Ohaiyo!
Welcome back, everyone, to Game Design Breakdown! Where I, Chad Wolfe, break down the mechanics and design theories of games to discern what makes them tick. A study of the psychological impact of gaming on the human mind, in the most nitty gritty of ways, and how we, as game developers, can benefit from analyzing it.
The Temporal Curve
If you don't know what a temporal curve is, it's basically a way to demonstrate the patterns of the brain within a given amount of time. We use them to graph out and understand how a person feels about a given situation in any form of media. Game designers have already been using one famous temporal curve form for some time, which is discussed in this Extra Credits video:
Curves VS Harmon
Harmon uses, relatively, the same exact method of storytelling that Extra Credits references in their video about the temporal curve of game design, but in more detail, and with an easier to follow step-by-step graph that can be used to plot the momentum of the media you're creating. Using both, in conjunction, is much better overall though. It gives you a much better idea of not only what SHOULD be going on in your game, but how the pacing of your game differs, and where to adjust it.
Now, obviously there isn't any sure way to design, but almost all successful games follow both Harmon's way, and EC's way, in conjunction. It stimulates the player in such a way that they will remain constantly interested, and invested, in the experience. You can read, in detail, about Dan Harmon's Super Basic Shit to get a better idea of what this is, and how to use it effectively in your games.
Please don't replicate the events of other games simply to achieve a similar level of satisfaction from the players. Play, experience, and understand how these methods are used in the many games you might enjoy. Basically, Game design is the same as writing. The more you experience, the more you know. You can't create well without first understanding why games have been successful beforehand. Well, I guess you could. On accident.
Please don't replicate the events of other games simply to achieve a similar level of satisfaction from the players. Play, experience, and understand how these methods are used in the many games you might enjoy. Basically, Game design is the same as writing. The more you experience, the more you know. You can't create well without first understanding why games have been successful beforehand. Well, I guess you could. On accident.
The Vague Flow
The most basic form of the flow is a going from life to the danger of death, and back to life. In the basic sense of video games, life refers to a place where you know you won't die, to an area where you'll likely die. The difference between a puzzle in Legend of Zelda and then the boss battle. Typically you'll want to give some time to allow the player a sense of calm and then prepare the anticipation for a large and climactic event.
A good example, for instance, would be a well made spawning system in a shooting game. You spawn, you're safe for now, but you have a goal you must search for, and so endeavor into the danger of enemy lines, relying on only your own skill for survival.
A good example, for instance, would be a well made spawning system in a shooting game. You spawn, you're safe for now, but you have a goal you must search for, and so endeavor into the danger of enemy lines, relying on only your own skill for survival.
Timing Events
In order to best understand how we can apply all this to our game, it's best to understand exactly where these moments of intensity should peak and decline, by joining both example together is a very basic form. Above you can see that there are humps around a graph that resembles the one above.
The player should typically start at the very top of the graph in a video game. Usually, most players will only allot a small amount of time to experience a first impression of your game. Which usually means that you'll want to set up a first impression that will greet the player every time they enter the game, not just the first time. This will not only serve to capture the audience from the beginning, it will also give the game a rhythm for the player to follow, keeping them engaged with the game for the longest possible amount of time.
Just past the tip top of our graph, we use the word "Engage" to exemplify the section that Harmon labels "Need". In this example, this is where the need, or goal, is introduced. In a shooting game, this might be when the player is told to "Capture the flag!", which in Halo's case, the game orders you to do right off the bat.
Usually in a shooting game, the go section will have you running, either for a varied amount of time, to the other side of the map, Harmon's "Go".
The player will take down the enemies in the way, "Search".
The player will either take the flag, or defend someone else in order to capture, "Find", "Take".
The player will return to their base, "Return".
The player will have scored a point, "Change".
We start over again, "You".
As you can see, most solid game-play actually follows the same patterns of engagement as a story, and any other form of media.
So, the second hump, which in our example would be the time between fighting off the enemy team and capturing the flag, is the Drama. It is an intense moment of action, the moment the player is usually playing the game for.
The player should typically start at the very top of the graph in a video game. Usually, most players will only allot a small amount of time to experience a first impression of your game. Which usually means that you'll want to set up a first impression that will greet the player every time they enter the game, not just the first time. This will not only serve to capture the audience from the beginning, it will also give the game a rhythm for the player to follow, keeping them engaged with the game for the longest possible amount of time.
Just past the tip top of our graph, we use the word "Engage" to exemplify the section that Harmon labels "Need". In this example, this is where the need, or goal, is introduced. In a shooting game, this might be when the player is told to "Capture the flag!", which in Halo's case, the game orders you to do right off the bat.
Usually in a shooting game, the go section will have you running, either for a varied amount of time, to the other side of the map, Harmon's "Go".
The player will take down the enemies in the way, "Search".
The player will either take the flag, or defend someone else in order to capture, "Find", "Take".
The player will return to their base, "Return".
The player will have scored a point, "Change".
We start over again, "You".
As you can see, most solid game-play actually follows the same patterns of engagement as a story, and any other form of media.
So, the second hump, which in our example would be the time between fighting off the enemy team and capturing the flag, is the Drama. It is an intense moment of action, the moment the player is usually playing the game for.
Learn By Example
As Extra Credits has stated in their video, their graphical example is used frequently in most of the most popular games. This understanding gives us a lot of material to work with. We can analyze the mechanics of games, and how their use affects the pacing or how the pacing affects their use. This tool allows us to get a closer look at when and how the player engages with our games the most.
Though, as has been said frequently before, this graphical example can be used a variety of ways. It can be used to understand the mental impact of animations, story moments, etc. And really, should be used for such. Even if we choose to (which we should when it feels most appropriate) stray from this method, there is much more to learn from it's use.
So, you may be asking... "How am I supposed to even use this?"
My answer for you is simple; make a copy of this diagram:
Though, as has been said frequently before, this graphical example can be used a variety of ways. It can be used to understand the mental impact of animations, story moments, etc. And really, should be used for such. Even if we choose to (which we should when it feels most appropriate) stray from this method, there is much more to learn from it's use.
So, you may be asking... "How am I supposed to even use this?"
My answer for you is simple; make a copy of this diagram:
When you play a game with a friend, give them a copy and keep one for yourself. Ask them to fill the diagram out based on the game mechanic in question, and fill one out for yourself. After you're done, discuss why you felt the way you did, and how the game could be complimented by improving the pacing to follow the diagram, or why it could be complimented by NOT following the diagram.
This kind of collaborative design analizing is important, and requires you to be able to discuss your opinions analytically, with full understanding that every perception is personal, and does not need to be shared by others. Actually, the opposite is what you're going to want. To better understand how to improve a game's design, you will need someone that disagrees with you on some things. This will allow you to come up with a design you both will like, greatly improving the number of people that enjoy your games.
This kind of collaborative design analizing is important, and requires you to be able to discuss your opinions analytically, with full understanding that every perception is personal, and does not need to be shared by others. Actually, the opposite is what you're going to want. To better understand how to improve a game's design, you will need someone that disagrees with you on some things. This will allow you to come up with a design you both will like, greatly improving the number of people that enjoy your games.
A Gamer at Heart
Playing games is the most important part of being a successful designer. Understanding the viewpoints of other gamers is the second most important part. Always ask someone, if they have a complaint, what they want to improve. Don't ask them, "Why don't you like it?", because that comes off, to many people, as dismissing their opinion and devaluing their reason for forming it. Ask them, "What do you think should be improved?", and follow up with letting them you understand.
This is THE BEST WAY to learn.
This is THE BEST WAY to learn.