Breaking the rules for fun: when bad UX/UI makes great game challenges

In the realm of user experience and user interface design, the core principles revolve around clarity, efficiency, and ease of use. We strive to create intuitive pathways, provide clear feedback, and minimize frustration. However, the world of games operates under a slightly different set of rules. While good UX/UI is often crucial for onboarding and overall enjoyment, intentionally subverting these principles can be a powerful tool for crafting compelling and memorable challenges. Sometimes, the very elements that would be considered flaws in a productivity app become the cornerstones of engaging gameplay.

One common area where breaking UX/UI norms can be beneficial is in creating a sense of mystery and discovery. Imagine a game where the objective isn't immediately obvious, or where the controls are intentionally cryptic at first - like TUNIC as an example. This can foster a feeling of exploration and reward players for experimentation and problem-solving. For example, the early days of adventure games often featured obtuse puzzles with little to no in-game guidance. While frustrating for some, this forced players to think outside the box, share solutions, and ultimately feel a greater sense of accomplishment upon figuring things out. Similarly, intentionally vague item descriptions or map layouts can encourage players to meticulously explore the game world and piece together information.



Another instance where "bad" UX/UI can enhance gameplay is in creating a deliberate sense of difficulty or tension. Think of survival horror games where limited inventory space forces agonizing decisions about what to carry, or where a cluttered interface adds to the feeling of panic in a stressful situation. These design choices, while counterintuitive in most applications, actively contribute to the desired emotional response in the player. The clunky controls in early survival horror titles, often criticized for their lack of precision, actually amplified the feeling of vulnerability when facing terrifying creatures. The struggle to aim and react became part of the core gameplay loop, increasing the stakes of each encounter.

Ultimately, the decision to deviate from standard UX/UI practices in game design must be deliberate and serve a specific purpose related to the intended player experience. It's not about being arbitrarily difficult or frustrating; rather, it's about strategically employing elements that might be considered negative in other contexts to create unique challenges, foster a sense of accomplishment, or enhance the game's atmosphere. When executed effectively, these intentional "flaws" can transform a game from simply playable to truly engaging and memorable, proving that sometimes, breaking the rules is the most creative and rewarding path.

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My gaming adventures of 2023: A mix of digital and analog delights

Another year is winding down, and what better way to celebrate than with a list of the games that kept me entertained? Here are my top picks for both digital and analog.

DIGITAL GAMING

The pedestrian


Balatro


Saviorless


Lorelei and the laser eyes


Planet of Lana


Plucky Squire


Neva


Iron Lung


ANALOG GAMING

Cat in the box


Cheez tricks


The green fivura


Mycelium


Tatsu


Zombies and Zilches


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3rd International Conference of Video Games Studies

On December 17th, I will be presenting the paper 'Leveraging Generative AI for Enhanced Game Design Document Creation: A Case Study with the Brazilian Video Game Stygma' at the 3rd International Conference of Video Games Studies. The event will be held in Novi Sad, Serbia, although I will be presenting remotely. This marks another significant academic achievement to conclude the year 2024.



Below, you can find the abstract of my paper. The full paper will be published here following the conference:



The advent of generative artificial intelligence (AI) has revolutionized various fields, including game development. This paper explores the potential of generative AI for text and images in the context of creating a Game Design Document (GDD). By leveraging AI's capabilities, game designers can enhance the comprehensiveness, creativity, and efficiency of the GDD creation process. We present a case study analyzing a mobile game currently in production from the Brazilian studio Abysstrakt Games named Stygma - a narrative-driven horror puzzle game, to demonstrate the practical application of generative AI in GDD creation. Utilizing Google’s Gemini (for texts) and Leonardo.Ai (for images), we can observe generated detailed text descriptions of game mechanics, narrative elements, and character profiles, while also creating concept art, character designs, and environmental elements. Our findings highlight the significant benefits of employing generative AI for GDD creation. This approach proved particularly valuable for a short game created by a small studio and the integration of generative AI into game design workflows holds immense potential for the future of game development. By embracing AI's capabilities, game designers can create more comprehensive, creative, and efficient GDDs, ultimately leading to the development of more immersive and engaging gaming experiences – even in small teams.

