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Advanced Game Design
A Systems Approach

Michael Sellers

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Dedicated to all those creating and becoming the next
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Contents at a Glance

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii

About the Author. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiv

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Part I Foundations. . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
1 Foundations of Systems. . . . . . . . . . . . . . . . . . . . . . . . . . 13

2 Defining Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

3 Foundations of Games and Game Design . . . . . . . . . . . . . . 89

4 Interactivity and Fun. . . . . . . . . . . . . . . . . . . . . . . . . . . .121

Part II Principles . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

5 Working as a Systemic Game Designer . . . . . . . . . . . . . . . .171

6 Designing the Whole Experience . . . . . . . . . . . . . . . . . . . .187

7 Creating Game Loops . . . . . . . . . . . . . . . . . . . . . . . . . . .219

8 Defining Game Parts. . . . . . . . . . . . . . . . . . . . . . . . . . . .267

Part III Practice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

9 Game Balance Methods . . . . . . . . . . . . . . . . . . . . . . . . . 295

10 Game Balance Practice . . . . . . . . . . . . . . . . . . . . . . . . . .319

11 Working as a Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . .355

12 Making Your Game Real. . . . . . . . . . . . . . . . . . . . . . . . . .375

Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417
This page intentionally left blank
Contents

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . .xiii
About the Author . . . . . . . . . . . . . . . . . . . . . . . .xiv

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
A Combined Approach to Game Design . . . . . . . . . . . . . . . . 2
Where This Book Came From . . . . . . . . . . . . . . . . . . . . . . . 2
What This Book Is and Isn’t About . . . . . . . . . . . . . . . . . . . . 3
Goals of This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
How to Read This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Part I Foundations . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
1 Foundations of Systems . . . . . . . . . . . . . . . . . . . . 13
Ways of Seeing and Thinking . . . . . . . . . . . . . . . . . . . . . . 14
A Quick History of Systems Thinking. . . . . . . . . . . . . . . . . . 28
Systems as the Process of the World . . . . . . . . . . . . . . . . . . 33
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

2 Defining Systems . . . . . . . . . . . . . . . . . . . . . . . . 49
What We Mean by Systems . . . . . . . . . . . . . . . . . . . . . . . . 50
A Brief Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Defining Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Wholes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

3 Foundations of Games and Game Design . . . . . . . . . 89

What’s a Game? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Game Frameworks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Summing Up Game Definitions . . . . . . . . . . . . . . . . . . . . . 95
x CONTENTS

A Systemic Model of Games . . . . . . . . . . . . . . . . . . . . . . . 96

The Evolution of Game Design . . . . . . . . . . . . . . . . . . . . .117
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119

4 Interactivity and Fun . . . . . . . . . . . . . . . . . . . . . 121

The Player’s Part of the Game as a System . . . . . . . . . . . . . 122
A Systemic Approach to Interactivity . . . . . . . . . . . . . . . . 122
Mental Models, Arousal, and Engagement . . . . . . . . . . . . . 129
Interactive Loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Recognizing, Defining, and Creating “Fun”. . . . . . . . . . . . . 163
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Part II Principles . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

5 Working as a Systemic Game Designer . . . . . . . . . . 171
How Do You Even Start?. . . . . . . . . . . . . . . . . . . . . . . . . 172
Designing Systemic Games . . . . . . . . . . . . . . . . . . . . . . 175
Analyzing Games from a Systems View . . . . . . . . . . . . . . . 182
Prototyping and Playtesting . . . . . . . . . . . . . . . . . . . . . . 184
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

6 Designing the Whole Experience . . . . . . . . . . . . . 187

What’s the Big Idea? . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
The Concept Document. . . . . . . . . . . . . . . . . . . . . . . . . 193
Designing the Game+Player System . . . . . . . . . . . . . . . . . 214
Questions to Consider About Your Design Vision. . . . . . . . . 216
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

7 Creating Game Loops. . . . . . . . . . . . . . . . . . . . . 219

More Than the Sum of the Parts . . . . . . . . . . . . . . . . . . . 220
A Brief Review of Loops . . . . . . . . . . . . . . . . . . . . . . . . . 220
The Four Principal Loops . . . . . . . . . . . . . . . . . . . . . . . . 224
Three Kinds of Gameplay Loops . . . . . . . . . . . . . . . . . . . 235
Defining a System’s Loops—And Goals . . . . . . . . . . . . . . . 258
 CONTENTS xi

Tools for Designing Game Systems. . . . . . . . . . . . . . . . . . 260

Documenting Your System Designs . . . . . . . . . . . . . . . . . 261
Questions to Consider About Your Game Loops . . . . . . . . . 264
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

8 Defining Game Parts . . . . . . . . . . . . . . . . . . . . . 267

Getting Down to Parts. . . . . . . . . . . . . . . . . . . . . . . . . . 268
Defining Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Specifying Behaviors for Parts. . . . . . . . . . . . . . . . . . . . . 276
Creating Looping Systems . . . . . . . . . . . . . . . . . . . . . . . 285
Don’t Get Lost in the Weeds or the Clouds . . . . . . . . . . . . . 286
Documenting Your Detailed Design . . . . . . . . . . . . . . . . . 287
Questions to Consider About Your Detailed Design . . . . . . . 291
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Part III Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

9 Game Balance Methods . . . . . . . . . . . . . . . . . . . 295
Finding Balance in Your Game. . . . . . . . . . . . . . . . . . . . . 296
Overview of Methods and Tools . . . . . . . . . . . . . . . . . . . 297
Using Probability in Game Balancing . . . . . . . . . . . . . . . . 304
Transitive and Intransitive Systems . . . . . . . . . . . . . . . . . . .311
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .317

10 Game Balance Practice . . . . . . . . . . . . . . . . . . . . 319

Putting Methods into Practice. . . . . . . . . . . . . . . . . . . . . 320
Creating Progression and Power Curves . . . . . . . . . . . . . . 320
Balancing Parts, Progression, and Systems . . . . . . . . . . . . . 332
Analytical Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

11 Working as a Team. . . . . . . . . . . . . . . . . . . . . . . 355

Teamwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
What Successful Teams Do . . . . . . . . . . . . . . . . . . . . . . . 356
xii CONTENTS

Team Roles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

12 Making Your Game Real . . . . . . . . . . . . . . . . . . . 375

Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Making the Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Building the Game . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Designing, Building, and Testing . . . . . . . . . . . . . . . . . . . 385
Finding the Fun Fast . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Effective Game Prototyping . . . . . . . . . . . . . . . . . . . . . . 386
Effective Playtesting . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Phases of Production . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Finishing Your Game . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . 409

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417
ACKNOWLEDGMENTS

Any book is a journey in the writing. I would like to thank all of my family members, friends,
and colleagues who have over the years helped me sharpen my thoughts on game design and
who urged me, sometimes forcefully, to take this journey. In particular, I’d like to thank Ted
Castronova and Jeremy Gibson Bond for their continuous support; my students in the Game
Design program at Indiana University for playtesting this book with me; and most of all my wife,
Jo Anna, for her unwavering love, support, and inspiration across many years and adventures.

I’d also like to thank Kees Luyendijk for taking on the role of illustrator and early reader for this
book, while also being a graduate student! I am grateful, too, to Laura Lewin, Chris Zahn, and
the rest of the editing team at Pearson Education for their guidance and support in making this
book a reality, and to Daniel Cook and Ellen Guon Beeman for being such generous, thoughtful,
and incisive technical reviewers. This book could not have happened without the hard work of
each of these individuals.
ABOUT THE AUTHOR

Michael Sellers is Director of the Game Design program and a Professor of Practice at Indiana
University in Bloomington, Indiana.

Sellers has worked as a professional game designer since 1994, with a focus on designing
social, mobile, and massively multiplayer online games (MMOs). He has started and run three
successful game studios and has also worked for notable game developers such as 3DO,
Electronic Arts, Kabam, and Rumble Entertainment as a lead designer, executive producer,
general manager, and creative director.

His first commercial game was the award-winning Meridian 59, the first 3D MMO, released in
1996. He was also the lead designer on The Sims 2, Ultima Online, Holiday Village, Blastron, and
Realm of the Mad God, among other games.

