Designing For Competitions

Advantages of Entering Competitions

Game design competitions can be helpful in many ways, especially for the hobby designer (i.e. one that does not work for a publisher or does not depend on game design income).

First, it usually provides clear boundaries as to game materials and other factors, such as target group and even theme.  These outside limits help a designer immediately focus.  I've written before about the need of self-imposed limits, when one is designing on spec rather than on a contract basis.  A competition usually has many of these limits built-in.

Second, it provides a clear deadline.  Without deadlines, game design can go on forever.  I often tell publishers that delaying the release of my games is a dangerous thing, as I continue to find ways to tweak them if given more time. A deadline forces one to "finish" it.

Third, entering a competition guarantees that your prototype will be playtested by a number of diverse people.  Finding playtesters and asking/bribing/blackmailing them into testing your prototype is one of the most challenging phases of game design.  It is much easier for extroverted people like me to host game nights where testing can take place, but for introverts, entering competitions is another great option.

Fourth, the feedback you receive--both positive and negative--can help you improve your design submission and give you the confidence to pitch it to a publisher.

Fifth, winning a competition can get your game noticed by publishers.  Some competitions are organized by publishers offering contracts to the winners, and some include publisher representatives on their juries.

My Experience with Game Design Competitions

I neglected, in the list above, to mention one of the main reasons I enter competitions.  I do it for the same reason I play games: because exercising creativity in a competitive setting is fun.  There is something that draws me to a competition, no matter how prestigious it may be.  Perhaps it is the specific program and limits, or the fact that I will be able to get feedback from the public on a design before it's published.

Competitions have also been rewarding for me in that they have led either directly or indirectly to several publishing contracts:

Alea Iacta Est, for example, began as a simple entry into a game competition using dice and a standard deck of cards in 2006. The competition was canceled without ever informing the participants, but I enjoyed the game so much that I continued to expand and refine it with my friend, Bernd Eisenstein, and it eventually found a publisher.
The competition entry that became Alea Iacta Est.
That same competition inspired another design that I have been working on ever since.  The dice were eventually replaced with tiles, and the game transformed from a 2-player affair to accommodate up to 5 players in its current form, which has now been signed by a German publisher and is planned for an October release.
The competition entry that evolved greatly into a soon-to-be-released game. Hint: there are no longer any dice!
Both Wampum and Artifact, another game from Bernd and I, were not designed specifically for a competition, but it was only after being awarded by the Hippodice Competition that they received interest from publishers and, eventually, contracts.  The latter is also planned for an October release.

The Wampum prototype for the Hippodice competition.
The Artifact prototype for the Hippodice competition.
Just two months ago I found out about a local design competition from a "print on demand" publisher here in Berlin.  I found the material possibilities--and limits--intriguing. The entries were limited to using pawns in 6 different colors and 6-sided dice, along with light or dark Backgammon discs.  The game boards would also be printed on bendable, vinyl sheets.  The 3 finalists will be played and judged this weekend at Potsdam's 23. International Game Market, an annual event in the largest city on the outskirts of Berlin. The theme of the event, which is designed more for children and families than for gamers, is "fantasy" or "using your fantasy," and the competition encourages the games to incorporate that theme into their design.

The deadline was unusually short, but I was intrigued enough to enter, although there was not very much time to playtest before sending in my submission.  I just found out that my design was chosen as one of the 3 finalists, and I've already sent my improved version of the game board and rules, which I had continued to refine after the competition deadline.  I've also worked on a few other prototypes which have tried to take advantage of the unusual game board material.
My entry: Fantastic Stories as initially produced by Spieltz for the competition.
It will be fun to see the game being played at the event when I bring my family this Saturday, and the game will be available on the publishers print-and-play website sometime thereafter.  And, like some of the other games that began as a humble entry into a relatively unknown competition, perhaps this one will also evolve into something bigger in the future.

Storium Starters: Crash Landing

Storium Starters are starting scene ideas for the generic Storium worlds available to everyone. They contain introductory narration, challenge text, outcomes, and some location or world information that may be necessary to understand the first scene, though I attempt to keep them generic enough that they can easily be slotted in regardless of other world details you might have designed. Along with the initial scene idea, they will also contain ideas for where the story could go from the starting point. Storium Starters are released to public domain and may be used without attribution for your own games.