Keywords: generative AI, game design document, game design, Brazil, mobile game

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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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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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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.

#GoGamers

Top ten games played in 2023

It's December. Time to stop, check the games played and start to write a "top 10 list". 😎

This year was insane. Too much work, gaming projects, trips abroad to discuss new projects; well, an epic year!

In the middle of all this working stuff, I (obviously) found time to discover 21 new games (and counting). In this post, as usual, I created a list with the best titles I played this year - it's not so interesting as The Game Awards but I hope you like my suggestions. Important note: I didn't make a ranking from 1 to 10, but I must confess that one game touched my heart this year and was the best one I played: CHANTS OF SENNAAR - for the creativity, the ingenious mechanics, and for the awesome visual 

So, let's go to the list:

HAVE A NICE DEATH



BLASPHEMOUS 2



COCOON



PATRICK'S PARABOX



CHANTS OF SENNAAR



DREDGE



DAVE THE DIVER



SATURNALIA



MORTUARY ASSISTANT



VAMPIRE SURVIVORS



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Understanding "game mechanic" and "gameplay" in a fascinating image

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My list with the 10 best games I played in 2021!

This year I played around 42 new digital games (most part of them were indie games). It's difficult to select only 10, but I tried. Below, a list with my favorites from 2021:

• Mundaun

The best game I played this year. Mundaun is an immersive deep into a lovingly hand-pencilled horror tale set in a dark, secluded valley of the Swiss Alps. I walked the scenario two times in a row. Everything is perfect in this game: ambience, soundtrack, enemies. If you are a fan of horror games, this one is for you.



• Little Nightmares 2

The first part is awesome and the second is much more incredible. Little Nightmares 2 is an oniric travel inside a disturbed mind with a glorious plot twist in the end. Graphics are insane!



• Curse of the dead gods

Walk, kill enemies, return, do it all over again. A good title for roguelike fans with an Incan theme in the background. The game is a little unbalanced, but fun is guaranteed.



• Linelight

Well, I'm a big fan of abstract games. Linelight is a game created only with lines, points, and dots of light. Puzzles have an interest progression with the gameplay and the soundtrack is very relaxing. Beautiful with simplicity.



• Heal

A game about an old man with dementia. You must solve enigmas from the past of his memories to discover a love narrative fulfilled with pain and sadness. I loved the dark art and the somber atmosphere in the 2D scenario.



• Dead Cells

Little bit old, but excellent. I played this year for the first time. Classic roguelike game with an interesting medieval/high-tech ambience.



• Death Crown

Strange visual. Bizarre ambience. Death Crown, in a first view, looks like an old PC game from the 80s, but there's great mechanics inside the gameplay. A true indie game.



• Kholat

Based in The Dyatlov Pass incident. The incident was an event in which nine Russian hikers died in the northern Ural Mountains between 1 and 2 February 1959, in uncertain circumstances. The experienced trekking group from the Ural Polytechnical Institute, led by Igor Dyatlov, had established a camp on the eastern slopes of Kholat Syakhl. During the night, something caused them to cut their way out of their tent and flee the campsite while inadequately dressed for the heavy snowfall and subzero temperatures. The game explores supernatural forces and puts you as an investigator on the scenario.



• Children of Morta

RPG, roguelike, awesome pixel art, and a very unique narrative. Go get your copy now!



• Hook

One of the most interesting minimal puzzles games I played in my life. The studio created a great gameplay using lines and dots with very clever solutions. Very relaxing game, by the way.



Wow! What a list! I want to play all of them again.

#GoGamers

10 best games I played in 2020

2020 was a terrible year due to the coronavirus pandemic, but it was a good year in terms of games (at least for me). I played a lot of good games this year and I present in this post a list of the 10 that I liked the most. Check it below and I'm crossing my fingers for a better year in 2021.

THE GARDENS BETWEEN
What I liked about the game: beatiful narrative; delicated graphics; great puzzles (using time travel mechanics).



