PUBLIC MARKS with tags "game design" & 2005

"Eric Zimmerman has run "Game Design Challenges" at several GDC's now. At each, he picks a difficult topic to design a game about, and then lets loose three designers to come up with a game based on the topic. I participated in the inaugural one in 2004, losing to Will Wright's "Collateral Romance" idea, which involved setting non-combatants down inside a first person shooter, with the task of making it to the other side a la Casablanca, and hoping that they would form attachments along the way. Warren Spector didn't come up with a game idea, and I presented what's below."

"This is an approximate transcript of the text of my lecture at the 2004 GDC. I present it in this form because the nature of the material does not lend itself to the traditional paper format. Also, because the lecture is informal and to some extent ad-libbed, this is not a verbatim document."

"I wanted to briefly mention two very different games that I’ve been spending time with recently. The first is Guitar Hero by Harmonix and the second is Weird Worlds: Return to Infinite Space by Digital Eel. Neither is a traditional game, and both have some good lessons about game design to share."

"Why is game design often overlooked as an important factor contributing to game sales? Perhaps because when most people in development companies talk about “good game design,” they mean “game design that produced a game I really like.” This sort of subjective validation of game design is of no use in business, which thrives on repeatable methods based around capturing a target audience—the market. Unable to see the profit resulting from “good design”— especially since many allegedly well-designed games fail commercially— most businessmen ignore design entirely."

What does it mean to talk of a grammar of game design? And does specifying such a grammar give us an insight into the underlying structure of games, or a new method for approaching game design - or both? Because games vary from pure mathematical formalisms (at the ludic extreme) to behavioural descriptions (at the opposite extreme), any formal reductionistic system will either be focused primarily on the former, or require sufficient latitude to express practically infinite diversity. One such approach is to define a categorial grammar of game design.

Legendary designer Shigeru Miyamoto talks how he aims to bring the family together around Nintendo's new console

"Here’s a phrase from an earlier post that harkens back to the ancient days when game developers beat their dinner dead with bone weapons. “The best game designers are also programmers.” (Apologies to Dylan Fitterer for taking this out of context.)"

What Vegas Can Teach MMO Designers

Escrevendo adventures em Basic...

"Why is Water Bugs selling better than cosmo bots, Bricks of Atlantis selling better than Bricks of Camelot and Big Kahna Reef selling well?"

Depending on your point of view, photo-realism is either a scourge or a grail.

I believe we are trying to categorize the wrong thing. I suggest that the critical element in our taxonomy is the way users interact with entertainment products, not whether or not the product has sub-systems that 'anticipate' the user's moves. In addition, we are attempting to overlay new meaning on words that have common usage, which will invariably result in confusion both among ourselves and among our users.