<?xml version="1.0" encoding="UTF-8"?>
<!--Generated by Squarespace Site Server v5.11.81 (http://www.squarespace.com/) on Thu, 23 Feb 2012 15:35:38 GMT--><feed xmlns="http://www.w3.org/2005/Atom" xmlns:dc="http://purl.org/dc/elements/1.1/"><title>Graham Jans' game design blog</title><subtitle>Blog</subtitle><id>http://www.grahamjans.com/blog/</id><link rel="alternate" type="application/xhtml+xml" href="http://www.grahamjans.com/blog/"/><link rel="self" type="application/atom+xml" href="http://www.grahamjans.com/blog/atom.xml"/><updated>2012-02-19T01:40:04Z</updated><generator uri="http://www.squarespace.com/" version="Squarespace Site Server v5.11.81 (http://www.squarespace.com/)">Squarespace</generator><entry><title>Picking on Zombie Minesweeper</title><category term="design"/><category term="indies"/><category term="tools"/><id>http://www.grahamjans.com/blog/2012/2/18/picking-on-zombie-minesweeper.html</id><link rel="alternate" type="text/html" href="http://www.grahamjans.com/blog/2012/2/18/picking-on-zombie-minesweeper.html"/><author><name>Graham Jans</name></author><published>2012-02-19T01:07:52Z</published><updated>2012-02-19T01:07:52Z</updated><content type="html" xml:lang="en-CA"><![CDATA[<p>Here's a talk I gave at Full Indie almost a year ago, just after Zombie Minesweeper was released on Kongregate.</p>
<p>I talk about:</p>
<p>&nbsp;</p>
<ol>
<li>Keeping the game fun and playable at all times -- possibly the pinnacle of iterative design.</li>
<li>Different task-tracking methods for different parts of the production.</li>
<li>A simple insight into procedural content.</li>
</ol>
<p>&nbsp;</p>
<p><iframe width="420" height="315" src="http://www.youtube.com/embed/7ick_rTViYk" frameborder="0" allowfullscreen></iframe></p>
<p><a href="http://www.grahamjans.com/public-files/junk/Zombie Presentation.pptx">Here is the powerpoint</a>. (Make sure you have the Note panel showing.)</p>
<p>Not the greatest bit of public speaking I've ever done, but hey, it's a thing!</p>]]></content></entry><entry><title>Environment Phases</title><category term="design"/><id>http://www.grahamjans.com/blog/2011/12/13/environment-phases.html</id><link rel="alternate" type="text/html" href="http://www.grahamjans.com/blog/2011/12/13/environment-phases.html"/><author><name>Graham Jans</name></author><published>2011-12-13T18:31:51Z</published><updated>2011-12-13T18:31:51Z</updated><content type="html" xml:lang="en-CA"><![CDATA[<p>Here are some collected thoughts on how to create an interesting 'cast' of levels, in the same way that character archetypes allow us to create an interesting cast of characters.</p>
<p>The levels and environments in your game should demonstrate narrative arc and punctuation the same as any other story-telling element.</p>
<p>In general, these ideas probably only apply to games which have a strong sense of place, and especially to non-linear environments (though I could probably argue that many of the environments in interesting linear games exhibit these same archetypes).</p>
<p>Some of the specific games I was thinking of when I came up with this list included the Metroid games, Yoshi's Island, the Final Fantasys, the Deus Exs, Zelda, and the Mario &amp; Luigi games.</p>
<div class="image-with-caption"><span class="full-image-block ssNonEditable"><span><img src="http://www.grahamjans.com/storage/post-images/193506552_185317156b_cropped.jpg?__SQUARESPACE_CACHEVERSION=1323802270082" alt="" /></span></span>graph by <a href="http://www.flickr.com/photos/derletzteschrei/193506552">J&ouml;rg Kanngie&szlig;er</a></div>
<p>&nbsp;</p>
<h3>The Phases</h3>
<ul>
<li>"Peaceful Hub" -- Somewhere completely tamed, a 'place to come back to'. This is where the good guys hang out.</li>
<li>"Peaceful Wild Zone" -- A friendly wild region. Like a meadow with deer and bunnies, lots of greenery and waterfalls.</li>
<li>"Transformed Zone" -- A region that communicates the conflict: Evidence of the peaceful zone, but also corrupted and dangerous.</li>
<li>"Neutral Hub or Zone" -- A place with no specific antagonists, but an air of barbarism or powerful nature to it.</li>
<li>"Neutral Wild Zone" -- A dangerous region that is of neutral alignment. Conflict is optional and motivated by 'eat or be eaten'.</li>
<li>"Hostile Zone" -- The enemy territory. The player is actively opposed and the conflict is thematically motivated.</li>
<li>"Hostile Hub" -- A nexus of the antagonists to be either assaulted or escaped.</li>
<li>"Respite Hub" -- A small, usually hidden area within the hostile zones that provides the player with protection and protagonistic support. Often the location of a save point, powerup, or merchant.</li>
<li>"Distraction Hub" -- An area that explicity breaks the player out of the normal flow of the game. Minigames and optional sidequests live here.</li>
<li>"Strange Zone" -- Somewhere highly unusual, communicating a deeper truth about the world of the game. Because these are usually non-narrative, they should be transitional areas to pique player curiosity rather than destinations that get expounded on.</li>
<li>"Hard Path" -- Somewhere the player ends up by choice or by accident that is both unforgiving and forward-momentum only.</li>
<li>"Beautiful Path" -- A trail of rising positive energy, no conflict, and a strong reward at the end.</li>