This Storium Starter is meant for the Space Adventure world. It is possible you may find uses for this starter outside of that world, but your mileage may vary on that.

This starter assumes that you are using the Dauntless ship described in the world's cards. If you have another name and design for your ship, you may need to make modifications to make this make sense with your concept.

Scene:

In the moments before the crash, it was like the world went silent.

It didn't, of course. The crash was the loudest noise any of them had ever heard by far. But in the moments before it, they heard nothing. The world moved slowly, too slowly, and they could see every little detail, every tiny blade of grass, every speck of dirt on the ground that was coming far, far too close.

The world moved too slowly, yes, but too quickly as well. They had time to take everything in, but not enough time to *do* something about it. One eternal moment they were plunging towards the ground, staring in horror at the shuttle's viewscreen and blaring alarms. The next...

Impact.

They weren't sure how long it took for them to shake off the daze, to clear their vision, to scrabble at their safety harnesses and crumple out of their seats. They weren't sure quite how they got out of the shuttle. Some walked, or walked and crawled and stumbled. Some were carried.

When they were fully able to take in the world about them once again, they were clear of the shuttle, and they were alive. That was what mattered.

They each looked around. Others had gotten clear too. Everyone? That wasn't sure. Some, at least. Shell-shocked, defeated, despondent, defiant...the expressions varied, but all knew the danger they now faced.

The *Dauntless* - the ship on which they served - would search. But it would take time, and in the meantime, they had to survive.

They were on an unknown world, in the middle of a wild jungle of strangely-colored plants and natural metallic formations. They'd come to explore it, in fact - that had been the mission. Quietly explore, take some samples, get recordings of the local wildlife, determine if there was any sign of sentient life. They'd taken a few preliminary scans on the way down, and located a safe place to touch down.

That place was *hundreds* of kilometers away.

So, first things first: They needed a safe location where they could patch up anyone in need of it, take stock, and get their bearings. It wasn't safe to remain by the crash site longer than they had to. The noise would certainly have attracted some attention, and chances were, anything willing to approach could be deadly. It wasn't a good idea to go traipsing off into the jungle on a longer journey yet, but hopefully they could find a place nearby that would serve their needs for the moment.

Hopefully without stirring up any of their own trouble, or getting lost. The jungle was sure to be confusing, but on the bright side, the smoke rising from the crashed shuttle, higher and higher, could guide them back if they ran into trouble.

And the shuttle...the shuttle itself was totaled, a mangled mass of metal. It was hard to believe any of them had gotten out of it at all. It was sure to be dangerous - sharp bits of metal were poking out seemingly everywhere, and exposed wiring and damaged control panels emitted sparks. But there might be something of use in there - and at the very least, they needed some basic supplies. Best to get what they could from the shuttle before they had to leave.

Slowly, the team set to work. The mission was a wash, but they had a new one now: Survival.

Challenges:

  • Seeking (Relative) Safety:
    • Description: A crash-landing on a world that's still a mystery...there's sure to be dangers lurking in the wilds. Immediate survival is priority number one: You need a place you can defend.
    • Points: This is the major challenge for the scene. Assign it points equal to the number of players you have. 
    • Strong Outcome: You find a location nearby the landing site that is safe enough for now. There aren't any notable dangers near it for the time being.
    • Weak Outcome: You find a location nearby the landing site that *seems* safe enough for now. What significant danger did you miss spotting?
    • Uncertain Outcome Idea: The players find a safe location, but there's a danger approaching that they're aware of so their time there will be limited. Or, the players are unable to find a safe location, and return back to the crash site to let everyone know they're just going to have to get moving as soon as they can. Or, the players find a site that *could* be safe...once they deal with a more minor threat.
  • Salvage:
    • Description: Your shuttle crash-landed, and it won't be flying ever again. Best see what you can salvage from the wreckage before you move on.
    • Points: This is the secondary challenge for the scene. Assign it points equal to half the number of players you have, rounded up.
    • Strong Outcome: You salvage some general supplies and one particularly useful item from the wreckage...what is it?
    • Weak Outcome: You salvage some general supplies, and CHOOSE: You salvage a particularly useful item...what are it? But whoever played the most weakness cards (or a volunteer) is injured while they search the ship - how? OR: You salvage something that you think will be particularly useful - what is it? But you don't notice it was damaged badly in the crash.
    • Uncertain Outcome Idea: The characters discover an item that would be very useful to them...but it is trapped within the wreckage. Now they'll have to figure out a way to free it in another challenge.
These two challenges are both focused on searching or exploring in some ways, but emphasize to the players that the manner in which these challenges progress is up to them. If characters are more combat-focused, for instance, they're welcome to state that they encounter aggressive wildlife while exploring or other minor physical threats that they can overcome with their weapons and combat skill. Or, maybe there's something in the ship that's being blocked by a heavy object, and a big guy needs to move it out of the way.

