Game Balance Designed Structure and Consumer Agency in an Online Game
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Flexible Games by Which I Mean Digital Game Systems That Can Accommodate Rule-Changing and Rule-Bending
Let’s Play Our Way: Designing Flexibility into Card Game Systems Gifford Cheung A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: David Hendry, Chair David McDonald Nicolas Ducheneaut Jennifer Turns Program Authorized to Offer Degree: Information School ©Copyright 2013 Gifford Cheung 2 University of Washington Abstract Let’s Play Our Way: Designing Flexibility into Card Game Systems Gifford Cheung Chair of the Supervisory Committee: Associate Professor David Hendry Information School In this dissertation, I explore the idea of designing “flexible game systems”. A flexible game system allows players (not software designers) to decide on what rules to enforce, who enforces them, and when. I explore this in the context of digital card games and introduce two design strategies for promoting flexibility. The first strategy is “robustness”. When players want to change the rules of a game, a robust system is able to resist extreme breakdowns that the new rule would provoke. The second is “versatility”. A versatile system can accommodate multiple use-scenarios and can support them very well. To investigate these concepts, first, I engage in reflective design inquiry through the design and implementation of Card Board, a highly flexible digital card game system. Second, via a user study of Card Board, I analyze how players negotiate the rules of play, take ownership of the game experience, and communicate in the course of play. Through a thematic and grounded qualitative analysis, I derive rich descriptions of negotiation, play, and communication. I offer contributions that include criteria for flexibility with sub-principles of robustness and versatility, design recommendations for flexible systems, 3 novel dimensions of design for gameplay and communications, and rich description of game play and rule-negotiation over flexible systems. -
Game Design 2 Game Balance
CE810 - Game Design 2 Game Balance Joseph Walton-Rivers & Piers Williams Friday, 18 May 2018 University of Essex 1 What is Balance? Game Balance Question What is balance? 2 Game Balance “All players have an equal chance of winning” – Richard Bartle Richard covered a combat example in the first part of the module. 3 On Strategies Game Balance • What about higher level strategies? • Zerg rush? • Dominant strategies • Metagaming 4 Metagaming - Rock Paper Scissors • A beats B, B beats C, C beats A • If there are lots of A players, people will play C • Then there are a lot of C players, so people play B • and so on... 5 Metagaming - Dominant Strategies • What if A is significantly stronger? • No one will use the other two strategies • We want to encourage variety in play 6 Can we detect this? • Can we detect strategies which are overpowered? • Try to punish strategies we don’t want to see • We did this earlier in the week with rotate and shoot! • Can we measure this? 7 Automated Game Tuning • Academics seem to think so... • Ryan Leigh et al (2008) - Co-evolution for game balancing • Alexander Jaffe et al (2012) - Restricted-Play balance framework • Mihail Morosan - GAs for tuning parameters 8 Game Curves First Move Advantage First Move Advantage • Typically affects turn based games • Going first in tac tac toe means either a win or adraw • White has > 50% win rate over all games • Worse effects if you have resources • We need a way of dealing with this 9 First Move Advantage Magic Second player gets an extra card Go Second player gets 7.5 bonus -
Cgcopyright 2013 Alexander Jaffe
c Copyright 2013 Alexander Jaffe Understanding Game Balance with Quantitative Methods Alexander Jaffe A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: James R. Lee, Chair Zoran Popovi´c,Chair Anna Karlin Program Authorized to Offer Degree: UW Computer Science & Engineering University of Washington Abstract Understanding Game Balance with Quantitative Methods Alexander Jaffe Co-Chairs of the Supervisory Committee: Professor James R. Lee CSE Professor Zoran Popovi´c CSE Game balancing is the fine-tuning phase in which a functioning game is adjusted to be deep, fair, and interesting. Balancing is difficult and time-consuming, as designers must repeatedly tweak parameters and run lengthy playtests to evaluate the effects of these changes. Only recently has computer science played a role in balancing, through quantitative balance analysis. Such methods take two forms: analytics for repositories of real gameplay, and the study of simulated players. In this work I rectify a deficiency of prior work: largely ignoring the players themselves. I argue that variety among players is the main source of depth in many games, and that analysis should be contextualized by the behavioral properties of players. Concretely, I present a formalization of diverse forms of game balance. This formulation, called `restricted play', reveals the connection between balancing concerns, by effectively reducing them to the fairness of games with restricted players. Using restricted play as a foundation, I contribute four novel methods of quantitative balance analysis. I first show how game balance be estimated without players, using sim- ulated agents under algorithmic restrictions. -
