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Game.Design.Workshop.A.Playcentric.Approach.to.Creating.Innovative.Games..pdf
Front Cover
Contents
Foreword
Preface
Acknowledgments
Image Credits and Copyright Notices
Introduction
Chapter 1: The Role of the Game Designer
Chapter 2: The Structure of Games
Chapter 3: Working with Formal Elements
Chapter 4: Working with Dramatic Elements
Chapter 5: Working with System Dynamics
Chapter 6: Conceptualization
Chapter 7: Prototyping
Chapter 8: Digital Prototyping
Chapter 9: Playtesting
Chapter 10: Functionality, Completeness, and Balance
Chapter 11: Fun and Accessibility
Chapter 12: Team Structures
Chapter 13: Stages and Methods of Development
Chapter 14: Communicating Your Designs
Chapter 15: Understanding the New Game Industry
Chapter 16: Selling Yourself and Your Ideas to the Game Industry
Conclusion
Back Cover
GAME DESIGN
WORKSHOP
A Playcentric Approach to Creating Innovative Games
by Tracy Fullerton
with a foreword by Eric Zimmerman
3RD
EDITION
“Game Design Workshop is a truly great book, and has become, in my opinion, the
de facto standard text for beginner to intermediate level game design education.
This updated new edition is extremely relevant, useful and inspiring to all kinds of
game designers.”
—Richard Lemarchand, Interactive Media and Games Division,
School of Cinematic Arts, University of Southern California
“This is the perfect time for a new edition. ... The updates refresh elements of the
book that are important as examples, but don’t radically alter the thing about the
book that is great: a playcentric approach to game design.”
—Colleen Macklin, Associate Professor, Parsons The New School for Design
“Tracy Fullerton’s Game Design Workshop covers pretty much everything a working
or wannabe game designer needs to know. She covers game theory, concepting,
prototyping, testing and tuning, with stops along the way to discuss what it means
to be a professional game designer and how to land a job. When I started thinking
about my game studies course at the University of Texas at Austin, this was one
book I knew I had to use.”
—Warren Spector, Director, Denius-Sams Gaming Academy, University of Texas
at Austin
“This is a break-through book, brimming with battle-tested ‘how-to’s.’ Aspiring game
designers: you will ‘break through’ to the next level when you learn to set, and then
test, experience goals for your game players.”
—Bing Gordon, former Chief Creative Officer, Electronic Arts
“Game Design Workshop is without a question the most important (and best book)
on the topic of game design. Its unique approach is both deep and practical and
draws students into the very heart of what game design is all about. The emphasis
on paper-and-pencil prototyping encourages students to think, quite literally, “out-
side the box,” and stretch themselves to innovate beyond simply rehashing com-
mercially successful game genres. If the author’s students are any indication, this
method has a proven track record of producing both original and successful games.
Game Design Workshop is ideal for those starting new educational programs as the
book is structured around a design curriculum that can be easily implemented by
instructors with no prior game design experience.”
—Celia Pearce, Director, Experimental Game Lab,
Georgia Institute of Technology
“This book offers a thoughtful and comprehensive look at the field of game design.
I’m particularly impressed with the way Tracy has managed to integrate the view-
points and comments of so many diverse and notable designers with her own per-
ceptive view of the state of the art.”
—Noah Falstein, Chief Game Designer, Google
“This book does a great job illustrating how games are designed and developed by
engaging readers to play along.”
—Drew Davidson, Director, Entertainment Technology Center,
Carnegie Mellon University
“If you are considering becoming a professional game designer, you will find this
book a reliable, intelligent, and compassionate guide. If you are already a profes-
sional game designer, you’ll find this book an inspiration.”
—Bernie DeKoven, deepfun.com and author of The Well-Played Game
“If you have ever wanted to design a video game, Game Design Workshop is the
book you want.”
—Jesper Juul, video game theorist and designer, author of Half-Real
“Tracy Fullerton has combined her innate understanding and joy of games with her
patient and objective experience as a scholar in this excellent book. She’ll make you
a better game developer with her clever exercises and concise prose. This is a must-
have in the library of anyone serious about their games.”
—John Hight, Production Director, Blizzard Entertainment
“Game design is something of a black art. The trick to doing it well is retaining the
black magic but training oneself to control it. There are a lot of books on game
design out there, but Game Design Workshop is among the very few that develops
a wizard rather than a drone.”
—Ian Bogost, Professor of Digital Media, the Georgia Institute of Technology,
and Co-Founder, Persuasive Games
3RD EDITION
GAME DESIGN
WORKSHOP
A Playcentric Approach to Creating Innovative Games
by Tracy Fullerton
with a foreword by Eric Zimmerman
CRC Press is an imprint of the
Taylor & Francis Group, an informa business
CRC Press
Taylor & Francis Group
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Boca Raton, FL 33487-2742
© 2014 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
Version Date: 20131031
International Standard Book Number-13: 978-1-4822-1717-9 (eBook - PDF)
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Contents
Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii
Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xv
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvii
Image Credits and Copyright Notices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxi
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxv
Part 1 Game Design Basics . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Chapter 1 The Role of the Game Designer . . . . . . . . . . . . . . . . . . . . . . . . . . 3
An Advocate for the Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Passions and Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
A Playcentric Design Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Designers You Should Know . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
The Iterative Design Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Designing for Innovation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Designer Perspective: Christina Norman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Designer Perspective: Warren Spector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
End Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Chapter 2 The Structure of Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Go Fish versus Quake . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Engaging the Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
What Is a Puzzle? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
v
vi Contents
The Sum of the Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Defining Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Beyond Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
Designer Perspective: Jane McGonigal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Designer Perspective: Randy Smith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54
End Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54
Chapter 3 Working with Formal Elements . . . . . . . . . . . . . . . . . . . . . . . . . 55
Players . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Persuasive Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Objectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66
Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Conflict . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83
Boundaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
The Mechanic Is the Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Outcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Designer Perspective: Tim LeTourneau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91
Designer Perspective: Matt Korba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95
End Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95
Chapter 4 Working with Dramatic Elements . . . . . . . . . . . . . . . . . . . . . . . 97
Challenge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Premise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105
Character . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112
The Two Great Myths of Interactive Storytelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
World Building . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
The Dramatic Arc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Designer Perspective: Dr. Ray Muzyka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Designer Perspective: Don Daglow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
End Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
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