Storium allows players a lot of leeway with defining what happens during a challenge, including defining their own threats if need be. The Outcomes should tell players the range of things that can ultimately result from a challenge, but the way the challenge gets to those outcomes is fairly open. Players should keep things on theme for each challenge, but should feel free to come up with details that suit what their characters can do...or what they really struggle with.

If you plan to do a second set of challenges this scene, you may wish to warn your players not to play all three of their cards during these starting challenges (or all their card plays for the scene, in any case, if you are using different settings from the defaults).

Players get to get creative with the outcomes on these challenges - they're quite open. If you'd rather have more control over things starting out, or if your group doesn't seem comfortable with creating the details in the outcomes, you may wish to specify more clearly what "useful item" is found or what "safe location" is discovered. Making these sorts of things up can be a lot of fun for players, though - and for you as narrator - so if it feels possible, try letting players have more freedom with the details.

Setting Information:

This starter takes place on an uncharted alien world which the crew of the Dauntless had been tasked with exploring. The Dauntless itself is not present yet - the characters took one of the exploration shuttles on this mission. The Dauntless may arrive during the game as a change to the story, or its arrival may take place at the end of the game - the event everything builds towards.

The nature of the world is up to you, and depends on where, precisely, you would like the story to go. You might start with either the Planet DRX-31880 or the Planet EV-1996 location cards, or feel free to make up your own as suits the direction you'd like to go with the story. I've set things up with a jungle environment above by default, which fits DRX-31880 best, but that's a fairly easy modification to the narration if you'd like to have a different sort of environment.

The Dauntless itself is an exploratory space vessel with several decks in the offical cards, which should have a fairly large crew. The player characters and any NPCs you decide to have as part of the crash landing are a small subset of this crew. The Dauntless knows they are here, so it will come and look for them.

Moving Forward:

Where do you go from here? Well, there's quite a lot of options:
  • Hostile Sentients: Maybe what brought the shuttle down was an intentional attack by a hostile force. Are they native to this world? Perhaps they are from an old enemy of humanity, or perhaps they are a new foe. With this idea, it's best to hint at the possibility of these sentients early on - maybe as early as right after these starting challenges, by having someone notice that some of the shuttle's damage looks like it was hit by a powerful energy pulse. Introduce them as actual antagonists as early as scene 2, and either have the players play the mouse to their cat and try to reach a place where they can safely signal the Dauntless, or find a reason they need to confront the hostiles directly. Is peace possible?
  • Survival: With this, it's all about survival - the players are faced with challenges from wildlife and plants and unusual weather and anything else that seems interesting that you can throw at them. The story is all about waiting for the arrival of the Dauntless. You'll want to be careful to give players reasons to be active, though - what are the group's actual moment-by-moment tasks? Finding food and shelter, chasing after dangerous wildlife that also stole something crucial, saving an endangered crewmate...those are the sorts of challenges that can give the story a sense of momentum. It is harder to do a pure survival story than a story with solid antagonists. One angle that you can approach, then, is to find an antagonist - why did the ship crash? Maybe someone on the crew didn't want something on this planet to be found, and committed sabotage...and maybe he's working against the crew even now. Or, maybe there's just an incompetent NPC officer who tries to assert his authority and gets the group into dangerous trouble.
  • A Trap! With this one, it's about the Dauntless. Bringing down the shuttle was a trap set by a hostile force, but a force that doesn't fully reveal itself until the halfway point when Dauntless arrives. Perhaps the players can realize the danger before then, and work to stop the plans of the aliens, or perhaps they struggle with their survival until the arrival and then have to work to take back Dauntless when the hostiles take it over.
There's sure to be more you could do - maybe the world is the home not of a hostile alien force, but of an inexplicable supernatural entity or other being beyond human understanding. Maybe the world itself is sentient and trying to kill the characters. Maybe they all actually died in the crash and their existence now is a purgatory where they have to work through their faults and come to understand themselves better...there's a lot you can do with this as a launching pad, so take the story where it seems to go...or just see what your players come up with and go from there, as suits your narration style.

