Ludomedia #47

March 19, 2018

Ludomedia

Lesens-, hörens- und sehenswerte Fundstücke aus der Welt der Spiele.


Josh Bycer: Putting the “Game” Back in Video Game Journalism

  • “My style has always been to look at game design the same way as a mechanic appreciates the technical beauty of building a car, or a craftsman examining hand-made design. […] I don’t want to read a story on a major game site for the umpteenth time of how the game Gone Home moved you or reminded you of your childhood.”

Justin Ma: Into the Breach’s interface was a nightmare to make and the key to its greatness

  • “Our requirement that the player has to understand what’s going on in any situation restricted our game design options considerably. […] Just as a game design principle, we would sacrifice cool ideas for the sake of clarity every time.”

Mark Brown: What Makes a Good Puzzle?

  • “A puzzle with too many elements is either too complicated or […] most of those elements aren’t actually part of the core puzzle, and are just busywork that will frustrate you when you reset the level.”

Raph Koster: The Trust Spectrum

  • “Designing games for trust is also designing games for human fulfillment. It is designing for happiness. It’s designing in ways that are #good4players and their relationships. Play is Love.”

Scott Rigby: The Freedom Fallacy

  • “In all the research that we’ve done […] structure is better than providing open and free environments in satisfying peoples’ needs for autonomy. […] Even if the game is enormous […] it doesn’t matter if the player doesn’t see meaning in the options that are in front of him.”

Ludomedia #46

February 12, 2018

Ludomedia

Lesens-, hörens- und sehenswerte Fundstücke aus der Welt der Spiele.


Daniel Greenberg: The Neuroscience of Gaming

  • “Practice by doing is very effective, and video games are all about doing. Video games are experiential learning. […] Gameplay also tracks the scientific method pretty directly. […] The stress response in video games is eustress, a positive cognitive response. It’s healthy.”

Ellen McGrody: For Many Players, Lootboxes Are a Crisis That’s Already Here

  • “Video games should not be trapping people in vicious cycles of debt, shame, and abuse. […] Unfortunately, there are systems in today’s games that prey on vulnerabilities in our psychology.”

Keith Burgun: Designing Strategy: Rushdown, Economy, and Defense

  • “All games will end in either the early game, the mid-game, or the late game, and [rushdown, economy, and defense] are loose attempts to target those areas for a win. Players can plan somewhat […] but they must adapt frequently, and take advantage of opportunities as they arise.”

Lewis Pulsipher: Simplifying a Game Design

  • “While you can simplify a game into oblivion (a bagatelle), it’s much more likely you will complicate a game into oblivion (a train-wreck).”

Raph Koster: Why I Loved “Edith Finch”

  • “Games and story historically coexist in troubled fashion. […] In Edith Finch, we have the single best example of marrying story and game basically ever — and not once, but done like twelve times in one game, twelve different ways, with twelve different effects. It’s a tremendous achievement in that sense.”

Ludomedia #45

January 15, 2018

Ludomedia

Lesens-, hörens- und sehenswerte Fundstücke aus der Welt der Spiele.


Christian Schmidt: Stay Forever (Folge 73)

  • “Wenn man älter wird […] denkt man mehr und mehr an das eigene Werk. Unser Podcast, Stay Forever, ist für uns ein Werk. […] Aber vor allen Dingen verstehen wir die Spiele, über die wir sprechen, als Werk. Wir verstehen sie […] als wertvolle, besprechenswerte Dinge, die in einen Kontext einzuordnen sind. […] Lasst euch von niemandem da draußen einreden, dass Spielen Zeitverschwendung wäre. Unser Rat an euch wäre, dass ihr euer Spielen auch als Werk begreift und überlegt […] was ihr vielleicht zu eurem Werk über Spiele machen könnt.”

