Tag Archives: game design

Toward a Sustainable Resource Escalation Game

An emerging form of games, born out of Minecraft and Dwarf Fortress, has occupied my thoughts lately. It doesn’t seem to have a name yet; it grew out of some Minecraft mods and had its seminal work in Factorio. It’s a cousin, or even sibling, to the idle/incremental game, but usually looks more like a management or survival sandbox game. You could call it a resource management and automation game, or a factory simulator, but I’ll use the term “resource escalation game,” because its primary features are:

  • resources to collect, usually from a world you must explore
  • crafting of resources into more complex or rich forms
  • structures for automation of the crafting, allowing you to take a higher-level conceptual view where you are concerned with the logistics of automation rather than foraging
  • and an escalation created by those resources, where your initial low-level needs become inconsequential and the pace of progression is governed primarily by what complexity of resources you have instead of a more abstract research system1
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  1. Factorio gates a lot of things behind research, but research is driven by manufactured resources, not the more typical research-over-time approach seen in strategy games.

Strange Symmetra: Accretive Design in Overwatch

Symmetra_Overwatch_001Symmetra is the most strangely-designed character in Blizzard’s Overwatch. In a game where most heroes’ roles can be summed up in a few words (“fast flanker,” “mobile area-denial tank,” “AOE healer,” “slowing defender”) and their story concepts naturally arise from their roles (“time-traveling jet pilot,” “leaping electric gorilla,” “portable DJ,” “cute ice Satan”1), Symmetra makes little sense.

She builds many tiny sentries, gives minor shields to allies, builds teleporters, and can attack with either a short-range cumulative auto-aim beam or a slow-moving death orb. This is explained by her being a combination architect and sci-fi construction worker, shaping solid forms out of light. She is the only character with “photonic” technology, and it is not explained how being able to project physical holograms also lets you bend space and time to craft a teleportation portal.

I have no special insight into the Overwatch design process, but I can speculate with some confidence about how it proceeded. Symmetra (and indeed all the heroes) were not designed from the ground up. They were assembled using an accretive process, where abilities were assembled piecemeal and then unified with a story-based concept.
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  1. I find Mei infuriating to play against.

Overcomplexity in Nom Nom Galaxy

Heart from the tutorial to Nom Nom GalaxyPixelJunk‘s Nom Nom Galaxy is a hard game. It’s a well-crafted resource-gathering and automation game in the vein of Terraria or Minecraft, but with a focus on factory production and automation. It’s hard because it’s far too complicated.

One of the classic problems of game design is the dominant strategy. A dominant strategy occurs when one way to play the game is so much better that it becomes the only option a player should pursue. The simple solution to a dominant strategy is to add a complicating factor that acts as a tradeoff, weakening the strategy and leading to interesting player decisions.

Nom Nom Galaxy, however, goes through this cycle a few too many times. Dominant strategies are complicated by challenges that can be overcome with strategies that are further complicated by new challenges. The end result is a frantic, frustrating time that keeps me from experiencing the joy of mastery.
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Helping RPGs Play Themselves

Rosette LogoA big secret of tabletop RPG design is that roleplaying games play themselves. Get the right group of people together and they’ll have fun telling a good story, regardless of which edition of which game they’re playing. The hard parts of RPGs are things the designer can’t control: social dynamics.

What good are rules at all, then? Rules serve two purposes: to enable and constrain the play. The rules of an RPG serve to make the creative process easier by enabling story, and they constrain the scope of the story to keep the group within a manageable narrative space.

In my role as lead designer on Future Proof Games‘s upcoming tabletop RPG Rosette1, I’ve made tons of decisions regarding how the rules work. By the request of one of my patrons, I’ll go over that process from a high level.

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The Evil of Farm Story 2

IMG_0948There is evil in this world. Some is systemic, titanic, nigh-insurmountable. And some is petty, banal, all the more troubling for its triviality. Farm Story 2 is the lesser evil. It’s the whispering, cloying, harrying serpent at the heel of gamers.

Farm Story 2 is evil in a way that inspires not rebellion, but pity.