</ul>
<p>Each of these phases may appear any number of times and be of varying size and saturation. The idea is that each one provides a different kind of exploration and environmental learning. As well, a given region in the game could change from one phase to another as the story progresses.</p>
<h3>Zones vs. Hubs vs. Paths</h3>
<p><strong>Hubs </strong>are feature dense areas, such as towns with people and shops in them. They often serve as destinations for plot points and player goals, that is the player is usually travelling 'to' a hub of somesort. Hubs may also include dungeons and puzzle areas, or anywhere that is a dead end.</p>
<p><strong>Zones </strong>are mutidimensional areas that the player can traverse in a variety of ways and directions. They have multple entrances and exits, and may even have 'borders' to other zones, which is basically a very large exit, or a number of exits that lead to the same adjacent zone. Players travel 'through' zones, not 'to' zones.</p>
<p><strong>Paths </strong>are one-dimensional, they have a single directed flow, and an entrance and exit at each end (though they may branch). They tend to be more highly narrative than a zone, because the player's progression along them is very controlled. Thus they are good for 'gating' mechanic knowledge or conveying specific features of the world. Note that in addition to the paths mentioned above, any zone type could be made into a path as well.</p>]]></content></entry><entry><title>Microtransactions Under the Microscope</title><category term="design"/><category term="dojo"/><id>http://www.grahamjans.com/blog/2011/8/31/microtransactions-under-the-microscope.html</id><link rel="alternate" type="text/html" href="http://www.grahamjans.com/blog/2011/8/31/microtransactions-under-the-microscope.html"/><author><name>Graham Jans</name></author><published>2011-09-01T02:47:14Z</published><updated>2011-09-01T02:47:14Z</updated><content type="html" xml:lang="en-CA"><![CDATA[<p>For our usual Design Dojo meeting last night, we discussed the pros and perils of microtransactions and the free-to-play business model. It was a fascinating discussion, revealing fascinating tension in our normally close-knit little group of designers! There was some intense, fruitful discussion, so this post is a bit of a doozy!</p>
<p>In this discussion we were trying hard to focus on, "How can we use microtransactions properly, for good?" rather than focusing on their negative perception and misuse.</p>
<p>I was overtired last night, so my recollection is a bit shaky. But here's the salient points as I remember them:</p>
<h2>First, Some Definitions</h2>
<p>The first thing was settling on a definition of microtransactions and free-to-play which we could utilize for the rest of the discussion. I proposed that, for the sake the discussion, micropayments were basically any money the player payed out after they started playing the game; that playing the game and then paying [more] later was free-to-play. There are two important consequences of this:</p>
<p>The first is that practically everything but a retail purchase can be analyzed in this light, notably DLC and demos that upsell to the full game! Episodic content can also be looked at this way: After the initial purchase of the first episode, the player makes choices to invest in further episodes.</p>
<p>The other consequence is the inclusion of incremental payments (like a base product with DLC), subscription models, as well as standard 'freemium' styles of monetization in this umbrella.</p>
<p>We purposely chose such a broad definition, because we felt that these things all sit on gradients; it's hard for a group of people to agree on the exact moment a retail game with DLC turns into microtransaction ecosystem. As well, many games use a mix of approaches simultaneously to acquire money from the player.</p>
<h2>So Why Free-To-Play?</h2>
<p>The reason we think this all matters is that the whole concept of free-to-play aligns better with player values. Traditional retail bombards a player with inscrutable advertising, senseless review scores, and non-interactive game media, and then demands that they fork over a large portion of money for a non-returnable box which may or may not contain a game that they actually enjoy.</p>
<p>From the most basic example of a demo, to a cheap-but-ongoing subscription, to a game funded entirely by the sale of novelty hat items, each of these systems allows the player to experience the game <em>as a game</em> and decide for themselves how much value it contains, whether it's worth their money. The punters can leave with nothing lost. The developers still get paid, and the true fans (or rich fans) have the opportunity to keep on giving. Ideally.</p>
<p>So we wanted to see how to make best use of that system: to figure out how micropayments can be used to make a better game for the player, not a worse one. To make a game which profits from players, but doesn't abuse them.</p>
<p>Overall, the meeting was fairly unstructured, so I'm just going to lay out the points we covered, in no particular order.</p>
<h2>Microtransactions Require Long Play</h2>
