Categories
Game Design Games

You Play Like a Girl

I recently received Morning’s Wrath to review for Game Tunnel. I won’t talk about it much here, but I will say that it may be the first game I’ve played in which I had to take on the role of a female character.

If anything, it led to some interesting conversations. I was telling a friend of mine about the peculiar way non-player characters give you items. Someone overheard the following statements:

“So my boyfriend has locked himself in a room, and he’s casting a spell to let the Ashidians invade the castle. So I go to the Royal Engineer to get the key to the room, and he says that he is giving me the key. I start to walk away when I notice the key on the ground. For some reason, people don’t give you items. They throw them on the ground as if to say, ‘Hah! Go get it!’

I’m thinking, ‘You can’t treat me like this! I’m a princess!'”

I got a strange look from a nearby friend who walked into that part of the conversation.

On a more serious note, I find it interesting that I’ve never played a female protagonist until now. Specifically, I’ve never played a game in which the story revolved around being a heroine. Immediately, I’m introduced to my secret lover, and my character has a secret tryst with him to discuss their plans for the future together.

Wacky!

It reminded me of an article I read. In a past issue of The Escapist, Julianne Greer wrote about playing Dragon Warrior and her encounter with Princess Gwaelin. If you don’t know about that part of the game, you save the princess, and when you talk to her in the throne room, she asks if you love her. If you say no, she says the famous line, “But thou must!” and repeats the question. There is no getting out of it. You must love her. Fanfare plays. In fact, Gwaelin’s Love is actually an item you can use to communicate with her no matter where you are in the world.

When I played it, I didn’t even blink. When a heterosexual woman played the role of the hero, however, the response can be a bit different and awkward.

Now, I realize that videogames have been traditionally created for males. That has been the bread and butter demographic for games. But, with instances like the above, isn’t it a bit of a self-fulfilling prophecy? Yes, girls like romance and love and all that gooey stuff, but can’t there be a “Female Hero” button? Where you rescue Prince Gunther?

Playing the role of a female in Morning’s Wrath is interesting. It’s different. It was a new experience. It was fun.

But if all of the games I played required me to be a female, I can imagine being frustrated and unwanted. Clearly games wouldn’t be meant for me.

I remember as a child coming up with a game in which you can pick any of a number of characters to start out with, and depending upon who you picked, you would start your adventure in a different part of the world. Eventually, no matter who you picked, you would end up involved in the main story arc of the game. You would just do so from different points of view. You can start out as a thief in a big city or a poor farmer living with your parents. The thief may hear about some strange activities in a nearby village involving guild members getting shaken down. The farmer may just live too close for comfort to those same activities. Either way, the character you pick is now personally involved in the story, and throughout the game, the game caters to your chosen role.

Are there any games that already do what my childish creativity imagined years ago? If not, wouldn’t it be rather simple to make a game with a “Male Hero” and “Female Hero” button?

Categories
Game Design Game Development

Do You Listen to Feature Requests?

Last night, I loaded up Killer Kittens from Katis Minor on my laptop and brought it to my local LUG meeting. I had almost everyone at the meeting try out the game, and I watched them as they played. I already knew that I should just watch. If they get stuck due to an interface issue, I should make a note of it, but I shouldn’t interfere. Most players won’t have me standing there to guide them, so I should learn what they might encounter as obstacles.

Well, I definitely need to add a screen to the game that explains the controls. B-)

As for the game itself, a number of people actually enjoyed it! It was exhilarating to watch as people hit the “Restart game” menu option after losing all of their reserve ships! People would actually come back for multiple turns at the game, sneaking into the chair after someone got up. Up until this past week, the game was a poor Space Invaders clone. Now it was actually fun!

And then there were the people who obviously didn’t enjoy it. Watching someone get a game over without advancing past the first level, then getting up and politely saying, “That was fun” wasn’t fun. Granted, some of these people don’t play video games in general, but some of them did. Maybe the game is too hard? Maybe the game just doesn’t feel right? Is it too difficult to tell where the bombs are? Does the fire rate of your own bullets need to be increased?

