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Showing posts with label board game. Show all posts
Showing posts with label board game. Show all posts

Keeping track of your gaming analysis: a personal approach to organizing notes for classes, meetings and projects

Working with game development requires a lot of references and annotations all the time. Sometimes, we need to find a good example for a game designing class; sometimes we need to reach for a fast good reference to explain some mechanics for a company’s gamification project. Or, maybe, we just need to remember a specific game to write an article or post about it. It helps a lot to have all that stuff at hand to create presentations, classes or academic content. In this post, I’ll share one method that I use to create and organize quick notes about the games I played.

1. Every single game I play is registered on an online document

I call this my “ludic journal”. I have one excel file on Google Docs where I register all played games in chronological order. For analogic games (card games, board games, dice games etc.) I write a note on the same day I played the title. For video games (console, PC, mobile etc.) I register it when I finish the game or when I have sufficiently experienced its core mechanics/narrative. It’s important to write fast to put personal impressions in the document. Usually, I write the game’s name, the day I played, give it a personal rate (one to five asterisks), summarize the game’s narrative/plot (if available), make a list of the core mechanisms and attach a pic. Like in the following example:

Title: CARCASSONNE
Type: board game
Date: December 11th 2007
Rate: * * *
Summary: Players are builders constructing the reign of Carcassonne in France. Using some special characters it’s possible to build roads, churches, castles and farms. When you finish one of these constructions, you earn points. The player with the most points wins the game. The game uses tiles and creates a very interesting design on the table and a random result at the end of each match.
Mechanisms: area control, area influence, tile placement.


2. Add tags to your notes

This second step helps me a lot. After describing the previous elements, I always create a list of tags for the game (a very personal “mix” of words to describe the game in its essence). This is very useful because it’s possible to find a game for a specific use doing a simple search for keywords in the system. Still using Carcassonne as an example, I wrote these tags for the game (tags, in this case, could be single words or even complete phrases):

Tags: Carcassonne; board game; tile game; France; historic context; build; competitive; area control; area influence; tile placement; clever graphic design; metaphor for architecture; useful for history classes; puzzle. 


This method helps me a lot to prepare content in many occasions. Last week I was preparing a class about “casual games”. A fast search in my document revealed 40 occurrences for this kind of game. So, I combine “casual games” with “funny narrative” and the system gave me 7 results. As I said: it’s a personal method. It could probably not be so useful for another person other than me, but this post is to inspire people to create their own methods.

3. I complement my notes using social networks

I like to create personal text registers for the games I have played, but I also like to organize visual references and gaming stuff in other platforms, too. My favorite place to store visual references is Pinterest. Check ot my GAMES, RPG and GAME DESIGN boards. It’s a very practical way to access ideas.

I’m preparing a second post about this subject with other personal methodologies to organize content for work. I hope it helped.

Now, on to your opinion!

#GoGamers
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Board game mechanics in a poster

I was in Santiago (Chile) last weekend for a presentation about my new mobile game RockFlickz. After the work, I visited one very interesting ludic place: Dos De Seis Board Game Café. You can rent board games, play them and drink excellent coffee. One poster in the wall caught my attention and I want to share it in this post:



Some "artist" grouped the main board game mechanics in the same space. A cool poster to decorate a wall and an excellent exercise to think about game design.

#GoGamers

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A diagram to explain connections in a board game design process

An excellent diagram to think about the relationships between theme, rules, players and components in board games. The intersections between the different areas point out very interesting ways to ponder about game design questions.


Source: Big Game Theory site

#GoGamers
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Iterative design & games

Gaming creativity process, allow a myriad of methodological using possibilities. In the gaming projects that I participated, I frequently used the iterative design method. One first view about this methodological process comes from Zimmerman (2003, p.176), who says, ‘iterative design is a design methodology based on a cyclic process of prototyping, testing, analyzing, and refining a work in progress’.