In addition to his work in games, Sellers has conducted and published original research in
artificial intelligence. His AI research, partly funded by the U.S. Defense Advanced Research
Projects Agency (DARPA), focuses on “social artificial intelligence”—creating agents that
behave plausibly in social situations. As part of this effort, Sellers has published groundbreaking
work on enabling artificially intelligent agents to learn, form social relationships, and have
and express emotions based on a unifying psychological architecture.

Sellers has a BS in cognitive science. In addition to working on games and AI, he has worked
as a software engineer, user interface designer, RPG miniatures sculptor, and briefly as a circus
roustabout and movie extra.

He has a Bacon number of 2 and hopes someday to have an Erdos number.

CHAPTER 5

WORKING AS A SYSTEMIC
GAME DESIGNER

In this chapter, we move from the foundational

theory to the practice of designing games. Here we
look at different aspects of the game design process
and how to get started in each as a systemic game
designer.

This is an overview that will be supplemented by

Chapters 6, 7, and 8, where we go into more depth
on designing the game as a unified whole, then its
loops, and finally its parts.
172 CHAPTER 5 WORKING AS A SYSTEMIC GAME DESIGNER

How Do You Even Start?

Lots of people want to design games. They dream about it and talk about it but somehow
never manage to actually get started. This is common, and most people who say they have a
burning desire to design games never actually do it. Few manage to gather their courage and
begin the journey of wading into the dark waters of game design. Rarer still are those who
emerge on the far side, dragging their game kicking and screaming from the inchoate sea of
design ideas. (That may seem like an overwrought metaphor, but when you complete your first
game, you may no longer think so.)

One of the first questions people commonly ask when contemplating doing game design as
more than a hobby, more than a “wouldn’t it be cool if” activity, is along the lines of “How do
I even start?” Designing a game can seems like an impossible problem with no easy handles,
no obvious way in. The sheer complexity and impenetrability of the problem can make it seem
like the best you can do is leap in with both feet and hope for the best. That is, in fact, what
generations of game designers up to now have done. At some point, those of us who have been
designing games for decades just sort of made that first leap. For many the first few attempts
are utter failures. Rovio went through 51 attempts before hitting it big with Angry Birds—and
even this attempt looked like a flop at first (Cheshire 2011).

Failure itself isn’t a bad thing; anytime you try something new (which is most of the time in
game design), you are going to fail a lot. However, you can reduce the amount and duration of
failure by approaching game design systemically. Seeing a game as a system (containing other
systems) is a good way to crack the problem of where to start in the otherwise overwhelming
process.

From Wholes to Parts or Parts to Wholes

One key to knowing how to start is figuring out whether to begin with the parts, the loops, or
the whole of your design. Opinions run high on this question. Many designers are firmly in one
camp or another, and what they do works for them. Some designers will declare that any game
design must start with “the nouns and verbs”—that is, the parts that will form the systems—
while others begin with a more intuitive feeling of the kind of experience they want to create.
Occasionally some will even start with Ellenor’s (2014) idea of “a machine that does x”
and then work out what parts make it go and what sort of gameplay experience emerges
from it. Differences of opinion on the “right” way to approach game design can make for
miscommunication and talking past each other.1

1. I had this experience while working with Will Wright of SimCity fame. He is firmly a “nouns and verbs”
kind of guy, while I often approach designs from a more holistic-experiential point of view. It took a
while before we were able to understand each other’s perspectives.
 HOW DO YOU EVEN START? 173

Despite strong opinions from some designers, there is no single “right” way to approach game
design. Our systemic view should make this clear: in designing a game, you need to get to the
point where you have fully defined the parts, the loops, and the whole of your design. As a
game designer, you need to be able to move up and down the organizational levels with ease,
shifting your focus between the parts, the loops, and the whole as needed. As a result, you can
start the design process with whichever of these makes the most sense and bounce between
them as needed.

Know Your Strengths, Work to Your Weaknesses

When you begin thinking about making a game, where do your thoughts lead you? Do you
think about things like having a game where players are sharks or superheroes, or where each
is a kite in the sky? Or are you more likely to approach a game as a simulation or modeling prob-
lem? If it’s a game about a little one-celled organism, do you start by listing all the parts of the
cell? Or do you maybe start thinking about a game where the player is the manager of a remote
trading post by jotting down how buying and selling would work?

Every game designer has their strengths; everyone has their “home place” where they start—
and then retreat to when making the design becomes difficult. You need to find out where your
game design home is and then work out ways to not give in to the temptation to stay there;
you also need to figure out how to work with others who approach game design differently
from you.

The doing of game design is the best way to figure out which parts of the process come
most naturally to you. Still, it is worth considering where you think it should start and working
from there.

Storytellers
Game designers who tend to start with the whole experience often paint an evocative picture
of the player’s journey through a game: how the player feels, what they encounter, and what
sort of changes they go through. Game designers like these can sometimes seem like expert
storytellers. They’re able to give you the grand sweep of the world…but they can run into trou-
ble. Games aren’t stories. “Telling” a game like a story can be a satisfying first pass at building
the world that the players inhabit, but ultimately the game has to be much more than that.

A storyteller needs to hang on to their talent for painting a mental picture of the experience
of a world but not get stuck there. If you are a storyteller, you need to build your talents for
creating working systems that have their own tokens, rules, and dynamic elements. You likely
have the thematic part in hand, but you need to support it with the structure of the underlying
game—and work with others who can help you do so.
174 CHAPTER 5 WORKING AS A SYSTEMIC GAME DESIGNER

Inventors
Many game designers are enamored of inventing complex mechanisms—things like clocks
with lots of gears, marble-run sculptures, and so on. These can be mesmerizing displays of
systems in action. Similarly, sometimes game designers come up with ideas for new kinds of
ecological or economic mechanisms and spend time playing with them. For example, the early
prototypes for the game Spore included lots of different simulation mechanisms, including
one that (with a bit of help from the player) simulated the formation of a star system from an
interstellar cloud of gas and dust.

But as fascinating as these inventions can be, they aren’t games. As with telling a story about a
game, designers will sometimes build a mechanism that scratches the “watch it go” itch, only
to realize that they left out the need for a human player. The designer may toss the player a few
scraps of things to do, but it’s clear that the mechanism or simulation remains in the spotlight.
If you are an inventor, you can do a lot to build fascinating dynamic systems—but don’t forget
that games must have human involvement as an integral part of the system and that players
need to have long-term goals and reasons to play the game (the whole of the game), or it will
be uninteresting to them.

Toymakers
Finally, some game designers are first and foremost toymakers. They love to make little pieces
or mechanisms that don’t really do anything but are still attractive and engaging, at least for a
minute or so. Or they might be among those with highly specific domain knowledge—things
like the climbing rate and ammunition capacity for a Sopwith Camel or the relative merits of
different sorts of swords in medieval (or at least fantasy) combat, or the types of coral on a
typical reef—or may just love digging in to find this kind of information.

Many game designers who start with the “nouns and verbs” of their design fit into the toymaker
category. Maybe you want to make a game about cells in the immune system attacking
invading viruses, and so you start with what you know (or anything you can find) about how
a T-cell works. What the player does and why this is engaging or fun are questions that you
may not think about right away or that you may have difficulty finding answers for. Having the
ability to ground your design in specific parts and behaviors—tokens and rules, nouns and
verbs—helps you create prototypes quickly. However, to make it into a game, you need to find
ways to build interactive systems and find some goals for the player to pursue and experience.

Working Together to Find the Fun

The good news about these different views of game design is that once you find your starting
point as a designer, you can extend your abilities into the other areas. Any one of these is great
as a starting point, as long as you don’t end there, too. The better news is that you can also find
others who have different game design talents and work with them. It can be difficult and even
frustrating for game designers with different design styles to work together, but the result is
almost always far better and more engaging for the player as a result.
 DESIGNING SYSTEMIC GAMES 175

No matter which part of the game design process you prefer, you will need to extend yourself
into the other areas and learn to listen to and work with those who see the game design
process differently from you. A lot of game design comes down to being able to communicate
your ideas, hear other people’s ideas, and generally work together with those who have
strengths that are different from yours. Understanding game design as systemic design
helps illuminate these different views on games as systems and on game designers as system
designers. That understanding should help you refine your skills and look for others who
complement them.

A large part of doing game design is in the oft-repeated phrase “find the fun.” You may start
with a cool toy, an intriguing mechanisms, or a compelling experience—the parts, loops, and
whole of a game—but you will need all three elements plus engaging interactivity to build a
fun game. To do that, you need to apply your knowledge of systems to creating game systems
and games as systems.

