My Game Design Philosophy

My approach to game design is based on the philosophical benefits that can be gleaned from video games. Everything I try to accomplish through design revolves around providing the player with a challenging experience that promotes creativity through new occurrences. It is a breakaway from the typical design patterns used in this medium, as it is built upon the neurological functionalities that occur when playing a game. This methodology avoids shallow methods seen in the industry at large and instead focuses on the experience being delivered to the player. It is entirely about their fulfillment, on a biological level. Through neuroplasticity, players can be exposed to stimuli in games that give them a fulfilling experience.

Thesis Project

There are three tenants to this game design philosophy that I have designated as “The Three A’s.” They are Adaptive Gameplay, Active Learning, and Achievement. Adaptive Gameplay refers to constantly changing the challenge presented to the player. One of the key components to promoting plasticity in games involves constantly matching the player’s skill level (Medeiros, 2017). Video game players are used to a typical system where the better the get, the easier the game is. This actually results in a “autopilot mode” on behalf of the player, as no new stimuli is introduced (Kurtzman, 2013). So instead, I implement an adaptive staircase method that challenges the player by making the game more difficult, or stimulating, as they get better. The goal is constantly push the player further, initializing plasticity in the brain (Medeiros, 2017). 

            The second “A” pertains to Active learning, a way of presenting stimuli to the player in a manner that promotes an obtained knowledge through a three-step process (Gee, 2007, pp. 1-27). Game progression should follow a sequence of learning, thinking, and action (Gee, 2007, p. 78). Not only should progression follow this pattern, but it should offer multiple solutions for advancement (Gee, 2007, p. 134). Understanding the different ways that people learn is essential to avoid bottlenecking player’s through a supposed “right” methodology of learning. The way to truly analyze this is to consider all types of problem solving methods and experiment with new ones as well. Innovation on the designer’s end promotes innovation from the players as well.

            The final thing we need to accomplish through game design is to deliver a sense of Achievement to the player. Being able to step back from a game and feel a sense of real accomplishment is vital (Schell, 2015, pp. 133-146). Without this sense of achievement, a player would not continue to play the game (Schell, 2015, pp. 133-146). A lot of games focus on extrinsic, or external, rewards. Instead, design should be focused on intrinsic rewards to help support creativity and self-actualization in the player (Gee, 2007, p. 223). Once the player knows what they want from the game, they can explore creative avenues to get there instead of aimlessly wandering.

These three aspects all work together in unison to help promote an environment that stimulates the player. Through this methodology the player is constantly being challenged in ways that promote active learning and achievement, thus providing them with a truly enriching interaction not seen commonly in the industry at large. Experimentation is paramount in progressing a medium forward and should be cultivated more. This design philosophy fosters freedom for designers to implement new types of gameplay and change how they are able to interface with the player.

References

Gee, J. (2007). What video games have to teach us about learning and literacy: Revised and updated edition (2nd ed., pp. 1-27, 78, 134, 223). New York, NY: Palgrave Macmillan.

Kurtzman, L. (2013). Training the Older Brain in 3-D: Video Game Enhances Cognitive Control. UC San Francisco. Retrieved 10 June 2017, from https://www.ucsf.edu/news/2013/09/108616/training-older-brain-3-d-video-game-enhances-cognitive-control

Medeiros, J. (2017). How to 'game your brain': the benefits of neuroplasticity. Wired UK. Retrieved from http://www.wired.co.uk/article/game-your-brain

Schell, J. (2015). The art of game design (2nd ed., pp. 133-146). Boca Raton, FL: CRC Press.

User Experience Feedback

A few months back, you might remember a post here about my participation in helping run a Student Game Expo (SGX). Since then, the monthly expo has grown exponentially and pulls in a good crowd every month. Though not actively running the SGX anymore, this month I did contribute by developing a way to get feedback from SGX attendees. One of the most valuable tools at a dev's disposal is the player. Understanding who your target audience is and what they think of your game could dramatically guide the direction of development. Thus I saw the SGX as an opportunity to gather feedback directly from the player, that I could then turn around and disseminate back to the teams.

With a thorough background in user experience, flow state, and video game heuristics, I set out to develop a feedback form that would provide the developers with valuable information. To this end, I pulled upon previous research I had conducted and used The Play Experience Scale: Development and Validation of a Measure of Play by Pavlas, Jentsch, Salas, Fiore, and Sims as a starting foundation. I also used Game Usability Heuristics for Evaluating and Designer Better Games by Heather Desurvire and Charlotte Wiberg to determine a sustainable formula for measuring heuristics.

Next, I developed the feedback form online using Google Forms and set it up for the SGX. I was there facilitating the feedback station to help the SGX attendees provide their thoughts. I also had a section on the form that would allow players to provide their own feedback directly to the developers. After the event, I consolidated the raw data collected and started charting and graphing the results. My ultimate goal was not to just dump the raw data to the team, as they might not have the same experience and understanding of video game UX. The information should be easy to read and understand by the teams, to ensure they can get the most out of it. After I was done, all that was left was providing the data to the teams. Below is a sample of how I presented the feedback to a team.

