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Subject: The Art of Computer Game Design- Chapter 5
Date: Sat, 15 Jan 2005 13:06:50 +0800
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<UL>
<DIV align=3Dright>
<P><A name=3Dtop></A><FONT size=3D+3>The Game Design =
Sequence<BR></FONT><B>Chapter=20
Five</B></P></DIV></UL>
<P>
<HR width=3D"100%">
<P></P>
<CENTER>
<TABLE cellPadding=3D10>
<TBODY>
<TR vAlign=3Dtop align=3Dleft>
<TD><B><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter5.html#=
CHOOSE A GOAL AND A">CHOOSE=20
A GOAL AND A TOPIC<BR></A><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter5.html#=
RESEARCH AND">RESEARCH=20
AND PREPARATION<BR></A><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter5.html#=
DESIGN">DESIGN=20
PHASE<BR></A><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter5.html#=
I/O">I/O=20
Structure<BR></A><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter5.html#=
Game">Game=20
Structure<BR></A><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter5.html#=
Program">Program=20
Structure<BR></A><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter5.html#=
Evaluation of the">Evaluation=20
of the Design</A></B></TD>
<TD><B><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter5.html#=
PRE-PROGRAMMING">PRE-PROGRAMMING=20
PHASE<BR></A><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter5.html#=
PROGRAMMING">PROGRAMMING=20
PHASE<BR></A><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter5.html#=
PLAYTESTING">PLAYTESTING=20
PHASE<BR></A><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter5.html#=
POST-MORTEM">POST-MORTEM</A></B></TD></TR></TBODY></TABLE></CENTER>
<UL>
<P><B><FONT size=3D+2>G</FONT></B>ame design is primarily an artistic =
process,=20
but it is also a technical process. The game designer pursues grand =
artistic=20
goals even as she grinds through mountains of code. During the process =
of=20
developing the game, she inhabits two very different worlds, the =
artistic=20
world and the technical world. How does one manage the integration of =
such=20
dissimilar worlds? In short, how does one go about the process of =
designing a=20
computer game? In previous chapters I have touched on some of the =
questions=20
related to this process; I have also laid down a few precepts. In this =
chapter=20
I will suggest a procedure by which a computer game could be designed =
and=20
programmed.</P>
<P>The procedure I will describe is based on my own experiences with =
game=20
design, and reflects many of the practices that I use in designing a =
game.=20
However, I have never used this procedure in a step-by-step fashion, =
nor do I=20
recommend that any person follow this procedure exactly. In the first =
place,=20
game design is far too complex an activity to be reducible to a formal =
procedure. Furthermore, the game designer=92s personality should =
dictate the=20
working habits she uses. Even more important, the whole concept of =
formal=20
reliance on procedures is inimical to the creative imperative of game =
design.=20
Finally, my experience in game design is primarily with personal =
computers, so=20
my suggestions are not completely applicable to arcade game designers =
or home=20
video game designers. I therefore present this procedure not as a =
normative=20
formula but as a set of suggested habits that the prospective game =
designer=20
might wish to assimilate into her existing work pattern. With these =
important=20
qualifications in mind, let us proceed. <FONT size=3D-1><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter5.html#=
top">Top</A></FONT></P>
<P><A name=3D"CHOOSE A GOAL AND A"></A><B>CHOOSE A GOAL AND A =
TOPIC</B></P>
<P>This vitally important step seems obvious, yet is ignored time and =
time=20
again by game designers who set out with no clear intent. In my =
conversations=20
with game designers, I have many times discerned an indifference to =
the need=20
for clear design goals. Game designers will admit under close =
examination that=20
they sought to produce a "fun" game, or an "exciting" game, but that =
is more=20
often than not the extent of their thinking on goals.</P>
<P>A game must have a clearly defined goal. This goal must be =
expressed in=20
terms of the effect that it will have on the player. It is not enough =
to=20
declare that a game will be enjoyable, fun, exciting, or good; the =
goal must=20
establish the fantasies that the game will support and the types of =
emotions=20
it will engender in its audience. Since many games are in some way=20
educational, the goal should in such cases establish what the player =
will=20
learn. It is entirely appropriate for the game designer to ask how the =
game=20
will edify its audience.</P>
<P>The importance of a goal does not become obvious until later in the =
game=20
design cycle. The crucial problems in game development with =
microcomputers are=20
always problems of trade-offs. Everything that the game designer wants =
to do=20
with her game costs memory, and memory is always in short supply with=20
microcomputers. Thus, the designer must make trade-offs. Some game =
features=20
can be included, and some must be rejected. At two o=92clock in the =
morning, when=20
you must face the awful decision of rejecting one of two highly =
desirable=20
features, the only criterion you will have for making this painful =
choice will=20
be the goal you have established for the game. If your goals are =
clear, your=20
decision will be painful but obvious; if your goals are murky, you may =
well=20
make the wrong choice, and whatever you choose, you will never know if =
your=20
decision was correct.</P>
<P>How do you select a proper goal? There is no objective answer to =
this=20
question; the selection of a goal is the most undeniably subjective =
process in=20
the art of computer game design. This is your opportunity to express =
yourself;=20
choose a goal in which you believe, a goal that expresses your sense =
of=20