Designing Systemic Games

As a way to approach designing games as systems, we can look at the properties of effective
systems in games and how they affect the process of game design.

Qualities of Game Systems

Achterman (2011) has provided helpful guidelines for building game systems. In his view, five
qualities are the hallmarks of effective game systems:

■ Comprehensible: As a designer, you have to understand your game as a system and the
systems within it. Of course, your players have to be able to comprehend it, too. This is why
both design documentation (for you) and presenting the game in such a way that players
can build a mental model of it are so important.
■ Consistent: Achterman points out the importance of having “rules and content [that]
function the same in all areas of your game.” It can be tempting to add an exception or a
special case to fix a problem, but doing so tends to decrease the resilience of the system
(which sets up the game for later problems) and makes it more difficult to learn. (This is
similar to the discussion in Chapter 3, “Foundations of Games and Game Design,” on
elegance.)
■ Predictable: Game systems should have predictable outputs for given inputs. While
making games predictable helps players build mental models of the games, it can also
be somewhat at odds with designing systems for emergence. Being predictable should
not be taken as meaning that game systems should be obviously or boringly mechanistic.
However, neither should your systems produce wildly different results for similar inputs,
much less become brittle and break down due to unforeseen circumstances. You should at
176 CHAPTER 5 WORKING AS A SYSTEMIC GAME DESIGNER

least be able to know that you have accounted for any edge cases that might hurt a player’s
experience or provide them with a gap in the system to exploit to their advantage.
■ Extensible: Building games systemically typically makes them highly extensible. Rather
than depend on custom-created content “set pieces” (e.g., expensive hand-created levels),
as much as possible you should create game systems such that content can be reused in
new ways or created procedurally. You want to create parts and loops that can be used
in multiple ways, not a single-use arc that makes for a complicated rather than complex
set of relationships. While in a loop the parts affect each other cyclically, as veteran game
designer Daniel Cook said, “An arc is a broken loop that you exit immediately” (Cook 2012).
Designing in terms of loops rather than arcs also makes it easier to take a system and add it
to a new game or put it in a new context, where it acts as a part in a new larger system. For
example, you may decide that you want to add a whole new class of buildings for players
to construct; if you have a general “building construction” system in the game, this is
much easier to do than if you have to hand-craft another one. By designing game systems
carefully, with only the needed parts and sufficient loops between them, you will be able to
extend the systems internally or extend their use externally far more easily than if you rely
on more static content or fractured, separated systems in the game.
■ Elegant: As discussed in earlier chapters, elegance is often a hallmark of systems. This
quality sums up the ones above. It goes beyond but is related to the quality of consistency
discussed above. The following are some examples of elegance:
■ Creating a diverse space for players to explore based on only a few rules (Again, Go is
the archetypal example of this.)
■ Having systemic rules with few exceptions that are easy to learn, where both
predictable and emergent behaviors are possible
■ Enabling the system to be used within multiple contexts or to have new parts added
within it

Tabletop and Digital Games

This book uses examples from both tabletop games—also called analog games, board games,
physical games, and so on—and digital games—those played on a computer, console, tablet,
or phone. From a game design point of view, there is a great deal of commonality between
these types of games, no matter their genre or other differentiating attributes.

There is a great deal to be learned from studying tabletop games, even if you never plan
to design one. Designing for situations in which the only “computing power” is in the
players’ heads and where all interaction must happen using tokens the players can physically
manipulate presents a significant challenge. It constrains what you as a designer can do to
bring a game concept to life and highlights the relationships between the game’s tokens
 DESIGNING SYSTEMIC GAMES 177

and rules, loops, and overall experience. Digital games can hide a lot of game-designer
laziness behind flashy graphics and narrative cut-scenes; tabletop games do not have
that luxury.

In speaking to university theatre students, actor Terrence Mann said, “Movies make you famous,
television will make you rich; but theatre will make you good” (Gilbert 2017). There is an analogy
here to game design (not that any particular type of game design will necessarily make you rich
or famous): designing tabletop games has the same sort of relationship to designing digital
games that acting in theatre does to acting in movies. Like theatre, tabletop games are closer to
the audience; you as a game designer can hide less, and must hone your craft in designing for
this environment.

This is not to say that all game designers must design board or tabletop games, though it is
good practice. But if at times you wonder why so many board games are used as examples
when “modern” games are typically played on computer, this is the reason. Tabletop
games have undergone every bit as much of a renaissance in the early 21st century as have
digital games. As a systemic game designer, you can learn from both, and you may well find
that designing tabletop games challenges your skills in ways that designing for games run on
the computer does not.

The Process of Designing Games as Systems

Stepping down a bit from the abstract qualities we hope to find in game systems, we can
look at the overall design process common to systemic game design (whether tabletop
or digital).

This is necessarily an iterative process between designing the parts, the loops, and the whole.
At first, this process may be iterative in your head, on a whiteboard, and on scraps of paper
and then in documents and spreadsheets. Once the game begins to take shape, the iterative
cycle of prototyping and playtesting discussed briefly below (and in more detail in Chapter 12,
“Making Your Game Real”) becomes important: it is far better to prototype fast and playtest
early than to hope the idea you have in your head will spring forth fully formed like Athena
from Zeus’s skull. (They never do.) This process is the game designer’s loop shown in Figure 5.1
(which is the same as Figure 4.3).

As stated earlier, it is possible to begin at any point in the systemic structure: with parts, loops,
or the whole experience—as long as, having started with one, you move to the others so
that they mutually support each other. With that reminder, for convenience here we will start
with the whole, the architectural and thematic elements, and then move to the functional
looping aspects, and finally move to the parts.
178 CHAPTER 5 WORKING AS A SYSTEMIC GAME DESIGNER

Game Design

Input

Player
Game
Designer
Feedback

Feedback

Figure 5.1 The game designer’s loop enables you to iteratively design and test your designs

The Whole Experience: Thematic Architecture

As discussed in Chapter 3, the high-level design of a game has to do with the player’s overall
experience. We can separate this into architectural and thematic elements—the technical
aspects of the user experience (how the game looks and feels) and the more ethereal,
sometimes tacit qualities that define what the game is about. Understanding the whole of the
game answers the question What is the point of the game (or a system within the game)?

As one example, in a recent conversation, Jason VandenBerghe, creative director on the game

For Honor, said, “I believe that combat is an art form. The game sprung from that belief”
(personal communication, December 2016). His desire was for the player to experience hand-to-
hand combat as a lethal, dance-like form of art. While that desire is not enough on its own to
support the game design, it is a compelling vision, a star to guide the game’s developers and
from which all the interactions and details of the game eventually arise.

Many times, game designers or entire development teams will launch themselves into the
game development process without stopping to entirely clarify what the “whole experience” is
that they want in their game. Questions of theme and vision seem frivolous; the team wants to
get to making the game! However, as you will see in Chapter 11, “Working as a Team,” having a
shared, coherent vision of the game your team is making is the single most important indicator
of success.

There are multiple aspects of any overarching vision, as discussed in the following sections.
These aspects represent and point to more detailed elements that have to be articulated to get
an idea of what the game will be.
 DESIGNING SYSTEMIC GAMES 179

The Game’s World and History

To begin with, what is the world, and what is the player’s point of view within it? You may
be thinking of a gritty, cold-hearted world of spies and double-dealing—but is the player a
spy working their way up in this world? A spy-master overseeing and pulling the strings on a
sometimes wayward team of spies? Or possibly an old spy coming out of retirement for one last
vengeful mission? Each of these paints a different picture and will take your game design in a
different direction.

To fill in the world somewhat, what are the major events in its history—those that are applicable
to the players? If you’re a storyteller, you may have to resist the urge to write 100 pages of world
lore. If you have the time and money, and especially the experience to know what’s useful
and what’s not, then you can indulge yourself in this; you will likely add important details to the
game world that make it come to life all the more vividly. But if you have any time or budget
constraints, or if you’re just starting out, you should avoid the siren song of diving too deeply
into the backstory. You need to know what the world is and what it’s about, but to start with,
you can do this in a page or two of text. You shouldn’t write any more than you need to support
the rest of the design. Later, as the game is beginning to come together, you can flesh out the
deep, tragic history of the city where the streets hold a million secrets.

