of these games, which Matt thought were printed in runs of 5,000.


Walking around a recent game club meeting at NC State, with 66 people in attendance, I discovered that the only boardgame being played was one that my group was playtesting (albeit a three and a four player game at the same time).  Two people were playing Carcassonne, one group of five or six was playing an RPG, the rest were playing Magic and several other card games.  (And that’s without anyone playing Cards Against Humanity, a popular pastime at the club.)

Why card games?  A major difference between what card games and board games naturally do is access to information.  Card games naturally hide information, where board games naturally reveal information. If there's little hidden information, people try to figure out an optimal move, resulting sometimes in analysis paralysis (why chess clocks exist, to cut off the AP). People can often successfully play card games intuitively, which is much less "work" than playing logically, as well as quicker. So card games can be played more quickly.  (I discussed the natural characteristics of board and card games at http://gamasutra.com/blogs/LewisPulsipher/20120219/91123/The_Fundamental_Differences_between_Board_and_Card_Games_and_How_Video_Games_Tend_to_Combine_Both_Functions.php )

In boardgames a player usually has several pieces to worry about, complicating decisions, not a problem in card games.  Moreover, boards were invented to display maneuver and geospatial relationships. Games with those features may be inherently longer than abstract games without those characteristics (and the latter includes most card games, traditional and commercial). You CAN use cards to make a kind of board (I have three games that do this), but it's more the fact that maneuver and geospatial relationships are important that lengthens the game, not how the board is depicted. (By the way, two of those three are deliberate card-game versions of boardgames.)

Board games with one piece per player, avatars, can have a quick setup (Sea Kings among them).  I discuss the trend of using avatars in tabletop games in my video on my YouTube “Game Design” channel, video at http://youtu.be/92Qn3leKA8c, channel at http://www.youtube.com/user/LewGameDesign )

Card games are usually easier to carry, often easier to set up, and easier to put away than boardgames. 

Card games are probably less complex than boardgames in general.  This is helped by putting rules on the cards, so there are fewer rules to learn before the game starts. 

As game manufacturers try to reach broader markets to make up for shortfalls in sales of individual games (because there are SO MANY games published now), a trend back toward traditional card game methods, such as trick-taking and set collection, also makes sense.

It's very hard to make a board game very short, especially non-abstracts and games for more than two players. Yeah, Tic-tac-toe is short, but it's solved, always a draw in perfect play.  I discussed short board games (though only two player) in "Really Small Games" (http://pulsiphergamedesign.blogspot.com/2013/10/really-small-games.html).


pulsiphergames.com
courses.pulsiphergames.com
@lewpuls

Wednesday, September 24, 2014

Ways for publishers to get out of the "wargames ghetto"

With the opening of the Kickstarter for Sea Kings (https://www.kickstarter.com/projects/1456271622/sea-kings), and the prospect of publication of two other crossover games I’ve designed, Seas of Gold and Germania, I’ve been trying to define what these alternatives (or escapes) from wargames are about.

In connection with the “Future of (Tabletop) Wargaming” that I wrote about some time ago (http://pulsiphergamedesign.blogspot.com/2014/03/the-future-o...), we have three broad categories of games:

1) the “wargames ghetto” two player “simulation” games that are often hex board and cardboard counters with numbers/statistics on them. There are wargames that aren’t actually in the ghetto, such as Britannia, usually because they don’t use counters with numbers on them or hex boards, but also because some of them are for more than two players (Brit is all three). They’re still wargames, and many people for many reasons don’t or won’t play wargames.  Insofar as they're not hex-and-counter I might have divided wargames into two categories.

2) the “crossover” games designed to attract both a significant segment of the wargame crowd and a large segment of the non-wargame crowd. These usually have both a board and cards. This is divided further into two parts:
     A) the semi-wargames or “peace games” where players will do best if they are not involved in warfare/violence but warfare often occurs; usually the board and the maneuver component is more important than the card component.
     B) the games that may involve habitual violence, and certainly a lot of player interaction, but are not wargames, such as Sea Kings and some race games; the card component is usually more important than the maneuvering-on-the-board component.

In all of these, maneuver or placement, and geospatial relationships, are vital parts of the game, just as they are in wargames. But the primary objective has to be something other than conquest.

3) the games that may or may not include violence (such as a zombie game), do not involve much maneuver or geospatial relationships, and frequently are primarily cardgames. Many of these are “screwage” games (where you mess with your friends). Munchkin, Bang!, Nuclear War are some of the most well-known screwage games, though all of them with large flaws for contemporary players.

There can be exceptions, but most of the above games involve considerable player-to-player interaction. And almost all of them are models of some reality, rather than purely abstract games.

Remember, these categories are related to moving out of the wargames ghetto. There are lots of other categories of games not included here. For example, there’s a vast body of games that do not involve maneuver/geospatial relationships, a vast body that are abstract (that is, not models of some reality), a vast body where most of the player interaction is with the game, not with other players. Some games are all three.