<p>Microtransactions piggyback on the value system created by the game world. One of the challenges we face as designers, on every game we make, is communicating and teaching the value system for our particular game to the player. This means that we can't expect players to realize the monetary worth of a game element until this education process is completed. A highly refined experience that lasts only two hours will likely only make its full value apparent to the player when it's all done -- or even a few days later as the player digests the experience! By then, it's too late to capture their attention for additional content or experiences. Alternatively, a game that brings the player back again and again has many opportunities to convert and upsell the player.</p>
<p>The consequence of this is that the most successful microtransaction-funded games tend to be RPGs, and online multiplayer, and especially online multiplayer RPGS!</p>
<p>There is another synergy of long-play and free-to-play, which is that in most freemium games, the non-paying players provide 'content' for the paying players just by being there. They keep the system lively, create nodes for conversation and trade, and even just make the paid players feel good about themselves. However, if the free players don't stick around very long, then there is less incentive (in this context) for the paid players to stick around either.</p>
<h2>Danger of Relying on a Growth Market</h2>
<p>Many standard microtransaction formulae gain a lot of their value from customer acquisition. The very real consequence of this is that once you saturate your market or niche, you will stop profiting. This happened to Nexxon; subsequent game releases basically had nowhere to grow except cannibalizing their previous games.</p>
<h2>Microtransactions Match the Form of the Game</h2>
<p>Farmville and its kin has been slagged from many different angles, especially by gamers deriding it's microtransaction system. I came into this meeting with spite against these games because many of the things you pay for are 'amechanical'. There is no standard in-game metaphor for paying to skip the harvest period of a crop; it's basically an arbitrary barrier that is arbitrarily removed.</p>
<p>But it was then pointed out to me that Farmville itself is largely amechanical! And that's nothing to hold against the game, or at least a discussion for another day. But the point is, the microtransactions actually match the nature of the gameplay.</p>
<h2>In-Game Value and Real World Value are Tied</h2>
<p>As mentioned above, the value of real-money purchases is largely defined by the player's perspective within the game world. But additionally, the real-world value of items affects their perception within the game. The obvious case of this is that selling a top hat item for $1,000 will provide a kind of instant prestige for any player owning that item, even if it has no intrinsic value or significant aesthetic value. It's valuable <em>because</em> it's expensive.</p>
<p>There is a more subtle case with content that can be accessed both through real money and in-game effort. Take, for example earning a new Champion in League of Legends. On one hand, the paying player can say, "Woo, I payed $5 and saved myself 5 days of effort!" But the non-paying player can also say, "Woo, I earned this myself, and saved $5!" It actually gives an extrinsic value to the time the player is spending in the game.</p>
<h2>Create and Embrace Conventions</h2>
<p>In World of Warcraft, players can purchase fully-leveled characters rather than grinding up through the levels. There are a variety of reasons a player may want to do this, and in their mind, the reason always makes sense. But the game doesn't officially support this kind of transaction; it is actually handled through an external site (such as eBay). It is a firmly established convention within the social circle of the game that if you want to experience the end-game content, by golly, you gotta earn the right! Players who skip the levelling process are shunned by the other high level players and slandered in the forums.</p>
<p>And it's not because there is anything inherently <em>wrong</em> with skipping low-level content, but merely that the conventions of the social system don't allow for it. This can be bent both ways: If in your game, it is the convention to work for stronger items, then players who buy them will be called out for 'cheating' or 'playing unfair' or 'paying for power'. But if the convention is to only access stronger items through purchasing, then players who don't purchase are looked at as cheap or not dedicated.</p>
<h2>Flattening the Value-Per-Player Curve</h2>
<p>The vast majority of the money you make in free-to-play comes from the top paying players. The vast majority of players pay nothing. Not to cut it too thin, they are freeloaders.</p>
<p>Most of the cases where "abuse" happens is when this graph is extremely sharp. Most of the players in a game are nothing but an expense, and so the few players that pay get milked to death. A healthier game flattens out the curve. More players are paying, and each is paying a healthier amount. (Both healthier for themselves, and healthier for the developer.)</p>