Automaton assault from Alexander Rybak

User-generated feedback should always play a part in informing the developers what people want from their product. Even just making the team aware of things they might have overlooked can be extremely helpful for teams that inadvertently suffer from tunnel-vision after months of working on a project. Got questions about obtaining UX feedback for your game? Comment below and I'll be glad to help!

Flow State in Video Games

Mastery Journal Article Analysis: Flow State

Identification of Topic

     For my Mastery Program research assignment, I have chosen to investigate the area of game design. There are many facets to game design that present themselves as possible areas of research, but this paper will investigate flow state. Specifically, it aims to build upon the major influences of flow state: Seung-A Annie Jin, Marin Klasen, Rene Weber, and Mihaly Csikszentmihalyi.

Ozone (Game Design Project)

Last week, in Game Design class, I was tasked with creating a Game Design Powerpoint Pitch, Game Mechanics Document, User Interface mockups, and a Prototype. I was given a couple stipulations in regards to the game design.

1. First, the game would have to involve a social issue (similar to Games for Change) in some way. 
2. Second, the game should involve a unique form of player movement outside of industry norms such as running, walking, jumping, crouching, etc. 

For this project, I decided to collaborate with Justin Hentges, a fellow student in the Game Design program who also has a background in Game Art.

First, Justin and I decided to brainstorm ideas for the game, focusing on the two stipulations given for the design. We got really lucky and developed a good narrative early on that lent itself to both of our goals: a turn-based strategy in a sci-fi setting against a parasitic race. We took this idea and evolved it into Ozone, a game where the player assumes the role of planet earth, pitted against the humans who are polluting and destroying Her. Environmentalism is a shared passion that me and Justin found out we shared, and it's a growing problem. Why not make a game, marketed towards teen kids, that can show the dangers of humanity's impact on Earth in an engaging way?

We would also allow players to taking control of the entire Earth. Through both localized attacks and galactic movement, players would get to move as a celestial body.

When determining the genre and world of the game, we featured
After building upon the core mechanics of the game, we came up with a very exciting and interesting game. Here are some really interesting bullets of the design that we came up with:

• Player's health would be displayed in a unique way, as the Ozone layer. Being able to see a physical representation of the health was something we really liked because it allows for an education display versus a simple HUD element.
• All mechanics of the game will be based on an internal historical database of scientific data. Planet movement, strategic attacks, AI response, and correlations between effects will have outcomes based on scientific fact, to help back up the educational factor of the game.
•  We decided that on the first play, we would present a tutorial that starts at the Industrial Revolution and ends at the current time. This will allow players the ability to learn the mechanics of the game in a known setting. Being able to prepare for known events will prepare the player for the more complex interactions that take place during the futuristic game play.

Here's the initial design pitch we came up with:

Ozone (Game Design Pitch) from Alexander Rybak

Using Virtual Reality to Treat Veterans with Post-Traumatic Stress Disorder

Using Virtual Reality to Treat Veterans with Post-Traumatic Stress Disorder (Topic #2)

As virtual reality comes into mainstream culture, there are more and more avenues being explored for practical applications of virtual reality (VR). One such use that has begun to be explored by those in the video game industry is utilizing VR to treat military veterans who suffer from PTSD. While rudimentary applications have been implemented before, none have aimed to be as immersive as the Department of Defense’s Virtual Iraq (Halpern, 2008). PTSD is widespread amongst military veterans and can affect one’s ability to interact with others in a social setting, work setting, or other important areas that require optimal functioning (Derby, 2016). As a veteran myself, I think PTSD is a terrible affliction and we should explore every possible solution: including virtual reality.

a. Virtual Iraq: Using simulation to treat a new generation of traumatized veterans

i. This report in The New Yorker, written by Sue Halpern, taught me a great deal about some of the current applications being used to treat PTSD, along with a program called Virtual Iraq. Virtual Iraq is a form of exposure therapy that a patient, accompanied by a trained psychiatrist, can partake in to help overcome traumatic incidents. A generation of kids that grew up on video games are now coming back from service with a low quality of life. Why not try using those games to help them?

ii. This topic represents a wealth of information I can apply directly to the video game industry. While games are fun, and we all love them, I think it is vital that we remember other beneficial outcomes of advanced technology and game design. Using the methods and technology available can expand outside of making games just for fun, and rather making games to help people.

iii. While the information gleaned in this report was insightful, there is no obvious application of the techniques learned to my Month 3 project (coordinated a Game Expo). I will keep the information in mind as I remember to keep an open mind and always consider new possibilities.

b. Virtual realities: The use of violent video games in U.S. military recruitment and treatment of mental disability caused

i. I learned quite a bit from this report, in particular, the video game applications employed by the U.S. military, such as America's Army and Virtual Iraq.

ii.There were several controversial video game applications developed by the military that have been called into question, especially games aimed at recruiting teenagers (Derby, 2016). Derby goes on to allude that these very violent games are a contributing factor to PTSD itself, amongst veterans. While a possible contributor to the many-faceted issue of PTSD, the military is a definite solution with tools like Virtual Iraq being implemented. Derby even posits that Virtual Iraq could be used to detect soldiers who might suffer from PTSD before they deploy. I found this information very intriguing and I would apply it to my career by investigating it further. The possibility to help others through the technology and methodology of game design is very exciting!

iii.None of the information in this article contributes to my project this month.