I hope that you find this starter useful for your games! 

Giveaway Ending In A Few Hours!

Hey everyone!

I'm really sorry I haven't had the time to blog recently! There are reviews and blog posts coming soon though, I promise!

I just wanted to let you know really quick though that my giveaway is ending in four hours(ish). So if you're interested in Doctor Who, make sure to visit the Giveaway blogpost here: http://girly-gamer.blogspot.com/2014/05/supernatural-poster-set-review-and.html

Good luck! I'll be back later tonight to announce the winner!


10 Tips For Making A Tough Decision

Source: Daniel Oines
Sometimes in life we're faced with decisions that seem truly impossible to make. Whether they're the kind of decisions we dream about or the kind that we dread, research on decision-making has uncovered a number of useful strategies for gaining clarity.
Read More->

My Tentative GDC Schedule

Like Herding LOLcats: Managing the Internet's Most Unruly Gaming Communities [SOGS Business] 03/06/2012 11:15 AM 11:40 AM Room 130, North Hall
Knowing the Past: Game Education Needs Game History 03/06/2012 1:45 PM 2:45 PM Room 2004, West Hall, 2nd Fl
Game Educators Rant! 03/06/2012 3:00 PM 4:00 PM Room 2004, West Hall, 2nd Fl
More Than Fun: Designing Games With Purpose 03/06/2012 4:30 PM 4:55 PM Room 2009, West Hall, 2nd Fl
Interesting Decisions 03/07/2012 11:00 AM 12:00 PM Room 3014, West Hall, 3rd Fl
The Emotional Puppeteer: Uncovering the Musical Strings that Tie Our Hearts to Games 03/07/2012 2:00 PM 3:00 PM Room 3010, West Hall, 3rd Fl
Let the Games Be Games: Aesthetics, Instrumentalization & Game Design 03/07/2012 3:30 PM 4:30 PM Room 134, North Hall
Attention, Not Immersion: Making Your Games Better with Psychology and Playtesting, the Uncharted Way 03/07/2012 5:00 PM 6:10 PM Room 134, North Hall
Classic Game Postmortem: Fallout 03/08/2012 10:00 AM 11:00 AM Room 3014, West Hall, 3rd Fl
Build That Wall: Creating the Audio for Bastion 03/08/2012 11:30 AM 12:30 PM Room 3010, West Hall, 3rd Fl
It's Dangerous to Go Alone! Take this Historical Study with You: In-game Objects in Japanese RPGs, 1988-2010 03/08/2012 1:00 PM 1:25 PM Overlook 2, West Hall, 2nd Fl
It's Dangerous to Go Alone! Take this Historical Study with You: In-game Objects in Japanese RPGs, 1988-2010 03/08/2012 1:35 PM 2:00 PM Overlook 2, West Hall, 2nd Fl
The Art of Diablo 3 03/08/2012 2:30 PM 3:30 PM Room 3014, West Hall, 3rd Fl
Enhancing Games with Clothing and Destruction (Presented by NVIDIA) 03/08/2012 4:00 PM 5:00 PM Room 2011, West Hall, 2nd Fl
Art History for Game Devs: In Praise of Abstraction 03/08/2012 5:30 PM 6:30 PM Room 135, North Hall

