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Sawyer, Smith On Serious Gaming For Life

  • Reading time:1 mins read

by [name redacted]

As a specific concept, serious games have been drifting around the design sphere since at least the turn of the millennium. Yet for all the hype, and all of the yearly GDC conferences on the subject, the theory has had some trouble gaining traction as more than an academic or industrial curiosity.

According to Ben Sawyer of Digitalmill and Peter Smith of the University of Central Florida, some of the problem in the serious games movement is a general haziness as to exactly what serious games are, and are for.

Sawyer and Smith observe that the traditional view of serious games is vague exactly because of its specificity. “Often when we see people talk about serious games, we see them talking about them in a sort of narrow way,” Peter Smith mused.

Yet, at the same time, “Everyone has their own name for what serious games should be called. When they’re using these terms, they’re still talking about serious games… It’s not that these words are wrong. It’s just, they’re trying to categorize things. And there’s nothing categorical about any of these names.”

( Continue reading at GamaSutra )

The New Generation – Part Three: Infrastructure

  • Reading time:20 mins read

by [name redacted]

Originally published by Next Generation.

Videogames are finally finding their way. They’re moving in small steps, yet whether by need or inspiration change is in the air – a whole generational shift, an inevitable one. It’s the kind of shift that happened to film when the studio system broke down, or painting broke out of academia and… well, the studio again. In short, people are starting to get over videogames for their own sake and starting to look at them constructively – which first means breaking them down, apart from and within their cultural, historical, and personal context. When you strip out all the clutter and find a conceptual focus, you can put the pieces back together around that focus, to magnify it and take advantage of its expressive potential.

Over the previous two installments we discussed some of the voices heralding the change, and some of the works that exemplify it. In this third and final chapter, we will cast our net wider, and examine some of the cultural or circumstantial elements that either led to this shift, reflect it, help to sustain and promulgate it, or promise to, should all go well. This is, in short, the state of the world in which a generational shift can occur.

The New Generation – Part Two: Masterminds

  • Reading time:23 mins read

by [name redacted]

Originally published by Next Generation.

Something is happening to game design. It’s been creeping up for a decade, yet only now is it striding into the mainstream, riding on the coattails of new infrastructure, emboldened by the rhetoric of the trendy. A new generation of design has begun to emerge – a generation raised on the language of videogames, eager to use that fluency to describe what previously could not be described.

First, though, it must build up its vocabulary. To build it, this generation looks to the past – to the fundamental ideas that make up the current architecture of videogames – and deconstructs it for its raw theoretical materials, such that it may be recontextualized: rebuilt better, stronger, more elegantly, more deliberately.

In the earlier part of this series, we discussed several games that exemplify this approach; we then tossed around a few more that give it a healthy nod. Some boil down and refocus a well-known design (Pac-Man CE, New Super Mario Bros.); some put a new perspective on genre (Ikaruga, Braid); some just want to break down game design itself (Rez, Dead Rising). In this chapter, we will highlight a few of the key voices guiding the change. Some are more persuasive than others. Some have been been making their point for longer. All are on the cusp of redefining what a videogame can be.

The New Generation – Part One: Design

  • Reading time:15 mins read

by [name redacted]

Originally published by Next Generation.

An idea is healthy only so long as people question it. All too often, what an idea seems to communicate – especially years and iterations down the line – was not its original intention. Context shifts; nuance is lost. To hear adherents espouse an idea, measureless years and Spackle later, is to understand less about the idea itself than about the people who profess it, and the cultural context in which they do so.

In 1985, an obscure Japanese illustrator slotted together a bunch of ideas that made sense to him that morning, and inadvertently steered the whole videogame industry out of the darkest pit in its history. Since that man’s ideas also seemed to solve everyone else’s problems, they became lasting, universal truths that it was eventually ridiculous – even heresy – to question.

So for twenty years, skilled artisans kept building on this foundation, not really curious what it meant; that it worked was enough. They were simply exercising their proven craft, in a successful industry. Result: even as technology allowed those designers to express more and more complex ideas, those ideas became no more eloquent. The resulting videogames became more and more entrenched in their gestures, and eventually spoke to few aside from the faithful – and not even them so well. Nobody new was playing, and the existing audience was finding better uses for its time. A term was coined: “gamer drift”.

