As designers (or any creative type, really), I think we've all found ourselves too caught up in our work. We get going on something and we just don't want to let go. We like the idea so we keep working on it. Sometimes this ends up working out, sometimes it's better to broaden the perspective and branch out.
This is the difference between reiterative design and divergence.
Say you're working on your latest game - its comes together, it works, but you keep wanting to make it better. Refining it. You add, subtract, change, modify different elements but the game, as a whole, is relatively the same. This is reiterative design.
Now take the theme and the overall design goals from above, but now you make a completely different game type. Maybe your first game was a tile-placement area control game and your new divergent game is a deckbuilding card game.
You've come up with two games with the same theme and goals, but is presented in two completely different ways.
When I think back to one of the first designs Matt and I worked on together... Man, that thing had so many divergences but was ultimately put on the back burner. For the sake of a laugh, here is one of the images that was shared between us to explain some of the game components.
The working title was Cave Monster, and it was an adventure/exploration game (ala Munchkin Quest, yikes) based around the cave systems underneath Kentucky. You can probably imagine where the original idea was heading - you're stuck in a cave, find items to help you survive, get out before the monster eats your face! Yeah, riveting, I know. Who wouldn't want to play that?
Well, we didn't. That's why we scrapped it.
The game started in that format and over the course of a month or so, it turned into many different games. We liked the idea of working with the cave systems, but we didn't like the type of game we were making - so we diverged.
It went from an exploration game, to a hybrid-set collection type game, where you are presented with a Monster and you need to figure out how to defeat him. There was some dice involved, rolling, still needed to navigate through caves (we were never really clear on how that worked), but it was sort of a Elder Sign Lite mashed up with Munchkin Quest now .... yikes. We spent some time working on this cause we liked it a bit better, and we wanted to see if we could reiterate enough to turn it into its own game - we couldn't. Again, we diverged.
The last divergent prototype we worked on before giving up was very different, though, still monsters and caves. But now it was a card game and puzzles were involved. Here is the super vague overview and visual we were working with:
With a starting hand of items, players work their way through the cave rooms in hopes to find better item cards and collect puzzle pieces. Two puzzles are present on the board and completing either one of them will allow players to take a chance at fighting the boss monster. Players do not show which puzzle cards they have in their hand and they may make trades with players to try and collect the right puzzle pieces.
This divergent prototype was probably the most original of the three, but we just never finished up with it. The idea for Double Up hit us and we began working on that. Sometimes you just roll with what's working for you at the time and Cave Monster was not working for us. Maybe we'll get back to it, maybe we won't, but it's a good example of divergence in game design.
This is an example of divergent design that ends up on the back burner, I'm sure you have your own examples of this. Next time, I'll be showing an example of a game that went through many divergences and is currently being developed further.
Thursday, March 6, 2014
Monday, March 3, 2014
Recommended Reading
As part of my Master's Program, I am currently taking part in a class that is designing an educational video game. There is some recommended reading for that class which deals with video games mostly. But I think the reading crossesover well to the realm of board game design. So, the following is the professor's recommended reading list that he shared with the class at the start of the semester.
Dr. G’s Recommended Readings
Books
- Raph Koster, A Theory of Fun for Game Design. This book inspired much of my work for the last several years. I decided against making it a required book for the course, knowing how much attention production tends to eat. However, I’m happy to lead a discussion group with anyone that wants to dive into this during the semester!
Articles
- Eric Klopfer, Scot Osterweil, and Katie Salen. Moving Learning Games Forward: Obstacles, Opportunities, & Openness.
- Raph Koster, Narrative is not a game mechanic. Designers and philosophers disagree about what a “game” and a “story” is, but Koster’s practical perspective helps one focus on the systemic nature of interactive entertainment.
- Raph Koster, How I Analyze a Game. If you’re reflecting on how to write a good analysis, look no further than this recent essay.
- Keith Burgun, What Makes a Game? This is a controversial essay. A lot of people disagree with his taxonomy and nomenclature, but I believe it still has value. It is easiest to read if you see his use of “puzzle” and “game” as somewhat arbitrary variable names. His manifesto, Game Design Theory: A New Philosophy for Understanding Games, is worth a look if you are interested in more details; a copy is in the library.
- Anything by Daniel Cook at The Lost Garden, although I would not start with Multiplayer Logistics even if it is still the most recent one. Loops and Arcs and Building Tight Systems of Cause and Effect are both quite good.
- Keith Burgun, Instant Ambiguity Sauce is a challenging essay on the meaninglessness variety of “fun” that is easy to add to a game.
Dr. G’s Extra Recommendations
These recommendations are at the periphery of what we’re doing this semester. However, if you’re looking for something deep to chew on, look no further. I find them deeply connected to the essential questions of our inquiry.
Books
- Massimo Piattelli-Palmarini, Inevitable Illusions. This book is about the cognitive illusions under which all of us live. A cognitive illusion is like an optical illusion: you still fall for it even if you know it’s a trick.
- George Lakoff and Mark Johnson, Metaphors We Live By. The authors describe how everything in thought and language is a metaphor. At the end, they tear down both objectivism and subjectivism. Who would want more from a book by a philosopher and a linguist?
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