Complementing the previous idea, the process of iterative design for games, can be divided into few stages (FULLERTON et al, 2008, p.249): A) conceptual phase: consists of generating ideas, formalizing and testing them; B) pre-production: here the ideas are reviewed to evolve and be tested again; C) the production stage: the game is tested and revised with different groups of play testers to locate errors; D) phase of quality assurance: where the game is tested to be launched without errors.

We'll discuss more about these subject in a future post using some examples (indie games and triple A games) to clarify this idea. Until then, check out the video below about iterative design applied to games:



#GoGamers



References:

ZIMMERMAN, Eric. Play as Research: the Iterative Design Process. IN: Design Research: Methods and Perspectives, (2003): 176-184. (also available at last access: May, 2015).

FULLERTON, Tracy et al. Game design workshop: a playcentric approach to creating innovative games. Burlington: Morgan Kaufmann, 2008.

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A practical checklist for your gaming project

I’m a very methodical person. I like to organize everything in my everyday life and in my work. In this post, I want to share a small checklist I’ve created for my gaming projects. It’s a synthesis of the main points to remember in a game’s creative process and production. Check the fields and plan your work!



You can use it, copy it, add elements to it and share it. Just remember to give credits to @vincevader. Enjoy it!

Essential elements in the game design/production process Yes (√) No (X)
The concept and main idea are defined
I can tell the game idea in 20 seconds
The game has a narrative
In case of a narrative, it has a well-defined beginning and ending
The game is focused in pure mechanics, there’s no need of a narrative
The mechanic(s) is (are) well defined
I already constructed a simple pre-prototype (digital or analogical)
I already tested the game with imaginary players simulating a real match
I already made one first complete prototype (analogical or digital) that can be played by beta-testers
I already coordinated at least ten beta-test sessions with different players, using the first complete prototype
I applied modifications in the game after the beta-test sessions
I already created a more complete prototype that has most parts of the game’s final version
I made contact with other professionals (artists, programmers etc.) to finalize the game
I have a strategy to launch my game and disclose it in social networks, sites and other channels
I have a partner to distribute/sell the game
I’m satisfied with the final product
The game is ready to be launched

#GoGamers
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Book: Mapping the Digital - Cultures and Territories of Play

I want to share good news in this post: in 2014, I presented the paper “Health, consumption and entertainment: the Nike brand embodied as a playful experience”, that I wrote along with my friend Marcelo Vasconcellos for the Video Game Cultures & The Future of Entertainment conference (VG6).

This week, I received awesome news: all the papers from the conference were compiled in a fantastic book named Mapping the Digital - Cultures and Territories of Play. Edited by Lindsey Joyce and Brian Quinn, and published by Inter-Disciplinary Press (Oxford) the book is a wide discussion about the state of play and the state of games in contemporary culture.



This is what I call a level upgrade!

CLICK HERE to buy!

Below, you can read the book's synopsis:

"Mappings the Digital: Cultures and Territories of Play is an interdisciplinary discussion about the state of play and the state of games in contemporary culture. This volume takes a critical look and how our cultures and territories are being renegotiated through our engagement with digital media, games, and tools. This volume argues broadly that our tangible world, and our understanding of it, are being renegotiated and remapped by the digital worlds with which we engaged. Specifically, the chapters in this volume analyse linguistic changes; unique in-game cultures and behaviours; and new methods for communicating across real and perceived boundaries, for understanding cultural experiences, and for learning through play. Drawing from the global expertise of scholars within the fields of Cultural Studies, Game Studies, Foreign Language, Science and more, this volume bridges academic boarders to assemble a cohesive and authoritative resource on digital culture and play".

#GoGamers
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SHARING THE GOOD NEWS

Cengage Learning has just launched my new book in Brazil, today. GAME CULTURA: COMUNICAÇÃO, ENTRETENIMENTO E EDUCAÇÃO (GAMING CULTURE: COMMUNICATION, ENTERTAINMENT AND EDUCATION) is a study addressing educational aspects, narratives, questions and marketing strategies involving games. The final words were written by Uruguayan game designer and researcher Gonzalo Frasca (¡Gracias!, @frascafrasca!).