<p>A point that strikes me really strongly when I'm playing a free-to-play game is the actual product value of the game. For example, with League of Legends: I look at the game and say to myself, "If that was in a box at retail, I'd probably pay $40 for it." What I'm trying to do when I do this is divine the value of the assets, the time spent developing and patching, and my own personal load on the servers, and still give them a profit. Obviously this is a rough estimate, but whatever this exact number is: if players don't pay this much on average, then the game is a loser.</p>
<p>By distributing this load across more players, the amount you need to eke out of each player is reduced. As well, there is the easily observable phenomenon that paying customers are stronger advocates of the game.</p>
<p>Retail, of course, takes this to the extreme, making sure that every single participant pays exactly a standard share. Subscription models sit fairly nicely in the middle, with the players who are more invested spending more money on the game overall.</p>
<h2>Different Kinds of Microtransactions</h2>
<p>I asserted that 'paying for content' was the most obvious format for a microtransaction. We challenged this definition and came up with some other common formats as well:</p>
<p>&nbsp;</p>
<ul>
<li>Paying to expand the experience. This may be access to new content; customization options for personal or social reasons; access to mechanics; gaining power within the system. "Buying a Sword."</li>
<li>Boosters and Consumables. Temporary purchases that tend to work in conjunction with the play mechanics, either multiplying player stats and activity, or providing a lift over a hurdle or out of a hole. "Buying a Strength Potion."</li>
<li>Keys and Resources. Indirectly aiding the player by increasing their ability to make choices, or making a new choice accessible. "Buying in-game gold."</li>
<li>External Privileges: Purchasing goods or powers that exist externally to the game mechanics and world. Pay for name change, a server transfer, access to guild management tools, getting priority listing in advertising channels, etc.</li>
<li>Transaction Fees: If you have players on both sides of a transaction, such as goods transfer, gifting and trading, or auctions, you can reserve a portion for yourself.</li>
</ul>
<p>&nbsp;</p>
<h2>Microsubscriptions</h2>
<p>Subscriptions came up several times in the discussion as both a reliable income stream, and also a way of treating players more equally (because time passes for everyone at the same rate). We got thinking if there could be a number of smaller streams within the game that the player could subscribe to based on their needs. For example, subscribing for access to high-level content while mid-level content remains free. Or subscribing to recieve every new character that is released for the duration of the subscription. And so forth. Has anyone done this yet?</p>
<h2>Greed is a Sliding Scale</h2>
<p>One member brought up that such a thing was a tool evil, because the developer could tune the length between releases in a subscription to offer just a little bit less content for the same price. It was countered that, yes, all bars add salt to their food, but you don't eat at a bar with <em>really</em> salty food. Market forces prevail, people will pay for something what they feel it is worth.</p>
<p>As well, such a thing could be a tool for benevolence. A developer could tune the length between releases to offer just a little <em>more</em> content for the same price, if they felt that was the right thing to do. In fact, most of the factors in microtransactions work this way. The negative reputation these systems have comes from factors that are tuned to maximize profit and abuse players for their money. But that's not an inherent trait in the system; you could just as easily use it to ensure your own bankruptcy! But obviously, there are various optimums in the middle which allow a person to both make a profit and ahere to their morals.</p>
<h2>All Games are Skinner Boxes</h2>
<p>The comparison of the feedback loop in Farmville to a skinner box is not accidental. It <em>is</em> a skinner box. As are basically all games. Any time you talk about making a game 'more sticky' or 'more engaging' or 'compelling', you are talking about refining and enhancing the skinner box that resides within your game.</p>
<p>But it's okay if your game is engaging or compelling. Because there is more to the system than the compulsion loop. There is the experience of playing, which can be exciting and interesting and beautiful and rewarding, and there is the feedback that the game gives in reward for following that loop, which can be interesting and beautiful and rewarding.</p>
<p>Microtransactions have an amplifying effect here, because where most games suck up a player's time, free-to-play games suck up their time and money! But we are in the entertainment business, people are giving us their money to entertain them. We each have a choice to create a minimal structure which siphons their money away, or to create a beautiful piece of art which enriches them, and for which they give us their money. The fact that it is compelling is agnostic!</p>
<hr />
<p>&nbsp;</p>
