Archive for February, 2012

Level Design and Me (Part 1)

February 22nd, 2012 by George Hufnagl

Written By Duane Beckett

Any game with structured content is obviously designed. Yet, design is only a stepping stone leading to play-testing. It’s only when you’re playing that you’ll know if your design functions. Even the meaning of the word function cannot be honestly used in level design. The truth is that every level must be more than mere function; a functioning level just won’t do.

My Escape is currently in development on a project called Krong. It’s physics based, so level design must compliment gravity along with every prefab built for the game. All this is theory, but it’s where I currently sit. In the downtime, I have penned multiple levels, but how do I know whether an interesting layout will equal fun?

My plan has been to design all levels based upon a simple equation; direction + (motivation + excitement) = fun.

• Direction through the natural pull of gravity, level structure and point placement.

• Motivation by creating optimal routes that use sequential game mechanics resulting in “what if?” moments.

• Excitement through velocity, challenge and ratings.

What I can say, however, is that when visualizing the level, it feels interesting to me. Whether these elements really bring fun is unknown right now. Until I test all these designs thoroughly, they could simply be kindling.

Grit From Our Brit – Organic Design

February 16th, 2012 by George Hufnagl

Written by Duane Beckett
Monkey
Organic design is the ideal way to make a game. There is nothing like finding a concept that feels right and running with it. You just hope that it doesn’t turn out to be an exercise in running with scissors.

When working with a group, however, the key element to organic design is teamwork. Everyone must have an element of trust and respect. The moment you start expanding any concept, you’re juggling with people’s time and, even more so, team survival. So at what point should you say “that’s it” with organic design?

Right now, we are trying to finish off a game that has been stop-start since the beginning of My Escape. We all want to finish it quickly so we can move onto something bigger. However, I’ve been playing with the game a lot lately and believe through organic design we could expand it into something far more. Whether or not it’s worth going that route is entirely different conversation.

Imagine a spider diagram; in the centre is a bubble with the words “worth it?” and around it are the questions:

• “What is the potential revenue pre-changes?”
• “What is the potential revenue post-changes?”
• “How much time can we commit?”

But the most important question of all is “What does the team think?”

I believe the answer to that last question is the beginning and end of organic design. It’s not about the revenue or time commitment, it’s whether the team wants to move forward with something. If they see value in the proposed idea, then there is a good chance others will feel the same about the final game. When everyone is running in the same direction and you fall with those scissors, at least you have someone to get you to the hospital.

Grit From Our Brit – Evolution

February 9th, 2012 by George Hufnagl

Written By Duane Beckett

Gaming Evolution
Image from Zazzle.

It could be argued that all creative disciplines, to some extent, arise from a scientific base, game development included. Whether they are principles that must be adhered to via design or iterative development based upon recycling previous creations, many developers create games based on scientific formulae. In comparison, we can think about how visual media uses science; symmetry, perspective, scales, peaks and palettes are brought together for such purposes as eliciting a specific emotion. With the intersection of so many disciplines, however, the question could be asked – what is a game’s purpose?

I’d venture that many believe a game is purely about entertainment, fun, or escapism. Yet, whether it is a simulation, military training, mathematics, problem solving, health and well-being, or even scientific discovery, gaming, in all of its forms, could be used for every facet of life. For instance, gamers playing a game called Foldit were able to discover an enzyme that could help find a cure for HIV. In what other medium could this be accomplished?

Moreover, a game can target single users, groups or millions in social networks, giving it unprecedented coverage. Games in digital form and via logical design do not suffer from linguistic or distributive restrictions. They are adaptive to advances, whether it is from input or primary hardware expansions. Where art and science fail to involve the spectators, games adapt and attract.

Therefore I ask the question, “can gaming be considered the bridge between science, art and evolution?”