Jan Heinemann: Das “authentischste” Historienspiel aller Zeiten?! Die gewaltige Schräglage von “Kingdom Come: Deliverance”

  • “Ich kann bei diesem Authentizitäts-Taumel nur den Kopf schütteln. Vor allem, weil er in der Regel fernab aller geschichtswissenschaftlichen Forschungsergebnisse oder -diskussionen verläuft, sondern sich stattdessen auf verbreitete Vorstellungen von Geschichte stützt, die als absolute Wahrheit gesetzt werden. Debatten um die Authentizität der Geschichtsdarstellung in digitalen Spielen, Filmen oder anderen Medien führen darum häufig unmittelbar zu energisch geführten Identitätsdebatten.”

Mark Brown: How Games Use Feedback Loops

  • “If positive feedback loops work to compound changes in the game state, negative feedback loops strive to always counteract those changes and keep things in equilibrium. […] Positive loops help push a game to its conclusion […] and negative feedback loops […] create an interesting ebb and flow of comebacks and turnarounds, which leads to good drama. But both need to be balanced carefully.”

Mark Brown: How Snake Pass Works

  • “If you do something bold, not everyone is going to love your game. […] That’s the prize you’ll pay for trying something bold, but I think it’s worth it. Original games like Snake Pass keep the hobby fresh and exciting, and give us something truly new to play with.”

Rowan Kaiser: The year single-player games became chores

  • “The trend in 2017 isn’t that single-player games are dying. It’s that instead of being a week’s worth of fun, they’ve become a month’s worth of chores.”

 


Ludomedia #44

December 8, 2017

Ludomedia

Lesens-, hörens- und sehenswerte Fundstücke aus der Welt der Spiele.


Christian Schiffer: Wie das Spiel Wolfenstein 2 die deutsche Geschichte entsorgt

  • “Ausgerechnet in der deutschen Version entsorgt Wolfenstein 2 die Verbrechen der Nationalsozialisten aufs Akkurateste und marginalisiert alles Jüdische. […] Wie kann ein eigentlich antifaschistischen Spiel, ausgerechnet in der deutschen Version zu einem feuchten Traum für Geschichtsrevisionisten mutieren?”

Dominik Abé & Johannes Roth: Postmortem: Shadow Tactics

  • “That’s a dilemma that many developers are facing: going all in and potentially laying off your team is horrible, but so is releasing an unfinished game, because you can never make up for a bad first impression.”

Josh Bycer: How RPG Design has Influenced Action Games

  • “The use of progression-based systems in action games has been one of the biggest design trends of this decade. […] Unfortunately many designers and publishers use this as an excuse to ignore creating meaningful and interesting game systems.”

Josh Menke: Skill, Matchmaking, and Ranking Systems Design

  • “If you’re going to go skill, go all the way. Players who like skill-based systems will love it.”

Keith Burgun: Single Player Competition

  • “I want to create deep, strong single-player strategy games that are as inclusive as possible, as non-toxic as possible, while being as easy as possible for videogame players to hook onto and understand.”

Ludomedia #43

October 26, 2017

Ludomedia

Lesens-, hörens- und sehenswerte Fundstücke aus der Welt der Spiele.


Charlie Cade: Challenge is the Core of Video Games

  • “As a new fresh medium we can make up our own rules. We can a look at the type of art we’re making and decide what gives it its intrinsic value. […] Shouldn’t you entice new people with what the medium can do differently, rather than by trying to make it more like everything else?”

John Bain: I will now talk about Lootboxes and Gambling for just over 40 minutes

  • “If you actually think that gaming companies were not fully aware […] that they could hook players in more with an unpredictable reward system versus a predictable one, then you might be a little naive.”

Mark Brown: How Game Designers Protect Players From Themselves

  • “Many [players] will simply gravitate towards strategies that will most likey lead to success, regardless of how enjoyable those strategies might actually be. […] But the awesome thing about design is that the game’s developers can tweak things to make sure players approach the game in the way they think would be most interesting.”

Vincent Toups: On the (pseudo?)-paradox of “fair” games.