CLICK HERE TO BUY!

#GoGamers
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About formal analysis of gameplay

To construct meaning and understand the complex relationships of gameplay and player, it’s necessary to observe the ludic universe with an accurate vision. Gaming research helps us find some answers for this intricate industry, creating better experiences. In this context, it’s fundamental to remember that “(g)ames are seen as data and the research build understanding on games and how they work, provide experiences or information to its players” (LANKOSKI; BJÖRK, 2015, p.6).



One methodological form to observe the binomial relation gameplay-player is formal analysis. Formal analysis of gameplay, specifically in games, takes a basis in studying a game independently of context or platform, that is, without regarding which specific people are playing a specific instance of the game; although a specific group of players (independent of age, gender or social class) can be considered for the analysis, it’s important to highlight these are descriptions of players used for analyzing the gameplay and not descriptions of their gameplay (LANKOSKI; BJÖRK, 2015, p.23).

As an example, we can bring to our discussion the analysis of an analogical game (dice, card, board) and its rulebook to discover nuances about the underlying system. In this case, a formal analysis could be done purely by observing the gaming components and together with the understanding gained by playing; the experience of the players and how gaming dynamics operates processes in this context is another important point of the analysis (LANKOSKI; BJÖRK, 2015, p.23).

There’s a lack of books about methodological principles for games, but recently a very good one was launched for free on the Internet. Its name is “Game research methods: an overview”, a very complete compendium with many good articles that certainly will enlighten your thoughts about gaming research. CLICK HERE to download.



Reference:

LANKOSKI, Petri; BJÖRK, Staffan (Eds.). Game research methods: an overview. Halifax: ETC Press, 2015.

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Talking about my new mobile game DOMINAEDRO

Last week my new game, DOMINAEDRO, landed at the App Store. The game is a strategic puzzle that mixes dominoes and tic-tac-toe. It’s is an abstract battle between two players that uses pieces of domino as weapons.

The game, originally, was analogic and was launched as an independent title in the beginning of this year. After lots of positive reviews from Brazilian (and even European) sites I decided to transform the analogic version into a digital game.

The game is very simple and I will share the main idea of the rules below. The game’s grid is arranged with nine numbers randomly selected by the system. In a decreasing order: the highest number will be allocated in the center, intermediate values will be around the highest one, and lower values will be on the corners.



Your starting hand has 3 domino pieces. The player with the lowest sum of numbers in a single piece starts the game. On your turn, you must try to put a single piece in the grid respecting the following rules:

1) A number in a domino can only touch a piece with the same number, or lower, in the grid.
2) Like in a domino game, pieces connected on the grid must have the same numbers.
3) Every time you choose a piece, the system will point out the spaces allowed for allocating on the table.



You earn points by dominating a sum on the grid. For that, you should be the player with the highest sum of numbers around a value. In case of a tie, the sum of the second values of dominoes sets the winner. In case of a tie in both sides of the dominoes, the winner will be the player with more pieces.

The game ends when you cannot allocate more pieces on the grid. Each piece not allocated is worth -1 point. Values of the grid that were not completely surrounded by pieces are scored normally.

If a player has dominated all values in a row, column or diagonal, they win 4 extra points for each line. The player with the most points wins the game. Check a short video demo with the game mechanics below:



You can download DOMINAEDRO for free. Click here for more information. I’m waiting for your suggestions, critics and improvements.

Go gamers!
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F.R.O.G (Future and Reality of Gaming) Congress - Vienna, September 2013

Last week I was at Vienna (Austria) presenting a poster at the F.R.O.G (Future and Reality of Gaming) congress. Awesome keynotes and fantastic content in three days full of games in this beautiful city.



Vienna’s annual Games Conference offers an open and international platform for leading game studies researchers and scholars, game designers, researchers and scholars from various other fields, education professionals, and gamers from around the world. The main objective of FROG13 was to explore the “Context Matters” in regard to questions of player communities, challenging or problematic play settings, game theory and development, impact of games and cultural facets of play.