Brainstorming With Transpose

Sometimes I get stuck and look for a way to think about a problem a different way. There are some problems that you can view in the form of a matrix/table. The structure looks like this:

A B C D E
1 A1 B1 C1 D1 E1
2 A2 B2 C2 D2 E2
3 A3 B3 C3 D3 E3
4 A4 B4 C4 D4 E4
5 A5 B5 C5 D5 E5

There are rows and columns, and I'm trying to work on the cells. Let's try an example from a simple game:

Attack Defend Special
Fighter sword armor slam
Mage fireball reflect freeze
Thief dagger dodge disarm

The rows are the character classes: Fighter, Mage, Thief.

The columns are the types of actions: Attack, Defend, Special.

The matrix contains all the code to handle each of these types of actions for each of the types of characters.

What does the code look like? The usual thing to do is to organize this into three modules:

  1. Fighter will contain code to handle sword attacks, damage reduction from armor, and slam special attacks.
  2. Mage will contain code to handle fireballs, damage reflect, and freeze special attacks.
  3. Thief will contain code to handle dagger attacks, damage avoidance from dodge, and disarm special attacks.

Sometimes it's useful to transpose the matrix. I can organize along the other axis:

Fighter Mage Thief
Attack sword fireball dagger
Defend armor reflect dodge
Special slam freeze disarm
  1. Attack will contain code to handle sword attacks, fireball attacks, and dagger attacks.
  2. Defend will contain code to handle damage reduction, damage reflect, and damage avoidance.
  3. Special will contain code to handle slam, freeze, and disarm.

I was taught that the one style is "good" and the other style is "bad". But it's not obvious why this should be so. The reason is that there is an assumption that we will often add more character classes (nouns) but rarely add more types of actions (verbs). That way I can add more code with a new module, without touching all the existing ones. It may or may not be true for this game. By looking at the transpose, it makes me aware of the assumption, and I can question it. I'll then think about what kind of flexibility I want, then decide on the code structure.

Let's consider another example.

In programming language implementations, there are different types of nodes corresponding to the primitives: constants, operators, loops, branches, functions, types, etc. I need to generate code for each of these.

Generate Code
Constant
Operator
Loop
Branch
Function
Type

Great! I can have one class for each type of node, and they can all derive from a superclass Node. But this is based on the assumption that I will often add more rows and rarely add more columns. What happens in an optimizing compiler? We add more optimization passes. Each one is another column.

Generate Code Data flow Constant folding Loop fusion …
Constant
Operator
Loop
Branch
Function
Type

If I want to add a new optimization pass, I would need to add a new method to each class, and all the code for an optimization pass is spread out all over the place. This is the situation I was trying to avoid! So some systems will add another layer on top of this. Using "visitors" I can keep all the loop fusion code in one module instead of splitting it up among lots of files.

If I look at the transpose of the matrix, it reveals another approach:

Constant Operator Loop Branch Function Type
Generate code
Data flow
Constant folding
SSA
Loop fusion

Now instead of classes with methods, I can use tagged unions with pattern matching (not all languages support this). This keeps all the code for each optimization pass together without requiring the indirection of visitors.

It's often useful to look a a problem in terms of a matrix. Applied to the object-oriented structure that everyone thinks about, it might lead me to use something different, such as an entity-component-systems, relational databases, or reactive programming.

It's not just for code. Here's an example of applying the idea to products. Let's suppose there are people with various interests:

Nick Feng Sayid Alice
cars X X
politics X X
math X X
travel X X

If I were designing a social web site, I might let people follow other people. Nick might follow Alice because they're both interested in cars and Feng because they're both interested in travel. But Nick would also get Alice's math posts and Feng's politics posts. If I consider the transpose of this matrix, I might let people follow topics. Nick might join a cars group and also a travel group. Facebook and Reddit started around the same time, but they're transposes of each other. Facebook lets you follow people; Reddit lets you follow topics.

When I get stuck, or when I'm wanting to consider alternatives, I look at the problem to see if there are multiple axes of organization. Sometimes approaching the problem from a different direction can yield a better approach.

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