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.

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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.

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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!

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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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Some notes on my recent reading in game design

Last week, I completed reading The Game Designer's Playlist: Innovative Games Every Game Designer Needs to Play by Zack Hiwiller. This book proved to be particularly engaging due to its innovative "playlist" approach. The format functions as a comprehensive compendium, showcasing the rich variety within the field of gaming.

I have extracted two key points from the book that I intend to utilise in a future article. These points are outlined below.

The element that separates games from other art forms is its requirement of audience participation. No game exists in a bubble distinct from its consumption by players. Although more traditional media need to consider the social and cultural framework in which the media will be consumed and interpreted, game authors also have to consider how the consumers will interact with the media itself. Authors generally are not concerned with how quickly the reader reads; musicians don’t generally concern themselves with the specs of the listener’s stereo. But game designers need to consider the actual act of playing as an element of their art. It is in the act of playing itself that games are uniquely qualified to deliver meaning. P.69

 

As we discussed in the previous chapter, one of the features of games that positions them in a different space from its more static media brethren is that the interactive nature of games opens the doors to new rhetorical and aesthetic effects stemming from that interactivity. A game can be beautiful aesthetically, but it can also be beautiful in how its systems function. P.86

We remain steadfast in our dedication to expanding our knowledge and expertise in this field. 🎮 🎲 😀

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Source: HIWILLER, Zack. The game designer’s playlist: innovative games every game designer needs to play. New Jersey: Pearson Education, 2019.

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VVVVVV a masterclass in level design

I'm reading the book "Game Designer's Playlist, The: Innovative Games Every Game Designer Needs to Play". During the reading, I had the opportunity to rememeber a great game from the 2010: VVVVVV. VVVVVV is a platforming game with the absence of a jumping mechanic. Instead of jumping, the player can at any time flip the y-direction of gravity, causing the character to fall upward instead of downward. Check the full gameplay below. This is an epic example of how to use game mechanics in a creative way:



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From ancient games to modern mathematics: the birth of probability theory

The seeds of probability theory were sown in the fertile ground of games of chance. Archaeological evidence suggests that dice and other rudimentary games employing randomness date back to ancient civilizations, possibly even predating written records. Early references to such games can be found in historical and mythological accounts, hinting at their deep integration into various cultures.



It was the desire to quantify the uncertainty inherent in these games that spurred the development of probabilistic concepts. A pivotal moment occurred in the 17th century when a gambling dispute between French mathematicians ignited a correspondence that laid the groundwork for modern probability theory. This exchange, primarily between Blaise Pascal and Pierre de Fermat, addressed the fair division of stakes in an interrupted game, prompting them to formalize ideas of expected value and chance outcomes.

Following these initial explorations, mathematicians like Christiaan Huygens built upon this foundation, establishing frameworks for analyzing games of chance and laying the groundwork for the wider application of probability in various scientific disciplines. The journey from rudimentary games to sophisticated mathematical concepts highlights the enduring human fascination with both chance and the quest to understand it.

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Source: JOHNSON, Steven. How We Got to Now: Six Innovations That Made the Modern World. New York: Riverhead Books, 2016.

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Unveiling the iterative design cycle: a cornerstone of game development

Within the domain of game design, iteration cycles represent a cyclical development process employed to refine and enhance a game concept throughout its creation. This approach stands in stark contrast to the linear "waterfall" method, where distinct stages, from ideation to implementation, are completed sequentially with limited room for feedback and adaptation.



Each iteration cycle in game design encompasses a series of well-defined stages: prototyping, playtesting, analysis, and iteration. The initial stage involves the creation of a playable prototype, a rudimentary representation of the game's core mechanics and features. This prototype then undergoes playtesting, where players interact with it and provide feedback on its strengths and weaknesses.

The gathered feedback is meticulously analyzed by the development team to identify areas for improvement. This analysis focuses on aspects like gameplay mechanics, user experience, and overall enjoyment. Based on the analysis, the team then embarks on the iteration stage, where they implement modifications and enhancements to the game based on the collected feedback. This cycle of prototyping, playtesting, analysis, and iteration continues iteratively until the desired level of quality and player satisfaction is achieved.

The iterative nature of game design allows for continuous refinement, enabling developers to adapt and improve their game based on real-world player experience. This approach fosters a dynamic development process, ultimately leading to a more polished and engaging final product.