And now I would like to share the content that I presented at the congress. I hope you enjoy.


ECOLOGICAL CONCEPTS IN A BOARD GAME: How to discuss serious causes using ludic interfaces

Author: MsC. Vicente Martin Mastrocola (ESPM/Brazil)
E-mail: vincevader@gmail.com


MINI-ABSTRACT

In this presentation we seek to analyze the use of game mechanics for serious causes. We discuss, using a brazilian board game named Climate Game, how we can use a playful and ludic interface to cast a message for a serious cause and how a game could work with ideas about global warming in a fun/educational way. In this context, we use the idea of magic circle proposed by Johan Huizinga, author of the book Homo Ludens, in which the author explains how a physical space could be a place for playing, meaning and experience.

In this presentation we also discuss the impact of a ludic interface in the mediatic scenario, the gaming culture and how important it can be for the contemporary world.


SLIDES




TEXT

Homo Ludens, entertainment and games

First of all, the notion of homo ludens, introduced by the dutch historian Johan Huizinga, is the conceptual backbone for this work, where we seek to analyze the use of game mechanics, ludic concepts, and game thinking applied to a brazilian board game with ecological theme named Climate Game. This game uses a playful and ludic interface to cast a message for a serious cause, and works with ideas about global warming in a fun/educational way.

In his book "Homo Ludens" (1955) Huizinga discusses the possibility that playing is the primary formative element in human culture. The author also presents the idea of the magic circle, one important subject for our discussion.

As described by Adams and Rollings (2009, p.8), Huizinga did not use the term as a generic name for the concept: his text refers to the actual playground, or a physical space for playing, meaning and experience. As the authors says, inside the magic circle, real-world events have special meanings. In the real world you kick a ball into a net but in the magic circle you score a goal.

Huizinga (1955, page 10) wrote that the arena, the card-table, the stage, the screen, etc, are all function playgrounds. They are all temporary worlds within the ordinary world, dedicated to the performance of an act apart.

As Ehrmann says (1968, p.55) in an antropology of play, the latest cannot be defined by isolating it on the basis of its relationship to an a priori reality and culture. To define play is, at the same time and in the same movement, to define reality and culture.

The Climate Game

The Climate Game is a production from a brazilian company named Games For Business that works in the area of serious games, that, following the thoughts of Nick Iuppa and Terry Borst (2007), may be explained as games with a professional, educational or pedagogical use. Climate Game is a game that challenges its players to save the world from global warming. This game is both of competition and cooperation. It promotes competition because the player who emits no carbonic gas at all wins. But the integrated work of all the other participants is essential in order not to exceed the gas limits of the greenhouse effect.

Therefore, participants have lots of puzzles to solve together and, as Juul says (2005, p.8) games are usually well-structured problems, and this has led them to be used in several other fields.

This kind of game will not transform a player into a specialist in ecology or in global warming, but it can reinforce important concepts about the planet’s health. This game can teach basic ideas and stimulate the players to search for more information about the theme.

By this brief overview we can conclude that game mechanics can be a meaningful space for significative experiences. It seems that these ideas are essential to study and understand the gaming universe and the impacts of the game culture in the contemporary world.

Poster





REFERENCES

ADAMS, Ernest; ROLLINGS, Andrew. Fundamentals of Game Design. New Jersey: Pearson Prentice Hall, 2009

EHRMANN, Jacques. Homo Ludens Revisited. Yale French Studies, No 41. Game, Play, Literature (1968). pp. 31-57. (click here for download)

HUIZINGA, Johan. Homo Ludens: A Study of the Play-Element in Culture. Boston: The Beacon Press, 1955.

IUPPA, Nick & BORST, Terry. Story and simulations for serious games: tales from the trenches. Burlington: Focal Press, 2007.

JUUL, Jesper. Half-Real: Video Games between Real Rules and Fictional Worlds. USA: MIT Press, 2005.

Climate Game english site >> click here.
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