Category: Game Design

  • Magic Lessons for Fighting Game Developers

    Magic: the Gathering’s most prized treasure, Mark Rosewater, presented a panel at CDC called “20 Lessons from 20 Years of Magic.” His speech focused on various aspects of game design lessons that he had learned over his tenure at Wizards of the Coast, but many can apply to fighting games as well. Please excuse me as I loosely paraphrase Mr. Rosewater and cherrypick his lessons that I find specifically valuable. There’s a chance I may have also heard of these on his podcast, Drive to Work.

    Player Psychographics

    Take the player psychographics that Rosewater so often references when discussing the audience for Magic: the Gathering for example. The spectrum of Timmy, Johnny, Spike, and Vorthos is a lens through which you can view anyone, not just card game players. To paraphrase Mr. Rosewater, a Timmy plays to experience something spectacular, a Johnny plays to prove something about themselves, a Spike plays to win, and a Vorthos plays to experience the story. 

    The fighting game community includes more specific player archetypes, but I would argue that we all have a little bit of Timmy, Johnny, Vorthos, and Spike in each of us. Keeping these hypothetical players in mind when designing your fighter will ensure that you’ve done your due diligence to include a wide variety of player perspectives into your work (or not, if that’s more your style!)

    Don’t Fight Human Nature

    At the end of the day, game design is all about conveying and in many ways teaching players complex concepts without ever being able to sit down with them individually. Part of that journey is doing one’s best to pack as much information up-front as possible by utilizing ideas and concepts that the player is already familiar with to ease them into learning about whatever it is that makes your game unique.

    The first step on that path is to acknowledge that you cannot and should not try to fight human nature unless that is the expressed purpose of what you are trying to pull off. Otherwise, it’s best to stick to the familiar when necessary and use that to expect certain responses in return.

    Players have a finite amount of time and a near-infinite inventory of great fighting games to enjoy. Don’t expect a player to want to learn how to ride a pogo stick when they already know how to ride a bicycle, for lack of a suitable metaphor. Only spend those precious mental resources on teaching your players about what makes your game cool!

    Look at this selection of vampire colors!

    Discovery & Self Expression Are Vital

    Although it differs among players, a key component to analyzing the player psychographics mentioned above is that each player is, in some part, in it for themselves. That isn’t to say that they don’t care about the other players, but they do ultimately want to express or discover something about themselves. 

    Providing that player agency can be as simple as a variety of color palette choices at character select or as complex as an in-depth combo system that requires years to truly master. Whatever avenue for self expression your game eventually utilizes, being cognizant of what you are providing your audience to discover will make for a more compelling player experience.

    If Your Theme Isn’t At Common, It’s Not Your Theme

    I’ve left this for last simply because it deserves more explanation than the others. Magic: the Gathering separates its cards into a variety of rarities: common, uncommon, rare, and mythic rare. These have differing rates of occurrence in a booster pack, meaning that most players who purchase products from Wizards of the Coast will run into commons way more often than rare or mythic rares.

    These categories offer designers a chance to throttle the player experience and leave more complex concepts or mechanics for rare or mythic rare cards. If a new player runs into a complex mythic rare, that’s okay because it is only one of potentially hundreds of other cards they own, most of which are simple enough to grok without years of experience playing the game at a high level.

    Fighting games are similar, except instead of gating mechanics behind card rarities, fighters have normals, command normals, target combos, specials, ex specials, super arts, super desperation moves, and too many more to list here. Most of a character’s moves are going to be normals—their punches, kicks, and basic martial art attacks. Street Fighter’s Ryu, for example, has plenty of normal moves (Street Fighter is traditionally a six-button fighter), but only three or four special moves, and one to three super arts in his arsenal. Throwing a fireball requires a unique joystick notation as well, leaving some new players left mashing buttons rather than trying to do a 623 motion.

    “Grok?”

