Jimmy Chattin - I make better games.

Sunday, August 25, 2013

What I Learned - 6

Not a lot this week, but running-around with family left the past week very enjoyable!

What I Learned - 8/18 to 8/24


  1. The smaller the team, the more stuff each team leader needs to be able to execute on.
    1. Marcus Lehto; Advice to a Young Developer
  2. A swell ratio of personnel on an animation-heavy game looks like this: 2-3 animators; 1-2 modelers; 1-2 environment artists
    1. Marcus Lehto; Advice to a Young Developer
  3. If a designer (or anyone) is looking to educate themselves on the cheap, there are many places online to learn from.
    1. Sarah White; 20 Places to Educate Yourself Online for Free
  4. "Riot hires Rioters to be Rioters"; I know now how to tailor a resume to Riot.
    1. Aaron Man Chun Li; My Preparation Experience for Riot Games' Interview

Wednesday, August 21, 2013

World of Warcraft: Elements that Drove Away Subscribers

--- NOTE : There are loose, opinionated deductions in the following article.  World of Warcraft, a game made by Blizzard Entertainment, is only being used as an example of the MMO genre as a whole.  WoW is a great game, being enjoyed by millions (including myself); all respect to Blizzard and their work.  This post was also written to support this previous article on MMOs. ---


After its release in 2004, Blizzard Entertainment's World of Warcraft has made itself both a standard and an empire in the Massive Multiplayer Online (MMO) scene.  As a game, the superb design cannot be doubted; from a community peak of +12 million in 2010 and having lasted with a strong subscriber-base for nearly a decade, this is a good game.

However, WoW has not escaped an ailment that afflicts nearly every MMO created, where they only partially answer, "how can we expand the universe of this game world?"  Currently, World of Warcraft has dropped to less than 7.7 million users in five short years.  The following article explains in part, through deduction, why that has happened.

The first expansion for the world of Azeroth (the in-game world of WoW) was 2007's The Burning Crusade, that introduced new races that helped bridge a class gap (the in-game Alliance faction previously couldn't use shamans, while the Horde faction couldn't use paladins), opened-up an area completely separate from the in-game world (the original locales were untouched while new content was presented in the form of an alien landscape), and allowed for further progression along the leveling tree if a player put in some hard work.


The Burning Crusade can largely be seen as a major game-wide balancing release.  To follow-up on the successful launch (and largely due to the gaming community quickly exhausting the novelty) Wrath of the Lich King opened new areas in 2008 (namely, the continent of Northrend) and added another class.  A very important thing to note, in contrast to TBC, the area added was a continent on the original planet itself while the class did not serve as a balancing factor, but more of a gimmick (any character of the class started at a fairly high level and wielded powers that allowed it to replace many other classes).


WotLK's lore failed to answer a key question when Northrend was revealed: Why was no-one able to go to the continent before?  Subconsciously, this break in consistency, the lack of a reason as to why the world in WoW is not totally available to players, is disconcerting.  Relating it to a robotic term, the 'uncanny valley' may be appropriate to describe that WotLK was cool and seemed correct, but something was wrong.  Regardless, no issue stopped the influx of players, as WoW then boasted +11 million players.

However, with hype and a solid player base not yet aware of their own doubts, Blizzard Entertainment reached a peak +12 million subscribers in October 2010.  Then the Cataclysm expansion released.  Immediately, by the end of 2011, WoW now only had 10.2 million paying players, a drop of nearly 2 million players in 1 year.  Before the most recent expansion, Mists of Pandaria in 2012, a dip to 9.1 million was reached in the 2 years between releases.


What Cataclysm did can be faulted in 2 ways.  First, it added new races that were present in the game world previously, but never were playable.  These races corrected no balance previously evident in the game, thus they served as both gimmicks and again approached an 'uncanny valley', further unsettling players.

Next, Cataclysm's worst reason to add new areas was to change the familiar.  Locations that had been reliable for years were warped and altered into completely unrelated forms.  This is the most glaring offense because: Veteran players had no 'safe' point of reference; New players couldn't be helped by veterans in navigating the world, thus severing previously common lines of communication; And, older gamers couldn't relate to the world they had enjoyed for nearly a decade, or with the naive subscribers just coming into the game.  Here, perversion of the reliable makes strangers of the older players while trying to cater new content for fresh gamers, but still causes harm in the WoW community due to players of different experience levels not interacting.