<p>Well, that was a lot of discussion! I hope there's some new or interesting tidbit in there for you. Did anything shock or anger you? Do you strongly agree or disagree with any of these points? We'd love to hear about it, and learn and grow!</p>]]></content></entry><entry><title>Zombie Minesweeper Launch and Design Article</title><id>http://www.grahamjans.com/blog/2011/8/16/zombie-minesweeper-launch-and-design-article.html</id><link rel="alternate" type="text/html" href="http://www.grahamjans.com/blog/2011/8/16/zombie-minesweeper-launch-and-design-article.html"/><author><name>Graham Jans</name></author><published>2011-08-16T17:46:44Z</published><updated>2011-08-16T17:46:44Z</updated><content type="html" xml:lang="en-CA"><![CDATA[<p><strong>WOO, WE DID IT!</strong></p>
<p>Zombie Minesweeper has officially launched for iPhone/iPad and <a href="http://itunes.apple.com/ca/app/zombie-minesweeper/id451807046?ls=1&amp;mt=8">is for sale</a>. Were getting great reviews and great ratings. I'm so proud!</p>
<p>However, having it on the market, we now discover the truth of all the assumptions we've made so far. So there's going to be lots to write about in the near future!</p>
<p>Lara and Mike have each posted a retrospective article at zombieminesweeper.com, and today I just posted my first article on the site: <a href="http://www.zombieminesweeper.com/blog/2011/8/16/why-zombies-big-decisions-in-design.html">Why Zombies? Big Decisions in Design</a>.</p>
<p>You can read it there, or, if you are a dark-on-light person like myself, I've copied the text below.</p>
<p>&nbsp;</p>
<hr />
<p>&nbsp;</p>
<p>The Zombie Minesweeper trailer was recently featured on IndieGames.com. What an extremely proud moment! Getting posted there has been one of the little tick-boxes on my list of 'things to do before I'm a <em>real</em>&nbsp;indie.'</p>
<p>However, there was a fairly strong sentiment running through the comments:</p>
<blockquote>
<p>"Bleh.... zombies.<span>" ~Briker Ed</span></p>
</blockquote>
<p><span>Zombies are a funny theme: They've been going strong for a long time, and regardless of how much fatigue players express, developers keep making these games, and players keep buying them! But that's no excuse for us to jump on the bandwagon and pump out 'yet another zombie game'. No, in fact our choice of zombies was fairly carefully considered, and it's just our burden that we have to push past all the 'me too' zombie games out there.</span></p>
<h2>So why zombies?</h2>
<p>The first thing was that, making Minesweeper, we wanted some kind of slow, clueless enemy. This would allow us to keep it a puzzle game where the enemies are there to add pressure, rather than having fast, smart enemies, which would have turned it in to more of an action game. We thought of a few different kinds of enemies, and zombies just seemed the most 'right'.</p>
<p>The second was that land mines are kind of a touchy subject, so we wanted an enemy that would be 'okay' to blow to bits. Again, there were a lot of possibilities, but zombies seemed to strike the right balance between 'okay to destroy' and 'make a big mess when you destroy them'.</p>
<p>We did try to inject our own flavour in to it though by making the zombies cute animals, and even plants (cue zombie mushroom). Although there are probably other games that have done this (there are a LOT of zombie games. ;) ), we felt that at least that was an aspect of zombies that hadn't been done to death.</p>
<p>But here is, I think, the most important part: We decided that we wanted zombies, and we threw ourselves into it fully. We considered the ramifications and alternatives, put our own style on it, and ensure that it was made to the highest quality. It's important to never get caught in the flow and do something without intention. Make a choice! Even if it's the wrong choice, being conscious of the decision allows you to evaluate the outcome and make better choices in the future. This is the only way to improve and be happy with what you've created!</p>]]></content></entry><entry><title>Going Zombie Crazy!</title><id>http://www.grahamjans.com/blog/2011/8/4/going-zombie-crazy.html</id><link rel="alternate" type="text/html" href="http://www.grahamjans.com/blog/2011/8/4/going-zombie-crazy.html"/><author><name>Graham Jans</name></author><published>2011-08-05T00:40:59Z</published><updated>2011-08-05T00:40:59Z</updated><content type="html" xml:lang="en-CA"><![CDATA[<p>So this is just a quick post so I can say, "Yes! I wrote in my blog!"</p>
<p>Basically, things have been completely nuts getting the iOS version of <a href="http://www.zombieminesweeper.com/">Zombie Minesweeper</a>&nbsp;ready for release. Well, that's finally come to fruit: We've been approved, and the game is launching on the 9th of August!</p>
<p>Part of the work going on right now (apart from all the other work!) is PR stuff. And part of that is making myself more notable! Which means I should probably write. Because designers who don't write basically don't exist on the internet, amirite?</p>
<p>Well, I'm writing a piece about Zombie that should be out by release, so this is really just a prelude to that. So here goes!</p>]]></content></entry><entry><title>Why So Sad, Indie?</title><category term="indies"/><id>http://www.grahamjans.com/blog/2011/3/3/why-so-sad-indie.html</id><link rel="alternate" type="text/html" href="http://www.grahamjans.com/blog/2011/3/3/why-so-sad-indie.html"/><author><name>Graham Jans</name></author><published>2011-03-03T19:32:09Z</published><updated>2011-03-03T19:32:09Z</updated><content type="html" xml:lang="en-CA"><![CDATA[<p>Indies are awesome. If there is one thing that has been hammered home to me this year at GDC, it's that independent developers are completely awesome, and we are going to save gaming as we know it, while simultaneously trailblazing the roads that mainstream gaming and the future of what gaming will become will eventually take.</p>