The Wii that Wasn’t

  • Reading time:6 mins read

by [name redacted]

Originally published by Next Generation.

Market analysts call the Wii a return to form after the relative flop of the GameCube. Design analysts call it a potential return to form after the relative rut of the previous fifteen years. Whatever the spin, when people look at Nintendo’s recent misadventures, generally the Gamecube sits right on top, doe-eyed and chirping. Its failure to do more than turn a profit has made its dissection an industry-wide pastime. Everything comes under the microscope, from its dainty size and handle to its purpleness to the storage capacity of its mini-DVDs. The controller, though, has perplexed all from the start.

Touch Generations

  • Reading time:13 mins read

by [name redacted]

Originally published by Next Generation, under the title “FEATURE: A Short History of Touch”.

A few years ago, Nintendo launched the DS with a vaguely unsettling catch phrase: “Touching is Good”. Their PR team sent disembodied plastic hands to everyone on their mailing list, in the process creeping out Penny Arcade. As creepy and forward as the campaign was, it had a point. Touching historically has been good, for the game industry.

On a whole, videogames are an awfully lonely set of affairs. They paint an alluring well, then give the player rocks to throw, to see what ripples. From Spacewar! to Pong, you’re always shooting or batting or throwing some kind of projectile, to prod the environment. Even in some of the most exploration-heavy games, like Metroid, the only way to progress is to shoot every surface in sight, with multiple weapons. Little wonder art games like Rez are based on the shooter template: it’s about as basic a videogame as you can get. See things, shoot things, you win. If things touch you, you lose. Except for food or possessions, generally you can only touch by proxy; toss coins into the well; ping things, to see how they respond. To see if they break.

The Crowbar and the Trigger Finger

  • Reading time:10 mins read

by [name redacted]

A somewhat edited version of this was published by Game Career Guide, under the title “Phantom Fingers“; here is the article in full.

We make communication so darned difficult. We create languages, manners, rules, syntax, subtext, irony… We learn to love the language and its artifice – and the more we cherish our tools, the more signal that gets lost in transmission. Soon we get so caught up in what we’re saying that we no longer have any anchor in our surroundings, the foundations give way, and all our facades collapse around us.

The Pathology of Game Design

  • Reading time:18 mins read

Originally published by Next Generation.

As I entered adolescence, my mother decided in her wisdom that I was destined to be an actor. That I showed no particular enthusiasm or indeed talent did not dampen this enterprise for years to follow. One summer, between calls for music videos and hypothetical summer blockbusters, I chanced into a tryout for a hypothetical Blockbuster ad. To the best I can recollect, the company was adding Genesis and Super Nintendo games to its rental library, and to demonstrate the premise was sending out a net for the archetypal game-playing teenager.

Thus I found myself lost across a desk from a pockmarked man with a mustache. When the man asked me to show him my “videogame” acting, I hunched over and concentrated at a spot a few yards ahead of me, miming my button presses with an imagined precision. I knotted my brow, maybe gritted my teeth or moved my lips as if to mutter. You can imagine where the scene goes from here. The director keeps asking for “more”, growing frustrated in proportion to my unease. He wants me to thrash in my chair, slam the buttons like a jackhammer, contort my face, and show him my best Beverly Hills orgasm. I am amazed; he patronizes me; I get to go home. Later I met the man they cast as the teenager; he was in his late twenties and had a habit of performing rude gestures to passers-by.

Fifteen years later, despite what seem obvious advances in technology and design, people don’t really see videogames any differently.

Crime of a Mâché Nation: The Condescension of Viva Piñata

  • Reading time:1 mins read

by [name redacted]

Viva Piñata was supposed to be Microsoft’s mainstream breakthrough and Rare’s return to form after years of… well, Star Fox Adventures. More than that, it was supposed to be the game that showed why Microsoft paid so much money for Rare, almost five years ago now. The problem is, the game wasn’t really meant to carry all this weight. At its core, this is a modest, intimate, and difficult game – difficult in the sense that, despite its charm, it’s more exclusive than it is inclusive.