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Meta-gaming: transcending the rules in competitive games

In competitive gaming, the concept of "meta-gaming" transcends the basic rules and mechanics of the game itself. It involves understanding and manipulating factors external to the game to gain an advantage or create a deeper gaming experience.



For avid gamers, the term "meta-gaming" is likely familiar. This post delves into the concept of meta-gaming in the context of competitive gaming, defining it as a layer of gameplay that exists beyond the game's core rules and mechanics. Meta-gaming involves understanding and manipulating external factors to enhance the gaming experience or gain an advantage over opponents. League of Legends, Counterstrike, Call of Duty, Marvel Snap, Magic: the Gathering, Pokémon Card Game, Hearthstone, and many other competitive games serve as excellent examples we can use to understand the factors that shape a metagame.

Let’s check some examples of meta-gaming:

• Data analysis: players can leverage statistics related to characters, maps, strategies, and other game elements to identify the most effective approaches.

• Community engagement: players can engage in online communities to discuss strategies, share information, and coordinate actions, fostering a collaborative and social gaming experience.

• Psychological warfare: players can employ techniques such as bluffing, intimidation, or manipulation to influence their opponents' behavior, adding a layer of psychological complexity to the game.

• Cultural creation: players can contribute to the game's cultural landscape by creating memes, stories, and other creative content, expanding the game's universe, and enriching the overall experience.

The meta-game represents a complex and dynamic layer that can enrich the gaming experience in various ways. By understanding and exploring the meta-game, players can enhance their skills, creativity, and engagement with their favorite games. Furthermore, meta-gaming can foster collaboration and social interaction among players, transforming the competitive landscape into a vibrant and dynamic community.

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Game Mechanics & Game Dynamics

The difference between game mechanics and game dynamics might seem like a subtle trick, but itis all about the engine driving the experience. Think of mechanics as the gears and pistons; they are the tangible elements and rules players directly interact with, setting the game in motion. Dynamics, on the other hand, are the invisible forces powering the emotional journey – the why behind the how.



To clarify, let's delve into some examples of mechanics:

• Puzzle and enigma: games like Gorogoa, Chants of Sennaar, The Witness, The Pedestrian, and The Last Campfire showcase how intricate puzzles mechanics weave compelling narratives and test our deductive prowess.
• Shooting: from the extreme need of aim of Call of Duty to the intimate battles in Last of Us or the retro thrills of Blazing Chrome, different shooter types offer distinct challenges for trigger-happy players who like to hit targets with precision.
• Jump and dexterity: Super Meat Boy, Celeste, Dandara – these classics prove that mastering precise jumps and fluid movements can be its own reward, testing our reflexes and spatial awareness.

Remember, a game isn't confined to a single mechanic. Just like Super Mario Bros. (the classic one from NES) mixes jumping with power-ups and fire blasts, game designers can blend genres and gameplay styles to create unique experiences.

Now, let's explore the dynamic forces these mechanics - potentially - unleash:

• Competitive spirit: whether striving for personal bests or outsmarting rivals, the thrill of competition ignites passion and fuels perseverance.
• Collaborative camaraderie: Working together to overcome challenges, solve puzzles, or achieve shared goals fosters teamwork and strengthens bonds in cooperative games.
• Progression's ladder: Witnessing our skills improve, levels conquer, and stories unfold fuels a sense of accomplishment and keeps us invested in the journey.
• Immersion's embrace: When environments come alive, narratives captivate, and characters feel real, a game transcends into a world we're completely absorbed in.

Let's take as an example the classic Super Mario Bros. mentioned before. Jumping on goombas (the small enemy mushrooms) and use the "fire flower" power-up to shot are mechanics, the tools you wield. But the triumphant rush of reaching the flagpole or the gut-wrenching frustration of falling into a pit – those are dynamics, the emotional echoes of your play.

In a nutshell, mechanics are the instruments, and dynamics are the symphony (wow, that sounded beautiful 😀). A good game strikes a harmonious balance between the two, offering players not just challenges to overcome but captivating experiences to cherish.

Remember, this is just the tip of the iceberg. A single mechanic can spark a spectrum of emotions, different players interpret dynamics uniquely, and mastering the art of balancing these elements is what separates good games from truly unforgettable ones.

So, the next time you delve into a captivating game, take a moment to appreciate the intricate interplay of mechanics and dynamics – the invisible engine driving the magic behind your controller.

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50 years of videogame revenue in one image

 An excellent synthesis for this huge market. Happy 2024! Click to enlarge:

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