This is a well-crafted game. There are barely any bugs and the art is attractive if generic. The bug-eyed chickens are charming, and it has a scamp of a kid who is adorable until the third or fourth time they implore you to install another of Storm8’s insipid games. I don’t have a quarrel with any of the (mercifully uncredited) people who worked on the game. My issue is with the environment who produced such a work. Let’s explore the darkness at its depths.

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Orcs Must Die: Blocking Strategies

This post was requested by a patron. To support writing like this and request your own post, sign up on my Patreon page.

I have a confession: I’m a turtler. And Orcs Must Die 2 doesn’t want me to be.

The game I think of when I read “tower defense” is “Desktop Tower Defense.” It’s my mental archetype of that form, which arose from mods for Starcraft and Warcraft III: a game about preventing waves of invading enemies, or “creeps,” from reaching the exit of a map using stationary towers that attack when the creeps come into range; these towers are built with a budget you earn by killing creeps.

The strategy for “Desktop TD” is primarily about crafting a path for the creeps, one which is circuitous as possible. The towers in “Desktop TD” are solid, so they block creeps, making your towers also serve as your maze. Mastering “Desktop TD,” therefore, requires you to craft a perfect maze, a gleaming labyrinth made from the cheapest towers with just enough addition of special tower types and more powerful, upgraded towers.

Some tower defense games, like “Desktop TD’s” contemporary “Flash Elements TD” have a simpler approach where the creep paths are static and unobstructable. Towers can only be placed in the spaces around the path. I find this approach less interesting, as it allows for less creativity and diversity of play. The most a player can do to affect the process of the creeps, beyond killing them, is by slowing them, often with a tower themed around ice or viscous fluid. Orcs Must Die and the other games I’ll discuss here owe more to the “Desktop TD” style.

The Orcs Must Die series by Robot Entertainment belongs to a subfamily of tower defense games, probably birthed by Sanctum. These tower defense hybrids add a mobile player character with weapons that can supplement the stationary towers. In the case of the Orcs series, the player character is a martial wizard defending a fantasy world against hordes of orcs and other creatures. But unlike Sanctum, its differences go beyond just letting you help your towers with their work.

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Ludus Novus 024: Decision Point

Ludus Novus
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Ludus Novus 024: Decision Point



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This podcast is supported in part by my Patreon. You can help support it by pledging a monthly donation.

In this episode of the Ludus Novus podcast, I discuss the decisions we make as game designers and developers and how we are responsible for every aspect of the games we make. I touch on polishing, social justice, and emergent aspects of games.
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The First Cabinet in Gone Home: A Close Reading

This blog is supported in part by my Patreon. You can help support content like this by pledging a monthly donation.

Gone Home is an amazing work. Yes, it’s a bit sappy and its ending is a bit pleasant and optimistic, but screw that. “Sentimentality, empathy, and being too soft should not be seen as weaknesses.” Gone Home is sweet, although certainly not sickeningly so; it is the sweet of a “sour” candy where the sour sanding soon fades away.

I’m writing about a single cabinet in the game. This one: 2015-03-08_00001

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The Obsolescence of Lives

I twitted that “restarting a long multi-screen level on death” and “limited lives” are examples of retro mechanics that should stay dead. I thought that I would expand a bit on what I meant.

In part, this is a corollary to my past writings on challenge and punishment. In my definition, challenge is when a task is difficult to accomplish because it requires a high amount of skill, ability, or experience. Punishment is when failing a task imposes a burden on the player, usually in the form of lost time.
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One Measure of Bit.Trip Runner

The other night, I picked up Gaijin Games’s Bit.Trip Runner for WiiWare. This game is the best example of pure, brilliant game design that I’ve seen in a good while. This is the game designer as teacher and leader; it’s what Anna Anthropy calls design as sadism:

As a designer and as a domme, I want the person who submits to me to suffer and to struggle but ultimately to endure: I challenge her while simultaneously guiding her through that challenge. The rules of the game and the level design carry that idea.

Runner does this through the gradual layering of new game elements, high challenge with low punishment, and optional bonus goals. Most of all, though, it guides through repetition. This is a game about rhythm, after all. For my favorite example of this, let’s look at a single measure of rhythm from the game, no longer than 2 seconds, that appears everywhere.
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