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Tag: design

Narrative matters

Published by Paolo on 23/06/2023

I hear too often “Nobody gives a darn about narrative in games”. Or “no one reads on mobile”.

But every successful game I know has a strong narrative component. Narrative is not the line of text, it is the sequence of events that creates a story together with the players.

use a star -> dialogue -> select decoration -> room upgrade -> dialogue -> new tasks -> new level

This is narrative.

swipe -> match -> explosion -> cascade -> match -> special tile -> … -> TASTY!

This is also narrative.

arena overview -> goal -> countdown -> GO! -> move character -> spot enemy -> hide -> collect gem

And this as well.

The story stack

Often we stuff a mediocre game with readable content in hopes that players will get hooked “for the story”. In this case, the risks of having an expensive and poorly thought-out product increase. A story should always be seen as the last step of a good game.

  • Fantasy comes first
  • Then come the actions that can be performed on the fantasy
  • Then comes the system of resources, rewards, and the game economy
  • The world is built on this
  • Stories can happen in the world.

If we start from the other side, however, it works for visual novels but not for mechanic based games.

Kids are the base of your tree

Published by Paolo on 22/06/2023

When you think about your new game’s target audience, think about its childish version, too.

Many people consider video games something childish. Data shows that adults play video games. Children are the people who have the most time to play. They can become attached to the intellectual properties we create.

When we design a new game, we tend to think about people who are like us: adults. In case we have to design a game for children, it is more natural to think of a child audience.

If we design for the mini version of our players, too, we have the chance to create a more accessible and memorable experience. Some say we have to think of our audience like a tree. The target audience is the branches, but the trunk is very important.

The players of our products have all been children. Some of them have children. When we design our games we always think of children as well. This is how memorable intellectual properties are created.

Adults become attached to characters and worlds based on elements they can associate with their own life and context. Children do it experientially.

If we make an effort to always think of a child playing our game, the experience itself will undoubtedly be better. That is valid for any kind of game. Yes, also gambling.

STPIDS Devlog #1

Published by Paolo on 20/06/2023

Two months ago I started a side project called Gamafish, with two purposes:
1. Have a free space where to make the games I would like to see out there
2. Help junior talents to find their first job in the industry

The first game is a 10 minutes reverse bullet-hell called Super Tiny People in Deep Space (STPIDS). The idea is to play with the fantasy of the family and with simple controls (like “Vampire Survivors”).

I manage to find a small team of fantastic talents. Ignacio Krichman, Fabricio Gili Barboza, Jessica Fung and Bárbara García.

(We are looking also for a Unity developer, right now I am coding everything.)

Here you can see what we have done with around 10 hours per week during one month or so. Imagine what it could be full-time! 🙂

Devlog No.1

Data informed lenses

Published by Paolo on 15/06/2023

I’m just a regular-everyday-game-designer. The best game design book is The Art of Game Design.

I always use its deck of lenses. In my case:

  • I used them the first years of my path trying to convince people more expert than me (with scarce results)
  • I abandoned them to focus on data-driven approaches. I was readapting industry trends and practices to the games where I was working on. That is what a mid-game designer does in free-to-play.

Now with the experience, I am integrating those into my workflow again! Thesis, antithesis, and now synthesis.

Take a look at this one.

How can we use this in the data hegemony we have today?

You want to make a new game and need to run a couple of CPI tests, IPM, or whatever. You want to find the right experience to design.

  • What emotions do you want to show in your creatives? why?
    • KPI: Number of impressions
  • What emotions are Players (including me) having when they decide to click? Why?
    • KPI: click-through rate (CTR)
  • How can I bridge the gap between the emotions players are expecting and the emotion I’d like them to have in the game?
    • KPI: Installs per mile (IPM)

Creativity and patience

Published by Paolo on 14/06/2023

For me, there is a direct relationship between creativity and patience. Ideas need to rest before being properly evaluated. Teams need to have the space to make their own journey and thoughts to make a game happen.

Most games never get published. This is due to many factors. But, a good pre-production phase helps mitigate the risk of not seeing the light.