    Mr. Rosewater emphasizes in his lessons on card game design that whatever one’s theme is, it should be readily apparent to a new player after confronting their first booster pack of cards. Given that only 3/15 of the cards in any normal pack will be uncommon and 1/15 of them will be rare or mythic rare (although they’ve changed the specific numbers and types of booster packs since I quit playing), that means that 11 of the 15 cards that a new player purchases will be common and, therefore, limited to being relatively simple compared to others.

    In the same way that a Magic set’s theme should be apparent at common, so too should a fighting game’s theme be apparent to players who simply mash buttons and don’t wait long enough to learn how to do a hadouken. If you don’t want players to have to worry about links or precise timing between normals, make your basic attacks chain into one another. If you want to focus on aerial combat, give some fighters grounded normals that leave them airborne. Conversely, if you want a fighter to focus on grounded combat, provide them opportunities to keep their opponent where they are most effective and limit their options to jump. 

    This applies to both universal mechanics and character-specific themes; if your most inexperienced players can’t “get it” after hitting a few buttons, it needs to be better baked into the foundation of the player experience.

    Thanks for reading!

  • Ode to the Barrens – Classic WoW Zone Design

    Ode to the Barrens – Classic WoW Zone Design

    When it comes to Vanilla World of Warcraft leveling zones, two stand out the most: Westfall and the Barrens. Each represent the 10-20 leveling experience for both Alliance and Horde respectively. While Westfall was one of the first leveling zones developed for WoW, it’s easy to see how much love and care went into the development of the area. There are long quest chains that tell the story of a gang of bandits and a global conspiracy, as well as smaller, more charming quests that litter the zone. The Barrens, on the other hand, stays relatively true to its name; it’s pretty barren when you get down to it.

    That being said, there is still a large population of the World of Warcraft community (especially those who frequent private servers to get their vanilla fix) that holds the Barrens close to their heart. Nostalgia is a helluva drug, but there might also be something beneath the rose colored glasses worth exploring to discover what made Barrens such a beloved leveling zone, despite it’s obvious short comings.

    5. Crossing the Plains

    One of the biggest complaints about The Barrens (both from the developers and from many players) was that there was far too much walking for a 10-20 zone. Without a mount, having to cross the entire zone on foot could be tedious, running from quest givers in the Crossroads, Ratchet, and Camp Taurajo to their requested destinations across the wild plains. Not only are these areas nearly flat and devoid of vegetation (except for a few oasis scattered around), but what they are heavily populated with is mobs that want to kill you dead.

    In this way, the Barrens is a great example of what made vanilla World of Warcraft so immersive. The wide, open plains reward exploration, provide a unique sense of scale to the world, and offer a wholly unique aesthetic to what we were used to seeing in traditional high fantasy fiction. Despite what modern game design might describe as “barriers to entry” that need to be improved by “quality of life” changes, vanilla World of Warcraft thrives when the player feels like part of a larger world. Sometimes these aspects of Azeroth can be annoying (.e.g Getting stuck on a continent with no idea where to go, etc), but they can often make the results of your labor feel all the more rewarding.

    4. Flight Paths

    On a similar note, thanks to the lack of mounts for players before level 40, the Barrens is a great opportunity to show off Kalimdor in all its glory from above. Flight paths (WoW’s version of taxi cabs or Uber) offer players a great view of the plains, the tops of mountains, and the luscious oasis that pop up throughout the Barrens. Once again, forced downtime (a mechanic that is often considered a sin among modern MMO designers) offers players time to reflect on their quests, plan for their future adventures, and take in all that the world has to offer. Flight paths offer this in spades, giving players a new perspective on the world around them and, perhaps, providing enough of an incentive to explore newfound opportunities while traveling by air.

    3. Wailing Caverns

    World of Warcraft’s instanced Dungeons are almost as much as a part of Azeroth as the open world is. This is especially true of early leveling dungeons, like Deadmines and Wailing Caverns, as they introduced newbies to group content and provided plenty of opportunities for player killers to wreck havoc on the PvE-focused populace. Wailing Caverns is a spectacular dungeon that represents a lot of firsts for fledgling Horde players; not only is it the first dungeon most Orcs, Trolls, Tauren, and Undead come across where they’re in danger of being ganked by Alliance players but it also blurs the line between instanced and open-world dungeon content. Although the maze of caverns can often feel tedious after a few runs through, WC will forever be pillar for why the Barrens is such a memorable leveling zone.