Finally, the most recent expansion, Mists of Pandaria in 2012, added another race and class with no balance problem evident from Cataclysm, further extending the content-for-content's sake mentality of WotLK.  Another continent was revealed, but the reason for its existence can simply be said to be 'magic'.  Though slightly better than the reveal of Northrend in Wrath of the Lich King, the handwavium nature of MoP's continent cannot be ignored.  As a number of passionate players note, it would seem that the context for the 2012 expansion was the weakest yet in WoW.


Currently at 7.7 million, Blizzard Entertainment's World of Warcraft player-base has suffered.  After adding content that had shallow context while changing those things that provided the safety of familiarity, WoW has assisted itself through a number of expansions to both alienate loyal players of many years while also stranding new gamers in the content-rich game world.

The reasons for WoW's decline are numerous, but it cannot be denied that 'new' does not equal 'better'.  When additions are included for reasons other than to fix balance concerns, it is seen that they act as 'just another choice', muddying the core aspects the original game designers sought to emphasis.  Evidence exists that expanding a universe to change some of the most foundational relationships of that universe results in egregious offence to young and old users alike.  Without doubt, even one of the strongest design and development teams today (Blizzard Entertainment) is struck by wanting to expand its content.

With this article, I attempt to address how future MMOs can handle the issue of expanding their content.

Monday, August 19, 2013

What I Learned - 5

A day late on putting this out, but know that I'm working on getting a Unity application with game mechanic examples to you!

What I Learned - 8/11 to 8/17


  1. Simple is almost always better than the complex.
    1. Realization when improving the look of the Games Of Taste blog
  2. A satisfying concept design can consist of 30% imaginary content, 70% real-world creation.
    1. Chee Ming Wong; Spacecraft Design - Part 1 Design and Rapid Prototyping
  3. The shared experience of conflict brings together social bonds faster than anything.
    1. Realization after spending a night playing games and sharing drinks with strangers 
  4. The California Institute of the Arts (CalArts) is the place a fantastic number of designers and creators come from.
    1. SIGGRAPH 2013 - Keynote Presentation: Marc Davis Lecture Series, "Giants' First Steps"
  5. Not everything has to be a major feature; do some smaller works to keep fresh.
    1. Chris Sanders; SIGGRAPH 2013 - Keynote Presentation: Marc Davis Lecture Series, "Giants' First Steps"



Oh, and I know how to embed Youtube videos now!

Wednesday, August 14, 2013

MMOs - A Problem in Creating New Content

The Summary:
Massive Multiplayer Online (MMO) games with an open world have challenges in adding new content in the form of expansions.  An MMO created with an in-game context for revealing new areas, creatures, factions, and even mechanics would solve this.

--- NOTE : There are loose, opinionated deductions in the following article. ---

The Problem:
Many MMOs, especially those with open worlds, have to face a number of challenges when expanding game content: How do we add new things to keep veteran players interested?  Is our expansion not required for players, old and new, to participate in to remain relevant in the game world?  We have this collection of mechanics we would like to tryout before implementing on a global scale; what's the most efficient way to do this?  etc.

The Example:
World of Warcraft with expansions coming after The Burning Crusade release.


The Solution:
To solve the problems of expanding a game's content, a number of factors can play to the advantage of game designers hoping to release new material:

  1. Use visible barriers with a heavy mystery element in the game's lore to hide areas the player cannot go into.  Mists, fogs, and empty expanses work well here.
    1. Why?  A visible cue in the game world will allow gamers to realize that things are  out there, but are unavailable at the moment, without having to delve into game lore.
  2. Keep a central area unchanged throughout the game being live.  Minor alterations can be made for events and quests, but these should be temporary.
    1. Why?  A place grounded in familiarity helps players feel secure and safe.  It also acts as a hub of activity that the game designers can work with.
  3. Reveal content expansions on a regular but temporary basis.  Within the context of the lore, players should know that the world is largely temporary, with exception of a central area.
    1. Why?  Circulating material on a regular basis ensures that players will get refreshing surprises frequently.  Keeping the expansions temporary enforces a player need to be on often, while also rewarding early adopters in giving them unique experiences.
  4. Contextualize why areas, creatures, and even classes/races come and go within the world.  With the setting of the world, game writers are able to give a plausible explanation to these occurrences.
    1. Why?  Players need something to bite onto.  The community will remain strong with vanguard fans keeping-up the passion, but only if the game's sometimes fantastic mechanics and workings can be explained away.
The Sample:
The following are samples of context that could ground the logic of a game world:

  1. The last Oasis in an endless desert of shifting sands gives sanctuary to the heroes that explore the ruins of civilization revealed under the dunes.
    1. Players die if they travel too long in the sandy wastes.  New areas are discovered through moving sand mountains.  The Oasis is stable, allowing players to relax, trade, and socialize.
  2. When the Sea City is visited by ancient ships or travels past forgotten isles, its denizens strikeout to claim their bounty.
    1. Players drown if moving too far from the Sea City.  New areas are passed-by regularly, while more permanent additions can 'dock' with the City.  The environment allows for on-land, underwater, on-ship, and in-air discoveries with the regular cycling of content.
  3. Humanity sacrificed its space flight to survive inside the Space Station, but as pieces of the structure come and go mysteriously, humanity's last and bravest must defend the race.
    1. The lore explains why players cannot leave.  Story also gives reason to why new areas appear while older areas can go or stay.  The conflict of the narrative encourages exploration but leaves room for alien races, multiple classes, and in-game factions.


The Conclusion:
Adding onto an already established MMO world is tough.  However, if the issues of expanding content are addressed by the very nature of the game's context, it can be a breeze to satisfy the community through both reasonable lore and consistent gameplay.  Multiple examples of how executing a nod to DLC and world expanding can be done.

The Inspiration:
Using a contextual solution comes from Bastion, with its rising platforms of floating islands, and Demon's Souls Dark Souls's world covered in mist that recedes from player exploration.

 

Sunday, August 11, 2013

What I Learned - 4

Wow.  There is so much good stuff available for learning that I just have to share it.

What I Learned - 8/4 to 8/10


  1. Surrounding yourself with inspiring people doing interesting work is one of the greatest boons to your own projects.
    1. Realization after the monthly PIGDA Meeting
  2. Design is not about visuals, but of what things are and the actions they take.
    1. Jason Jones; Bungie Co-Founder, Halo and Destiny Creator Jason Jones Breaks 11-Year Silence
    2. Part 1 of 3: About that Halo 1 Pistol...
  3. Empathy with the experience of a player is incredibly important for a designer to have.
    1. Jason Jones; Bungie Co-Founder, Halo and Destiny Creator Jason Jones Breaks 11-Year Silence
    2. Part 2 of 3: Jason Jones's 17-point plan
  4. Every action the player can make needs to feel "awesome"  and feed a "power fantasy".
    1. Jason Jones; Bungie Co-Founder, Halo and Destiny Creator Jason Jones Breaks 11-Year Silence
    2. Part 2 of 3: Jason Jones's 17-point plan
  5. Design portfolios are incredibly important to showing design prowess in the hiring process.
    1. Ethan Levy; Breaking Into Game Design, Part 1
  6. A student should have a game in a store or released elsewhere for every year that they are in school.
    1. Ethan Levy; Breaking Into Game Design, Part 1
  7. Know how to code.  Learn how to code.  Really, no exceptions when it comes to designing video games.
    1. Ethan Levy; Breaking Into Game Design, Part 1
  8. Just read the entire article; it's gold.
    1. Ethan Levy; Breaking Into Game Design, Part 1
  9. A person really stands-out if they have a prepared 'fail' resume ready to showcase the learning of important lessons in design.
    1. Tina Seeliq; Fail in Order to SUCCEED
  10. "If you don’t invest the time needed to achieve those goals then all you have are empty ambitions."
    1. Tina Seeliq; Time is more Valuable than Money
  11. No great design came from a lack of big, challenging problems.
    1. Vinod Khosla; Youtube
  12. Bad behaviour and poor sportsmanship can't removed, but design can prevent it from ruining other players' fun.
    1. Chris Butcher; How Bungie Plans to Counter Trolls through Design in Destiny
  13. "Fear is good in small, homeopathic doses."
    1. Neil Gaiman; Interview on OPB Radio

Just a heads-up on the next post: designing Your Worst Nightmare for Bungie and its new game, Destiny.


Thursday, August 8, 2013

Designing Contest Visuals for Bungie - The Hero

Bungie is a world-leading game development studio with an awarded mantle of games.  The Halo series serves as the pinnacle of the company's accomplishments, but the design team has moved on to new ventures.  Destiny is the next title coming from these champions of entertainment, where the hope is to outdo even Halo.