<p>Indies are successful and happy and relevant, they love eachother and their communities, and their communities love them back. I keep walking up to famous, respected indies, cutting immediately past the bull crap, and having delicious, inspirational, and deep discussions with them about games and science and food and life. We are the best thing there is in games right now.</p>
<p>So why all the self pity? Why all the jokes about being poor schlubs and being downtrodden? We are significantly less trodden than mainstream developers, and there's nothing schlubby about being an entrepeneur, no matter what your product is.</p>
<p>Why does everyone act like we have something to prove to mainstream development, that we are somehow second-class citizens? Is it because we don't participate in that incestuous ecosystem of stock-price-driven business decisions? Is it because we aren't willing to hide our voices beneath mountains of compromise? Is it because we don't want to release mediocre games into the world?</p>
<p>Sure, there are wastrels and hanger-oners and misfits in indie games. But so are there in every other industry and profession in the world. Indie! Stop acting like you have no worth!</p>
<p>I can't even count the number of below-the-breath grunts and groans I heard from the crowd every time a speaker dared to imply that we were somehow pathetic or worthless. Most of us know we are awesome, but for some reason keep clinging to these bizzare stereotypes.</p>
<p>Ron Carmel made an awesome point about Indie Fund, where he said that he wanted to make sure that he was (paraphrasing) investing robustly into indies, to show the rest of the world just how much indies are worth. I think we all need to take that stance and start projecting to the world just how awesome we are, rather than repeating the same tired jokes about "will code for food".</p>
<p>I can't say it enough: Indies are awesome. So why so sad, indie?</p>]]></content></entry><entry><title>A New Leaf</title><category term="design"/><category term="indies"/><category term="learning"/><id>http://www.grahamjans.com/blog/2011/2/22/a-new-leaf.html</id><link rel="alternate" type="text/html" href="http://www.grahamjans.com/blog/2011/2/22/a-new-leaf.html"/><author><name>Graham Jans</name></author><published>2011-02-22T17:52:05Z</published><updated>2011-02-22T17:52:05Z</updated><content type="html" xml:lang="en-CA"><![CDATA[<p>Well, here we are. The present is now. I guess that means life is changing.</p>
<p>So it's been an exciting and busy year for me. The biggest change is that I've gone full-time indie. I'm still trying to figure out exactly what that means, but it's finally starting to feel comfortable.</p>
<p>GDC is coming up, and for the first time, I will be attending. This has brought into focus several aspects of my career that I've neglected, mainly revolving around the way I participate in and present myself to the game development community and the rest of the world.</p>
<div class="image-with-caption"><img src="http://farm5.static.flickr.com/4050/4273321047_8825e8ee90.jpg" alt="pages after pages..." width="500" height="334" /><br />pages after pages... <a title="pages after pages... by Hellmy, on Flickr" href="http://www.flickr.com/photos/hellmy/4273321047/">by Hellmy</a></div>
<p>I'm determined to put myself out there more, in all meanings of the phrase. There have been some good changes already:</p>
<p>I've gotten <a href="http://twitter.com/#!/Ipsquiggle">back onto twitter</a>, at least in a small way. I feel like now that I'm doing game development full time again, I might have interesting things to say. Though to be honest, I still don't feel like Twitter is a very effective communication platform. I guess I just don't get it.</p>
<p>Design Dojo, the game design discussion group I run with <a href="http://www.above49.ca/">Nels Anderson</a>, has been a success. It's still evolving and growing, and almost two years in, we are still trying to figure out what exactly it wants to be. But we are having a good time running it, I'm learning lots, and I love hanging out and talking design more than almost anything. I still feel in my heart that this group could become something big and world-changing, and I know that the single greatest factor preventing that is that I'm not giving it the love and attention it deserves. I don't know if I can do that just now though, what with everything else going on, so I make no promises here.</p>
