Game as a product. Game as a service.

The landscape of the video game industry has undergone a significant transformation in recent years, shifting from a product-centric model to a service-oriented one. This evolution has been driven by technological advancements, changing consumer preferences, and the increasing monetization opportunities presented by digital distribution. While both "game as a product" and "game as a service" offer unique experiences, they differ fundamentally in their design, development, and relationship with the player.

Traditionally, games were conceived of as products, complete and finite entities sold to consumers. These games were designed to provide a self-contained experience, with a clear beginning, middle, and end. Once purchased, the game remained relatively static, with few, if any, updates or additional content. The focus was on creating a polished, high-quality experience that could be enjoyed multiple times.



In contrast, "game as a service" models treat games as ongoing platforms that evolve over time. These games are frequently updated with new content, features, and events, keeping players engaged and returning for more. This approach prioritizes player retention and community building, fostering a sense of loyalty and investment among the player base. Moreover, games as a service often incorporate elements of free-to-play mechanics, monetizing through microtransactions, subscriptions, or advertising.

The shift from products to services has several implications for game development. Games as a service require a more iterative and flexible development process, as developers must continually adapt to changing player preferences and market trends. Additionally, the emphasis on community building and player engagement necessitates robust online infrastructure and tools for communication and collaboration.

In conclusion, while both "game as a product" and "game as a service" have their merits, the latter has become increasingly dominant in the modern gaming landscape. By offering ongoing content and fostering strong player communities, games as a service have redefined the way games are developed, distributed, and consumed. As technology continues to advance, it is likely that this trend will only accelerate, leading to even more innovative and engaging gaming experiences.

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On the necessity of uncertainty in games

This week, I revisited one of my favorite game design books: "Uncertainty in Games" by Greg Costikyan. Costikyan is a renowned game designer, having contributed to successful RPGs such as the 1987 Star Wars, TOON, and Paranoia. I decided to reread this title due to an article on UX in gaming that I'm currently developing.

I came across a particularly interesting passage on page 16. Costikyan makes a compelling point: when we're shopping online, operating heavy machinery, or voting in elections, uncertainty and challenge are the last things we desire. In normal circumstances, we prefer simplicity, certainty, and consistency.



Indeed, those of us working in the gaming industry often hear people say they want to make their apps or websites more "game-like" or "gamified"; however, a staggering 74.3% of the time, the term "gamified" is misused 😁. Is this really the case? Costikyan offers a vivid example: imagine transforming Microsoft Word into a game. Let's say that to bold a text, you need to be a level 12 Word user. Before reaching that level, every time you attempt to bold text, the software performs a check against your level. If you fail the check, it applies a random font effect instead of bold. This wouldn't be fun; it would be frustrating.

Essentially, when designing most interactive products (software, apps, systems, etc.), eliminating uncertainty is desirable. When designing games, a degree of uncertainty is essential. This is why people who try to apply some of Jakob Nielsen's human-computer interaction ideas to games often miss the mark. Interface clarity may still be desirable, but eliminating challenges and uncertainties is not. Games should be, in some sense, "difficult to use," or at least, not trivial to win.

To further illustrate humanity's fascination with uncertainty, consider the motivations of those who engage in online gambling.

#GoGamers  

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Reference:

COSTIKYAN, Greg. Uncertainty in games. Massachusetts: MIT Press, 2013.

Ergodic literature and game design

The concept of ergodic literature (AARSETH, 1997), which posits that a text is ergodic if it requires nontrivial effort from the reader to traverse, has profound implications for game design. Unlike traditional linear narratives, ergodic texts demand active participation from the consumer. This principle is at the heart of what makes video games so engaging. By requiring players to physically interact with the game world, developers can create experiences that are far more immersive than passive forms of media.

When applied to game design, the concept of ergodicity encourages developers to create games where the player's choices have meaningful consequences. This can be achieved through a variety of mechanics, such as branching narratives, open-world exploration, and player-driven character development. By giving players agency within the game world, developers can foster a stronger sense of investment and emotional connection.

Furthermore, ergodic literature highlights the importance of non-linear storytelling. In traditional narratives, the story unfolds in a predetermined sequence. However, in ergodic texts, the reader's choices can significantly alter the course of the narrative. This non-linear approach allows game designers to create more replayable and customizable experiences. By encouraging players to explore different paths and discover hidden secrets, developers can extend the game's lifespan and keep players engaged for longer periods.



The Witcher 3: Wild Hunt is one of my favorite example of a game that effectively utilizes ergodic principles to enhance the player's experience. This open-world RPG offers a vast and interconnected world that players can explore at their own pace. The game's non-linear narrative allows players to approach quests and side activities in various ways, leading to different outcomes and consequences.

