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Foreword by Reiner Knizia Burgun Keith Burgun GAME DESIGN THEORY Despite the proliferation of video games in the twenty-first century, the theory of game design is largely underdeveloped, leaving designers on their own to under- stand what games really are. Helping you produce better games, Game Design Theory: A New Philosophy for Understanding Games presents a bold new path for analyzing and designing games. The author offers a radical yet reasoned way of thinking about games and pro- vides a holistic solution to understanding the difference between games and oth- er types of interactive systems. He clearly details the definitions, concepts, and methods that form the fundamentals of this philosophy. He also uses the philoso- phy to analyze the history of games and modern trends as well as to design games. Providing a robust, useful philosophy for game design, this book gives you real answers about what games are and how they work. Through this paradigm, you A New Philosophy will be better equipped to create fun games. for Understanding Games K15305 Recreation/Game Design Keith Burgun Burgun_fullcover.indd 1 7/3/2012 10:39:58 AM Game Design Theory This page intentionally left blank Game Design Theory A New Philosophy for Understanding Games Keith Burgun CRC Press Taylor & Francis Group 6000 Broken Sound Parkway NW, Suite 300 Boca Raton, FL 33487-2742 © 2013 by Taylor & Francis Group, LLC CRC Press is an imprint of Taylor & Francis Group, an Informa business No claim to original U.S. Government works Version Date: 20120611 International Standard Book Number-13: 978-1-4665-5421-4 (eBook - PDF) This book contains information obtained from authentic and highly regarded sources. Reasonable efforts have been made to publish reliable data and information, but the author and publisher cannot assume responsibility for the valid- ity of all materials or the consequences of their use. The authors and publishers have attempted to trace the copyright holders of all material reproduced in this publication and apologize to copyright holders if permission to publish in this form has not been obtained. If any copyright material has not been acknowledged please write and let us know so we may rectify in any future reprint. Except as permitted under U.S. Copyright Law, no part of this book may be reprinted, reproduced, transmitted, or uti- lized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopy- ing, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. For permission to photocopy or use material electronically from this work, please access www.copyright.com (http:// www.copyright.com/) or contact the Copyright Clearance Center, Inc. (CCC), 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400. CCC is a not-for-profit organization that provides licenses and registration for a variety of users. For organizations that have been granted a photocopy license by the CCC, a separate system of payment has been arranged. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Visit the Taylor & Francis Web site at http://www.taylorandfrancis.com and the CRC Press Web site at http://www.crcpress.com Table of Contents Foreword ix Introduction xi Th e Death of Tetris . xi Our Story . xv My Story . .xv Problem Statement . xvii On Game Design . xviii Game Design Th eory Today . xix What Th is Book Is . xxi What Th is Book Is Not . .xxi 1. The Concept of Game 1 Defi nitions . 2 Mapping Interactive Systems . .3 Th inking about Games . .8 2. On Game Design 18 Th e Medium and the Message . 19 Understanding Design . .24 v vi Game Design Theory Establishing Standards . 27 Symmetry . 45 False Choices and Other Sins . 48 Take Nothing for Granted . 51 Becoming an Expert . 53 Related Disciplines . 57 Teaching Your Game . 60 Conclusion . 61 3. How We Got Here 63 Ancient Board Games . 63 Sports in History . 68 Playing Card Evolution . 70 The 20th Century . 71 How Far Have We Come? . 75 Video-Game Generations and Other Developments . 76 Other Notable Areas . 89 Looking Back . 92 4. Through the Lens: Video Games 95 Problems Common to Most Genres . 95 Brawlers . 99 3D Third-Person Action . 102 Real-Time Strategy . 103 Turn-Based Strategy . 106 Role-Playing Games . 109 Sports Games . 112 Racing Games . 114 Fighting Games . 117 FPS Games . 121 Platformers . 124 Other Genres . 128 Video “Games” . 130 5. Through the Lens: Board Games 133 The Problem with Board Games . 134 Area-Control Games . 136 Bidding Games . 137 War Games . 139 Role-Playing Games . 141 Cooperative Games . 142 Role-Selection and Worker-Placement Games . 143 Card Games . 145 Table of Contents vii Abstract Games . 145 Other Genres . 147 6. Predictions 151 The Resistance . 