Narrative, Progression, and Key Moments

The game world’s history is its past. Its present and future are contained in the game narrative.
Does your game have a predefined story the player has to work within? Are there larger events
happening around the player that grow out of the large-scale history but that leave room
for the player to make their own decisions? Or is the game’s history a jumping-off point for the
player, where what’s past is prologue, and there is little in the way of continuing narrative to
guide the player’s actions?

Understanding your game’s world and (some) of its history will also help you begin to define
major events that happen in the game, the player’s goals and progression through it, and “key
moments”—short moments or stories that you can tell that help communicate meaningful,
climactic points for the player.

Art, Monetization, and Other Whole-Experience Concerns

There are a variety of questions to work through at the level of the whole-game experience:
Will the game’s art style be 2D or 3D? Painterly, cel-shaded, or super-realistic? How does your
choice reflect the game’s heart and theme to the player? Closely aligned with this is the way
the player interacts with the game—the user interface and user experience, often referred to as
UI/UX. Even monetization design—how your game makes money—is something you have to
consider at this stage.

In Chapter 6 we will look in more detail at the process of designing and documenting the
gameplay experience as a whole. For now, keep in mind that it doesn’t matter so much whether
you start with a high-level, blue-sky creative vision that you then support with underlying
180 CHAPTER 5 WORKING AS A SYSTEMIC GAME DESIGNER

loops and parts or whether you arrive here after first nailing down those dynamic and specific
aspects; either way, you will iterate back and forth between them as you refine your ideas. What
matters is that before you begin developing your game—before you assure yourself that you
know what the game is—you have this theme and vision, the whole of the player’s experience,
clearly articulated and shared by your team.

Systemic Loops and Creating a Space for Play

Chapters 3 and 4, “Interactivity and Fun,” discuss the game’s loops: the game’s dynamic model
of its world, the player’s mental model of the game, and the interactions that happen between
the player and the game. Designing and building these loops and the structures that support
them is the heart of being what is often loosely referred to as a “systems designer.” In addition
to the overview here, this topic is explored in detail in Chapter 7.

In creating a space for the player to explore and inhabit—rather than a singular path for them
to follow through the game—you need to define the game’s systems. These systems need to
support the theme and desired player experience, and they must work interactively between the
game and the player. You need to specify and create (via iterative prototyping and playtesting)
the player’s core loops, explicit goals, and the way they progress through the game.

Creating systems like this may be the most difficult part of game design: it requires that you
envision the system as it uses the game’s tokens and rules to create an experience that is
hard to see clearly in advance. Of course, you don’t have to do this all at once—which is why
prototyping and playtesting are so important—but being able to imagine multiple looping
systems well enough to record their designs and implement them is nevertheless a daunting
task. For example, in many games, the systems controlling resource production, crafting,
wealth production, and combat all have their own internal workings, and all interact with each
other and the player to create the player’s experience. Getting all these to work on their own
and contribute to a systemic whole requires skill, patience, and resilience in the face of repeated
attempts when something just doesn’t quite work.

Balancing Game Systems

Part of making game systems is ensuring that all parts defined by the game are used and
balanced against each other and that every system in the game has a clear purpose. If you add
a quest system to your game and players ignore it, you need to understand why it isn’t
contributing to their experience and determine whether to remove it or fix it so that it does.
Chapter 9, “Game Balance Methods,” and Chapter 10, “Game Balance Practice,” go into this
process in detail.

The Structural Parts: Tokens, Values, and Rules

It may be that you started the game design process with an idea for a fun looping mechanism
or interaction. Or maybe you started with the kind of experience and feeling you want the play-
ers to have, and so you’re defining the game and interactive loops. Or in some cases you may
start with an idea for the building blocks out of which you want to construct your game. In any
 DESIGNING SYSTEMIC GAMES 181

case, before the game is really a game, you need to situate the game’s functional loops into the
context of the whole—the game experience—and also create the structural parts of the game’s
systems.

You first read about the tokens, values, and rules in a game in Chapter 3. You will see them
again in detail in Chapter 8. For now, in terms of working as a systemic designer, you should
understand that the process of nailing down exactly what is going on in a game—getting past
the hand-waving descriptive stage and being able to implement the game—is vital. You don’t
have a game without it.

This aspect of game design is sometimes called “detailed design,” and it is where the game design
becomes entirely specific. Does that sword have a weight of 3 or 4? A cost of 10 or 12? How many
types of troops, or horses, or flower petals are there in the game, and what differences do these
numbers make to the overall gameplay? Tracking and specifying these structural parts of the
game has been called the “spreadsheet-specific” part of game design. This is a crucial part of
systemic design; it is in many ways how the game becomes real. Such specific design is needed
for balancing the different tokenized parts against each other to make the game a cohesive whole
rather than allow it to become separate systems that can fly apart.

The issues you need to think about here are how to specify tokens that represent the objects in
the game—the player, other people, nations, creatures, spaceships, or whatever the operative
units are within your game—and give each of them sufficient attributes, values, and behaviors
to define them. One way to think of this is to answer the question What is the smallest number
of attributes, states, and behaviors you can use to support the game’s systems and provide the
overall gameplay experience you want?

Related to this are the issues of how to make obvious to the player what the tokens in the
game are, what they do, and how the player can affect them. This in turn feeds into the game’s
UI/UX—how the board or screen is laid out to present the necessary information about the
game to the player. This cannot be specified until you know what the necessary information
is. At the same time, approaching this issue by asking what sorts of information you think the
player needs to know to play the game can itself help clarify the tokenizing process.

Chapter 8 talks about this process in more detail, including how to create complex objects,
game pieces, or tokens by having a small number of general attributes that interact with each
other to create their own subsystems within the larger game systems. Chapter 8 also discusses
the importance of inter-object behaviors and how to avoid “easy win” or other gameplay-killing
tokens in your games.

Revisiting the Systemic Design Process

As a systemic game designer, your loop—the designer’s loop—involves cycling between
seeing the game as a whole, as systems, or as individuated parts (see Figure 5.2). You need
to be able to see them all at the same time and how they affect each other. You also need to
182 CHAPTER 5 WORKING AS A SYSTEMIC GAME DESIGNER

be able to dive into any one in detail, depending on what’s needed by the game design. It’s
important that you not focus on any one level to the exclusion of the others; you also don’t
want to continue to work ineffectively on any one of them. When you find yourself pushing on
one level without any real effect, it can often help to switch and work from the point of view of
the other levels to help reveal what you need in another. If you can’t quite get the experience
down, explore the tokens and how they work; see how they inform the experience. Or if you
have the experience clearly in mind but can’t quite specify the tokens, see what the systems tell
you about how those have to work. At the same time, don’t let yourself avoid tokenizing your
systems, making sure there are interesting interactions, or ensuring a cohesive theme because
one or more of these aren’t in your comfort zone as a game designer. All of these are necessary
for any working game, and all are necessary activities for a systemic game designer.

Whole Game

Looping Systems

Sub-systems and Parts

Designer

Figure 5.2 As a game designer, you need to be able to see the parts, the loops, and the game’s
whole experience all at the same time and zoom in on any one of them as needed

Analyzing Games from a Systems View

Working as a game designer doesn’t just mean designing your own games; it also means
playing and analyzing a lot of other people’s games. It’s important to be able to understand
what makes other games work—or not work in particular areas.

You can follow the same systemic structure for analysis as for design. It involves looking at the
whole experience, including how you build your mental model of the game; the game’s internal
and interactive loops; and the rules and tokens that make those up. By carefully identifying
and separating these, you can gain insight into the decisions made by the game’s designer and
improve your own designs as a result.

When beginning to play a game for the first time, examine how you go about building your own
mental model of it: Do you understand the setting and theme? What surprises you about it?
What concepts about the game did you find to be important, incomplete, or hard to understand
as you learned the game? How might the game have increased your engagement early on?
 ANALYZING GAMES FROM A SYSTEMS VIEW 183

While playing and after playing, think about the whole of the experience you had. What kind of
experience and feelings do you think the game designer was trying to elicit in you as a player?
Were there particular aspects of the game that supported or detracted from your experience?

What visual and interactive elements of the game support its theme and the desired player
experience? What can you infer about the game designer’s intent for the game, based on the
art style and interactive aspects?