<p>The <a href="http://www.meetup.com/Vancouver-Indie-Game-Developers/">Vancouver Indie Meetup</a>, run by Alex Vostrov and Jake Birkett, has been phenomenal as well. It's been such an encouragement to me to discover all these other people in the Vancouver area who are on the same journey as me, that I can share with and learn from. Mostly though, I'm just going to hang out. There are two critical steps I need to take to really get the value I should from this group. The first, is I need to give to it in a big way. Jake and Alex have been harassing me to give a presentation for quite some time now, and I keep waffling on them. I hate public speaking, but I know it's the right thing for me to do. GDC has come along and provided me with a convenient excuse for not speaking at this next meetup, and I really need to get past that and just do it. The second thing is that I need to start engaging my fellow indies on a more professional level, so that we can tangibly assist and benefit eachother instead of merely providing encouragement and socialization.</p>
<p>Importantly, I have just released my first game developed fully independently. With the help of Lara Kehler and Mike Labbe, <a href="http://www.zombieminesweeper.com/">Zombie Minesweeper</a> is live on Kongregate. This is a pretty huge step, and a week and a half later I'm still buzzing inside from the satisfaction. I'll be writing more about this one directly in the near future.</p>
<p>Which brings me to the things which I still need to do to really turn things in the right direction:</p>
<p>First and foremost, I need to make more games. Each person has their own way of adding to the conversation, and I know that mine is with practical examples. I feel dirty when I talk about game design ideas that I haven't proven, of when I discuss my skill and have not shown it off. I'm going to try to be happy and outgoing, but I know that I won't really be able to until I have the weight of proof sitting behind me. And besides, that's what I'm here for anyways! All this, and I mean <strong>all this</strong>, is in service of ultimately making more games and making better games.</p>
<p>But even before I'm satisfied with my portfolio, I need to be part of the conversation more. Twitter and Buzz are a start to this, and firing up my blog again is a part to this. I need to tell people what I think, I need to add my 2 cents to the pile. I often feel like my opinion doesn't matter (see previous paragraph), but it does matter, and as little worth as it may have, it's utterly worthless if I don't release it to the world.</p>
<p>I need to make more developer friends. I have many developer acquaintances, but not many people I can just talk to openly and honestly about my work and life. This is also part of the aim of joining the conversation. I know that us developers tend to be shy introverts, and there are people out there just like me that I <em>need</em>&nbsp;to get to know, but it isn't going to happen until I step out and make my presence known.</p>
<p>There are many changes I should make in my life that aren't related directly to game design, but I feel like many of the shortcomings I percieve in my career and life are due to a lack of focus and willful distraction. I feel like if I really want to get this new life as an independent game developer kicked off, I need to really focus on it and give it my full attention. So this is my plan, this is my new leaf. Here goes nothin'.</p>]]></content></entry><entry><title>Art and the Mainstream</title><category term="design"/><id>http://www.grahamjans.com/blog/2010/4/5/art-and-the-mainstream.html</id><link rel="alternate" type="text/html" href="http://www.grahamjans.com/blog/2010/4/5/art-and-the-mainstream.html"/><author><name>Graham Jans</name></author><published>2010-04-05T15:33:27Z</published><updated>2010-04-05T15:33:27Z</updated><content type="html" xml:lang="en-CA"><![CDATA[<div class="image-with-caption"><img src="http://www.grahamjans.com/storage/post-images/image003.jpg?__SQUARESPACE_CACHEVERSION=1270483585869" alt="" /><br />Image of "The Marriage" by <a href="http://www.rodvik.com/rodgames/marriage.html">Rod Humble</a>.</div>
<p>Artfulness and mass-market appeal can be looked at as opposing forces. Here are some illustrations of qualities of these two forces.</p>
<p>Creating an artful game:</p>
<ul>
<li>Has a specific "point".        
<ul>
<li>Anything that doesn't directly support that point is noise.</li>
<li>Design by subtraction.</li>
</ul>
</li>
<li>Is fundamentally self-serving.        
<ul>
<li>That is, your work needs to remain true to its intention (even though that intention itself may not be self-serving).</li>
</ul>
<ul>
<li>Your voice is the loudest; the work represents your opinion or perspective.</li>
</ul>
</li>
<li>Success is defined by the depth of its communication.        
<ul>
<li>Should encourage the player to introspect.</li>
<li>At the end of the day, the hope is that it has somehow affected someone.</li>
</ul>
</li>
<li>The more any given personality likes it, the more another personality will hate it.</li>
</ul>
<p>Creating a mass-market game:</p>
<ul>
<li>Tries to appeal to many personalities.        
<ul>
<li>Bolstered by a plethora of minor facets, so everyone can find something they like.</li>
</ul>
</li>
<li>Can't offend. Mediocrity is the safe route.</li>
<li>Is fundamentally audience-serving.        
<ul>
<li>If the player percieves something to be incorrect or poor, then it <em>is</em>, since you are creating it for them.</li>
<li>Your voice is the quietest. The work is a gift to the audience to consume or dispose of as they please.</li>
</ul>
</li>
<li>Success is defined by the breadth of its communication.        