152 The ediaM . 152 Rise of the Indies . 153 Merging Worlds . 156 Renaissance . 158 Purpose . 160 Index 163 This page intentionally left blank Foreword ome recent research suggests that by the age of 20, the majority of Americans have spent as much time playing video games as they have spent time at school—and I guess other countries are catch- Sing up fast . I fi nd this remarkable! Others may fi nd it frightening… . Certainly, these fi ndings represent a great challenge (and a great re- sponsibility) to those of us who are game designers . If we can reach and infl uence so many people with our games, what are we doing with this infl uence? In recent decades, games have become increasingly popular and have grown to be a signifi cant market force . Th e emergence of powerful video games has boosted the popularity and attractiveness—some call it addictiveness—of games as a meaningful pastime . Today the games industry is larger than either the movie industry or the music industry, and games now compete with books for the top revenues in the enter- tainment business . As a member of the games industry, I fi nd these de- velopments remarkable too (although members of the other industries may fi nd them unnerving) . Th is revolution goes far beyond the traditional scope of playing games . Our smartphones off er us a half-million games at our fi ngertips, many of them for free . Games have taken social communities, such as ix x Game Design Theory Facebook, by storm, involving millions of players in a single gaming ex- perience . The online role-playing game World of Warcraft alone attracts millions of players, who collectively have spent more than six million years on the game—and counting . This is comparable to mankind’s total global effort in putting a man on the moon! Of course, the amazing success of games has not gone unnoticed by the rest of the world . Today we can see how the attractiveness of gaming elements has resulted in them being applied to many areas of our lives: en- ticing incentive programs, motivating fitness programs, and ever-present leaderboards are all popular manifestations of this “gamification” process . Games have become truly global! However, despite the rise of games and gamers, the creative game design process remains largely unstructured . Game designers are often self-taught, or serve apprenticeships under more experienced designers . They each develop their own methods of design, their own vocabularies, and their own toolboxes of tricks to identify and fix problems . Unlike literature and music, which stand on solid theoretical foundations, game design theory is much less developed . Game designers are artists, and each has his or her own philosophy of how to squeeze the most fun and enjoyment out of a game box . It is possible that thought-provoking books such as this one may be just the spark required to kick start an industry revolution in game de- sign . —Reiner Knizia London, England March 2012 Introduction The Death of Tetris You don’t need to be an expert on the topic of games to have a sense of the level of elegance, brilliance, and importance of Tetris . An abstract, score-based game based on fi tting various four-block shapes (known as tetronimoes—or tetriminos, in the parlance of Tetris) into each other to create lines (fi lled horizontal lines that go across the well, or playing fi eld) took the world by storm in the mid-1980s, exploding even further with the release of the Nintendo Game Boy version in 1989 . What makes Tetris so brilliant? With so few gameplay elements, it would seem as though the game would be simple and mastery would be easy, but that’s far from the case . Tetris has achieved the game design feat of “easy to learn, diffi cult to master” more than most video games—it is incredibly intuitive to learn, and yet I’ve been playing it for over 20 years and I am still learning things all the time . Th e depth of Tetris is found in several aspects of its gameplay, but two specifi c areas stand out . Th e fi rst is learning about relationships between pieces and pile shapes: for instance, you often can use an L-tetrimino in a somewhat nonintuitive way to help you build towards clearing four lines at once—a tetris (Figure 1) . xi xii Game Design Theory Figure 1 . An example of a nonintuitive, yet strategic move in Tetris . New players may not realize that this is a solid way to set themselves up for a tetris . The second, even more significant area of mastery is risk manage- ment . You see, Tetris generates random tetriminos each time, and so there are often times when you have to make a “push your luck” sort of decision in order to get a better score .

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