What specific game systems can you identify in the game? Are there systems that operate
independently of the players, or do they all rely on the players doing something first? The
board game Power Grid is a great example of a (nondigital) game that has systems that
operate mostly outside player control. For example, in this game there is a simple but highly
effective depiction of supply-and-demand economics: as players buy more of any one kind of
fuel, the price for it goes up until its supply is replenished on the next turn (see Figure 5.3).

Figure 5.3 The board game Power Grid, showing the track representing prices for the resources coal,
oil, trash, and nuclear fuel. As players purchase each and supply decreases, its price rises. Supply is
replenished each turn, driving prices lower if the fuel is not used

Continuing with the analysis overview, as a player in a game, how do you progress, and what
reinforcing loops can you identify? What balancing loops are there that push back against
player advancement or that keep one player who outstrips others early on from simply winning
the game?

What are the primary forms of interactivity in the game? How does the game allocate its
interactivity budget? Is this a game of strategy and socializing, or one of quick thinking and fast
action? Do the ways you as a player interact with the game help establish the game’s theme, or
do they work against it?
184 CHAPTER 5 WORKING AS A SYSTEMIC GAME DESIGNER

Finally, what are the particular tokens and rules—the atomic parts of the game with their values
and behaviors? Do they support the desired gameplay experience or get in its way? Having
learned one system in the game, can you transfer how that works to another part of the game,
or are there lots of rules to learn, each with its own exceptions—so that you have to spend a lot
of time thinking about how to play the game?

Often the art style of a game is expressed in its individual tokens, sometimes in surprising
ways. For example, the tabletop game Splendor is about building up your business as a gem
merchant, starting with individual mines and ending with courting the favor of various nobles.
The physical pieces in the game are like poker chips. They represent individual gems, and each
has an unusual amount of heft. Their weight subtly adds to the desired experience of the game,
even though, like the rest of the art (and most art in games), it is nonfunctional.

As you analyze games by examining their parts, loops, and wholes, you will begin to see
commonalities across them, as well as how each is unique. Understanding the similarities and
differences will help you improve your own designs—avoiding the mistakes of others, spring-
boarding off their good ideas, and keeping your game design fresh and engaging.

Prototyping and Playtesting

A final important part of working as a systemic game designer is iteratively getting feedback.
Game design is necessarily a process of repeatedly testing and refining game design ideas
in the service of an overall vision for the game. Game ideas will not make it from your mind
to their final form in front of the player without having gone through many changes first. It’s
common for almost everything about a game except for its single unifying vision to change
multiple times during development.

As an example from a related creative field, making movies, Ed Catmull, president of Pixar, has
been open about the many gyrations that films at his studios go through. “All of our movies
suck at first,” he said when speaking to aspiring movie animators. He clarified that statement
by adding, “A lot of people don’t believe me when I say that. They think I’m being self-effacing
or modest, but I don’t mean it in that sense. I mean it in the way that the film sucks.” He went
on to discuss the many story changes that the movie Up went through during its development:
it started with a story about a kingdom in the sky with two princes who didn’t like each other,
who fall to earth and end up meeting a giant bird named Kevin. That version went through a
huge number of changes. By the time they completed the movie, he said, “All that was left was
the bird and the word ‘up’” (Lane 2015).

The same sort of thing happens in games. While your game may not change as drastically as
a movie like Up, you must be prepared for many iterations—many cycles through the creative
process. This means you have to be willing to test your ideas over and over again, learning and
changing them as you go. And it means you have to be humble enough to change an idea or
throw it out if it isn’t working. Iterating and “finding the fun” inevitably means throwing away
 SUMMARY 185

a lot of work—drawings, animations, programming, design documents, and so on. You cannot
cling to something you have worked on just because you put a lot of time into it. If you do, you
will be settling for an idea that is okay (or mediocre) when with a little more work and polish it
could have been great.

To iterate effectively on game designs, you need to make them real. The only way to do this
is to make early versions—prototypes—and test them. You may start with drawings on a
whiteboard or pieces of paper and coins being pushed around on a table—anything to start
actually playing with the idea you have. Most of your prototypes will be varying degrees of ugly
or unfinished, converging on the full, finished, and polished product at the end. The point is
to take your game design out of the realm of ideas and into real implementations that can be
played and tested—and to do so as quickly and often as possible.

Playtesting is how you validate your prototypes—or, more often, how you find out where
your game design is broken. Developing a game designer’s intuition for what will work or not
is important, but even for the most experienced designers, it is never a substitute for testing
the gameplay on players who have never seen it before. As Daniel Cook has said, without
implementation and playtesting a game design remains an “ineffectual paper fantasy”
(Cook, 2011b). You will need to test your design ideas with other people early and often to
keep your game on track.

We will return to the topics of prototyping and playtesting often in the following chapters,
particularly in Chapter 12. For now, understand that a core aspect of working as a game
designer is having the humility and creative flexibility to test and refine your game design ideas
based on what others think of them. You will need to make fast, often ugly prototypes, and
you will need to test them with potential players repeatedly during design and development.
The bright shining idea you have in your head will never survive contact with reality without
change—most likely a lot of change.

Summary
This brief chapter provides an overview of what it means to work as a systemic game designer.
While getting started on a new game design can be truly daunting, by breaking down the
game into its parts, loops, and wholes—not necessarily in that order—you can begin to get a
handle on defining the game at each of those levels.

The coming chapters add more detail to the topics discussed here. Chapter 6 examines the
whole of the game experience in more detail—how you discover it, document it, and set up for
creating the underlying systems. Chapter 7 revisits the game’s functional loops, this time using
the knowledge of systems thinking and game loops to specify the particular loops for your
game. Then Chapter 8 looks again at the game’s parts and how to create these “spreadsheet-
specific” tokens, values, and rules.
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INDEX

Numbers retention, 351–352

3-door problem, 307–309 usage, 353–354
5G networking, 34 player cohorts, 349–350
player information, collecting, 349
sample size and information distortion,
A 301–302
absorption, 134 Tumbleseed example, 299–301
acquisition funnel, 350–351 analytics
acquisition of players, 350–351 analysis from systems view, 182–184
action games, 197 analytical balance, 299, 348
action/feedback interactivity, 138–139 analytics-driven design, 301
moment-to-moment gameplay, 141 analytics-informed design, 301
present-tense action, 139 cautions about, 301
reflexive attention, 139 player behavior data, 350–354
stress and reward of fast action, 139–141 player cohorts, 349–350
action-social motivations, 201 player information, collecting, 349
active opponents, 109 sample size and information distortion,
adaptability, 51, 82 301–302
ad-supported games, 211 Tumbleseed example, 299–301
Adventure Capitalist, 247, 325 hypothesis-driven analysis, 17
adventure games, 197 production analytics, 404–405
aesthetics, MDA (Mechanics-Dynamics- analytics-driven design, 301
Aesthetics) framework, 92–93 analytics-informed design, 301
affordance, 131 Angry Birds, 172, 188
agency (player), 100 Antichamber, 100
Agile, 400–401 Apache OpenOffice, 261
agon games, 91 APs (associate producers), 366–367
agreeableness, 202 arbitrage, 342–344
Albion Online, 344–345 architectural game elements, 111–112
alea games, 91 autotelic experience, 114–115
Alexander, Christopher, 32, 46–47, 60, 81 content and systems, 112
alpha milestone, 405–406 balancing, 114
analog prototypes, 387 content-driven games, 112–113
analytical balance, 299, 348 systemic games, 113–114
analytics-driven design, 301 meaning, 116–117
analytics-informed design, 301 narrative, 115–116
cautions about, 301 themes, 116–117
player behavior data architecture of companies, 364–365
acquisition and first experience, 350–351 Aristotle, 22, 46, 60, 96
community, 354 arousal, 129–130, 132–133, 148
conversion, 352–353
418 ARPDAU (AVERAGE REVENUE PER DAILY ACTIVE USER)

