Missile Command: a game design class in Atari platform

I have played many Atari games in the last weeks. From time to time, I have this nostalgic feeling and I start to remember the good old classics from my childhood. In these “archeological sessions”, I once again played this masterpiece: Missile Command. Well, this one has special importance for me because it’s the very first game that I have ever played in Atari and I can perfectly remember the experience.



Missile Command is a class in game design. Seriously. Everybody that is developing or researching games must, at least one time, play this Atari title. The interface is very simple, but the idea is elegant and instigating: you are in the control of a defense tower and must destroy waves of missiles to protect six cities. The game goes like this: you need to move a crosshair across the screen to launch a counter-missile from the appropriate battery. Before continue the reading, take some minutes to watch the gameplay below and play the game in this online version (click here).



Missile Command offers some excellent points to discuss the game designing process. Let’s put them in a short list to dwell over:

1) Minimalistic design: with a few pixels is possible to create an instigating gameplay (the game’s cover tells the narrative to the player).

2) Procedural information: stage after stage the missiles become faster. It’s important to understand the patterns of the game to launch the counter-missile in the right place.

3) Elegant game mechanics: point, click and destroy. As simple as that. Missile Command has one interesting and inspiring mechanism. We can reimagine this process in lots of other situations (specially for mobile platforms).

4) Infinite gameplay: Missile Command has no end. You play it until all cities are destroyed. It’s a test for higher rankings, a very common logic in mobile games.

The simplicity from Atari is one point to be highlighted nowadays. In times of extreme complexity in many games, it’s good to look back and find inspiration to create objective, simple and rich new experiences.

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For PC gamers

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What do players want?

The exercise of game designing is not an easy challenge. Behind the gameplay, beta test sessions, prototypes, interviews with beta testers, meetings, information architecture and gaming art lies a player filled with emotions, wishes, wills and a great desire to experience something unique in their life.

Game Expo Bratislava 2016 - foto by @vincevader

So, this post’s question is: what does a player want when are experiencing a game (and here we are talking about any kind of game: blockbusters and indies)? It's a pretty broad question and, in my humble opinion, impossible to be answered in a simple blog post. However, we can find great insights from gaming theory.

Rose III (2001, p.2-18) in his book “Game design: theory & practice” elaborated a very interesting list trying to answer some questions from the player’s side. About the theme “what players want and expect”, the author has some good points that I’ll reproduce and comment below:

1. Players want a challenge
2. Players want to socialize
3. Players want a dynamic solitaire experience
4. Players want bragging rights
5. Players want an emotional experience
6. Players want to fantasize
7. Players expect a consistent world
8. Players expect to understand the game-world’s bounds
9. Players expect reasonable solutions to work
10. Players expect direction
11. Players expect to accomplish a task incrementally
12. Players expect to be immersed
13. Players expect to fail (this point creates good dialogue with the first one)
14. Players expect a fair chance
15. Players expect to not need to repeat themselves
16. Players expect to not get hopelessly stuck
17. Players expect to do, not to watch

Let’s take Star Wars Battlefront (EA DICE, 2015) as an example. Players want challenges to play online or the possibility to play alone if the Internet fails. In this gaming ecosystem, to achieve better rankings works as a very important symbolic currency. The Star Wars universe offers a consistent world and the game has clear rules about how you can up your level, buy equipment, kill an enemy etc. There are tutorials to teach each new movement in the game. From time to time, EA DICE launches new maps, new characters and new challenges to keep the community engaged and immersed in the experience. A player can play in a professional level or just for fun. The Star Wars brand surely helps a lot in the marketing success, but the details and the strategic game thinking behind the production is the point to highlight in this discussion.



With good humor, Rose III (2001, p.18) ends this chapter from his book with the following thinking: “Players do not know what they want, but they know it when they see it”.

This list is a brief example of a universe of possibilities. So, the games studies need to be more and more interdisciplinary. Different views on the same subject could generate good ways to research and develop.

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Reference:

ROUSE III, Richard. Game design: theory & practice. Texas: Wordware Publishing, 2001.

Presentations at Klagenfurt (Austria) and Prague (Czech Republic)

Last week was awesome! I did two presentations in two great European universities, and I will talk a little bit about the experience and share the content in this post.

1. Klagenfurt

In April 15th, I did a presentation at the 3rd Klagenfurt Game Jam. The event happened at Alpen-Adria-Universität and had many serious discussions about games, gaming concepts, games and accessibility, gamification and much more. I want to thank my friend René Schallegger for the invitation and support in this amazing experience.