I’ve read many articles explaining how AI tools help speed up the pre-production stage of a game. Some say that companies can also create content faster. I am very skeptical on this point.

In the pre-production phase, a team measures its potential toward a concrete challenge. The AI tools promise to give us concept art of a pretty high standard in minutes. We can also create stories and document templates. We can get quick code snippets.

But then we’ll find ourselves having to edit here and there. This editing process is different from the process that created successful games.

Since when did we decide that faster is better?

A good dish takes time to cook. A good vertical slice or demo, too. People need time to make meaningful connections, the sparks that ignite the engines. If we entrust this process to machines, then we end up working for the machine.

I enter my prompt and await the results. I review and analyze them. I iterate with these results by introducing more prompts. I review everything and make my changes. Instead of me acting and creating, it’s like I’m making corrections to an assistant. And it’s one of the worst assistants because it doesn’t actually think!

Fail faster is good advice, but it doesn’t mean we have to rush things. If something not created by us fails, it will be more difficult to grow. We will have no memory or connections that will make us understand which steps need to improve.

When did we decide that jumbled datasets are better than looking for references?

People need the process of searching for references to achieve creative goals. While the result of a prompt may appear to have excellent quality, it is still a mindless mixing of elements.

Our urge to have “the thing” now causes us to end up feeding a machine that will create something average. It makes us disperse in a mass.

The process that created the hit games that are on everyone’s lips works differently. There are two types of goals, project goals and personal goals. Every maker must have time to reflect. This time is invested in looking for references and organizing them. The same goes for an artist, a writer and a programmer. If this process is skipped in the name of speed, we will be acting like monkeys. Can we make something good? Just by chance.

Is it possible to use these tools in a healthy way?

The quick answer is no because datasets are a sophisticated intellectual property assault.

For the extended answer, imagine that there is no ethical/legal problem. Assume that the datasets are completely legitimate.

These tools can be used to unlock meaningful internal conversations for the team.

If I, a game designer, have to communicate some concepts to artists, these tools can facilitate my work. If a producer is briefing game writers, these tools can help estimate the number of words to use.

AI tools can help us learn to communicate with people belonging to other departments.

There is a direct correlation between the time a team works together and their odds of success. We should foster this necessary time with patience.

  • Instead of thinking about speeding up critical passages, let’s improve cross-department communication.
  • Instead of trying to get to the end faster, let’s improve our understanding of how everything contributes to it.

New Apple Vision PRO

Published by Paolo on 06/06/2023

Apple has shown that they understand that MR devices compete with traditional screens in the physical space.

They haven’t made the same mistake as Meta, of promising virtual worlds where we can meet our friends. The promise is easy to make, very difficult to execute. Also because reality always has more weight than virtual worlds, who cares? They didn’t speak about the metaverse or anything like that. They forged the new term “spatial computing”.

Apple in its typical way of communicating things offers us a simple message. Buy Apple Vision PRO and you will have how, where, and when you want all the screens you want. No more arguing with your wife about where to put the television. You can wash the dishes and have the news of the day ahead of you. You can join a business meeting without having to switch tabs to check your social media.

  • The current price is for early adopters and companies that want to explore the potential of this device, not for the mainstream.
  • I’m not sure if this device can overcome the natural instinct of the human being not to want his face covered.
  • The battery promises a duration of two hours, which seems few to me for use cases.
  • I expect a change of direction in Meta communication for the new Quest 3, now.
  • “Spatial Computing” is still a hard wording for the mass market.

Games with soul

Published by Paolo on 05/06/2023

I’ve been giving From Software games a quick spin lately. Dark Souls, Bloodborne, Sekiro. Late to the party, I know.

In this age of big announcements of new tools that save time and money, these games are a breath of fresh air for me. The genius of these titles lies in the fact that they have found a system. That design is for a very specific type of audience that buys and plays good games.

I don’t see huge technological feats, they have found a way to reuse graphic assets meaningfully. The studio owns in-house level design patterns that they reuse and adapt to every game. In this way, the development is dramatically simplified.