I’ve focused recently on the crossover category, with Sea Kings now on Kickstarter and several race games in early development (such as a chariot racing game).

Friday, September 19, 2014

Sea Kings Kickstarter now open

The Kickstarter for my tabletop game "Sea Kings" is now open on Kickstarter:

https://www.kickstarter.com/projects/1456271622/sea-kings

Worthington Publications is running a first-class KS.  The video provides the context for the game as well as details, another video teaches you the game in a couple minutes (it's quite a simple game), and the rules with art and layout are a click away.

There are no "pre-reviews", which I personally distrust as a fertile ground for shenanigans.  Worthington has been publishing games for 10 years, My games were published as long as 35 years ago.  You can read the rules and see the board.  I hope that's enough to help you decide whether to support the project.

This is a simple hybrid game (avatar-based, between wargame and peaceful game), not a wargame.  It's a short game (depends on # of players but pretty much 45 minutes).  It accommodates a wide range of players (at least 7).  So of course it's a filler game.  I was finally convinced of its value during playtesting when we set out, at the university game club one day, to play Sea Kings (the "Rogue Viking" version) while waiting for other people to turn up so that we could play two of my longer wargames.  When the meeting ended (less than 4 hours) they had played a 7, 6, 6, 5, and 5 player games (no, I didn't play, almost never do), including participation in all five games by one fellow's girlfriend who doesn't play the wargames.  Sea Kings uses an avatar, which suits people who don't want to figure out the movement of lots of pieces at one time.

Anytime people play a natural filler game again and again, there's something in it.

I hope Worthington do well with this Kickstarter and this game.  They want to get out of what I call the "wargame ghetto", and they have several of my other games lined up, some wargames, some not, if things work out.


As for Brit, I hope to restart on Epic soon and write the advanced rules (intro rules already posted).  Conquer has been played a few times in the past 11 months, not many.  Balance is a pain, especially of a smaller game.  But I've had so many other things going on (still on track to have five non-Brit games published next year), and online classes (may as well put those below, too, hope no one minds), that Brit has taken a back seat.  And sometimes letting a game "lie fallow" helps.


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Lew

Sunday, September 14, 2014

Video: Conventions - WBC 2014

 Text of slides:

“World Boardgaming Championships” (WBC)
Dr. Lewis Pulsipher
Pulsiphergames.com
Courses.PulsipherGames.Com

A National Tournament Convention
Annual for 30-some years (originally “Avalon Con”)
Lancaster, PA, early August
But beginning 2016 it will be near Somerset PA at Seven Springs Resort
Lancaster Host Hotel
1,700 attendees for up to a week
Auction, auction store, open gaming, vendors Fri-Sun, but mostly TOURNAMENTS
Strictly board and card games, no RPGs, no CCGs, no minis, no video games
Though there IS some Werewolf late at night . . .

Tournament Orientation
You pay single fee, play in as many tournaments as you can
Wargame tournaments, Euro tournaments (Ticket to Ride was the largest in 2014 at 115 entrants), “kids’ game” tournaments Liars Dice, Werewolf
It’s perhaps the last stronghold of old-time wargaming
35 was a good turnout for the Britannia tournament

Friendly Competition
Tournaments typically have several heats, and you don’t need to play every heat; but formats vary
Mostly-helpful players, but really skillful (“sharks”, as a friend calls them)
Some games are more affected by “sharks” (hard-core tournament players) than others
Many come to play games they cannot play at home
For lack of opponents or space or time
And of course, some games aren’t highly competitive to begin with – many non-wargames, for example

Why I Go
I go to talk with game publishers (some of whom don’t go to GenCon)
And to be with the Britannia guys (since I designed the game)
And to get a little prototype testing done by “grognards”
But I usually go only Thursday-Sunday
(Keep in mind, Sunday is “mostly dead” except for vendors, who pack up about noon)
See many of the same folks every year

Don Greenwood (“Mr. Avalon Hill”) runs this convention, he intends it to be family-friendly, and he succeeds.


Don himself has corrected some errors:  There were 303 in the Ticket to Ride tournament (I think I was remembering the PrezCon figure), the overall attendance this year was 2,000, and there were 159 tournaments plus 20 Juniors events.  (He also says the Euro tournaments are very competitive!)

Thursday, September 11, 2014

Video - Tabletop RPGs, Prisoners of Modern Capitalism (Among Other Things)


This is a Video hosted on YouTube.





Comments on YouTube lead me to add the following:
1) "Collapse" doesn't mean it's gone entirely, just that it's much less than it was 
2) it actually happened several years ago, with no sign of recovery 
3) Suspicion of Simplicity refers to RPGdom, not gaming at large where simplicity is a keyword these days.