My presentation was about my new game, Rock Flickz (which will be in app stores by the end of April) and how we can use a mobile game for music advertising, entertainment and business. You can see the presentation below:



2. Prague

I took a train in Klagenfurt and went straight to Prague for another presentation. This time, I was invited by my friend Daniel Riha to talk to some students from the Charles University (Faculty of Humanities) about "Game Interface Design". Another excellent experience that I want to share in the presentation below:



I think my curriculum has just risen some levels =)



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What we can learn from the old RPG solo adventure books

If you are an old school gamer and a RPG fan like me, you have probably played in the 80’s or 90’s some of the classic solo adventure books created by Steve Jackson and Ian Livingstone, named Fighting Fantasy Collection. These authors disseminated a very unique kind of entertainment in the form of books. Using the idea of non-linear narrative they materialized some stories where the reader (or the player) could take decisions, combat enemies (rolling dice) and obtain different kinds of equipment for his/her journey (that could be controlled using a special character sheet). One of my favorite books from this collection is The Temple of Terror (LIVINSTONE, 1985).



This narrative fits in the idea of ergodic literature, proposed by Aarseth (1997, p.1), because of the unusual effort readers/players must put in text to advance in the story (roll die, take notes, read the pages without logical order etc.). In Temple of Terror the player will be a warrior entering an adventure inside the Temple of Skelos to fight the evil sorcerer Malbordus. Using a clever system based on choices and number of pages, players must use their memory, solve puzzles and get lucky in the dice to defeat the monsters until reaching the dungeon of Malbordus.



Entertainment aside, rests a question: what lessons this kind of ludic experience can teach to us to develop or study games? Here are some points to think about:

1) This kind of book is perfect to deconstruct. To learn from failures is essential to draw a map. This map is the game’s script. Through it, it’s possible to understand the complex “decision trees” created by the author.

2) After playing the same adventure a number of times, you’ll see strong points and weaknesses of the narrative. You can mark the frequency of combat, dialogues and achievements to have a notion of how to balance your game between different features.

3) Temple of Terror, specifically, is an exercise of suspension of disbelief. Can you imagine a dungeon full of goblins, demons, skeletons, dragons and other fantastic beings living in a healthy way? Makes no sense if you think rationally, but in this format it makes all the sense. The script is a little bit naïve, but, on the other hand, it is an exercise of fantasy fiction for young audiences.

4) There’s a crisscrossing between how a book like this is created and how a complex videogame script is created. Basically, both are narratives. So studying different formats will help you have “fuel” to compose new ideas for new games.

5) IT’S FUN! So don’t waste time. If you have never played a solo adventure game, buy a book and try now. During the experience, ask yourself: why books like this one made such success in the past? Where’s the fun factor in them? How we can use them to create games for mobile phones, consoles or board games?



The challenge is yours.

#GoGamers

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Reference:

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

3rd Klagenfurt Game Jam

From April 15th until the 17th, the 3rd Klagenfurt Game Jam will happen. Klagenfurt is an Austrian city and gathers people who likes games and wants to create, test and talk about them.



What is a game jam? It is a gathering of game developers for the purpose of planning, designing, and creating one or more games within a short span of time, usually ranging between 24 and 72 hours. Game developers are generally made up of programmers, game designers, artists, and others in game development-related fields. The term “game jam” is a composition of the words “game” and “jam session”.

Starting on Friday, the topic will be revealed to all participants at the same time and random groups will brainstorm games. Then, after the ideas are pitched, the teams will emerge around ideas and games will be created. Finally, on Sunday, the projects are presented to a jury and the most awesome project will be awarded with a prize.

Parallel to the game jam, there will be lectures about the gaming universe. With great honor, I would like to share that I was invited to give a lecture about game design process and business model. I’ll talk about my new game ROCK FLICKZ developed by SIOUX, the keynote is entitled “The Rock Flickz Case - using a mobile game for music advertising, entertainment and business model”. Looking forward for this great meeting!



Click here for the official site and here for the complete program.

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LIFELINE

LIFELINE (3 Minutes Games, 2015) is a mobile text-based game focused on a narrative with a very simple gameplay. Written by Dave Justus, the plot is about an astronaut (Taylor) trying to survive in a strange place after a spaceship accident. To survive, he needs your help to take some decisions inside a claustrophobic alien ambient.



The gameplay is always based in two decisions presented to the player in the end of certain speeches from the astronaut. The idea of “decision trees” (that we have already discussed here) is the interaction’s core inside the gaming universe. The astronaut will always offer two options to the player to continue the history with different outcomes. The image below shows the main idea of the gameplay:



But, beyond the very immersive narrative, that game has a very different component: the real time between astronaut’s actions. In some moments in the story, it’s possible to ask the astronaut, for example, to climb a mountain. The game stops and after 3 hours (the time Taylor took to climb the mountain) he starts a new part of the narrative. So, many decisions in the game are affected by these kinds of choices.

To understand the game better, check the official trailer below:



In a time full of complex games, it’s very good to find some elegant and simple game design based in a good narrative.

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