Game Balancing
Game Balancing CS 2501 – Intro to Game Programming and Design Credit: Some slide material courtesy Walker White (Cornell) CS 2501 Dungeons and Dragons • D&D is a fantasy roll playing system • Dungeon Masters run (and someCmes create) campaigns for players to experience • These campaigns have several aspects – Roll playing – Skill challenges – Encounters • We will look at some simple balancing of these aspects 2 CS 2501 ProbabiliCes of D&D • Skill Challenge • Example: The player characters (PCs) have come upon a long wall that encompasses a compound they are trying to enter • The wall is 20 feet tall and 1 foot thick • What are some ways to overcome the wall? • How hard should it be for the PCs to overcome the wall? 3 CS 2501 ProbabiliCes of D&D • How hard should it be for the PCs to overcome the wall? • We approximate this in the game world using a Difficulty Class (DC) Level Easy Moderate Hard 7 11 16 23 8 12 16 23 9 12 17 25 10 13 18 26 11 13 19 27 4 CS 2501 ProbabiliCes of D&D • Easy – not trivial, but simple; reasonable challenge for untrained character • Medium – requires training, ability, or luck • Hard – designed to test characters focused on a skill Level Easy Moderate Hard 7 11 16 23 8 12 16 23 9 12 17 25 10 13 18 26 11 13 19 27 5 CS 2501 Balancing • Balancing a game is can be quite the black art • A typical player playing a game involves intuiCon, fantasy, and luck – it’s qualitave • A game designer playing a game… it’s quanCtave – They see the systems behind the game and this can actually “ruin” the game a bit 6 CS 2501 Building Balance • General advice – Build a game for creavity’s sake first – Build a game for parCcular mechanics – Build a game for parCcular aestheCcs • Then, aer all that… – Then balance – Complexity can be added and removed if needed – Other levers can be pulled • Complexity vs. -
The Making of a Conceptual Design for a Balancing Tool
Södertörns högskola | Institutionen för Institutionen för naturvetenskap, miljö och teknik Kandidatuppsats 15 hp | Medieteknik | höstterminen 2014 The Making of a Conceptual Design for a Balancing Tool Av: Jonas Eriksson Handledare: Inger Ekman Abstract Balancing is usually done in the later phases of creating a game to make sure everything comes together to an enjoyable experience. Most of the time balancing is done with a series of playthroughs by the designers or by outsourced play testers and the imbalances found are corrected followed by more playthroughs. This method occupies a lot of time and might therefore not find everything. In this study I use information gathered from interviews with experienced designers and designer texts along with features from methods frequently used for aiding the designers to make a conceptual design of a tool that is aimed towards simplifying the process of balancing and reducing the amount of work hours having to be spent on this phase. Keywords Balancing, Interviews, Conceptual Design, Game Development, External Tool 2 Sammanfattning Balansering görs framförallt i de senare faserna när man skapar ett spel för att se till att alla delar tillsammans skapar en bra upplevelse. För det mesta utförs balanseringen i form av upprepade speltester genomförda av antingen utvecklaren eller inhyrda testpersoner. Obalanserade saker som upptäcks korrigeras och följs sedan av ytterligare tester. Denna metod tar väldigt lång tid att utföra och på grund av detta är det inte säkert att alla fel upptäcks innan spelet lanseras. I den här studien använder jag information som insamlats från intervjuer med erfarna designers och designtexter sida vid sida med funktioner från metoder som ofta används för att underlätta för utvecklarna. -
Metagame Balance