ARPDAU (average revenue per daily active behaviors, 276–277

user), 352 behavior extinction, 130
ARPU (average revenue per user), 352 definition of, 94
art, designing, 179–180 emergence, 278–280
The Art of Computer Game Design feedback, 280–281
(Crawford), 118 amount of, 282
articulatory distance, 125 comprehension and, 282–283
artists, 371–372 kinds of, 281–282
associate game designers, 368 nautical game example, 283–285
associate producers (APs), 366–367 player expectations and, 281
atomic parts, 268. See also game parts timing of, 282
atoms, structure of, 39–42 generic, modular behaviors, 277–278
attention interactivity, 124–125
balancing progression with, 340–341 game behaviors and feedback, 125–126
executive, 141 intentional choices, 127
reflective attention, 147 player behaviors and cognitive load,
reflexive, 139 125–126, 159
attributes local action, 277
defining, 270–273 looping systems, 285–286
first-order attributes, 271–272 player behavior data
nautical game example, 275 acquisition and first experience, 350–351
ranges, 272–273 community, 354
second-order attributes, 271–272 conversion, 352–353
third-order attributes, 271–272 player information, collecting, 349
values, 335–336 retention, 351–352
weights, 334–335 usage, 353–354
audience, target, 200–204. See also players bell curve, 306
demographics, 202–203 belonging (Maslow’s hierarchy of needs), 149
environmental context, 203 benefits
identifying, 378, 389–390 cost-benefit curves
motivations, 200–202 exponential curves, 324–327
psychographics, 200–202 linear curves, 323
audio style, 209–210 logistic curves, 327–328
auditory feedback, 281–282 NAP (near-arithmetic progression)
Austin, Thomas, 25–26 curves, 331
Australia, introduction of rabbits into, 25–26 piecewise linear curves, 329–331
autopoiesis, 32–33 polynomial curves, 324
autotelic experience, 114–115 cost/benefit definitions, 320–321
avatars, 97 core resources, 321–322
average revenue per daily active user (ARPDAU), 352 special cases, 322–323
average revenue per user (ARPU), 352 subsidiary resources, 322
Bernoulli process, 309
Bertalanffy, Karl von, 30
B beta/first release milestone, 406
balance. See game balance biases, cognitive, 307–309
Balileo, 28 Bioshock, 153
basic emotions, 147 Blake, William, 30
basic progression ratio, 324 “blind boxes,” 307
 CONCEPT 419

blue-sky design chaotic effects, 68–70

cautions, 192 Chess, 98, 99
constraints, 191 chief creative officers (CCOs), 365
curation, 190 chief executive officers (CEOs), 364
definition of, 188 chief financial officers (CFOs), 364
methods, 188–190 chief operating officers (COOs), 364
Boomshine, 231 chief technical officers (CTOs), 365
boosting engines “choose your own adventure” books, 105
definition of, 236–237 Cisco Systems, 34
engine problems, 238–239 Civilization, 114
examples of, 237–238 Clash of Clans, 227–229
Booth, Jason, 196 “cobra effect,” 19
boundaries cognitive biases, 307–309
definition of, 52–53 cognitive interactivity, 141–143
price boundaries, 345–346 cognitive load, player behaviors and,
Box, George, 201 125–126, 159
brainstorming, 188–189 cognitive threshold diagram, 159–161
braking engines, 239–240 cohorts, 349–350
breadth (concept document), 215 collapsing bridges, 68–69
bridges, collapses of, 68–69 collecting player information, 349
Brooks, Fred, 404 collections, simple, 58–59
budget, interactivity, 161–163 combat systems, 256
Burgle Bros, 147–148 combined effects, 63–65
burndown charts, 405 combining loops, 251–253
burnout, 130 commercial release, 406
Bushnell, Nolan, 84, 130 commons, tragedy of, 76–77
Bushnell’s Law, 84, 130 communication, team, 361–362
community analytics, 354
company architecture, 364–365
C competition, 145
Caillois, Roger, 90–91 complementary roles, 146
call to action, 131, 384 complex adaptive systems (CAS), 31–32
Candy Crush, 143, 161–162 complex resources, 222
Capra, Fritjof, 32 complex systems, 59–60
CAS (complex adaptive systems), 31–32 complicated processes, 58–59
Case, Nicky, 260, 279 comprehensible game systems, 175
casual games, 197–198 Computer Game Developer’s Conference, 118
Catmull, Ed, 184 concept
causality, upward/downward, 80–81 blue-sky design
causation versus correlation, 18–19 cautions, 192
CCOs (chief creative officers), 365 constraints, 191
CDs (creative directors), 365 curation, 190
CEOs (chief executive officers), 364 definition of, 188
CFOs (chief financial officers), 364 methods, 188–190
Chabin, Michael, 50 concept banks, 400
Chambers, John, 34 concept documents, 193–194
changing probabilities, 307 concept statement, 195–196, 381–382
channels, market, 346–347 depth and breadth, 215
420 CONCEPT

detailed design, 212–214 conversion, player, 352–353

elegance, 215 converters, 57–58, 223
game+player system, 214 Cook, Daniel, 114, 207, 400
genre(s), 196–200 COOs (chief operating officers), 364
product description, 206–212 Copernican model of solar system, 28–29
questions to consider, 216 core loops, 127, 156–157, 226–227
target audience, 200–204 detailed design (concept document),
themes, 214 212–213
USPs (unique selling points), 204–205 examples of, 227–231
working title, 195 game mechanics, 220–232
definition of, 188 core resources, 321–322
desired experience, 192–193 correlation, 18–19
concept banks, 400 cost-benefit curves, 320–323
concept documents, 193–194 exponential curves, 324–327
concept statement, 195–196, 381–382 linear curves, 323
genre(s), 196–200 logistic curves, 327–328
product description, 206 NAP (near-arithmetic progression)
game world fiction, 210 curves, 331
monetization, 210–211 piecewise linear curves, 329–331
player experience, 206–209 polynomial curves, 324
scope, 212 Costikyan, Greg, 92
technology, tools, and platforms, 211–212 costs
visual and audio style, 209–210 cost-benefit curves
target audience, 200–204 exponential curves, 324–327
demographics, 202–203 linear curves, 323
environmental context, 203 logistic curves, 327–328
motivations, 200–202 NAP (near-arithmetic progression)
psychographics, 200–202 curves, 331
USPs (unique selling points), 204–205 piecewise linear curves, 329–331
working title, 195 polynomial curves, 324
concept phase (game production), 401 cost/benefit definitions, 320–321
concept statement, 195–196, 381–382 core resources, 321–322
conflict, 108–109 special cases, 322–323
connectors, 54 subsidiary resources, 322
conscientiousness, 202 decoupling from value, 336–338
consistency, 175 Crawford, Chris, 91–92, 118, 123
constraints, blue-sky design and, 191 creative directors (CDs), 365
construction systems, 257 Csikszentmihalyi, Mihaly, 153
content, 112 CTOs (chief technical officers), 365
balancing, 114 cultural interactivity, 152–153
content-driven games, 112–113 currencies, 222, 243
systemic games, 113–114 curves. See progression and power curves
content-driven games, 112–113 cyber- prefix, 31
contexts for pitches cybernetics, 31
elevator pitches, 379–380 Cybernetics (Wiener), 31
pitch meetings, 380–381 cycles of engagement, 157–158
contribution (Maslow’s hierarchy of needs), 149
 DOCUMENTATION 421

D producers, 366–368
programmers, 369–370
daily active users (DAU), 351
QA (quality assurance), 370–371
Dark Age of Camelot, 249–250, 313
UI/UX, 369
Dark Souls, 297
of game design, 117–119
data-driven design, 290–291
product development, 359–360
DAU (daily active users), 351
development teams
De Mundi Systemate (Newton), 29
art and sound, 371–372
Deadlands, 252
game designers, 368
deadlock, 238
organization chart, 366
deciders, 57–58, 223
other team members, 372
decisions, meaningful, 107–108
producers, 366–368
decoupling cost from value, 336–338
programmers, 369–370
dedication, 134
QA (quality assurance), 370–371
deliverables, 262
UI/UX, 369
demographic profiles, 202–203
Dewey, John, 91–92
depth
Diablo II, 247
concept document, 215
The Dialogue Concerning the Two Chief World
interactivity, 167–168
Systems (Galileo), 28–29
systemic, 83–86
“Diamond Sutra,” 87
Descartes, René, 16, 28–29
digital games, 176
design documents, 287–289
digital prototypes, 387
design process
distance
designer’s loop, 181–182
articulatory, 125
game analysis, 182–184
semantic, 125
for game parts, 286–287
distributions, 305–307
iterative nature of, 177–178
DLC (downloadable content), 211
structural parts, 180–181
documentation, 261
systemic loops, 180
concept documents, 193–194
thematic architecture of, 178–180
concept statement, 195–196
design tools, 260
depth and breadth, 215
rapid prototyping tools, 260–261
detailed design, 212–214
spreadsheets, 261
elegance, 215
whiteboards, 260–261
game+player system, 214
designer-based balancing, 297–298
genre(s), 196–200
designer’s loop, 5, 128, 232–233
product description, 206–212
detailed design (concept document), 212
questions to consider, 216
core loops, 212–213
target audience, 200–204
interactivity, 213
themes, 214
narrative and main systems, 213
USPs (unique selling points), 204–205
objectives and progression, 213
working title, 195
deterministic thinking, 16–21
design documents, 287–289
development
mockups, 263–264
development teams
prototyping, 263–264
art and sound, 371–372
spreadsheet documentation, 261, 268–269,
game designers, 368
289–291
organization chart, 366
system design documents, 262
other team members, 372
422 DOCUMENTATION