  • “When we say a game is fair, what we are saying is that the outcome isn’t random, but that it depends, sensitively, on which player makes the better sequence of moves in response to the other player.”

Wolfgang Walk: Spielertypen und Motivation, oder: Wie wir uns selbst in Ketten legen

  • “Spiele, das sollten wir uns jeden Tag beim Aufstehen schon klar machen, stehen erst ganz am Anfang. Irgendein Kolumbus wird eines Tages und vielleicht schon sehr bald Amerika entdecken. Das Ziel muss sein, den ganzen Planeten Spiel zu erobern, sein ganzes Potenzial abzurufen, seinen ganzen Raum für die Menschen nutzbar zu machen.”

Ludomedia #42

October 5, 2017

Ludomedia

Lesens-, hörens- und sehenswerte Fundstücke aus der Welt der Spiele.


Albert van der Meer: Experimenting and being Allowed to Fail…a lot!

  • “Society teaches us that failing is the worst possible outcome to anything. That single concept can literally paralyze people, perhaps you’ve had a moment where you didn’t even start something, simply for fear of failure. […] What a game does is promote a paradigm of experimentation, failure, repetition, and mastery when trying to accomplish a goal.”

Extra Credits: The Anchoring Effect

  • “We’re very likely to use the first piece of data we get about something as a baseline, a guide which helps us to construct a mental model of how to reasonably view that thing.”

Jesper Juul: Playing

  • “Play is broadly associated with free-form and voluntary activities, yet games are also defined by rule structures that in part limit what players can do. This juxtaposition contains the fundamental question of game playing: Is game playing a free activity, or is it determined and controlled by the game rules?”

Mitchell Nelson: Brain in a Jar 1: Two Systems

  • “Though we have a kind of closely held morality about the purity and value of difficulty, it is a false religion. In fact, many games have an unintended, reverse difficulty problem where a beginner without levels, buffs and gear faces more difficult gameplay than a veteran, with a top tier build, no matter what your spread sheet says.”

Wolfgang Walk: Von der Coolness, Ausbeuter zu sein

  • “Die Monetarisierung der Träume und Hoffnungen junger Menschen muss sich geil anfühlen, vor allem wenn man gleichzeitig noch von Millionen angehimmelt und dabei steinreich wird.”

 


Ludomedia #41

September 11, 2017

Ludomedia

Lesens-, hörens- und sehenswerte Fundstücke aus der Welt der Spiele.


Benjamin Cribb: How System Discovery Culture Progresses

  • “Better understanding the common or competing structures of game design theories will help us to be more diligent in crafting these theories, and reduce confusion while debating them.”

Joost van Dongen: The requirements of good matchmaking

  • “Because it’s usually impossible to achieve all matchmaking goals simultaneously, you need to think about how important each of them is. Especially waiting times suffer when you make other requirements more important.”

Keith Burgun: Clockwork Game Design Podcast Episode 41

  • “Maybe there are […] formal, testable, true, absolute qualities of what is beautiful. […] And my work is mostly in how to make ‘better’ systems. […] However, […] I think that art also has another purpose of connecting. It’s saying: Hey, I see the world this way.”

Kevin Murphy: Does Inventory Management Ruin RPGs?

  • “I find that in many RPGs I spend about half my time (or at least far too much of it) considering what to loot, reading item descriptions, going back and forth between different gun stat listing to weigh the pros and cons of changing my primary weapon, and generally not playing the game!”

Raph Koster: Consent Systems

  • “To host a multiplayer virtual environment is to host and govern a space, and there are no shortage of models precisely because spaces are where we normally live.”

Ludomedia #40

July 31, 2017

Ludomedia

Lesens-, hörens- und sehenswerte Fundstücke aus der Welt der Spiele.


Adrian Forest: How Not To Talk About Game Engines

  • “I’ve historically had to show game development students Unity showreels and other compilations to demonstrate the diversity of games made with the engine, and by extension, how little the use of an engine tells anybody about the game itself.”