FRACTER
What I liked about the game: dark atmosphere; unfamiliar soundtrack; abstract narrative; awesome puzzles.



CARRION
What I liked about the game: the monster's movement system is epic!; excellent pixel art.



PARATOPIC
What I liked about the game: it's strange (a lot).



THE LAST OF US 2
What I liked about the game: narrative is perfect; graphics are perfect.



ALMOST GONE
What I liked about the game: the "3D" puzzle system is very interesting; narrative is nice.



HYPER LIGHT DRIFTER
What I liked about the game: there's a beatiful story behind the game creative process; awesome pixel art; the dash mechanics is perfect!



PAN PAN
What I liked about the game: cute and clever.



OVER THE TOP TOWER DEFENSE
What I liked about the game: very funny tower defense mechanics; characters are awesome.



HADES
What I liked about the game: insane procedural scenario; combat is great; narrative is perfect; Zagreus (main character) is very charismatic



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How Shigeru Miyamoto designs a game

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10 Brazilian videogames to start 2020 in an epic way

I don’t like to make lists but this one is a special exception. I created a list with 10 Brazilian games that I loved a lot to play in last years. As a Brazilian guy, nothing fairer than talking a little bit about the games created in my country. You can find any of them easily in Steam or the mainstream consoles. I tried to put a small description of each one with a trailer. You can search on Google to know more about them.

1.Horizon Chase Turbo (Aquiris)

Horizon Chase Turbo is a modern take on the 90s old-school racers that we loved the most such as Out Run or Top Gear. It’s the first game in analogic Blu-ray launched in Brazilian Territory. Platforms: PlayStation 4, Nintendo Switch, Android, iOS, Xbox One



2.Chroma Squad (Behold Studios)

Chroma Squad is a tactical role-playing video game influenced by tokusatsu TV shows, particularly the Super Sentai and Power Rangers franchises. Platforms: PlayStation 4, Nintendo Switch, Xbox One, Android, Microsoft Windows, Linux, Macintosh operating systems, macOS.



3.Celeste (MiniBoss)

Celeste is platform game in which players control a girl named Madeline in a beautiful, challenging and metaphorical struggle against anxiety and depression (I really love this one). Platforms: Linux, macOS, Microsoft Windows, Nintendo Switch, PlayStation 4, Xbox One



4.Rainy Day (Thais Weiller & Amora B.)

A short and reflective experience about depression on a rainy day. A game to be played right in your browser. Click here. Platform: Internet browsers.



5.Shiny (Garage 227)

Awesome art, robots and puzzles. I'll not say anything more, but Shiny was one of the most immersive experiences I had with a game in the last years. Check the trailer below and try to play. Platforms: PC, Xbox One and PS4.



6.Blazing Chrome (JoyMasher)

Blazing Chrome is a classic co-op run 'n gun with an original arcade feel. Players can choose between Mavra, the badass human resistance, soldier or Doyle, the groovy rebel robot, to kick some metal ass. Are you a Contra lover? You'll love this game. Platforms: PlayStation 4, Nintendo Switch, Xbox One, Microsoft Windows



7.Aritana and the Twin Masks (DUAIK)

second adventure of a universe that explores even more the forest’s mysteries, based in the brazilian mythology and culture. With a new weapon, a bow and arrow, the adventure extends gameplay possibilities, bringing 3D movement, big sceneries in open landscapes to explore and powers that helps the player solve several puzzles. Explore a huge lost temple and find artifacts that can be mixed in many special potions and prepare yourself to save the tree of life. Platforms: Xbox One.



8.Sky Racket (Double Dash Studios)

Sky Racket is a mixture of the casual fun from Block Breakers and the awesome action from Shoot ‘Em Ups, which makes it the first Shmup Breaker. Platforms: Microsoft Windows, Linux, macOS, IBM PC compatible.