Bungie has been hosting Destiny themed contests for most of this summer.  I've tried to be a steady competitor, so I'm here to talk a little about the design considerations used in submitting.
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The first challenge I participated in took place on Bungie Day, July 7th ( 7/7 ).  "Design your own hero to play Destiny."


The art style of Bungie relies on lines surrounding forms.  To emulate this, most major forms should have some sort of outline, which I tried to put in to my hero.  Line-work, however, does take more time than immediately putting-down paint, so tediously sketching lines should be approached with caution when the work is needed soon.

Armor in Destiny should have a fantasy science fiction feel, with ornate details being embossed on ceramic plating.  Since I have a love of Roman military designs, an obligatory crimson crest ordains the helm.  The character should seem like a medieval, plated soldier with sci-fi tech integrated into the gear while also carrying a sweet firearm.

Since Destiny has much reference to choose from, it would have been a folly not to utilize a lot of it when constructing the hero.  Gold highlights, enclosed helms, capes, and knight-like/tank-like armor are the norm.

Now, when fleshing-out the piece, universal rendering of the entire figure is a bad thing to do.  Instead, when dealing with any kind of robot, humanoid, or animal, focus on the face; it's what people look to first by instinct, so it should look the best and not fight for the viewer's intention with other areas of the canvas.  Adding stock texture and then painting over it is a way to help do this.

Wrapping-up the piece, a point of interest can be brought to the forefront with a background that covers only a section of the entire form.  I chose a gradient blue oval since: 1) Blue is Bungie's (official?) color of choice, 2) An oval doesn't have hard corners that could conflict with the piece, and 3) A darker background with a lighter foreground grabs attention immediately.


What I could have done better in design are a number of things.  Desaturating the cape, realigning the abdominal armor, and adding improved details to the upper torso, while also using the Destiny logo instead of my own design would, I believe, be the biggest issues.  And using the font of a game that is no-longer being worked on by Bungie?  Not a wise idea.

The things that I feel I nailed was the use of red and gold where it is.  Details on the helm enhance where I want the viewer to look, while the background makes the whole thing 'pop'.  Though it is a thing less about the hero design and more about the presentation, I like the black boarder I added with its choice line-breaks.

Checkout the piece.  Read more about the process.

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In the next round, I cover how my constructing a virtual horror with the "Your Worst Nightmare" contest and campaigning for it makes the piece a crowd favorite.

Saturday, August 3, 2013

What I Learned - 3

What a busy week!  Facts and other cool things kept hitting me every day... Well, as I was reminded this week, "less talk and more rock"!

What I Learned - 7/28/13 to 8/3/13


    1. Specific concepts tend to stick around if they are the first ones drawn.
      1. Samwise; The Art of Blizzard Entertainment, pg. 138
    2. Talk can kill a game; "rock before [talk]".
      1. Brandon Boyer; Less Talk More Rock
    3. Remember: Video games are primarily an audiovisual form of communication and 'talk' is just noise under such a context.
      1. Brandon Boyer; Less Talk More Rock
    4. The national age of consent is 13 in Japan; this explains why young school-kids can find themselves in sexual or high-tension situations in Japanese media.
      1. mdrewltt; comment on The Evangelion Manga is Finally Over, and What a Ride It Was by Richard Eisenbeis
      2. Confirmed by Wikipedia; Ages of Consent in Asia
    5. (Not really for design, but interesting enough to share.)  Adults are those who've experienced "senseless pain with no hope of emotional justice and no power to make the situation better".
      1. Lawrence Sonntag; IGDaily Newsletter - Never Stop Mounting Friends, Multiplayer in Arkham Orgins
    6. There are levels of believable Sci Fi, each being unique and fairly easy to identify.  
      1. Shared by David Wessman; Grading SF for Realism
    7. If designing a game in Unity, youtuber StudicaNews makes tutorials that are thorough and easy to use.
      1. StudicaNews; Youtube, Unity 3D Part 1 User Interface and Game Objects
    8. Every game designer since forever has wanted to make a game where all things can be destroyed.
      1. Dave Georgeson; How EverQuest Next will be Forged by Players, Shaped by Minecraft

                                  Just a heads-up on the next post: designing contest visuals for Bungie and its new game, Destiny.