While I did ask people for their opinions after they were finished playing, some of them started asking questions about the game during the play session. One question I received a lot of: “How do you get an extra life?” It’s a missing feature, and while I have always intended to provide it, I did not write it down until now. Another feature request was shielding. I currently do not offer shields or walls as the original Space Invaders did. Some people wanted a way to shoot multiple times. Quite a few wanted power-ups, while others thought the fire rate and speed of the bullet needed to be increased.

Some feature requests are no-brainers. A way to get an extra life? No problem! Temporary invulnerability when a reserve ship is activated? Yeah, absolutely! Changing the number of bullets you can have in the air at one time? Um…Now I’m not so sure.

Not listening to customers is bad. Completely listening to your customers is also bad. Well, it isn’t bad to listen to your customers, but I don’t want to implement something just because my girlfriend and a couple of other people requested it. Yes, they are playing the game and identified what they would like to see, but just because they want it, it doesn’t mean it would be good to put in the game.

I had a few people request power-ups. Some people requested multi-shot, rapid-fire, area-effect explosions, and a bonus ship to shoot down. Watching the people play, I realized that I needed to provide multiple difficulty levels. I also found a bug involving the pause menu coming up during the game over menu. Some of these things I plan to add or change. Some of them I plan to ignore, partly because they would require major overhauls of code and partly because I am not sure that it wouldn’t hurt the game.

Even though I am not sure about some of these feature requests, I think I can only help this game get better by trying those features out. If the game becomes more fun because you can shoot more than one bullet, then I can keep it. If not, I’ll throw it away.

The best part is that I have something that is considered fun right now. People played my game and actually liked it! I can use the current game as a control as I experiment with different features. I can always release the game with its current feature set, get even more feedback from the world, and use that feedback when making a potential sequel or upgrade.

In any case, I’m still pretty happy that people enjoyed the game, even with its poor graphics and audio work. B-)

Categories
Game Design

Game Design Element: Realistic Risks and Recovery

Recently, Jay Barnson wrote RPG Design: Quest Abuse in which he details the problems with the quest system in CRPGs. Some of his comments sounded familiar, and so I looked back through the archives of Gamasutra until I found what I was looking for.

Back in 2000, Ernest Adams wrote A Letter from a Dungeon from the point of view of a video game hero who does not feel heroic at all. There were multiple issues that led to this feeling of inadequacy, but I want to address the problem of risk.

And as if that were not enough, we also have spells of resurrection! Yes! The greatest miracle of all, which I had thought solely the province of God, is available in this place for the price of a few gold coins. I myself have died half a dozen times, through want of attention to my body’s condition in the heat of battle, and in a moment my companion brings me back to life. I sip a healing draught and we proceed as if nothing had happened. Death holds no terrors for me here, and in a place where there is no death, can there indeed be a hero? Courage is the conquering of fear, yet I have no fear; no reason to fear, and therefore no need for courage. The stirring stories I read as a child in school are meaningless here; they provide no example to guide me. Richard the Lionheart did not cast a spell and fly home to England whenever he felt tired! He is no adventurer who returns upon a moment’s whim to sleep in safety every night.

Indeed, master, I am no adventurer. I no longer know what I am.

I am sure that permadeath in some games attempts to address this issue. If death meant that you had to start over, and there was no easy way to prevent it short of copying save files in and out manually, then you might feel more invested in your character. Death would be a major risk, and you wouldn’t be so willing to charge into a room full of zombies just to see what was there.

But what about injuries? What if you played an RPG in which there were no magical healing potions? Heck, what if any game you played didn’t offer an item that absurdly heals your player, good as new? Seriously, why would dog food and bandages also provide cosmetic surgery to fix the shrapnel that used to be your face? If you get hurt, you are hurt until your character can realistically recover. A few scratches wouldn’t be a problem. A broken leg would slow you down quite a bit and probably keep you out of action for some time.

Now, it isn’t heroic to hang out in the hospital while your leg heals, either. Time can pass in an instant, but perhaps there you will miss out on some opportunity to strike against the Big Bad’s forces. If realistic risks are a key element in the game, must time also play a key role? After all, in real life, if you get hurt, it isn’t the fact that you’re hurt that is the problem. The problem comes from what being hurt prevents you from doing. If you cut your hand badly, you won’t be able to write with it until it heals. If you could still write, it wouldn’t be a serious injury anymore.

