The C of F

    R K
    P, Areae Inc.
  


       7                          7-
I-   I     - IV - I -           V            IV - I — I


         ...
  ’


 (audience makes random noises)
  “”



often have underlying S
“” by M D

           C-maj7 — C-7 — G-7 — C7
          Fmaj7 — Fmaj7 — F-7 — Bb7
Ebmaj7 — Eb-7 — Ab7 — Dbmaj...
   
     “”




    (“Solar” is a blues)
  : ’ 



When something works,
                  it works at many levels.
I - I7 - IV - I - V7 - IV - I — I
                =
          I — IV — V — I
                =
             I—V—I
        ...
Songs are made of
              Songs…
Harmonies are made of overlapping

                           Songs…
Visual compositions are made of spaces
That are visual compositions
    


Games are made out of
       Games
F
    



 Until you reach the interface button.
    



        FUN
FUN
…is a chemical response
     

         Hard      Easy




        Visceral   Social
Games   mostly focus on hard fun.
  

H F is about solving problems.

   The problems tend to be mathematical.


      ∴ its grammar igno...
    
          



      Interaction Design
aka
C


“A     cyclic process where two actors
alternatively listen, think, and speak.”
So let’s talk about how you apply this to
                     Web.
               the
 


  Let’s go to
Typing in the URL for Amazon or hitting your
   bookmark, parsing the intro page, skipping
   your recommendations, findin...
The challenges are experienced
sequentially, but in practice they are
              nested…
…you might have the boss level encounter
    with one-click multiple times in
  different places or for different loot.
M I


          Territory
      •
          Preparation
      •
          Core mechanic (skill required)
...
M I


          W
      •
          W
      •
          H
      •
          W
      •
   ...



The core  has to be repeatable.



Something that requires .



Something that can handle
 .



Something that is .



Everything you did before must matter.


Whatever the opponent last did to you
          should matter too.


 Never start an interaction with no
          ...


You must be able to  for this
             encounter


        In different .



The same challenge in different locales
      should be a fresh .



The  and  should
         affect the outcome.



The same  must be applicable to
    many different .



Think of a verb as a H.


You should present users
                              Nails
      with lots of kinds of



There are lots of kinds of hammers too!


Users should be able to solve the
challenge with their choice of tools.


And you should reward them with
    different  for it.
  

     All                   Quantifiable.
           the above are


You can arrive at a  fo...



A game that only has one outcome is


           .



V 
  keeps things lively.



(Usually, the best feedback is a greater
 challenge presented by the opponent.)



Sometimes, it’s a pleasant S.



Either way, it has to be  .
             To everyone.



B is bad for fun.


        In other words,
low-risk activity for high reward
         is bad for fun.


You need to drive users to challenges at
           the edge of .



        (cf Csikszentmihalyi’s .)


Making a wrong choice
 has to be a .


(Even if all it costs you is ).

FUN
  does not exist where there is



   Zero C.
The absence of any of these features
                makes things



                            less .
..
http://www.theoryoffun.com/grammar/gdc2005.htm
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The core of fun

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The core of fun

  1. 1. The C of F R K P, Areae Inc.
  2. 2.    7 7- I- I - IV - I - V IV - I — I (audience claps and we sing blues)
  3. 3.   ’ (audience makes random noises)
  4. 4.   “” often have underlying S
  5. 5. “” by M D C-maj7 — C-7 — G-7 — C7 Fmaj7 — Fmaj7 — F-7 — Bb7 Ebmaj7 — Eb-7 — Ab7 — Dbmaj7 — D-7b5 — G7b9b13
  6. 6.     “” (“Solar” is a blues)
  7. 7.   : ’  When something works, it works at many levels.
  8. 8. I - I7 - IV - I - V7 - IV - I — I = I — IV — V — I = I—V—I = 8 — 7# - 8
  9. 9. Songs are made of Songs…
  10. 10. Harmonies are made of overlapping Songs…
  11. 11. Visual compositions are made of spaces
  12. 12. That are visual compositions
  13. 13.      Games are made out of Games
  14. 14. F
  15. 15.      Until you reach the interface button.
  16. 16.      FUN
  17. 17. FUN …is a chemical response
  18. 18.       Hard Easy Visceral Social
  19. 19. Games mostly focus on hard fun.
  20. 20.    H F is about solving problems. The problems tend to be mathematical. ∴ its grammar ignores presentation & metaphor.
  21. 21.        Interaction Design aka
  22. 22. C “A cyclic process where two actors alternatively listen, think, and speak.”
  23. 23. So let’s talk about how you apply this to Web. the
  24. 24.   Let’s go to
  25. 25. Typing in the URL for Amazon or hitting your bookmark, parsing the intro page, skipping your recommendations, finding the search box, the search, narrowing the results, finding the results you want, getting distracted by that other thing you meant to buy, comparing every result, parsing the product page, reading the reviews, finding the buy button from the four choices, making the purchase, picking shipping method, picking payment method, choosing gift wrap or not…
  26. 26. The challenges are experienced sequentially, but in practice they are nested…
  27. 27. …you might have the boss level encounter with one-click multiple times in different places or for different loot.
  28. 28. M I  Territory • Preparation • Core mechanic (skill required) • Range of challenges • Choice of abilities • Variable feedback • Bad return on investment • Cost of failure •
  29. 29. M I  W • W • H • W • W • F • F • P. •
  30. 30.  The core  has to be repeatable.
  31. 31.  Something that requires .
  32. 32.  Something that can handle  .
  33. 33.  Something that is .
  34. 34.  Everything you did before must matter.
  35. 35.  Whatever the opponent last did to you should matter too. Never start an interaction with no .
  36. 36.  You must be able to  for this encounter In different .
  37. 37.  The same challenge in different locales should be a fresh .
  38. 38.  The  and  should affect the outcome.
  39. 39.  The same  must be applicable to many different .
  40. 40.  Think of a verb as a H.
  41. 41.  You should present users Nails with lots of kinds of
  42. 42.  There are lots of kinds of hammers too!
  43. 43.  Users should be able to solve the challenge with their choice of tools.
  44. 44.  And you should reward them with different  for it.
  45. 45.    All Quantifiable. the above are You can arrive at a  for every challenge. You can sum them for the  of a meta-challenge.
  46. 46.  A game that only has one outcome is .
  47. 47.  V  keeps things lively.
  48. 48.  (Usually, the best feedback is a greater challenge presented by the opponent.)
  49. 49.  Sometimes, it’s a pleasant S.
  50. 50.  Either way, it has to be  . To everyone.
  51. 51.  B is bad for fun.
  52. 52.  In other words, low-risk activity for high reward is bad for fun.
  53. 53.  You need to drive users to challenges at the edge of . (cf Csikszentmihalyi’s .)
  54. 54.  Making a wrong choice has to be a . (Even if all it costs you is ).
  55. 55.  FUN does not exist where there is Zero C.
  56. 56. The absence of any of these features makes things less .
  57. 57. ..
  58. 58. http://www.theoryoffun.com/grammar/gdc2005.htm

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