Designer’s Toilet

Everyone is a critic, including us. Having never been formally trained in game creation, we assume we know what design principals work best. With a completed total of 0 games between all of the staff here, we feel you should listen to us. Seriously, though, many design decisions are clearly not for the best and having over a hundred years experience of obsessively playing video games has given us some decent ideas. Tearing down isn’t as hard as building but it is usually a lot more fun. And if you’re wondering where the 100 years thing comes from, there are 500 of us and we have each gamed for at least a week.

Games as Art II

by

A vast majority of game reviews are done methodically. Games have been broken down into a handful of components and each of these is generally given a numeral rating. The bare set of qualities examined is typically gameplay, graphics, sound, and control but more elaborate reviews may include music and sound effects separately as well as longevity, difficulty, and tilt or slant. Some reviews even attempt to quantify fun.

Keeps nerds clean.

Other art is generally not torn apart in such a mechanical way. Aspects of a painting, novel or film that are particularly good or bad are usually mentioned but very few movie critics give individual ratings to screen play, dialog, acting, camera work, sets, lighting, editing, costume, stunt choreography, etc. So why do we review games the way we do? →  Read the rest

The Power of Music

by

Music is the one power that the majority of developers never seem to grasp and implement correctly. Music in a game can enhance every aspect, be it story, setting, mood, or even gameplay, but for some reason, it always takes a back seat to everything else in a game, especially the graphics.

Kondo: the Japanese French Stewart?

Let me give you an example of how music, implemented to its fullest, can be beneficial to a game’s overall feeling. Shadow of the Colossus. How epic and strong did you feel when that music kicked in, when you finally started climbing the back of one of those monstrous Colossi? You felt something, didn’t you? It wasn’t visual feedback that created that feeling, or the fact that you overcame a puzzle. It was the pounding musical score that drove adrenaline through you. →  Read the rest

The Videolamer game

by

Last night I took a 20 minute break from my busy work day and designed a Videolamer video game. It’s going to star the lamer guy (look at the top of the page, that stunning svelte green man is the lamer guy) in a Zelda-esque adventure.

The plot is something along the lines of the lamer guy jumps out of a monitor, leaves your bedroom (YES, YOUR BEDROOM!) and ends up in a randomly thrown together fantasy world full with Porn Hell (you’ll have to wait and see). I really can’t reveal too much because I don’t know how many rival designers are reading (according to my stat counter, four people have been here in the last week, but I assume the hundreds of designers who visit don’t use cookies).

And when I say I designed a game, I mean I drew a map. →  Read the rest

Making enemies move and shoot: An A.I. Primer part 1

by

Okay, so after I read the conversation on A.I. between Jay and Christian, I started coming up with comments. Then I re-organized them, and kept coming up with more. Well before I felt I had addressed things enough to post a comment, I had the makings of a brief paper on A.I. as it applies to video games. That was when I spoke with Jay about just writing it up as an article instead of posting a several-page comment, and he said to give it a shot.

Unfortunately I tend to go a little nuts when A.I. is concerned, and so it’s now turned into what’s possibly a multiple installment piece. In this first bit, what I want to cover are the uses to which we put A.I. for video games. →  Read the rest

Pages: 1 2

A.I. woes

by

I’m currently reading a book on game design. The chapter on AI speaks only of the good that will come with advancing computer intelligence, yet not a word of caution or hesitation is included. I quickly outlined a number of worries I have over advanced AI and decided to bring them to our resident computer science major, Christian. Keep in mind I’m not “against” better AI, I just think it may lead to issues designers will have to deal with. I also find game design discussion to be infinitely enjoyable.

What follows are the initial worries I had and then Christian’s cool headed reponses.

This guy probably wishes he were smart enough to stop, drop and roll.

Jay: In an old interview, Warren Spector spoke of making the AI for Deus Ex 2. →  Read the rest

Pages: 1 2

A multiplayer world

by

Raph may want to think about updating his pic on his website.

The other day I was listening to the Penny Arcade podcast, specifically The Zone of Breakfast. First off, a quick shameless fanboy plug: although our glorious cult leader (may he always provide for us Kool-Aid), Jay, dislikes these guys, I’ve always been a huge PA fan. In particular, I enjoy their new podcasts because I get to listen to a lot of video game news I ordinarily would not. Rather than do research and reading, I can just listen to the voices from the computer, which is more comfortable to me, because I am illiterate and hear voices in my head. Anyhow, they were discussing a comment that Raph Koster, a designer for both Ultima Online and Star Wars Galaxies made at a E3 several years ago. →  Read the rest

Bad Design 3

by

It’s been a while since the last entry in this series. Last time, and the time before that, I promised Gladius, Second Sight and Kingdom Hearts, so here they are in all their poorly designed glory.

Blah blah blah blah blah.

Gladius: Irrelevant Plot — We always hurt the ones we love, but I cannot ignore that the setup of this game made any plot unnecessary. I have a friend who believes plot in all strategy RPGs is unnecessary. I disagree, but not in Gladius’ case. There are two major problems with the game’s plot, neither of which is that it’s poorly written. Nearly all of the dialog is based in the history of the regions and of the arenas. Back story in a game can be very enriching, but not when there is hardly any active story. →  Read the rest

Aborted game autopsy 2: Suspicions confirmed

by

Besides learning some valuable lessons while working on my game, some things I already thought to be true were reaffirmed.