Recovery time plays a key role in whether you think taking some action is worth the risk or not. If you don’t think you can recover at all (permadeath), then you will have to think long and hard before taking an action. If an injury would prevent you from playing in the big game, you might be disinclined to risk it. On the other hand, if you only risk a few scratches on your arm, those scratches won’t stop you from doing anything if importance. You know, unless your day job involves looking beautiful on a runway.

But if recovery would be instant, then anything short of death is not a factor in your risk assessment. What’s the worst that can happen? Death due to your inability to find something to let you recover!

If realistic risks are a part of your game design, then you probably need to provide ways to minimize such injuries. After all, how many stories have you read in which the hero gets injured throughout his adventures, and I mean besides Don Quixote? Getting injured in your game would probably become as serious as death is in games today. After all, if berries can’t instantly heal you, then you only need time to recover, but the world isn’t going to wait to get saved. You can’t put the world on hold while you recover, and the world will need to seem alive enough to have changed when your character is well enough to move.

If you focus on the mechanics of realistic injuries in a game, it might sound like a step backwards. Having to stop adventuring because you broke a leg or otherwise injured yourself badly doesn’t sound like fun. The legend of King Arthur isn’t riddled with pauses in the action due to injuries. Even if a hero did get injured, it wouldn’t stop him from acting heroically. Still, I think the idea that the player has to keep risk of injury in mind while playing adds a bit of strategy.

In some first-person shooters, falling from a great height does nothing. You just bounce away, shooting everything in sight. In a realistic FPS, however, falling from even a seemingly short distance can still injure you, and you can’t do much more than limp away. And you continue limping until the match or your life ends. It results in slower games than the arcade, twitch shooters, but winning a particularly scary Counter-Strike match can give you a feeling of heroism that I just can’t compare to a Quake 3 free-for-all. In Quake 3, I can just throw myself at the enemy like cannon fodder. The risk is that while I am waiting for respawn, someone else will get more kills. I can’t play this way in CS. Death means I can’t do anything until the next match, leaving my team that much more vulnerable. I would have to be a lot more courageous to try to charge into a room in CS than to do the equivalent action in Quake 3.

Can an RPG make use of realistic injuries without ruining the fun? I think it is possible. It is easy to see how the implementation could be flawed, but if our current systems are already flawed, why not think about other possibilities? While there are many issues addressed by Jay Barnson and Ernest Adams, perhaps giving more importance to risk might improve RPGs. Charging into a dungeon and killing hordes of zombies would be a feat of courage and strength, an uncommonly heroic thing to do, rather than another run-of-the-mill side quest. After all, what makes someone a hero is that they are doing something uncommon. If everyone did it, why would you look up to one more person who did? Being an indie game developer wouldn’t be so heroic if everyone did it.

Granted, I don’t play nearly as many RPGs as Jay Barnson does, so maybe I missed the games in which such elements already exist and my post is like someone complaining that there aren’t any match-3 puzzle games. If such RPGs do exist, I would love to hear about them.

Categories
Game Design Game Development Games Geek / Technical Marketing/Business Personal Development

Chicago Indie Game Meetup Tomorrow Night

It’s been a long time coming, but the next Chicago Indie Game Developer Meetup is here. Check that link for contact information to learn the super secret location.

It’s at Rohit’s place at 7:00 PM. That’s all I can say.

Categories
Game Design Game Development Games Geek / Technical General Marketing/Business Politics/Government

Zorro, the Public Domain, and Derivative Works

The other day I was thinking about Zorro. Frankly, I love stories about Zorro and The Three Musketeers. I have only recently started playing Dungeons and Dragons, and when I created my character, I decided that he should be a fighter with high dexterity and speed. He also gets a cloak and a wide-brimmed hat. B-)

Anyway, I was thinking about the possibility of making a game based on Zorro. If Zorro was created recently, then the copyright might prevent me from making such a game, but if it was an old creation, then it might be in the public domain, which means that I would be perfectly within my rights to create a game based on the stories of the masked legend.

So I searched online and found out that the earliest copyright date for Zorro was 1919 for the pulp fiction serial called The Curse of Capistrano. Shortly afterwards, a movie adaptation followed, and the successful silent film The Mark of Zorro brought the hero to the big screen for the first time. That link will take you to a page that will let you watch the film as it is in the public domain.