system technical design documents, 263 elevator pitches, 379–380

updating, 288–289 Ellenor, Geoff, 103
dominant strategy, 239 emergence, 78–80, 278–280
dopamine, 135 Emergence (Holland), 31–32
Dormans, Joris, 223–224, 260 emotional goals, 111
downloadable content (DLC), 211 emotional interactivity, 147–152
downward causality, 80–81 challenges of, 151
drains, 55–57, 223 context, 150
Dwarf Fortress, 105–106 meaning and, 208–209
dynamic engines, 236 models of emotion, 148–150
dynamics, MDA (Mechanics-Dynamics- situations and goals, 150–151
Aesthetics) framework, 92–93 encapsulation, 53, 277
endless runners, 140
endogenous meaning, 104
E endorphins, 136
ecologies, 25–26, 248–249 engagement, 129–130
ecological imbalances, 250–251 becoming and staying engaged, 134
kinds of, 249–250 cycles of, 157–158
economic system balance, 341–342 definition of, 134
arbitrage, 342–344 interactive engagement, 158–159
challenges of, 347–348 neurochemical engagement, 135–137
construction of game economy, 344–345 psychological engagement, 137
market channel, 346–347 engine-building games, 237
price boundaries, 345–346 engines, 235–236
inflation, 342 boosting engines
economies, 240–241 definition of, 236–237
constructing, 344–345 engine problems, 238–239
market channel, 346–347 examples of, 237–238
price boundaries, 345–346 braking engines, 239–240
currencies, 243 economies with engines, 243
economic issues, 245–246 engine-building games, 237
arbitrage, 342–344 entrances, 207
inflation, 246–248, 342 environmental context, 203
stagnation, 248, 342 EPs (executive producers), 365
economic system balance, 341–342 Euclid, 28
arbitrage, 342–344 EVE Online, 99
challenges of, 347–348 evolution of game design, 117–119
construction of game economy, 344–347 Excel, 261
inflation, 342 exceptions to rules, 100–101
stagnation, 342 “excitement” games, 159–161
economies with engines, 243 executive attention, 141
examples of, 244–245 executive producers (EPs), 365
unfolding complexity in, 242–243 executive teams, 364–365
eCPU (effective cost per user), 353 experience points (XP), 62, 252
effective cost per user, 353 experiencing systems, 36–37
Einstein, Albert, 41–42 explicit goals, 109
electrons, 39–40 exploration in playtesting, 397–398
elegance, 83–86, 167–168, 176, 215 exponential curves, 324–327
 GAME BALANCE 423

extensibility, 176 Forrester, John, 31

extinction of behaviors, 130 frameworks
extraversion, 202 FBS (Function-Behavior-Structure), 94
MDA (Mechanics-Dynamics-Aesthetics),
92–93
F other frameworks, 95
F2P (free to play), 210–211 SBF (Structure-Behavior-Function), 94
fairness, 309–310 free to play (F2P), 210–211
fantasy, 206–207 friction, 239
Farmer, Randy, 342 FTL, 90, 114
Farmville, 146 FTUE (first-time user experience), 350–351
faucet/drain economies, 55–57, 223 Fugitive, 147–148
FBS (Function-Behavior-Structure) Fuller, Buckminster, 43
framework, 94 full-stack programmers, 370
feedback, 280–281 fun, 163
action/feedback interactivity, 138–139 characteristics of, 164
moment-to-moment gameplay, 141 definition of, 165–166
present-tense action, 139 “finding the fun,” 174–175, 386
reflexive attention, 139 negative affect in gameplay, 166–167
stress and reward of fast action, 139–141 function, definition of, 94
amount of, 282 functional aspects of games, 102
comprehension and, 282–283 definition of function, 94
game behaviors and, 125–126 functional elements as machines, 103
kinds of, 281–282 internal model of reality, 103–106
nautical game example, 283–285 Dwarf Fortress example, 105–106
player expectations and, 281 endogenous meaning, 104
playtesting feedback, analyzing, 398–399 second-order design, 104–105
timing of, 282 meaningful decisions, 107–108
The Fifth Discipline (Senge), 31 opposition and conflict, 108–109
fifth generation (5G) networking, 34 player’s mental model, 107
final checks, 396 possibilities for play, 102–103
“finding the fun,” 174–175, 386 randomness, 106–107
finishing uncertainty, 106–107
games, 406–407 Function-Behavior-Structure (FBS)
playtests, 397 framework, 94
fireflies, as chaotic system, 69–70
Firewatch, 144
first-order attributes, 271–272 G
first-time user experience (FTUE), 350–351 game analysis, systems view of, 182–184
Five Factor Model, 202 game balance, 180, 295
five processes (Wu Xing), 312 analytical balance, 348
flocking algorithms, 278–279 analytical methods, 298, 299
flow analytics-driven design, 301
in interactive loops, 153–155 analytics-informed design, 301
between parts, 54 cautions about, 301
of resources, 222–223 sample size and information distortion,
follow-up on pitches, 384–385 301–302
For Honor, 178 Tumbleseed example, 299–301
424 GAME BALANCE

balancing loops, 61–62, 220–221 transitive balance

content and systems, 114 achieving, 315–316
definition of, 296 examples of, 311–314
designer-based balancing, 297–298 requirements for, 314–315
economic system balance, 341–342 game concept
arbitrage, 342–344 blue-sky design
challenges of, 347–348 cautions, 192
construction of game economy, 344–347 constraints, 191
inflation, 342 curation, 190
stagnation, 342 definition of, 188
importance of, 296–297 methods, 188–190
intransitive balance, 316 concept banks, 400
mathematical methods, 303–304 concept documents, 193–194
parts, 332–334 concept statement, 195–196, 381–382
attribute values, 335–336 depth and breadth, 215
attribute weights, 334–335 detailed design, 212–214
decoupling cost from value, 336–338 elegance, 215
player behavior data game+player system, 214
acquisition and first experience, 350–351 genre(s), 196–200
community, 354 product description, 206–212
conversion, 352–353 questions to consider, 216
player cohorts, 349–350 target audience, 200–204
player information, collecting, 349 themes, 214
retention, 351–352 USPs (unique selling points), 204–205
usage, 353–354 working title, 195
player-based balancing, 298 definition of, 188
probability desired experience, 192–193
changing probabilities, 307 game definitions, 90–92, 95–96
cognitive biases, 307–309 game design theory, 119
definition of, 304 compared to game theory, 119
fairness, 309–310 development of, 117–119
likely occurance of unlikely events, 310–311 second-order design, 104–105
probability distributions, 305–307 game designers, 171
randomization, 304–305 approaches to, 172–173
separate and linked events, 305 design process
progression and power curves, 320 designer’s loop, 181–182
cost/benefit definitions, 320–323 iterative nature of, 177–178
exponential curves, 324–327 structural parts, 180–181
linear curves, 323 systemic loops, 180
logistic curves, 327–328 thematic architecture of, 178–180
NAP (near-arithmetic progression) “finding the fun,” 174–175, 386
curves, 331 game analysis, 182–184
piecewise linear curves, 329–331 getting started, 172
polynomial curves, 324 inventors, 174
progression balancing, 338–339 knowing your strengths and
pacing, 339–340 weaknesses, 173
secondary progression, 341 playtesting, 184–185
time and attention, 340–341 prototyping, 184–185
 GAME PROGRESSION 425