    2. The Crossroads is Under Attack!

    Along a similar train of thought to the Wailing Caverns, the corresponding central quest hub, called the Crossroads, was a bastion for early-WoW world PvP. Low and high level characters alike would duke it out over control of the Horde leveling town. Having quick access by way of the neutral town of Ratchet, Alliance players were given a perfect opportunity to gank unsuspecting Horde lowbies. As is a common pattern for content that stands out in vanilla WoW as particularly memorable, the Crossroads was a hot bed for player interaction, both in group questing and group debauchery and it will forever be synonymous with the pleasures of leveling a Horde toon.

    1. Flavor of the Horde

    One of the most charming factors that brought me to World of Warcraft initially was how different the Horde felt as opposed to other, more traditional high fantasy stories. Most games didn’t revolve around the ugly monsters or the more mundane aspects of life as an orc. The Barrens provides a perfect example of the diverse background of the Horde, giving players a more calm, nature-focused lens through which to view the warriors clans from Orgrimmar. From the scattered outposts to the shimmering oasis, the Barrens will forever be a quintessential part of the leveling experience for Horde players, and as such, outlives whatever perceived flaws designers may have attributed to it over the years. Creating a flat, barren space doesn’t sound like a recipe for game environment success, but the Barrens achieved the nearly impossible.

  • The Delicate Balance of Complexity Allowance

    The Delicate Balance of Complexity Allowance

    Game design is often a juggling act involving complexity and the audience’s attention. Every game needs some level of complexity to evoke specific emotions in their players, but humans only have a finite amount of attention that they can (or want to) give to your game at any given moment. Each specific element of a game should be evaluated against the added complexity that it will bring to the overall project.

    This can create issues, however, especially when designers get attached to mechanics or assets that they might be better off cutting. The old adage “kill your darlings” applies to games just as much to creative writing, but it can be hard to quantify exactly how complex any given mechanic or how it’s purpose in the design affects how the idea should be evaluated.

    Another hurdle every designer must eventually cross is deciding whether a specific action is healthier as a player decision. Often, it’s easy to get caught up in a cool sequence of actions and lose sight of the overall vision. Those moments have their place, but it’s also important to weigh the value of that decision point against the player’s overall attention. Is the player overwhelmed with choices? How does this affect the player’s experience? What is the reasoning behind this specific sequence? If the player already had enough to keep track of, adding another decision for them could ruin the experience, no matter how interesting or cool the resulting action could have been.

    The goal isn’t always necessarily to simply things either. Decisions represent significant points in gameplay, moments that test the players skills and understanding. Throw too many of these at a player and they can start to feel discouraged, if not completely turned off, by the added opportunity. Humans don’t like messing up, especially when other people are watching, and no matter how you frame the question, there will always be a “right” and “wrong” answer, or at least the player will see it that way. The more questions, the more potential chances for them to embarrass themselves.

    Sometimes it’s better to force the player to perform the desired outcome, rather than give them the chance to fail. Other times, creating mechanics that specifically check the players ability to overcome a challenge is the way to go. It’s a blurry line at best.

    Recently, I went through the entire design document for my latest project with the intention of reducing the overall complexity of the average game state. What I found was that it was relatively easy to cut back on some mechanics, making certain actions simpler or more directed towards their desired outcome. In most cases, I removed superfluous effects that would only really matter once in a blue moon.

    The resulting game should be cleaner, more elegant, and easier to play now that the average game state is less complex and, therefore, easier to grok. Sure, some moves lost a little luster, but it’s a cheap price to pay for the game being more easily approachable. Keep in mind, the first game decides whether a player will keep playing. Making the learning experience as smooth as possible is paramount for creating an experience that players will want to come back to.