So the original story and the first movie are definitely in the public domain. So, anyone has the right to make a movie, video game, or story based on Zorro, right? I would think so, but apparently I might be wrong. I found a post at derivative work which linked to a BBC News report that Sony sent a cease & desist letter to Sobini Films for trying to make a movie about Zorro. Sobini sued and I haven’t been able to find anything about it being resolved, although imdb.com does list Zorro 2110 as being in production.

And I would totally go see it, too. It would probably be like seeing the remake of Planet of the Apes for my birthday…shut up.

Anyway, the point is, how does Sony think that it has the right to tell someone NOT to make a film based on a public domain work? And where does Sobini Films get off talking as if it has aquired the rights to a book in the public domain? EVERYONE has aquired those rights. That’s what the public domain means!

But is Zorro in the public domain? Is there anything about Zorro that isn’t?

I’m not the only one who has these questions. You can’t just trust that Wikipedia has it right, but Zorro is on the list of public domain characters. But what exactly does it mean that Zorro is in the public domain, especially when Zorro Productions exists solely to license the trademarks and copyrights in the name, visual likeness, and character? How can this group exist when Zorro is in the public domain?

I learned that the character of Zorro may have been inspired by people or stories that ARE in the public domain. The Scarlet Pimpernel is an older story that pretty much set the stage for the super hero genre. The hero was a rich person hiding his true identity with disguises. Zorro, Batman, and a number of other characters, especially in comic books, would follow this archetype.

But history also has some influence on the character of Zorro. Joaquin Murrieta was considered the Robin Hood (another legendary hero in the public domain) of Mexico, and “the fictional character of Zorro was in part inspired by the stories about Murrieta”. Now, Murrieta the person may have existed, but the legend surrounding him may be more fiction than fact. His story resembles Batman’s in that circumstances in his life charge him with fighting back against what he considered evil and protecting others from those same evils.

Can I create a game based on the original story of Zorro which is known to be in the public domain? I obviously can’t make a game that was inspired with recently created films, but couldn’t I make my own interpretation of the original story? Couldn’t Sobini Films create a Zorro of the future without a Sony coming after them? Why does Sony believe it has this ability, or specifically why does Zorro Productions believe it has exclusive rights to Zorro?

I did find this San Francisco Business Times article detailing the family behind Zorro Productions. It seems that if they control nothing else other than the trademarks for merchandising, movies, books, games, slot machines, etc, then they pretty much control new creations based on Zorro, even if the copyright status of older works has expired. I had emailed the company, and President and CEO John Gertz responded to say that even if some works are public domain in the United States, the copyright may still be valid in other nations. Interestingly, I learned that a number of the trademarks for things such as video games, board games, role playing games, candy, and all sorts of merchandising were registered fairly recently. Some trademarks have expired, but others have apparently replaced them. Trademark searches are definitely not for those with weak hearts.

So, what’s the status of Zorro? Is he in the public domain, or does some company actually have the exclusive rights to him? It seems that an indie game developer might be taking on a lot of legal liability by trying to make a game based on Zorro. Besides the existing trademarks, the copyright status in the country of a customer might turn that sale into an infringement that costs you big. Unless you are prepared to discuss the matter with a lawyer (and pay for such a discussion!), it might be easier creating your own characters and building up a following. I imagine it might be possible to create your own version of a character like Zorro, but then you would have to step around trademarks that simply use the text “ZORRO” on a video game. Batman is pretty much a Zorro-like character, but he is different enough that he can become his own trademark. No one really owns Robin Hood as far as I know. And there are plenty of other famous legends that are probably not locked away from the public through exclusive rights such as copyright and trademark.

Categories
Game Design Game Development Games General

Good IGF Quote by Andy Schatz

If you also didn’t get to go to the IGF and GDC, whatever your excuse, you can still watch the awards show at Gamespot. The show was one part inspiration, one part comedy, and one part romance.

This year, the IGF was hosted by former winner Andy Schatz. He’s not only an indie, but a snazzy dresser. He is also a great host, and his opening remarks almost gave me chills. Almost.

