Game Mechanics and Aesthetics PDF

Game Mechanics and Aesthetics: PART ONE: INTERACTION AND CONTROL (pun intended) Game “Mechanic”: A Definition? How players interact with a game based on its rules and control scheme. Almost ANY aspect of a game can be a mechanic (sound, narrative, even death). Mechanics can in...

Game Mechanics and Aesthetics: PART ONE: INTERACTION AND CONTROL (pun intended) Game “Mechanic”: A Definition? How players interact with a game based on its rules and control scheme. Almost ANY aspect of a game can be a mechanic (sound, narrative, even death). Mechanics can include both tactile elements of a game (ie: button mapping) and also quasi- philosophical elements: how the game “feels.” In short, “game mechanics” is at once a deeply tangible and intangible term! Game “Mechanic” as Ludology The study of mechanics is called Ludology; it is the study of game player interaction with rules and, actions, and events (with an emphasis on rejecting games as stories or rejecting a game’s narrative properties as more important than their mechanics.) The term was coined by Gonzalo Frasca in 2003 in his essay Simulation versus Narrative: Gonzalo Frasca Introduction to Ludology (2003) Game “Mechanics” Defined By Genre? Yes and no, but game genres often produce expectations for game mechanics. Consider how films are defined by genre, but that game genres are (often) defined by their MECHANICS: Hack and Slash, FPS, RPG—and consider how the thematic genre is almost secondary to the mechanics (ie: an FPS can be both a drama—Firewatch—OR an action game!!) Also consider how game “genres” can be COMBINED (ie: survival horror + run and gun = Left 4 Dead) and how these genres can even have sub-genres. It’s all very confusing! SURVIVAL HORROR Characterized by feelings of helplessness and player vulnerability Dimly lit, claustrophobic environments. Scarce resources (Health and Ammo). Sometimes all you can do is run and hide! ROGUELIKE Named after the 1980’s game Rogue. Permadeath is the main mechanic. Also characterized by procedurally generated levels and “dungeon-crawling” environments. Rogue-Lite: sub-genre where some player progress is retained. HACK & SLASH Technically a sub-genre of action games Defined by combat using hand to hand weapons. Consider how the genre “changes” when combined with different game perspectives: FPS, side-scrolling, third person. Game “Mechanics” Defined By a FORMULA? INTERACTION + CONTROL MECHANICS = ________________________ ENVIRONMENT + MOTIVATION In short, game mechanics are a combination of what players can and cannot do in-game (interaction), how they are allowed to do it (control), where they are allowed to do them (environment), and why they are compelled to do them (motivation) based on both individual whims and intended designer goals and rules. Game Mechanics: INTERACTION Some players crave games with high amounts of interaction via their game systems; others are happy with low levels or fewer systems: Fumito Ueda: ICO, Shadow of the Colossus, The Last Guardian “Design by Subtraction”: the idea of stripping away (subtracting) every part of your game that doesn't add to the intended experience. In short, a streamlined experience with fewer mechanics can be more effective than a bloated one with umpteen systems. Consider how JOURNEY, INSIDE and SotC make use of the following: music used at strategic moments; few lines of dialogue or no intelligible dialogue; few characters; small variety and/or number of enemies; interface, HUD, menu, and descriptions are highly simplified or absent; simple and functional control mechanics MANAGEMENT SIM The opposite of minimal design—maybe too much interaction/too many systems? Sub-genre of simulation games focusing on inventory and resource management for various goals. See also “SURVIVAL.” When all systems work together, can make for an enriching experience. At worst, the game can feel like one giant, over-whelming to-do list. MECHANICS & MEANING: EMOTION, FUN, & “REALISM” Good game mechanics should be deliberate and with purpose. Consider the following: Does the game allow you to kill NPCs; or does your avatar lower its weapon automatically. Can you even perform certain movements: jumping or sprinting? Frequently breaking weapons was How important is “realism” to in-game a REAL issue for players in the interactions. revolutionary LOZ: Breath of the Wild: a much detested mechanic! In Resident Evil 2, Leon doesn’t “sprint” so much as engage in a “slow jog” when the ‘sprint’ button is engaged. You can’t jump or crawl either.  At a key moment in God of War (2018), Atreus starts to rebel and won’t listen to Kratos; in-game, he won’t always respond when you press the “square” button anymore—a mechanical way to show his disobedience! A very subtle/cool detail!  To beat Psycho Mantis, a character who can read your mind, you had to move your PS controller from Port 1 to Port 2: A true breaking of the 4th wall Consider how the wonderful Celeste’s mechanics and difficulty COMPLEMENT its story and themes. It’s not hard for the sake of it—like Cuphead—but reveals deeper truths about self- doubt, mental illness, forgiveness, perseverance, and accomplishment—and all with a gorgeous soundtrack and visuals. Finally, consider how respawning is instantaneous—no lag at all to annoy players. PLAY IT. Missile Command (1980) Classic arcade games almost exclusively focused on mechanics (ie: Gameplay) often at the exclusion of story and aesthetics Consider the MEANING of Missile Command’s mechanics: Emotional turmoil Futility Sacrifice to increase player skill Extra Credits: Narrative Impeding doom Mechanics - YouTube REALISM VS QUALITY OF LIFE MECHANICS Quality of Life Mechanics: vary from game to game but can be loosely defined as usability features that make the playing experience more streamlined and enjoyable. Fast Travel options? Far Cry games making you hold a button to register a command to avoid mistakes. Or, compare traversing the landscape in GTA V to Assassin’s Creed: Odyssey: GTA V seems designed (at all times) to discourage players from being on foot. Red Dead Redemption 2’s “realism vs fun” debate was notorious and divisive among players given the game’s inconsistent and finicky mechanics [ie: picking up items one by one from a cupboard to only being able to call your horse over certain distances]. My advice? Always opt for fun over realism in game design. Fun is immersive in and of itself. Game Mechanics: CONTROL For some players, the controller or control scheme is a barrier to entry or breaker of immersion. Hardware: mouse + keyboard, controller, VR, phone? Consider complicated button combos for fighting games Consider QTE events Consider button spamming to “simulate” exertion Button input as “extension” of gameplay action? Both Heavy Rain and Detroit Become Human had their fair share of button spamming and multiple simultaneous button combos to simulate exertion and movement. See also Jusant’s climbing, and action sequences in Still Wakes The Deep. INNOVATION: CONTEXT DEPENDENT BUTTONS One of the most important innovations in game development was “CONTEXT” dependent controls: essentially a button that changed function based on in-game interactions. ZELDA OCARINA OF TIME popularized this concept as well as pioneering the idea of “Z-targeting” in a 3-D space, so combat would “lock-on” and flow naturally. POINT AND CLICK Genre defined by low levels of interaction. See also “Walking Simulator” That said, can be intense (see FNaF) or narratively rewarding. ENDLESS CLICKER GAMES Also called Incremental or Idle games Involve players clicking/pressing a button to spend on in-game items. Pictured: Cookie Clicker (2013), Make It Rain (2014), and Clicker Heroes (2014) Simple mechanics, low interaction, repetitive. Fun? Psychologically satisfying? Depends. WHAT ARE “JANKY” CONTROLS? Common video game term with a variety of meanings Can mean “unresponsive” or “awkward” or “clumsy” controls More philosophically, it’s a disruption between “expectations” and “outcomes” based on game rules and game controls: a lack of precision! Consider “hit boxes” in games or “safe pixels” for jumping on and off platforms. Consider games that demand you to take cover. Can “Jank” be deliberately designed? Deliberate JANK Changes of State: drunk, injured, environment (swamps/ice/wind), sanity meters, taking damage. Consider games that make controlling the avatar or vehicle deliberately difficult. PHYSICS GAMES Most games use physics, but this “Genre” is one where players succeed or progress by fighting a game’s pre-programmed physics based (often) on gravity or some other deliberate physics impairment, be they too sensitive or too imprecise. Game Mechanics: INTERACTION + CONTROL A perfect blend of these two properties —perfectly appropriate and responsive controls—leads to immersion: the 100% fulfillment of player expectations based on input and output Or, more simply: “This game Yes, yes, yes—all button mashing combat mechanics aside (see videogamedunkey), Arkham Asylum DID make players really makes you FEEL like…” “feel like” Batman: consider stealth, weapons, gadgets--- etc. Still, the button mashing was repetitive.  See also…. Game Mechanics as Narrative DEVICE Story can directly dictate mechanics MOVEMENT MECHANICS A delicate balance: too many button inputs can be frustrating and break immersion. Too few can seem unchallenging. MIRROR’S EDGE (2008) Innovative for the time, but damn—some of those controls were HARD to execute. Compare with…. GHOST RUNNER (2021) Also innovative First- Person platformer (!) highly praised for its precision and speed. Still photos don’t do the fluidity of movement in 2018’s Spider-Man for the PS4 justice. Swinging, wall running, jumping, flipping—it’s all FLAWLESS. But in some ways the game is a perfect mechanic in search of meaningful content. Yes the story is great and, yes, movement is fun. But (for me anyway) there are only so many times I can swing throughout the city collecting….nonsense. Same as previous slide: still photos don’t do the fluidity of movement in Phobia Game Studio’s Carrion justice. The movement is just so perfect— you really “feel” like a big slithery monster with numerous tentacles. A powertrip all the way. Vehicle Controls Does the level of control feel “satisfying” regarding the size and properties of the vehicle? Even the deliberate jank? OBJECT MANIPULATION In particular consider combat and weapons: hit detection and feedback. Fun Fact: Rock Star employees went to firing ranges to understand how various guns felt to fire. Game Mechanics: ENVIRONMENT Repetitive or simple mechanics can usually be forgiven as long as the game environment (or enemies) keep changing. OR consider how a “time” mechanic can be combined with a exploring the environment and tied into narrative. SUPERHOT (2016) SUPERHOT featured the “time moves only when you do” mechanic which was not only very cool and challenging, but allowed for some nice gameplay set-piece experiences too.  Time as mechanic is both prevalent in MINIT (VERY rewarding small scale progressions: you die after every 60 seconds) and Outer Wilds: Players replay the same 22 min loop before the earth explodes. Each play through they uncover more details about the plot. 12 MINUTES (2021) and DEATHLOOP (2021)) Two vastly different games, but each using time and repetition as a main mechanic: play the same 12 minutes trying to solve (complicated) puzzles to solve a mystery, or play the same 20 minute “day” trying to assassinate 5 key targets (itself like solving a puzzle). In both games, new knowledge is combined with prior knowledge to progress. A time management game? What Remains of Edith Finch MASTERFULLY blended unique animation, mechanics, and narrative to tell a moving and original story. A truly phenomenal feat of game design. PLAY IT. NOW. MECHANICS: CONCLUSION Anything can be a game, and anything can be the avatar in the game. Video games depends on rules and systems and player interaction: or, their mechanics—and ANYTHING can be a mechanic! MECHANICS = Interaction + Control + Environment + Motivation. Mechanics have meaning so use them purposefully and deliberately! Mechanics are often dramatically enhanced by a game’s aesthetics……..