Suspicions Confirmed:

Kierga
The cliched plain female archer nearing a mid life crisis.

Games take zillions of man hours to make. Any game of substantial size cannot be completed by six people. Any game using more than a few 3D models requires more than one guy who knows how to do 3D modeling from classes he took. Any game with a few hundred characters needs more than one talented conceptual artist. And any game that has a 150 page plot and also wants to have dialog should have more than two writers.

Since I already mostly understood why development teams are so big and games cost so much, we’ll say that now these facts are burned into my brain. →  Read the rest

Aborted game autopsy 1: Lessons learned

by

One day during my junior year of college I decided to design an RPG. I was surrounded by friends when I announced this and they all responded with enthusiasm. It’s now about four years later and I have little to show for my effort. Luckily, working on my game led me to some truths about game design, most of which are obvious or irrelevant. So, here they are.

Lessons Learned:

Seizure Soft
The most important part of designing a game is making a cool company logo.

There is a positive correlation between dedication and salary. Finding a team of people who are willing to put in the long hours to make a game is a significantly harder undertaking if you cannot afford to pay them. As Pat explained to me, sticks work best when there are carrots hanging from them. →  Read the rest

Untapped Talent

by

First a confession. Last night I watched Project Runway. Girlfriends often force you into doing things you wouldn’t normally do (like shower) and this was no exception. I don’t like fashion and it doesn’t like me so we stay 50 yards apart at all times. I could go on and on about the lush tapestries and… nevermind, I’ve already run out of words to describe fashion, but I do have a point in all of this. A designer was dismissed because he didn’t do a great job sewing the garment he designed.

Who cares if he can’t sew, if his designs are good then he will have a team or sewers, or better yet, a sweat shop. To penalize and dismiss him from the field for something as trivial as sewing ability is to only deprive the fashion world of his talent. →  Read the rest

Games as Art I

by
Munch
Art

I obviously cannot possibly settle the debate on what art is, but I believe video games are art. To me, it comes down to how much of something is alterable and how much is set. For example, a dish washer basically has to be pretty similar to most other dish washers; besides some of the visual design and new technology now and then, a dish washer is a dish washer. I would not consider dish washers to be art. The same goes for most objects, like pens, staplers, monitors, tires, shoe horns, etc. More room for variation in design, however, leads to a more artistic thing. A car, for example, has specific visual properties, as well as spatial and internal layout amongst other variables. A car is much closer to art in my approximation than a tube of toothpaste. →  Read the rest

Bad Design 2

by

Last time I wrote one of these I said this entry would look at design flaws from Gladius, Second Sight and Kingdom Hearts. I hate to let down the droves of Second Sight fans, but this will have to wait until the third entry. Today I’ll be following in the strong tradition of the first article by covering a PC game, a console game and an older game. Also like last time, all are good or excellent games I highly respect. Now on to why they suck.
I want to be the Gentle Tom Boy, but it’s not on the list yet.

Tales of Symphonia: Excess Complications – I am a big fan of complex games. The more features and stats, the more I like a game, but even my madness has limitations. →  Read the rest

Small big improvements

by

There are a number of small and debatably inconsequential flaws that reoccur in game after game. Always ready to take up unnecessary arms, I have outlined a few of these problems. Each genre has its own issues, but I’ll be looking at things that can generally be found in RPGs. Immersion is important in all games, but particularly necessary in a good RPG. These complaints all revolve around enhancing immersion without significantly changing the game design.

No matter how far storylines advance, most games have merchants that have exactly one thing to say to the player. This flaw makes sure the player is reminded that he is not actually taking part in a living environment, but rather a cold and hardwired video game. Some small effort on the part of the designers would do much to alleviate this problem. →  Read the rest

Shortcomings of the Emerging Plot

by
Will Wright
Will Wright bores an audience at the Game Developers Conference.

We have probably all heard the complaint that a game felt like a movie instead of a video game. Echoing this sentiment, a handful of successful developers (Will Wright, for example) has criticized traditional linear story telling in games. Randy Smith, in an interview in “Game Creation and Careers,” describes the difference between embedded narrative and emergent narrative. In the first Thief game, for example, Looking Glass wrote an overarching plot that was presented to the player by cut scenes. This immutable narrative is the embedded part of the story. The emergent narrative is the low level plot, the specifics of what happens throughout each individual mission. By presenting the player with game mechanics that allow him to overcome challenges in multiple ways, Smith argues he is allowing the player to, on some level, write his own story. →  Read the rest

Bad Design 1

by

This column looks at design flaws in popular games. Nearly all of the examples of poor design are from games that are either good or great, so don’t assume we are picking on these games solely because they suck and it’s fun to make fun of crap. Perhaps it is the games’ quality that makes identifying one specific design flaw so easy. The flaws are also not unique the only these games; hopefully each specific game we examine will hold a flaw that is common in many other games, some sort of universal design flaw. This will ultimately make the column much more valuable than if it were just a place to piss on a game for a specific and unique quirk.
Tell me, how is it I know English?

That being said, welcome to the first installment of this potentially never ending series. →  Read the rest