These games exude pure passion and great design techniques. Good design is not creating super innovative mechanics. It is understanding the players and designing also with costs and time optimization in mind. Is doing that without having to give up human creativity.

I don’t think it’s possible to create games of this type working with a clock in hand to check the time of going home. Inquiring on the net, I found information about the team. Passionate people who work a lot more than normal without bothering to define this as “crunch”.

This type of development is not for everyone, but we can all learn from this. Don’t trust technologies that promise to replace human creativity. With the right process, we ourselves are able to find the best ways to optimize time and costs.

The unpolished trend

Published by Paolo on 02/06/2023

In the last couple of years, my LinkedIn is filled with claims regarding community-driven / community-led games. The search for new business models to give more fresh air to one of the most fresh businesses in the World and attract investments often leads to something unusual.

It seems at first sight like an interesting path to take, because everything is fast. If you are lucky, you may get millions of downloads. This without having to face all the challenges that people that make real games struggle to deal with every day.

Yesterday I was watching a video with the new Supercell game, Floodrush.

I believe that Supercell is trying out the new features from Google. Their new beta program provides lots of tools for building up a community early. Please, look at the game.

Floodrush is an unpolished game, it’s too early to launch it. The goals aren’t exciting, the camera has issues, the controls aren’t intuitive and the portrait doesn’t feel like the right layout for a game based on curiosity and discovery. Supercell has probably fallen into the trap of launching something too early and seeing how it goes. To me, it is not the right strategy.

If something goes more or less well, your competitors will surely catch up with better solutions early. You are revealing the result of your research. If I look at the last Supercell releases it is clear that discovery and exploration are the next thing for them.

Game design is also a form of art

And as artists, we cannot put the audience first. The audience is the most important part of our job, and for that, they deserve something great, something final, something polished. If you try to do what they want you end up doing something average and mediocre.

@glo.io

Rick Rubin shares why artists should put their audience last. #rickrubin #creativity #ideas #creators #creativeinspiration #creativeprocess #interview #motivation #musicproducer #art

♬ original sound – Glo

As game designers, we have lots of tools to spot the weakest parts of our craft and improve them. But we need a clear vision and we need to deliver it in the best quality in order to find success.

Is the next trend just throwing things at people? I have seen this in hyper-casual gaming, I see this in hybrid-casual. I didn’t expect to see this from the masters of free-to-play.

Internal and external storytelling

Published by Paolo on 01/06/2023

Everything tells us a story. Human beings have natural connections that make them very sensitive to narratives.

We create internal ones and receive external ones. The internal ones are personal to each one and depend on a whole series of factors. External ones arrive massively in recent times.

When I was 12 and in my little room playing with my Game Gear, the only external narrative was “orders from above”.

speaking of which, do you remember this game?

Today, when I’m relaxed playing on my smartphone, I’m constantly being stimulated by other narratives. Notifications, messages, calls.

As you can imagine, this impacts the storytelling of the gameplay experience I receive.

Some of my favorite games take 10 seconds to start. They show me the main screen and, while I check the things to do, a series of messages and offers appear. I have to close windows to continue with what I want to do.

In some cases, there is interesting news, no doubt. But everything contributes to creating narratives. It’s not the same as placing a pop-up in front of me or seeing a bird fluttering over the city I’m building and deciding to capture it to discover that it contains a message…

Especially if, at the same time, my wife is reminding me that I have to buy bread and I get an important email from a client.

External narratives are getting complicated and that makes my job more interesting.

Flowcharts and UX flows

Published by Paolo on 30/05/2023

The difference between a flowchart and a UX flow is that the first is drawn from the point of view of the game, while the second is from the point of view of the players.

After writing a brief for a new mechanic or feature, specifying everything in a flowchart helps resolve edge cases. Useful before going on to detail the configurations necessary to unlock the programmers.

After designing UI wireframes, a UX flow helps to find missing pieces. Very useful for going on to detail the graphic assets needed to unlock the artists.

If we don’t have time and we need to be quick, the flowchart is the least essential of the two.