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Brian Upton - Situational Game Design.pdf

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    Cover
    Title Page
    Copyright Page
    Contents
    Acknowledgments
    Author
    1: Introduction
    The Problem with Winning
    What is Situational Game Design?
    Making Meaning with Games
    Summary
    2: Situations, Constraints, and Moves
    Constraints
    Moves
    The Game as Understood
    Pre-Existing Constraints
    Interpretive Moves
    Summary
    3: Playfulness
    Choice
    Variety
    Consequence
    Predictability
    Uncertainty
    Satisfaction
    Summary
    4: Anticipation
    Characteristics of Anticipatory Play
    Cuing Closure
    The Result of Anticipatory Play
    Cruxes
    Summary
    5: Goals
    Coherence Play
    Expansion Play
    Closure Play
    Summary
    6: Methods
    Designing Moves
    Designing Situations and Constraints
    Designing Games
    Summary
    7: Narrative
    Narrative Constraints and Situations
    Narrative Play
    Games as Stories
    Summary
    8: Meaning
    The Ludic Sign
    The Epistemological Cycle
    Ludic Semiosis
    How Games Make Meaning
    Summary
    Index
    Situational Game Design Brian Upton
    CRC Press Taylor & Francis Group 6000 Broken Sound Parkway NW, Suite 300 Boca Raton, FL 33487-2742 ©2018 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 Printed on acid-free paper International Standard Book Number-13: 978-1-138-03181-4 (paperback) International Standard Book Number-13: 978-1-138-30518-2 (hardback) 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 validity 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, trans- mitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, 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. Library of Congress Cataloging-in-Publication Data Names: Upton, Brian, 1964- author. Title: Situational game design / Brian Upton. Description: Boca Raton, FL : Taylor & Francis, CRC Press, 2018. Identifiers: LCCN 2017021955| ISBN 9781138031814 (pbk. : alk. paper) | ISBN 9781138305182 (hardback : alk. paper) Subjects: LCSH: Video games--Authorship. | Computer games--Design. | Games--Psychological aspects. | Game theory. | Situation (Philosophy) Classification: LCC GV1469.34.A97 U68 2018 | DDC 794.8/1536--dc23 LC record available at https://lccn.loc.gov/2017021955 Visit the Taylor & Francis Web site at http://www.taylorandfrancis.com and the CRC Press Web site at http://www.crcpress.com
    Contents Acknowledgments, v Author, vii Chapter 1 ◾ Introduction THE PROBLEM WITH WINNING WHAT IS SITUATIONAL GAME DESIGN? MAKING MEANING WITH GAMES SUMMARY Chapter 2 ◾ Situations, Constraints, and Moves CONSTRAINTS MOVES THE GAME AS UNDERSTOOD PRE-EXISTING CONSTRAINTS INTERPRETIVE MOVES SUMMARY Chapter 3 ◾ Playfulness CHOICE VARIETY CONSEQUENCE PREDICTABILITY UNCERTAINTY SATISFACTION SUMMARY 1 3 5 7 9 11 12 15 16 19 21 23 25 26 29 33 36 38 41 43 iii
    iv ◾ Contents Chapter 4 ◾ Anticipation CHARACTERISTICS OF ANTICIPATORY PLAY CUING CLOSURE THE RESULT OF ANTICIPATORY PLAY CRUXES SUMMARY Chapter 5 ◾ Goals COHERENCE PLAY EXPANSION PLAY CLOSURE PLAY SUMMARY Chapter 6 ◾ Methods DESIGNING MOVES DESIGNING SITUATIONS AND CONSTRAINTS DESIGNING GAMES SUMMARY Chapter 7 ◾ Narrative NARRATIVE CONSTRAINTS AND SITUATIONS NARRATIVE PLAY GAMES AS STORIES SUMMARY Chapter 8 ◾ Meaning THE LUDIC SIGN THE EPISTEMOLOGICAL CYCLE LUDIC SEMIOSIS HOW GAMES MAKE MEANING SUMMARY INDEX, 117 45 46 49 51 53 56 59 61 64 67 69 71 74 76 78 83 85 86 90 96 98 101 102 104 108 112 116
    Acknowledgments I’d like to thank Brenda Romero for providing the impetus for this project. I’d also like to thank the helpful staff of the Starbucks at Olympic and Westwood in Los Angeles, where most of this book was written. But most of all, I’d like to thank my wife and interlocutor, Elizabeth Randell Upton. The ideas contained within this book are the result of hun- dreds of hours of conversation between us. Without her collaboration, this book would not exist. v
    Author Brian Upton is a freelance game design consultant. A 20-year veteran of the game industry, he was one of the founders of Red Storm Entertainment, where he designed the original Rainbow Six and Ghost Recon. From 2002 to 2016, he was a senior game designer at Sony’s Santa Monica Studio, where he collaborated with external teams bringing innovative indie titles to the PlayStation. He has served on the advisory boards of game design programs at University of California, Santa Cruz, New York University, and University of Limerick. He is a regular speaker at conferences such as Game Developers Conference, Games for Change, and Digital Dragons. His previous book, The Aesthetic of Play (MIT Press 2015), explored the relationship between games, stories, and meaning. vii
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