Metagame Balance Alex Jaffe @blinkity Data Scientist, Designer, Programmer Spry Fox 1 Today I’ll be doing a deep dive into one aspect of game balance. It’s the 25-minute lightning talk version of the 800-minute ring cycle talk. I’ll be developing one big idea, so hold on tight! Balance In the fall of 2012, I worked as a technical designer, using data to help balance PlayStation All-Stars Battle Royale, Superbot and Sony Santa Monica’s four- player brawler featuring PS characters from throughout the years. Btw, the game is great, and surprisingly unique, despite its well-known resemblance to that other four-player mascot brawler, Shrek Super Slam. My job was to make sense of the telemetry we gathered and use it to help the designers balance every aspect of the game. What were the impacts of skill, stage, move selection, etc. and what could that tell us about what the game feels like to play? Balance In the fall of 2012, I worked as a technical designer, using data to help balance PlayStation All-Stars Battle Royale, Superbot and Sony Santa Monica’s four- player brawler featuring PS characters from throughout the years. Btw, the game is great, and surprisingly unique, despite its well-known resemblance to that other four-player mascot brawler, Shrek Super Slam. My job was to make sense of the telemetry we gathered and use it to help the designers balance every aspect of the game. What were the impacts of skill, stage, move selection, etc. and what could that tell us about what the game feels like to play? Character Balance There were a lot of big questions about what it’s like to play the game, but at least one pretty quantitative question was paramount: are these characters balanced with respect to one another? I.e. -
Time Balancing of Computer Games Using Adaptive Time
TIME BALANCING OF COMPUTER GAMES USING ADAPTIVE TIME-VARIANT MINIGAMES A Thesis Submitted to the College of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Master of Science In the Department of Computer Science University of Saskatchewan Saskatoon By AMIN TAVASSOLIAN © Copyright Amin Tavassolian, March 2014. All rights reserved. Permission to Use In presenting this thesis in partial fulfilment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other use of material in this thesis in whole or part should be addressed to: Head of the Department of Computer Science University of Saskatchewan 176 Thorvaldson Bldg., University of Saskatchewan 110 Science Place Saskatoon, Saskatchewan (S7N 5C9) Canada i ABSTRACT Game designers spend a great deal of time developing balanced game experiences. -
Whose Game Is This Anyway?”: Negotiating Corporate Ownership in a Virtual World
“Whose Game Is This Anyway?”: Negotiating Corporate Ownership in a Virtual World T.L. Taylor Department of Communication North Carolina State University POB 8104, 201 Winston Raleigh, NC 27605 USA +1 919 515 9738 [email protected] Abstract This paper explores the ways the commercialization of multiuser environments is posing particular challenges to user autonomy and authorship. With ever broadening defi nitions of intellectual property rights the status of cultural and symbolic artifacts as products of collaborative efforts becomes increasingly problematized. In the case of virtual environments – such as massive multiplayer online role-play games – where users develop identities, bodies (avatars) and communities the stakes are quite high. This analysis draws on several case studies to raise questions about the status of culture and authorship in these games. Keywords Avatars, Internet, virtual environments, games INTRODUCTION While the history of virtual environments has so far been primarily written with an eye toward either the text-based worlds of MUDs or social graphical spaces like Active Worlds and VZones/WorldsAway, massive multiplayer online 227 Proceedings of Computer Games and Digital Cultures Conference,ed. Frans Mäyrä. Tampere: Tampere University Press, 2002. Copyright: authors and Tampere University Press. role playing games (MMORPG) have dramatically popularized virtual worlds [1]. The MMORPG genre now boasts hundreds of thousands of users and accounts for millions of dollars in revenue each year [2]. While multiplayer games are at their most basic level simply that, a game, they should be more richly seen as spaces in which users come together online and invest enormous amounts of time inhabiting a virtual space, creating characters, cultures, and communities, gaming together, making dynamic economies, and exploring elaborate geographical terrain. -
Game Design Concepts
