12th
Play With Us
This is the Microtalk I gave at GDC this year. It’s a very shallow explanation of The End and The Way, which are touched on in previous posts but merit more extensive explanation and examples in future posts.
I decided to give the sort of talk that I like to receive: lots of pictures; too much information; intriguing but confusing.
It feels like it took a lot more effort to make a Microtalk than a full-blown one :)
First: the précis…
Play is permeating the world like never before. It’s increasingly convenient to play anytime, anywhere and with anyone. Our increasingly playful nature is feeding into everything we do. The world is becoming infused and enriched by play.
The distance between creators and players is narrowing. The two are becoming more intimately entwined, on the verge of feeding each other simultaneously in real time, becoming live performers indistinguishable from each other.
But no matter how we engage players – single players, a few players or a few thousand players; individuals or in groups; in the same space or in separate spaces, actual or virtual; on computers, dedicated consoles or handheld devices; online, server-based, turn-based or simultaneous play; directly or indirectly – we need to think like a player AND a maker: to never lose sight of what we want as a player while doing what we need to do to as a maker to meet those expectations.
Let me tell you about The End I seek and The Way I strive to get there.
And now the Microtalk itself…
All the world’s a stage – and a playground.
And we are all players: gamers as performers.
More kidults have more time and money to play; more ways to appreciate play and express through play.
It’s an exceptional time for play.
We are the most playful society ever.
Because of us.
So many ways to play – and to play with players.
So many ways to make play – and to make play available.
But no matter who plays with whom and how, we always need to think like makers and players.
To do unto others as we would have them do to unto us.
I use two sets of broad strokes every day.
They aren’t a panacea.
But they are handy measurements and they challenge me.
Sometimes they overlap.
Often they conflict and need balancing.
They are obvious. So obvious they are easily overlooked.
They are loose. But there are many ways to skin cats.
The End is thinking like a player.
My five key targets are:
- Feel
- Drama
- Alive
- Convenient
- and Twist
The Way is thinking like a maker.
My five main guiding lights are:
- Immediate
- Preparation
- Toys
- Magic
- and Moments
To follow The Way we start at The End…
The End manifests in different ways in different forms.
For basic examples here I’m using Orbital – an awesome reimagining of the interesting Gimme Friction Baby.
On the surface it’s a one-button Bust-A-Move.
In substance Orbital’s so much more because it upholds The End.
Make me feel something.
I want sensory stimulus.
This is such a tactile medium – I want everything I play with to feel tangible, reactive, plausible.
I want emotional stimulus.
I want to feel moved, involved, empowered – like I’m making the difference – like it’s always my fault.
Orbital’s cannon rocks at a better, faster rate.
Shots feel more forceful.
Orb travel and bounce feel more substantial.
You feel just out of control, taming a wild stallion.
You feel just enough in control that success and failure always feel like your doing.
The balance feels right.
Make a show – a performance. Arrangements of moments players want to share.
I want dramatic intent, actions and reactions; anticipation; friction; close shaves; exaggeration; spectacle…
I want punctuation through considered rhythm, pace and timing.
I want to make stories not follow them.
Orbital games vary because you make the playscape.
It’s a heady mix of accuracy and uncertainty. You seldom feel totally safe.
There’s tension with every shot that could be your last – then emotional release when orb and dust settle.
It’s a moment-rich rollercoaster heightened by pyrotechnic displays.
Make it personal.
Don’t leave me alone.
I want a living, breathing joy with a character of its own.
A game that’s attentive and informative; caring enough to anticipate my needs and respond fittingly to my performance, achievements and status.
A game with heart and soul.
Orbital recognises key moments of your making – like serial success and near-death experiences.
It records your best scores within the past 24 hours and forever, comparing your performance against your Orbital-playing friends and the rest of the Orbital-playing world.
It shares your achievements in public through Facebook.
Make it all accessible.
I want to ‘get it’ or be inspired to NOW.
I want to play NOW.
I want rapid results.
I want enough direction that I don’t have to make my own games.
I want chores removed, automated or dramatised.
But never too convenient – that’s too easy and boring.
Real-world themes and rules are most convenient.
Orbital is abstract but at least vibrant and simple.
Toys, rules and controls are minimal.
Starting play and replay are instant.
Shot trails and a grid make it easier to measure virtual space.
There’s no time pressure. You can stop, leave and return any time.
Make a difference.
I want surprise and delight.
A meaningful twist in the concept; the components; the treatment; the look, sound, feel…
That doesn’t mean making everything wholly original. There’s no shame in building on what’s established.
It just means making sure the results are distinctive.
Orbital adds a big twist to a novel turn-based action game: a new rule to enrich feel and drama.
In Gravity Mode, orbs exert a pull on shots.
The result is more risk-taking, near-misses and second chances. More dramatic moments. A more exhilarating ride.
That was The End.
Now let’s take The Way…
Don’t think, talk or write about it.
Do it.
Play-act. Sketch. Prototype.
Make a board game. Make something to use and edit.
Development is quicksand.
Don’t aim for perfect first time.
Use frequent, measured iteration.
Kill complexity and bottlenecks.
Beware detail!
Balance all this with Preparation.
Chance favours the prepared mind.
Expect trouble.
Rehearse. Explore.
Get perspective.
Make informed choices.
DO to build repertoire, like musicians and actors.
Repertoire is applied muscle – the practised and reusable.
Maximise editing power and the time to use it.
It’s all in the edit.
Toys are the tools of play – objects honed for fun.
Not play is sleep or work.
By thinking in terms of toys, by seeing all around as toys, you think playful – you think fun.
Forget polygons and pixels.
Focus on toys and toy components to make play.
This reminds me to make illusions not simulations.
To never limit myself to recreating reality.
To fake it to make the virtual seem real.
To keep it consistent to make it plausible.
To keep the workings invisible.
To never forget the whole experience – the overall effect.
And finally…
Define memorable moments.
Use them as design targets and building blocks.
Consider how to best to achieve, chain, pace and acknowledge moments such as:
- Repetition.
- Concurrence.
- Coincidence.
- Extremes.
- Perfection.
- Firsts.
- Winning.
- Just losing.
- The start…
- And the end.