Extra Credits: How Games Speak

  • “No matter what we do as developers, our games will speak to our players. And it’s our job, our challenge, to find things worth saying.”

Keith Burgun: Interview with Greg Street

  • “Anyway, I got a chance to chat with Greg about the theory [of input randomness] and how it maybe should, or could apply to League.”

Nikhil Murthy: Mechanical Foreshadowing

  • “Mechanical foreshadowing is a design tool that can be used in a wide variety of games and should help with reward cadences and the impact of twists in your game.”

Patrick Lemon: Why Make Games

  • “The structure of games reflects how we approach science and supports that understanding. […] You’re teaching people how to analyze and understand systems. […] In a way you could call that learning to learn.”

Ludomedia #39

July 6, 2017

Ludomedia

Lesens-, hörens- und sehenswerte Fundstücke aus der Welt der Spiele.


Keith Burgun: Interview with James Lantz

  • “[James Lantz] was for me most notably a designer on Invisible Inc., a really interesting X-Com-ish tactical strategy game, and Mercury, a small indie Rogue-like game that really boiled down how Rogue-likes work in the smartest way I’ve ever seen.”

Raph Koster: The best posts of the last five years

  • “And lastly… despite my feeling I am hardly posting anything, this is a pretty nice list for five years!”

Thomas Grip: The Complexity Fallacy

  • “The player doesn’t play a game based on what happens in the computer, they play it based on what happens in their head. Any feature that doesn’t have a mental representation might as well not exist. […] In games, if a tree falls and nobody hears it, it is a feature you should cut.”

Wolfgang Walk: Unter der Betondecke regt sich was

  • “Wir haben ein Zeitfenster von vielleicht, optimistisch geschätzt, zwei Jahren. Wenn sich bis dahin nichts Entscheidendes getan hat, um die Lücke zu schließen zwischen einer talentierten und international denkenden Indie- bis maximal AA-Entwicklerlandschaft einerseits, und Dutzende Millionen verschlingenden AAA-Produktionen andererseits, dann wird die nächste Gelegenheit lange auf sich warten lassen.”

Wolfgang Walk: Games go Gutenberg

  • “Das Kunstformat, welches das nicht-autoritäre Versprechen des offenen Kunstwerks von seiner ganzen Wesenheit her einzulösen vermag, ist – natürlich, möchte man fast sagen – das Computerspiel: nicht jedes Game schafft es, das Versprechen einzulösen, aber jedes hat die strukturellen Möglichkeiten.”

 


Ludomedia #38

June 3, 2017

Ludomedia

Lesens-, hörens- und sehenswerte Fundstücke aus der Welt der Spiele.


Arnold Rauers: Creating tension in Card Thief

  • “Different mechanics that feed into one core experience can create a rather strong feeling for the player, no matter how abstract they are in the end.”

Ethan Hoeppner: Plan Disruption

  • “A good pattern to follow is the spiky information flow, in which high-impact information is collected into discrete spikes that happen at regular intervals, with a slow, regular flow of information between the spikes. Carefully considering the way information is introduced, and how that impacts the player’s ability to form plans, is essential to designing a good strategy game.”

Keith Burgun: Incremental Complexity

  • “There seems to be this inherent conflict between accessibility and depth in strategy games in particular. […] The fact is that games just need to be pretty complicated to avoid being solvable. So if simplifying isn’t the answer, then what is?”

Thomas Grip: The SSM Framework of Game Design

  • “The System space is where all of the code exists and where all of the game simulations happen. […] Story, as explained in this previous post, is what gives context to the things that happen in System space. […] It is when the Story and System space are experienced together that a Mental model is formed.”

Thomas Grip: Planning – The Core Reason Why Gameplay Feels Good

  • “For too long, game design has relied on the planning component arising naturally out of ‘standard’ gameplay, but when we no longer have that we need to take extra care.”