( Continue reading at Game Career Guide )

Dead Rising: A Trope Down Memory Lane

  • Reading time:1 mins read

by [name redacted]

In 1985, Shigeru Miyamoto came to down with a truckload of tropes, and they were so wonderful, they did such a great job at filling the creative vacuum of the time, that it took two decades for people to notice the limits to their application. Now, step by step, we’re kind of getting back our perspective. Under Satoru Iwata’s oversight, Nintendo – so long, so much to blame for the entrenchment – has painted a huge “EXIT?” sign in the air, with a wave and a sketch. Valve has suggested new ways to design and distribute software. Microsoft and Nintendo have tinkered with how videogames might fit into our busy, important lives. Blog culture is helping aging gamers to explore their need for games to enrich their lives, rather than just wile them away. And perhaps most importantly, the breach between the Japanese and Western schools of design is finally, rapidly closing.

( Continue reading at Game Career Guide )

Ambition and Compulsory Design in Animal Crossing

  • Reading time:1 mins read

by [name redacted]

The thing about portables – and not everybody cottons to this – is that people use them differently from other game systems. You cradle them in your hands, within your personal space. You drag them around with you, pull them out of your pocket like a dime novel, then snap them closed when you step off the bus. Where console and PC games ask you to set aside blocks of your time, portables fill the cracks in your day.

All of these situational dynamics, and the psychology lurking behind them, inform the basic checklist for a portable game.

( Continue reading at Game Career Guide )

How to Make the DS Better

  • Reading time:6 mins read

by [name redacted]

Originally published by Next Generation.

That the DS is a sensation is both indisputable and deserved. That it has helped to change the industry should by now be reasonably obvious. All the more shame, then, that the system is not really built for success.

The DS was an experiment – a cautious stab in the dark, introduced almost with an apology in Nintendo’s early assurance that it was not replacing the Game Boy. Instead, Nintendo insisted, the DS was meant as a “third rung” in the company’s strategy in addition to its traditional handheld and console systems. Judging by how long it took the industry and its followers to “get” the system and its improved follow-up, the Wii, Nintendo’s caution was probably well-advised.

To Nintendo’s credit, it wasted little time.

Rainbow Six’s Upton Talks Landscaping Game Worlds

  • Reading time:1 mins read

by [name redacted]

The final session of the final day of last week’s GDC 2007 was a cross-disciplinary take on level design. Brian Upton, a senior designer for SCEA and the lead designer for Rainbow Six and Ghost Recon, called on theme park design, landscaping, and city planning as parallels for level design, explaining that they all work under the same principles.

The main concern with all of these disciplines is human psychology – an understanding of how people orient themselves within, organize, and think about the space around them. Since theme park designers, landscapists, and city planners have been doing their job a heck of a lot longer than game designers, Upton suggested looking to these older fields not only for technique but for terminology with which we might describe and define level design.

( Continue reading at GamaSutra )

Aonuma’s Reflections On Zelda

  • Reading time:1 mins read

by [name redacted]

Check out the comments section on the original article. Seriously.

On Thursday Aonuma candidly, and with self-effacing humor, spoke of his period of aimlessness and mistakes that began with the release of The Legend Of Zelda: Wind Waker, the way in which they reflected the Japanese industry as a whole, and how they led to Nintendo’s shift of focus over the last few years.

( Continue reading at GamaSutra )

Randy Smith Doesn’t Save the Day

  • Reading time:1 mins read

by [name redacted]

Though on the one hand it is comforting to be able to save and load at will, continually loading – thereby undoing events, and making consequences irrelevant – tends to diminish a player’s belief in the game world, making it all the harder for the game to affect the player in a meaningful capacity.

The situation is kind of damned if you do, damned if you don’t, in that allowing free saving tends to lead to abuse yet disallowing it leads to player complaints.

EALA game designer Randy Smith gave a brief speech on the psychological factors that tend to result in save abuse, and how potentially to avoid or undermine those triggers, such that players are tempted to save and load far less often, thereby allowed to take their in-game experiences at face value.

( Continue reading at GamaSutra )