aesthetic, your world view. Honesty is an essential in this =
enterprise; if you=20
select a goal to satisfy your audience but not your own taste, you =
will surely=20
produce an anemic game. It matters not what your goal is, so long as =
it is=20
congruent with your own interests, beliefs, and passions. If you are =
true to=20
yourself in selecting your goal, your game can be executed with an =
intensity=20
that others will find compelling, whatever the nature of the game. If =
you are=20
false to yourself, your game will necessarily be second-hand, =
me-too.</P>
<P>There are situations in which it is not quite possible to attain =
the purity=20
of this artistic ideal. For example, I would not claim that only =
immature,=20
childish people should design games for children. Nor would I suggest =
that=20
good shoot-=92em-up games can only be done by shoot-=92em-up =
personalities. The=20
realities of the marketplace demand that such games be written, and it =
is=20
better that they be written by mature professionals than by simpering =
fools.=20
Such emotionally indirect games, however, will never have the =
psychological=20
impact, the artistic power, of games coming straight from the =
heart.</P>
<P>Once you have settled on your goal, you must select a topic. The =
topic is=20
the means of expressing the goal, the environment in which the game =
will be=20
played. It is the concrete collection of conditions and events through =
which=20
the abstract goal will be communicated. For example, the goal of STAR =
RAIDERS=20
apparently concerns the violent resolution of anger through skillful =
planning=20
and dexterity. The topic is combat in space. The goal of EASTERN FRONT =
1941=20
concerns the nature of modern war, and especially the difference =
between=20
firepower and effectiveness. The topic is the war between Russia and=20
Germany.</P>
<P>Most game designers start off by selecting their topic, with their =
goals=20
subordinated to their topic. Indeed, they commonly describe a game =
under=20
development by its topic rather than its goal. When I tell other =
designers=20
that I am working on a game about leadership, I am met with quizzical=20
expressions. Is it a space game, or a wargame, or a dungeon game, they =
wonder;=20
they seem satisfied when I tell them it=92s a game about King Arthur. =
It is a=20
serious mistake to subordinate the goal to the topic. Although your =
initial=20
flash of inspiration may focus more on the topic than the goal, you =
must have=20
the determination to take control of the design and impose your own =
goals onto=20
the topic rather than allowing yourself to be swept away by the =
momentum of=20
the topic.</P>
<P>Selecting a good topic can be time-consuming, for each potential =
topic must=20
be carefully examined for its ability to successfully realize the =
goals of the=20
game. Many topics carry with them some excess emotional baggage that =
may=20
interfere with the goals of the game. For example, my most recent game =
design=20
effort uses the Arthurian legends as its topic. My goal in the game is =
to=20
examine the nature of leadership. I found the Arthurian legends to be =
a=20
compelling vehicle for this goal. Unfortunately these legends contain =
a strong=20
component of male braggadocio, the vanquishing of opponents by brute =
force.=20
This theme directly contradicts some of the points I want to make with =
the=20
game, thus weakening the utility of this topic for my ends. I find the =
legends=20
so powerful and so malleable that I am willing to accept and work =
around this=20
potential pitfall. <FONT size=3D-1><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter5.html#=
top">Top</A></FONT></P>
<P><A name=3D"RESEARCH AND"></A><B>RESEARCH AND PREPARATION</B></P>
<P>With a goal and topic firmly in mind, the next step is to immerse =
yourself=20
in the topic. Read everything you can on the topic. Study all previous =
efforts=20
related to either your goal or your topic. What aspects of these =
earlier=20
efforts appeal to you? What aspects disappoint or anger you? Make sure =
that=20
you understand the mechanics of the environment your game will attempt =
to=20
represent. Your game must give the authentic feel, the texture of the =
real=20
world, and this can only be achieved if you firmly understand the =
environment=20
of the game. While researching EXCALIBUR, I studied the history of =
Britain=20
during the period AD 400-700. I found little in the history books that =
was=20
harmonious with my goal of depicting the nature of leadership. But in =
the=20
Arthurian legends I found recurring themes more closely related to my =
goal.=20
You may well find yourself adjusting your goals as you perform this =
research=20
function; such erratic decision-making is an embarrassing admission of =
poorly-defined goals, but reflects an honest willingness to adapt to =
the=20
exigencies of the topic-environment. It is a departure from the ideal =
in which=20
I have sinfully indulged myself many times.</P>
<P>During this phase it is critical that you commit little to paper =
and above=20
all, WRITE NO CODE! Take long walks as you contemplate your game. =
Cogitate.=20
Meditate. Let the goal, the topic, and the facts gleaned from your =
research=20
simmer together in the innards of your mind. Weave them together into =
a whole.=20
Take your time with this phase; impatience now will lead to mistakes =
that will=20
kill the game. I give myself at least three weeks to develop a game =
idea in=20
this stage before proceeding to the next step. With EXCALIBUR I =
expended=20
several months on this stage. During this time I kept my fidgeting =
hands busy=20
by writing an opening graphic display that had little relevance to the =
final=20
game.</P>
<P>You will generate during this phase a great variety of specific=20
implementation ideas for your game. They will not all fit together=20
neatly---like any hodgepodge, they will require much sorting and =
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