<ul>
<li>As many people should experience it as possible, regardless of what their takeaway is.</li>
</ul>
</li>
</ul>
<p>You may not agree with every specific point in this list, but for now just focus on the shape of the comparison. When I say these are opposing forces, I mean that it is challenging to serve both these goals at the same time.</p>
<p>The very qualities of an artful work tend to make it hard for the mass-market to accept, and the very qualities of a mass-market game tend to destroy or occlude it's artful elements.</p>
<p>It's definitely possible to create something that is both, but at any given moment on a project, it's prudent to know which of these goals is more important to you, to ensure that you aren't focusing on elements of the work that are wasting your energy and diluting your purpose.</p>
<p style="font-size: 100%; text-align: right;"><span style="font-size: 80%;"><em>&nbsp;</em></span></p>]]></content></entry><entry><title>That Schell Game</title><category term="design"/><category term="links"/><id>http://www.grahamjans.com/blog/2010/2/22/that-schell-game.html</id><link rel="alternate" type="text/html" href="http://www.grahamjans.com/blog/2010/2/22/that-schell-game.html"/><author><name>Graham Jans</name></author><published>2010-02-22T16:40:32Z</published><updated>2010-02-22T16:40:32Z</updated><content type="html" xml:lang="en-CA"><![CDATA[<p>There seems to be a bit of furor over <a href="http://g4tv.com/videos/44277/DICE-2010-Design-Outside-the-Box-Presentation/">that talk that Jesse Schell gave</a>. I think it's much ado about nothing. Let me explain:</p>
<p>I saw a chart a ways back that looked something like this: (if you remember where this is from, let me know so I can link it...)</p>
<p><span class="full-image-block ssNonEditable"><span><img src="http://chart.apis.google.com/chart?cht=p&amp;chco=AA0000&amp;chtt=Kinds+of+Games&amp;chd=s:FFFFF9&amp;chl=Hardcore|Casual|Advergames|Serious|ARG|Unknown&amp;chs=300x150&amp;chp=2.2&amp;__SQUARESPACE_CACHEVERSION=1266858282715" alt="" /></span></span></p>
<p>The implication being that there are all kinds of games out in that "unknown" area, and that in order to expand our art, we need to be exploring out into that unknown area. In general, I agree with this observation.</p>
<p>Mr. Schell's contention is that a fairly large slice of that pie consists of "Social Network Games", and another fairly large slice consists of "Making Games From Real World Things." And I agree, and await the future he describes with both eagerness and trepidation.</p>
<p>The general internet reaction, however, has been "ZOMG WOW. I don't want to make evil Big Brother games! Facebook evil! What happened to my beloved games!"</p>
<p><em>However:</em> To me, a similar chart could be drawn up that looks like this:</p>
<p><span class="full-image-block ssNonEditable"><span><img src="http://chart.apis.google.com/chart?cht=p&amp;chco=AA0000&amp;chtt=Kinds+of+Books&amp;chd=s:FFFFFFFFFF&amp;chl=Fantasy+Novels|Literature|Religious+Texts|Pamphlets|Guidebooks|Textbooks|Cookbooks|Comics|Journals|Poem+Collections&amp;chs=300x150&amp;chp=0.33&amp;__SQUARESPACE_CACHEVERSION=1266858742900" alt="" /></span></span></p>
<p>Now imagine that only the right half of that chart had been "discovered", and you are a writer. All of a sudden someone comes along shouting, "We have no idea what the potential of books is yet! But I think you could collect a bunch of recipes and put them together in a 'Cooking Book', and sell these for millions!"</p>
<p>Well, yes, that's true. Does that mean that you should stop writing novels and start compiling cookbooks? Of course not!</p>
<p>Likewise: I joined the game industry primarily to craft escapist experiences. Are there other uses for games? Sure! Will my grocery store points card get more use if a talented game designer crafts a game around it instead of just a raw, boring point accumulation? Sure! But where I am, and where that is, are not really the same place.</p>
<p><em>As an aside: Everyone who has all these Big Brother fears from that talk... Well, you already have a grocery store points card, don't you? And you get bonus points for buying the off-brand cream corn, don't you? The future is now!</em></p>]]></content></entry><entry><title>Link Dump (weekly)</title><category term="links"/><id>http://www.grahamjans.com/blog/2009/5/3/link-dump-weekly.html</id><link rel="alternate" type="text/html" href="http://www.grahamjans.com/blog/2009/5/3/link-dump-weekly.html"/><author><name>Graham Jans</name></author><published>2009-05-03T00:33:03Z</published><updated>2009-05-03T00:33:03Z</updated><content type="html" xml:lang="en-CA"><![CDATA[<ul class="diigo-linkroll">
<li>
<p class="diigo-link"><a rel="nofollow" href="http://www.cyd.liu.se/~tompe573/hp/project_sfxr.html">DrPetter's homepage - sfxr</a></p>
<p class="diigo-description">Its purpose is to provide a simple means of getting basic sound effects into a game for those people who were working hard to get a prototype done and don't have time to spend looking for suitable ways of doing this.The idea is that they could just hit a few buttons in this application and get some largely randomized effects that were custom in the sense that the user could accept/reject each proposed sound.</p>
<p class="diigo-tags"><a style="color:#000 !important;text-decoration:none !important;" href="http://www.diigo.com/cloud/ipsquiggle">tags</a>: <a href="http://www.diigo.com/user/ipsquiggle/tool">tool</a>, <a href="http://www.diigo.com/user/ipsquiggle/free">free</a>, <a href="http://www.diigo.com/user/ipsquiggle/games">games</a>, <a href="http://www.diigo.com/user/ipsquiggle/sound">sound</a>, <a href="http://www.diigo.com/user/ipsquiggle/effects">effects</a></p>
</li>
</ul>
<p><br />Posted from <a href="http://www.diigo.com">Diigo</a>. The rest of my <a href="http://www.diigo.com/user/ipsquiggle">favorite links</a> are here.</p>]]></content></entry></feed>