9.Tamashii (Vikintor)

Tamashii it's a platform game that generates a sense of strangeness for its gameplay and layout. I can't express in words why I liked this game so much. I think it was his strangeness that made me find an experience interesting. The dark ambience soundtrack with the lovecraftian/gigerian creatures/scenarios are the high points of the game for me. About the developer: Vikintor is a Brazilian independent artist and game creator; his work it's mostly about Metaphysical punk, Transgressive Gnosticism and Philosophically subversive themes. Making small and medium-size games with the proposal to conceive experimental interactive medium of expression (text from author's site). Platform: Microsoft Windows.



10.Lenin - The Lion (Lornyon)

Lenin is an albino lion, the only one of his kind, and because of that he feels insecure and constantly discouraged. In fact. Worse, his mother does not understand why his son was born this way, and the whole village despises him and treats him cruelly. At school, he suffers bullying and can’t concentrate on class. Now, hopeless about life, certain situations seem to awaken in Lenin something that is not of everyone’s reality, but only of his. Something he will discover to be the part of something else. Platform: Microsoft Windows.



Bonus Stage: Mind Alone (Sioux)

Time for self-promotion! MIND ALONE is an experimental mobile game that uses puzzle mechanics to create a dark narrative about somebody trapped in their own mind. Each puzzle is a memory and the player needs to solve them to find hints about how it happened. I created this game in a partnership with Sioux, a Brazilian gaming publisher. Platforms: iOS and Android.


Hope you enjoy and happy new year.

#GoGamers

My list of the best games played this year, and a small reflection for 2020

On the last post of this year, I decided to make a list of the best games I played during 2019. Curiously, during the process of this ranking, I found myself reflecting on the content of Jesper Juul’s new book “Handmade Pixels” (2019).

In his new book, Juul discusses how independent games became a historical movement that borrowed the term “independent” from film and music while finding its own kind of independence. The reading of Juul’s book makes me reflect about how truly independent games that I played this year are, and what makes an indie game a really independent product.



Well, I’m still reading the book and I’ll make some considerations about it soon. It’s a really interesting content for game design and game studies classes.

For now, I want to share the list with the best 10 games that I have experienced in 2019. Important: 1) some of them are a little bit old, but I only played them this year; 2) they aren’t listed in a scale “from best to worst”, I just put them together.

• Baba is you
• What remains of Edith Finch
• Blasphemous
• Return of the Obra Dinn
• Cuphead
• Gris
• Gorogoa
• Katana Zero
• Hue
• Resident Evil 2 (remake)

Hope you enjoy it! See you next year!


#GoGamers

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Reference:

JUUL, Jesper. Handmade Pixels: Independent Video Games and the Quest for Authenticity. Cambridge: MIT Press, 2019

Why do you play games?

In the first post of this year, I want to share some content from the book I’m reading at the moment: Playing smart - on games, intelligence, and artificial intelligence by Julius Togelius. The author discusses many aspects on how games challenge us and what we can expect from games that use artificial intelligence in the near future.



One of the first points discussed by Togelius is about the question I already brought many times in this site: why do we play games? It’s not easy to answer (and we have many different views for this subject) but I think it’s essential to gather multiple points of view to create a more solid opinion.

Togelius launches the question: why do you play games? And starts his answer with a very interesting argument that most of the time we are playing games for many reasons but all the time – despite the game we are playing – we are doing an exercise of intense planning.

Below, I want to share this excellent content from his book and recommend the reading for all the followers of this site:

Why do you play games? To relax, have a good time, lose yourself a bit? Perhaps as a way of socializing with friends? Almost certainly not as some sort of brain exercise. But let’s look at what you are really doing: You plan. In Chess, you are planning for your victory by imagining a sequence of several moves that you will take to reach checkmate, or at least capture one of your opponent’s pieces. If you are any good, you are also taking your opponent’s countermoves into account and making contingency plans if they do not fall into your elaborately laid traps. In Super Mario Bros., you are planning wheter to take the higher path, which brings more reward but is riskier, or the safer lower path. You are also planning to venture down that pipe that might bring you to a hidden treasure chamber, or to continue past it, depending on how much time you have left and how eager you are to finish the level. You may be planning to eat the power-up that lets you get through that wall so you can lick a switch that releases a bean from which you can grow a beanstalk that lets you climb up to that cloud you want to get to. In Angry Birds you are planning where to throw each bird so as to achieve maximum destruction with the fewest birds. If you crush the ice wall with the blue bird, you can then hit that cavity with the black bomb bird, collapsing the main structure, and finish off that cowardly hiding pig with your red bird. (TOGELIUS, 2019, kindle edition – position 412)

#GoGamers

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Reference:

TOGELIUS, Julius. Playing smart - on games, intelligence, and artificial intelligence. London: The MIT Press, 2019.

