Introduzione alla realizzazione di videogiochi - Meccaniche
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Slide del corso "Introduzione alla realizzazione di videogiochi" tenuto per gli studenti delle scuole superiori presso la sede di Cremona del Politecnico di Milano.
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Introduzione alla realizzazione di videogiochi - Meccaniche
- 1. Meccaniche
- 7. The Elemental Tetrad: Mechanics • The procedures and rules of your game • Describe the goal of your game • How players can and cannot try to achieve it • What happens when they try • If a set of mechanics is crucial to the gameplay, § These must be supported by the technology § Aesthetics must emphasize them clearly to the players § They should make sense with respect to the story 7
- 8. The Elemental Tetrad: Story • The sequence of events that unfolds in your game • Linear and prescripted, branching and emergent • The mechanics should strengthen the story and let it emerge • Aesthetics should reinforce the ideas of the story • The technology should be the best suited to the story 8
- 9. The Elemental Tetrad: Aesthetics • How your game looks, sounds, smells, tastes, and feels • It has the most direct relationship to a player’s experience • Technology should allow and amplify the target aesthetic tone/ mood of the game • Mechanics should be coherent to the world that the aesthetics have defined • The story should have events that let your aesthetics emerge at the right pace and have the most impact 9
- 10. The Elemental Tetrad: Technology • They define the materials and interactions that make your game possible • The technology enables players to do certain things and prohibits it from doing other things (e.g., Wii and gamepads) • The technology is essentially the medium in which the aesthetics take place, in which the mechanics will occur, and through which the story will be told. 10
- 13. The Tedrad at Play: Space Invaders • Technology § Custom made for this game, no other game had it • Mechanics § The gameplay was completely new, with a player against and advancing army. The player shoots and the aliens shoot back § You can hide behind the shields but the enemy can destroy them § The more enemy the player shoots down the faster the aliens go § Flying saucers give extra points but they are difficult to hit 13
- 14. The Tedrad at Play: Space Invaders • Story § Original story was the players shooting at advancing human soldiers but Taito changed it because it conveyed a bad message § Other war-based games were available (Sea Wolf 1976) § People already complained about game in which you kill people (Death Race 1976) § Marching soldier would better fit a top-down view, aliens give the feeling that their aim is to touch ground • Aesthetics § Aliens are not identical and have a two frame (very effective) marching animation and music § Colored strips on the screen § The arcade cabinet was attractive and eye catching § Punishing sound when you get hit 14
- 15. Skin & Skeleton Skin “the player’s experience” Skeleton “the elements that make up the game” Designers should focus on both at the same time
- 17. Game Themes “if our games have unifying, resonant themes, the experiences we create will be much, much stronger.” Jesse Schell Figure out what your theme is. Use every means possible to reinforce that theme.
- 20. Game mechanics are the core of what a game truly is What remain when all of the aesthetics, technology, and story are stripped away
- 25. Game Time • Discrete and Continuous § Turn-based, turn-based chess, etc. • Clocks and Races § Time can have an absolute (Boggle) value or relative (races) • Controlling Time § We might allow to stop, pause, accelerate, rewind? 25
- 28. Mechanic #3: Objects, Attributes & States
- 29. Objects, Attributes, States • Objects § Characters, props, tokens, scoreboards, or anything that can be seen or manipulated in a game § Objects are the “nouns” of game mechanics § Sometimes, space can be considered an object • Attributes § Define categories of information about an object. In a racing game, a car might have maximum speed and current speed as attributes. Each attribute has a current state. • States § Each attribute has a current state. § The state of the “maximum speed” attribute might be 150 mph, while the state of the “current speed” attribute might be 75 mph 29
- 31. Game designers decide objects have what attributes and what states There are often multiple ways to represent the same thing. The “right” way to think about something is whichever way is most useful at the moment Games that force the players to be aware of too many states (too many game pieces, too many statistics about each character) to play can confuse and overwhelm
- 33. Secrets A very important decision about game attributes and their states is who is aware of which ones. In many board games, all information is public In card games, some information is hidden What about video games?
- 36. Actions in Games • Basic actions § Move a piece, jump, shoot • Strategic actions § Only meaningful on a longer horizon and larger picture § Protect a resource, force the opponent to do a certain move § The strategic actions often involve subtle interactions within the game and are often very strategic moves § They are not part of the rules, but rather actions and strategies that emerge naturally as the game is played 36
- 37. Interesting emergent actions are the hallmark of a good game The ratio of meaningful strategic actions to basic actions is a good measure of how much emergent behavior your game features. Elegant games allow a player few basic actions and a large number of strategic actions
- 38. planting seeds for emergence more verbs (basic actions) verbs act on more objects more ways to achieve goals many subjects side effects that changes constraints
- 42. Rules are the most fundamental mechanic. They define the space, the timing, the objects, the actions, the consequences of the actions, the constraints on the actions, and the goals.
- 44. Parlett’s Rule Analysis • Operational rules § Define what the players do to play the game • Foundational rules § Define the underlying structure of the game. § “When pac-man eats a pellet it will become invincible” • Behavioral rules § Implicit to the gameplay and typically part of “good sportsmanship” (don’t hassle the player when she is thinking a move) • Laws § Formed when playing in serious competitive settings (e.g., tournament rules for a specific game).
- 45. Parlett’s Rule Analysis • Official rules § They merge game rules and laws § They are defined when a game is played “seriously enough” (e.g. check!) • Advisory rules § Tips and rules of strategy to help playing better • House rules § Added by the players to make the game more fun, balanced, etc. § E.g., “no shotgun, no C4, no campers” in some battlefield servers
- 47. The Most Important Rule defines the objective/goal of the game good games goals should be concrete, achievable, rewarding
- 51. Skill Mechanics • Shifts the focus away from the game and onto the player • Game require players to exercise certain skills • If the player’s skill level is a good match to the game’s difficulty, the player will feel challenged and stay in the flow channel • Games can require § Physical skills (dance games, musical instrument based games) § Mental skills (memory, observation, problem solving) § Social skills (everything that requires reading opponents’ mind, fooling opponents, team working games) 51
- 52. real vs virtual skills
- 55. Surprises are an important source of human pleasure and the secret ingredient of fun Chance is an essential part of a fun game because chance means uncertainty, and uncertainty means surprises
- 57. Skill and Chance Get Tangled • Estimating chance is a skill • Skills have a probability of success • Estimating an opponent’s skill is a skill • Predicting pure chance is an imagined skill • Controlling pure chance is an imagined skill 57
- 60. Game mechanics are media independent They can be implemented through many different media Thus, game scholars don’t distinguish between video/card/board games
- 61. Five Different Core Mechanics • Physics § Plays a large role in modern video games (e.g., FPS, physics-puzzle games) • Internal economy § Transactions involving game elements that are collected, consumed, and traded constitute a game’s internal economy § Can involve abstractions (health, popularity, and magical powers) • Progressive mechanisms § The progress of the player is tightly controlled by a number of mechanisms that block or unlock access to certain areas • Tactical maneuvering § Deal with the placement of game units on a map for offensive or defensive advantages • Social interactions § Reward giving gifts, inviting new friends to join, participating in social interactions 61
- 64. Mixing Physical Mechanics with Strategic Gameplay
- 65. game of emergence have relatively simple rules but much variations the game’s challenge and its flow of events are not planned in advanced they emerge during gameplay
- 67. Extra Credits - The Waiting Game - Why Weird Games Become Cult Hits https://www.youtube.com/watch?v=ptk93AyICH0 67