For instance, players can choose to complete quests peacefully through diplomacy or forcefully through combat. These choices can affect the game world in significant ways, such as altering relationships between factions or unlocking new areas. Additionally, the game's crafting system encourages players to gather resources, experiment with different recipes, and create unique items that can be used to customize their gameplay experience.

By giving players a high degree of freedom and agency, The Witcher 3 creates a sense of immersion and ownership over the game world. This ergodic approach fosters a more meaningful and memorable gaming experience.

#GoGamers

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Reference:

AARSETH, Espen. Cibertext: Perspectives on Ergodic Literature. The Johns Hopkins University Press: Maryland, 1997.

What makes a Heads Up Display (HUD) a good feature in a game

A Heads-Up Display (HUD) is a crucial element in modern video games, providing players with essential information that enhances their gameplay experience. A well-designed HUD seamlessly integrates into the game world, offering clear and concise data without overwhelming the player. Effective HUDs balance aesthetics with functionality, ensuring that vital information is easily accessible at a glance. For example, a health bar that is both visually appealing and clearly indicates the player's condition is essential for survival-based games.



Beyond basic information such as health and ammo, a good HUD can also provide contextual cues that aid players in making informed decisions. For instance, a minimap that highlights objectives or enemy positions can significantly improve a player's strategic thinking. Additionally, HUD elements can be dynamically adjusted to suit different playstyles or game modes. For example, a stealth-focused game might prioritize a HUD that displays noise levels or enemy detection ranges, while a fast-paced action game might focus on displaying cooldowns for abilities.

Ultimately, a well-executed HUD is an invisible yet indispensable tool that can elevate a game from good to great. By providing players with the information they need without distracting from the core gameplay experience, HUDs can enhance immersion, improve decision-making, and contribute to a more satisfying gaming experience.

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NEW LEVEL ACHIEVED: I visited the Rovio Studios in Helsinki (Finland)

July was a month full of good stuff! I started my second post-doctoral research in my new academic house, PUC (São Paulo). I’m studying the acquisition of digital goods and social belongings using the game Marvel Snap as the main subject.

For the project’s kickoff, I traveled to Europe to achieve some missions. First, I was talking with some specialists from Paneurópska Vysoká Škola (Bratislava) about my project’s theme. And, to complete this first step, I’ve already interviewed some people for the initial clues of my project.

However, the second mission achieved was an epic win: last week I visited Rovio Studios in Helsinki. Of course you know Rovio, it’s the studio behind the Angry Birds game. My Brazilian friend Cenildon Muradi (a.k.a. Thunder) works in the studio and made this visit possible.











The place is awesome and, of course, ludic. But, I want to highlight that spending one day in Rovio Studios was a master class of game design, business models, and marketing.

I’m returning to Brazil full of ideas to write in my project. I’ll post news very soon here.

Keep following!

#GoGamers

Jenova Chen's nugget of wisdom on game design

Today I want to share a brief quote from Jenova Chen, from ThatGameCompany.Jenova Chen is known for creating games that focus on emotional experiences rather than traditional competition. His work has been critically acclaimed and has helped shape the video game industry's approach to storytelling and emotional engagement - and, this is one phrase from him that I use a lot in my game designing classes:

"The purpose of a game is not to win. It's to experience emotions."

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Source: Interview with Kill Screen Magazine.

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Using AI for game balancing

Since last year, AI has become a more integrated part of my daily life. It's inevitable, and we need to learn how to utilize these technologies effectively, making them our allies in the development process. While I'm not a proponent of using AI to solely generate game ideas, I believe it holds immense potential for game balancing.



Let me share an example from a card game I'm currently developing. It uses trick-taking mechanics with a food theme. The AI I'm working with is Google's Gemini (formerly Bard). Here are some prompts and commands I've found valuable in this project:

1. Gauging AI Knowledge: I began by assessing Gemini's knowledge of trick-taking mechanics. I asked, "How familiar are you with trick-taking mechanics in card games?" The response was positive, and the AI provided several examples within this category.

2. Visualizing Game Mechanics: To help the AI understand the gameplay flow, I shared a sequence of images depicting the activity loop of each round, presented in a comic book format. I phrased it like this: "I'd like to show you a sequence of my game in comic panels. Can you tell me if you understand how a round works?"

3. Asking Specific Questions: Instead of open-ended prompts, I focused on specific goals. For example, regarding card distribution, I asked: "Based on the core mechanics I've shown you, can you suggest a better way to distribute cards in my game to create a balanced experience for players?"

It's important to remember that AI isn't a magic solution. The first suggestion Gemini provided needed some refinement. However, through further prompts and iterations, I arrived at a more viable structure for my game.

Next Steps: The next step is to create a simple prototype for initial beta testing. Player feedback will be crucial for further refinement.

Overall, AI presents a powerful tool that can assist with various aspects of game development, including balancing, code, narrative, and concept ideas.

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