Slide text (If you only read this text and don't listen to the screencast, you won't know what I said.  If you comment based only on the text, you'll be like someone who reads a detailed table of contents for a book and then comments as though he read the book.)


 Three parts to this “imprisonment”
First, the economic need to constantly produce more rules
Second, oversaturation has set in
Third, “crowd-sourcing” changes things
Together, they’ve made the RPG market very difficult for all but the largest publishers, or for small PDF specialists
The “More” Dichotomy
To produce a really good, broadly popular RPG, you need to do what all games are doing: get shorter and simpler
Avoid “crunchiness” (rules that are barriers to entry, such as long character creation)
People who play tabletop RPGs frequently do so for social reasons.  The hard core can play complex computer RPGs (Skyrim) and MMOs (WoW etc.)
But to continue making money from a tabletop RPGs, you need to keep adding rules, settings, adventures
Unfortunately, settings and adventures from other games can be adapted to yours
So additional rules that apply directly to your game are published by the boatload
That’s the first problem

The multiplying rules problem
As rules are added, the simplicity (and maybe quick play) are lost
Play balance is often ruined, as well
All of this discourages new players rather than attracts them
E.g., 3e D&D often became a contest to find the set of additional rules for your character that most imbalanced the game
To me, the apparent object of the game is to show off, to be a “one-man army”
Which DIScourages cooperation
Not interesting at all.  I want a cooperative game, not a “ME” game
Which is true for many other people, I think

Suspicion of Simplicity
Is it part of the nature of the Triumph of Capitalism that people are suspicious of something that's simple?
If modern consumers can’t see the result of effort, then for them the effort doesn’t exist
In effect, game designers are sometimes substituting complexity for substance
But that’s easy to do.  Simplifying is harder

Simplicity as a Goal for Game Designers
My motto: "A designer knows he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away."  (Antoine de Saint-Exupery)
Another form, about Japanese gardening actually, is "Your garden is not complete until there is nothing else that you can remove."
If you’re making a puzzle, complexity might be a goal; not for a game

Economics defeats Game Design
So economics is lined up against good game design, and for WotC, at least, economics triumphs in the end
The game gets unwieldy, and finally they replace it with the next edition
But with 4e they made it so different, it didn’t seem to be connected to previous editions; that let Pathfinder (revised 3.5e) overtake and pass 4e in sales!

That’s the first problem, what’s next?  Saturation (or, if you prefer, over-saturation) of the market, and Crowdsourcing

The Weight of Years - Saturation
As time passes, veteran RPGers have more and more accumulated settings and adventures that can be adapted to newer role-playing games
And so, less and less incentive to buy more settings and more adventures
More and more older material is available in cheap PDF format (such as Gygax’s Giants adventures)
So why buy new ones?
Lots of people (like me) who play RPGs don’t buy anything new
The result: it’s harder to sell professionally-priced settings and adventures
Which leaves us with more rules . . .

Crowdsourcing
Crowdsourcing: competition from “the crowd” online
Which has severely impacted the stock photography business, for example
In RPGs we have competition from amateurs and semi-professionals via online distribution
There are hundreds of fanboys and fangirls who just want people to see their stuff, so they give it away, or nearly so
And the fan stuff may be better playtested than the professional stuff
Professionals sometimes cannot take time to playtest

Semi-pro verus Pro
People who wrote RPG material freelance used to be paid royalties and retain ownership, now it’s all “work for hire” at dire rates (2 cents a word, 5 cents if you’re really good)
2 cents a word was a high rate in the pulp era (1930s), but that was equivalent to 30-odd cents now
At current rates, you have little incentive to spend much time playtesting your material, or even to take much care in the writing
The result: there’s lots and lots of cheap material out there as good, or nearly as good, as the professional stuff
So why would a smart person pay professional prices?

The "Collapse"
So we have lots of players, but not much of a market
Many aren’t looking for new, especially professional, material
Add to this the competition from computer RPGs
Unfortunately, tabletop RPGs require imagination and thinking, while computer RPGs require much less of both.  In a way we're doomed by the "Easy Button"
Result: the market for tabletop RPG material “collapsed” years ago
Companies that formerly published successful RPG material wouldn’t touch it now
So the bottom has fallen out of the fully professional RPG market, with no prospect that it will ever return - because saturation and crowdsourcing are here to stay

Current State
People at GenCon who give talks about RPGs say an independent is lucky to sell a thousand copies of a book, usually less.  That cannot keep larger companies going, though we can suppose their marketing power would sell more than a thousand
Ask yourself how much you buy, compared to years ago (and recall that you're exceptional).  I buy hardly anything, and don't have time to read what I've got
The biggest companies can still prosper, of course

Some new companies (such as Kobold – founded by a former WotC person) succeed enough to provide a living, but most do not.  And we continue to be doomed to a cycle of more rules until the edifice falls down and a new edition results.