Report: GDC State of the Game Industry 2018

Click here to download this free report to learn about game development trends heading into 2018. Oficial content from GDC (Game Developers Conference).



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Blood, sweat, and pixels: the triumphant, turbulent stories behind how video games are made

In this moment I'm reading the excellent book "Blood, sweat, and pixels: the triumphant, turbulent stories behind how video games are made". True stories about how the work in the gaming industry could be full of anxiety and despair.

Jason Schreier (the author) interviewed more than 100 professionals from this field and the result is a book with many different views about the creative process behind a game, the difficulties, the mistakes and victories.

Schreier (2017) in the introduction of the book discusses about why is so hard to make games. The author points out that: 1) games are interactive; 2) technology is constantly changing; 3) the tools are always different; 4) scheduling is impossible; 5) it's impossible to know how "fun" a game will be until you've played it. From this point to the end, in each chapter, one game is used as an example to explain the how this area (as the title of the book says) is full of "blood, sweat, and pixels".



Excellent reading.

Click here to buy.

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Reference:

SCHREIER, Jason. Blood, sweat, and pixels: the triumphant, turbulent stories behind how video games are made. New York: Harper, 2017.

About gaming narrative

The gaming field is a plural space for different genders, styles and types of products. Nowadays, we have a multifaceted environment where indie games coexist with AAA productions; one place in which hardcore gamers are experiencing extremely challenging games in consoles and, at the same time, casual games in their smartphones. We are facing an ecosystem where games could be played anytime, anywhere.

In this sense, there are abstract games that are completely based in mechanics, with no storytelling background, and games fully developed in complex narratives. In the very beginning of gaming industry, we didn’t have much to tell in the limited interfaces. Pong, as example, is about bouncing a square ball using a vertical rectangle. On the other hand, Donkey Kong, for Atari console, has an interesting narrative layer where the hero must save the lady from the giant gorilla on the top of the building. Many years in advance, we can find some publishers like TellTale or Quantic Dream that created games fully based on narrative components like Walking Dead, Heavy Rain, Beyond: Two Souls and many others.



As we’ve discussed previously, it is a market full of opportunities for many types of ludic products. However, in this post I want to focus my attention in some interesting narrative features and how they are important in a gaming project.

First of all, it is essential to point out that the player “is at once the subject and the object of the play” (EHRMANN, 1968, p.56). We must always keep that in mind in any kind of gaming project. The game is an inanimate thing: codes, pieces, cardboards, miniatures etc., but the experience with the game is full of life. This experience is what we need to focus in: how we will deliver a good experience to the player.

A good narrative is one possible way to deliver a meaningful experience to the player. Following some ideas from Dansky (2007, p.5), it is possible to say that

“On the most basic level, narrative strings together the events of the game, providing a framework and what can alternately be called a justification, a reason, or an excuse for the gameplay encounters. At its best, narrative pulls the player forward through the experience, creating the desire to achieve the hero’s goals and, more importantly, see what happens next. At its worst, narrative merely sets up the situation and turns the players loose to do as they see fit. It achieves these goals through three important techniques: immersion, reward and identification”.

This author (DANSKY, 2007, p.5-6) also explains that there are three fundamental pillars that we need to think about gaming narrative:

1) Immersion: in a simple way, it refers to the state of mind where a person is completely absorbed in what they are doing (we’ve already discussed this feature using the idea of FLOW in this post); immersion refers to the moment in which we are so involved with the game that time passes different and we can’t notice the world outside the experience. We are talking about games, but a good book/movie/conversation could have the same effect. Consuming many references is the secret to create a good narrative.