                                                           

Topic #2 References

Derby, J. (2016). Virtual realities: The use of violent video games in U.S. military recruitment          and treatment of mental disability caused by war. DSQ, 36(1).                                                              http://dx.doi.org/10.18061/dsq.v36i1.4704

Halpern, S. (2008). Virtual Iraq: Using simulation to treat a new generation of traumatized              veterans. The New Yorker, (MAY 19, 2008), 1-13. Retrieved from                                                        http://www.newyorker.com/magazine/2008/05/19/virtual-iraq

Final Compare and Contrast

In my final, I tried to keep a lot of the same elements used in the original Picasso, while making some changes to to the composition in order to correct some oversights. First, I expanded the color palette of the original, adding in more vibrant reds and blues, while keeping the earth tones of the original. I also tried to keep the simplistic structure and texturing of the original piece, with some minor expansions. I added a third dimension to my piece to give it more perspective than Picasso did. I did however try to stick to the roots of Picasso's stance with perspective by giving my two buildings a different vanishing point. This allows them to have an extra element of depth, while keeping with the unorthodox, differing perspectives implemented by Picasso. I also tried to give the composition more unity, by balancing the structures along the lines of thirds of my composition. I also think the solid background color I laid down first does a good job of unifying all the elements, as opposed to the original, where the elements run together. Overall, I tried to keep the basic elements Picasso used, while expanding them in a new direction to achieve a smilier, yet in some regards, vastly different composition. 

Work In Progress Update #4

I finally continued my way to the foreground and began to work on adding texture, detail, and shading to the piece. 

Work In Progress Update #3

Next, I began working my way to the forefront of the scene. I used tape to keep my building edges straight and keep everything flowing towards the same vantage point. I did this so each building will have the same perspective within it. I did however, alter the perspective between the two buildings to harken back, slightly, to Picasso's style of multiple perspectives.

Work In Progress Update #2

I then began to work my way from the background to the foreground. I did this because I think it is the most pragmatic way to create a flawless composition that has components on various levels of distance.

Work In Progress Update #1

First, I put down several coats of paint to add as a background of the composition. I did this first so I can have a strong background pushing through the foreground.

Pre-Pro Work

This is pre-production work for this project. I tried using a small piece of canvas and watercolors. As you can see, I simplified the building structures to allow for more unity throughout the composition. I also added some perspective to them, compared to the original piece. Last, I tried to alter the color palette by using reds and blues. I don't think watercolors are the ideal medium, so I will be using acrylics on my final composition.

Objective Critique

Summer Village Landscape is a form of Naive Art (Primitivism) created by Pablo Picasso in the Neoclassicist & Surrealist Period of the 1920's. This composition favors implied shapes and chroma of earth colors. Picasso relies heavily on implied shapes in this piece, such as adding color to the buildings, but not giving them any definite outline. The same happens with the multitude of trees and other objects. This acts to blend the various objects together, giving the piece a good sense of rhythm and movements, as your eyes will flow from one object into another. The piece relies on earth-based colors and indulges in varying values of a few, simple colors. Overall, this composition doesn't focus on details of minutia, but rather allows the viewer to fill in the missing gaps. This allows for a variety of different opinions and emotions to be exhibited when viewed by the audience.

Subjective Critique

My subjective critique of Pablo Picasso's "Summer Village Landscape" is fairly negative for a variety of reasons. This piece, at first glance, has a somewhat limited variance in color. The landscape, vegetation, and buildings in this scene blend together with no clear boundaries due to a lack of varying chroma. I am also not enticed by the lack of perspective that Picasso used in this piece, which results in a very flat composition with no relative use of proportion or scale. I think this is a critical failure of the work, which could be quite impressive if changed. Picasso also used implied shapes in this composition, letting the buildings merge into the landscape behind them. This is my chief complaint with the composition as it prevents any possibility of unity or balance. To give this piece a more naturalistic look, I would start off by adding perspective to the piece, allowing there to be a defined depth between objects. I would also do away with the implied shapes and work with building a unity in the composition. I also feel the limited color palette severely hurts the composition and would look at adding more pigmentation here. I want to keep the same feeling Picasso's piece invokes of a beautiful, European landscape so I will be looking to expand upon the colors used already in the composition. Last, I might alter the size of some of the building structures to better play on the rule of thirds in this composition.

Pablo Picasso's "Summer Village Landscape"

Summer Village Landscape, by Pablo Picasso is the depiction of a small village in the European countryside. Picasso painted this piece in 1928 utilizing oil on canvas. This work of art measures 53.5 x 80 cm and is an example of Primitivism. This piece was completed during the Neoclassicist & Surrealist Periods.