Game Design Concepts: An experiment in game design and teaching Ian Schreiber Syllabus and Schedule 3 Level 1: Overview / What is a Game? 6 Level 2: Game Design / Iteration and Rapid Prototyping 15 Level 3: Formal Elements of Games 21 Level 4: The Early Stages of the Design Process 33 Level 5: Mechanics and Dynamics 47 Level 6: Games and Art 61 Level 7: Decision-Making and Flow Theory 73 Level 8: Kinds of Fun, Kinds of Players 86 Level 9: Stories and Games 97 Level 10: Nonlinear Storytelling 109 Level 11: Design Project Overview 121 Level 12: Solo Testing 127 Level 13: Playing With Designers 134 Level 14: Playing with Non-Designers 139 Level 15: Blindtesting 144 Level 16: Game Balance 149 Level 17: User Interfaces 160 Level 18: The Final Iteration 168 Level 19: Game Criticism and Analysis 174 Level 20: Course Summary and Next Steps 177 Syllabus and Schedule By ai864 Schedule: This class runs from Monday, June 29 through Sunday, September 6. Posts appear on the blog Mondays and Thursdays each week at noon GMT. Discussions and sharing of ideas happen on a continual basis. Textbooks: This course has one required text, and two recommended texts that will be referenced in several places and provide good “next steps” after the summer course ends. Required Text: Challenges for Game Designers, by Brathwaite & Schreiber. This book covers a lot of basic information on both practical and theoretical game design, and we will be using it heavily, supplemented with some readings from other online sources. Yes, I am one of the authors. -
Demonstrating the Feasibility of Automatic Game Balancing
Demonstrating the Feasibility of Automatic Game Balancing Vanessa Volz Günter Rudolph Boris Naujoks Abstract Game balancing is an important part of the (computer) game design process, in which designers adapt a game prototype so that the resulting gameplay is as entertaining as possible. In industry, the evaluation of a game is often based on costly playtests with human players. It suggests itself to automate this process using surrogate models for the prediction of gameplay and outcome. In this paper, the feasibility of automatic balancing using simulation- and deck-based objectives is investigated for the card game top trumps. Additionally, the necessity of a multi-objective approach is asserted by a comparison with the only known (single-objective) method. We apply a multi-objective evolutionary algorithm to obtain decks that optimise objectives, e.g. win rate and average number of tricks, developed to express the fairness and the excitement of a game of top trumps. The results are compared with decks from published top trumps decks using simulation-based objectives. The possibility to generate decks better or at least as good as decks from published top trumps decks in terms of these objectives is demonstrated. Our results indicate that automatic balancing with the presented approach is feasible even for more complex games such as real-time strategy games. I. Introduction balancing process with tools that can automati- cally evaluate and suggest different game pa- The increasing complexity and popularity of rameter configurations, which fulfil a set of (computer) games result in numerous chal- predefined goals (cf. [14]). However, since the lenges for game designers. -
Gaikai - Wikipedia Case 3:19-Cv-07027-WHA Document 28-2 Filed 10/14/19 Page 2 of 8 Not Logged in Talk Contributions Create Account Log In
Case 3:19-cv-07027-WHA Document 28-2 Filed 10/14/19 Page 1 of 8 EXHIBIT B Gaikai - Wikipedia Case 3:19-cv-07027-WHA Document 28-2 Filed 10/14/19 Page 2 of 8 Not logged in Talk Contributions Create account Log in Article Talk Read Edit View history Gaikai From Wikipedia, the free encyclopedia Main page Gaikai (外海, lit. "open sea", i.e. an expansive outdoor space) is an American company which provides technology for the streaming of high- Contents Gaikai Featured content end video games.[1] Founded in 2008, it was acquired by Sony Interactive Entertainment in 2012. Its technology has multiple applications, Current events including in-home streaming over a local wired or wireless network (as in Remote Play between the PlayStation 4 and PlayStation Vita), as Random article well as cloud-based gaming where video games are rendered on remote servers and delivered to end users via internet streaming (such as Donate to Wikipedia the PlayStation Now game streaming service.[2]) As a startup, before its acquisition by Sony, the company announced many partners using Wikipedia store [3] the technology from 2010 through 2012 including game publishers, web portals, retailers and consumer electronics manufacturers. On July Founded November 2008 Interaction 2, 2012, Sony announced that a formal agreement had been reached to acquire the company for $380 million USD with plans of establishing Headquarters Aliso Viejo, California, U.S. [4] Help their own new cloud-based gaming service, as well as integrating streaming technology built by Gaikai into PlayStation products, resulting Owner Sony [5] [6] About Wikipedia in PlayStation Now and Remote Play. -
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