2) Reward: Dansky (2007, p.6) says that narrative can also be a reward to the player and “the narrative events can be revealed gradually, delivered as rewards for achieving in-game goals”. As an example, in Hellblade: Senua's Sacrifice great part of the game’s rewards come from narrative pieces that tells us the background of the main character and some tales/legends from the Nordic culture.



3) Identification: something that, in the gaming context, provides justification for the actions during the experience. In Papers Please, for example, you assume the role of an immigration police officer from a dystopian nation and your job is to stamp entry visas. You must take some moral decisions based on the characters’ backgrounds and part of the meaning of this experience comes from the identification feature of the game.



Narrative in games is a great subject to discuss in future posts. Soon, I’ll bring a wide discussion about it.

#GoGamers

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References:

DANSKY, Richard. Introduction to game narrative. BATEMAN, Chris (editor). Game Writing: narrative skills for videogames. Boston: Thomson, 2007.

EHRMANN, Jacques. Homo Ludens Revisited. Yale French Studies, No 41. Game, Play, Literature (1968). pp. 31-57.

The magic circle idea and the playgrounds scattered throughout everyday life

From countless mobile gadgets with wireless and fast track connection to the Internet, or using more traditional modes of access, people are increasingly blurring the lines between near and far, public and private, work and leisure, online and offline. The impressive rates in social appropriation of communication and information technologies entail changes in the way we live, get together, do business and – of course – have fun.


Stephansplatz, Vienna (June, 2016). Photo by @vincevader

Having fun, in this scenario, is closely linked to the large number of entertainment languages that pervade our daily experience. The languages of entertainment are crisscrossing boundaries in the quotidian landscape and games become media and a relevant tool of marketing for many companies. We can find games and languages of entertainment in our mobile devices, Facebook site, television shows, videogame consoles, mobile applications and lots of other platforms. Everything indicates that, more than never, individuals are searching for ludic/entertainment/gaming experiences to disconnect for some moments from the chaotic quotidian, the pressure of working hours or the accelerated routine of big urban centers; in certain way, people are trying to reach places of catharsis, dreaming and fiction to escape from this. Based on the Huizinga’s (1995) thoughts, they are searching for different “magic circles”.

Johan Huizinga (1872 – 1945) was a Dutch historian and one of the founders of modern cultural history. In his book Homo Ludens, from 1938, he discusses the possibility that playing is the primary formative element in human culture. In this book, the author (HUIZINGA, 1995) presents the idea of the "magic circle". As described by Adams and Rollings (2009), Huizinga did not use the term as a generic name for the concept: his text refers to the actual playground, or a physical space for playing. Inside the magic circle, real-world events have special meanings; in the real world someone kicks a ball into a net, but in the magic circle someone scores a goal leading the crowd to celebrate this act. (ADAMS; ROLLINGS, 2009).

The magic circle is a place of dreams and fantasy. It's an escape from everyday problems and chores. Most importantly: everything inside the magic circle is, in some way, transformative. Each time a person leaves the magic circle, they bring meaning and experience to the real world. The arena, the card-table, the stage, the screen, the tennis court, the court of justice, etc., are examples of the magic circle idea. It is important to mention that authors like Bogost (2016) discuss that “magic circle” is too dramatic a name for this kind of processes and embraces the term “playgrounds” as an alternative.

Regardless of the categorization – whether “magic circle” or “playgrounds” – it is important to understand that the contemporary stage is full of platforms that we can access entertainment/games and there are lots of individuals attached to these ludic experiences. We can suppose that companies/brands/products/services will try to connect its selves to the audiences immersed in these experiences, platforms and languages. Based on this assumption, we understand more clearly how games also become communication and marketing tools.

#GoGamers

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References:

ADAMS, Ernest; ROLLINGS, Andrew. Fundamentals of Game Design. New Jersey: Pearson Prentice Hall, 2009

BOGOST, Ian. Play anything: the pleasure of limits, the uses of boredom, & the secret of games. New York: Basic Books, 2016.

HUIZINGA, Johan. Homo Ludens: A Study of the Play-Element in Culture. Boston: The Beacon Press, 1955.