We’re indies. Someone else can wear the suit. Tonight’s show is all about the heroes of game development. Tonight we honor the ones who wake up and stumble to their computers in their bathrobes and their underwear for “work” all to pursue the dream of developing the next gaming breakthrough. THESE are the developers that will expand the public’s perception of the power of video games.

99% of us might not make it, and that’s what makes every single one of you a hero.

You. A hero. Chills, right? B-)

Being an indie sometimes means doing things even though there are plenty of reminders that you are likely to fail. The IGF is a highly visible celebration of the victories, and I think Andy did a great job of capturing the sentiment in those few sentences.

Categories
Game Design Games

Game Design: History of Video Games

GameCareerGuide.com recently posted an article called On Game Design: A History of Video Games.

While it doesn’t treat the subject of game design very much, it does show you how games have evolved from the games of the past. The article takes you from ancient Egyptian board games to table-top pen-and-paper strategy and role-playing games through to the various console generations, arcade and PC games. Along the way, there are interviews with Ralph Baer, Ian Livingstone, and Steve Jackson.

Now, who wants to play a game of Combat?

Categories
Game Design Game Development Games Geek / Technical Linux Game Development

Open Source Game Development Discussion Podcast

Thanks to LinuxGames.com, I learned about the latest podcast of Open Source On The Air. This podcast focuses on open source game developers from the Thousand Parsec and Wesnoth projects as well as Kruel Studios.

I find it interesting that the developers pretty much agreed that quality artwork was their main concern. I suppose when you are all programmers, finding good code isn’t a problem.

Categories
Game Design Game Development Games Geek / Technical Marketing/Business

Measuring What Players Find Most Rewarding in Games

One of the problems game developers have is figuring out what players want. There are various papers, arguments, and forum threads on what constitutes fun and how to engineer it. Entire books may be dedicated to the question of what players like about video games. If we can find out what they like, we can make more of it.

The PENS model suggested in the article Rethinking Carrots: A New Method For Measuring What Players Find Most Rewarding and Motivating About Your Game seems to be a statistically significant predictor of player enjoyment. That is, someone has come up with a model that is incredibly accurate at predicting what a player may enjoy about playing video games.

The article is eight pages long and goes into some detail, but the Player Experience of Need Satisfaction model breaks everything down to three psychological needs:

  • competence
  • autonomy
  • relatedness

Competence suggests that players enjoy activities in which they can feel effective. Getting to the next level, finding the next item, and surviving the next zombie all allow the player to overcome challenges, and the player enjoys becoming better at these activities.

Autonomy simply means that the player feels he/she has a choice. A game that allows the player to choose his/her way through will be more enjoyable than a game that acts as if it is on rails.

Relatedness is about the fact that video game players are social animals. The article suggests this part of the model has only recently become relevant to the mainstream player, but I think that MUDs, BBS, and various multiplayer video games have existed for a long time. I am sure relatedness applied there as well.

What’s interesting about this PENS model is that it seems to be much more accurate at predicting the success and popularity of a game than trying to measure “fun” in other ways. One of the more interesting quotes:

Describing the player experience in terms of genuine need satisfaction, rather than simply as “fun,” gives the industry the deeper language it deserves for communicating what makes games so powerfully unique. It allows us to speak meaningfully about the value games have beyond leisure and diversion, diffuses the political bias against games as empty experiences, and provides an important new lexicon in the Serious Games arena where, as the name implies, fun is not always the primary goal. When we speak of games in terms of their satisfaction of competence, autonomy, and relatedness, we respect that this is both what makes them fun and also what can make them so much more.

Some new words to make it easier to talk about video games? I’ll take them.

Categories
Game Design Game Development Games

First Ever Carnival of Game Production Has Started

Juuso at GameProducer.net has posted the first edition of the Carnival of Game Production. One of my posts is featured, and many of the other authors provided practical tips.

The featured articles:

  • How one man made an MMO: an interview with Gene Endrody
  • Interview with Georgina Bensley, Creator of Cute Knight
  • Automating Build and Test Systems < ---- I liked it. B-)
  • How many polygons in a piece of string?
  • Multithreaded Game Scripting with Stackless Python
  • Learn to love your level designers!
  • Wii design elements: Wii’ve Been Played!
  • The 10 reasons you will never finish your game
  • A Great Time to Be an Independent Developer