storytellers, 173 design process, 286–287

teamwork, 356 documentation for
balancing with needs of individuals, 363 design documents, 287–289
communication, 361–362 spreadsheet details, 289–291
development team organization, updating, 288–289
366–372 internal state of, 270
executive teams, 364–365 nautical game example
practices of successful teams, 356–357, attributes, 275
360–361 behaviors, 283–285
principles for, 363–364 core parts, 274–275
product development, 359–360 detail design process, 275–276
product vision, 357–358 game concept, 273–274
studio roles, 365–366 questions to consider, 291
team size, 372 simple/atomic parts, 268
teams as systems, 372–373 types of, 269–270
toymakers, 174 game+player system, 122, 214
game frameworks game production, 399
FBS (Function-Behavior-Structure), 94 concept phase, 401
MDA (Mechanics-Dynamics-Aesthetics), finishing games, 406–407
92–93 iterative design, 399–400
other frameworks, 95 iterative production, 400–401
SBF (Structure-Behavior-Function), 94 stage gating, 400
game genres. See genre(s) preproduction phase, 401–402
game loops. See loops features and assets, 402
game mechanics, 101, 220–232 length of, 403
Game of Life, 278–279 project plans, 402–403
Game of War, 146 production phase, 403–404
Game Outcomes Project alpha milestone, 405–406
communication, 361–362 beta/first release milestone, 406
needs of individuals, 363 commercial release, 406
practices of successful teams, 356–357, production analytics, 404–405
360–361 game progression
product development, 359–360 balancing, 338–339
product vision, 357–358 pacing, 339–340
summary, 363–364 secondary progression, 341
game parts, 267–268 time and attention, 340–341
attributes, 270–273 core loops, 213
first-order attributes, 271–272 designing, 179
ranges, 272–273 progression and power curves
second-order attributes, 271–272 cost/benefit definitions,
third-order attributes, 271–272 320–323
behaviors, 276–277 exponential curves, 324–327
emergence, 278–280 linear curves, 323
feedback, 280–283 logistic curves, 327–328
generic, modular behaviors, 277–278 NAP (near-arithmetic progression)
local action, 277 curves, 331
looping systems, 285–286 piecewise linear curves, 329–331
defining, 268–269 polynomial curves, 324
426 GAME PROTOTYPING

game prototyping, 184–185, 263–264. See also qualities of, 175–176

playtesting skill and technological systems, 257
analog prototypes, 387 social and political systems, 257
answering questions with, 388–389 tools for designing, 260
definition of, 386–387 rapid prototyping tools, 260–261
digital prototypes, 387 spreadsheets, 261
getting started with, 388 whiteboards, 260–261
intended audience for, 389–390 game theory versus game design
keeping separate, 387 theory, 119
moving fast, 390 game types
game structure agon games, 91
architectural and thematic elements, alea games, 91
111–112 ilinx games, 91
autotelic experience, 114–115 ludus-paidia spectrum, 91
content and systems, 112–114 mimicry games, 91
meaning, 116–117 game world
narrative, 115–116 concept document, 210
themes, 116–117 designing, 179
definition of, 94 rules, 99–101
depth in, 84–86 game-mediated social interaction, 144
functional aspects, 102 gameplay loops, 235–236. See also interactive
functional elements as machines, 103 loops
internal model of reality, 103–106 ecologies, 248–249
meaningful decisions, 107–108 ecological imbalances, 250–251
opposition and conflict, 108–109 kinds of, 249–250
player goals, 109–111 economies, 240–241
player’s mental model, 107 currencies, 243
possibilities for play, 102–103 economic issues, 245–248
randomness, 106–107 economies with engines, 243
uncertainty, 106–107 examples of, 244–245
game mechanics, 101 unfolding complexity in, 242–243
metagaming, 101–102 engines, 235–236
repeated games, 102 boosting engines, 236–239
rules, 99–101 braking engines, 239–240
structural parts game’s model loop, 225
design process for, 180–181 Gaming the System (Teknibas et al.), 33
game mechanics, 101 Gaussian distribution, 306
metagaming, 101–102 Gell-Mann, Murray, 41
repeated games, 102 General Systems (Bertalanffy), 31
rules, 99–101 general systems theory, 33
tokens, 98–99 generic, modular behaviors, 277–278
tokens, 98–99 genre(s), 232
game systems, 253. See also documentation genres, 196–200
combat systems, 256 geocentric model of universe, 28
construction systems, 257 geo-heliocentric model of universe, 28
game+player system, 122 Gestalt psychology, 22, 30
progression systems, 253–256 Gilbert, Ron, 188–189
 INTERACTIVE LOOPS 427

gluon field, 42 I
Go, 84–86, 98, 130, 142–143
“iceberg” approach, 382–384
goals
iconography for loop components, 223–224
defining, 258
ideation, 188. See also blue-sky design
emotional interactivity, 150–151
identity
identifying, 376–377
systems as things, 87–88
player goals, 109–111
Theseus’ ship paradox, 38–39
playtesting, 392
idle games, 198
Goethe, Johann Wolfgang von, 30
ilinx games, 91, 164
Gone Home, 161–162, 206–207
immersion-creativity motivations, 201
Google Docs, 261
implicit goals, 109–110
greedy reductionism, 18–19
individuals’ needs, balancing with team
Greenspan, Alan, 74
needs, 363
Griesemer, James, 155–156
inflation, 246–248, 342
“grinding” gameplay, 259–260
information distortion, sample size and,
The Grizzled, 147
301–302
grouping, 145
instant goals, 110
growth, limits to, 72–75
integrative levels, 42
Guitar Hero, 196
intentional choices, 127
interactive loops, 137–138, 225–226. See also
H gameplay loops
action/feedback interactivity, 138–141
Habitat, 342
moment-to-moment gameplay, 141
habituation, 254–256
present-tense action, 139
Halley, Edmund, 29
reflexive attention, 139
Halo 2, 155–156
stress and reward of fast action, 139–141
Halo 3, 155–156
blending types of, 142–143
heating an oven, 23–25
cognitive interactivity, 141–143
hedonic fatigue, 254, 255
core loops, 127, 156–157, 226–227
heliocentric model of solar
concept document, 212–213
system, 28–29
examples of, 227–231
Hidden Order (Holland), 31–32
game mechanics, 220–232
hierarchy of loops, 233–235
cultural interactivity, 152–153
history
designer’s loop, 128, 181–182
of game design, 117–119
emotional interactivity, 147–152
of systems thinking, 28–30
challenges of, 151
Hobbes, Thomas, 38
context, 150
holistic thinking, 21–22
models of emotion, 148–150
Holland, John, 31–32
situations and goals, 150–151
homeostasis, 82
flow in, 153–155
Homo Ludens (Huizinga), 90
social interactivity, 143–146
For Honor, 188
game-mediated social interaction, 144
hooks, 131
techniques for encouraging, 144–146
“house rules,” 101–102
time-scale view of, 155–159
Howe, Chelsea, 157
core loops, 156–157
Huizinga, Johan, 90
cycles of engagement, 157–158
hydrogen atoms, 39
narrative and interactive engagement,
hypothesis-driven analysis, 17
158–159
428 INTERACTIVITY

interactivity, 121 irrational exuberance, 73–74

behaviors, 124–125 iterative design, 399–400
behavior extinction, 130 iterative production, 400–401
game behaviors and feedback, 125–126 stage gating, 400
intentional choices, 127 iterative production, 400–401
player behaviors and cognitive load,
125–126, 159
definition of, 104–105, 123 J
depth, 167–168 Jobs, Steve, 190
detailed design (concept document), 213 Journal of Computer Game Design, 118
elegance, 167–168 Journey, 147–148
fun, 163 Joyce, James, 41
characteristics of, 164 junior game designers, 368
definition of, 165–166
“finding the fun,” 174–175, 386
negative affect in gameplay, 166–167
K
game+player system, 122, 214 key moments, 207–208
interactive loops, 137–138 key performance indicators (KPIs), 349
action/feedback interactivity, 138–141 Knights of the Old Republic, 116, 147–148
blending types of, 142–143 Koffka, Kurt, 22, 30, 60
cognitive interactivity, 141–143 Kohler, Wolfgang, 30
core loops, 127, 156–157 KPIs (key performance indicators), 349
cultural interactivity, 152–153 Kristallnacht, 152
cycles of engagement, 157–158 Kuhn, Thomas, 17
designer’s loop, 128
emotional interactivity, 147–152
flow in, 153–155
L
narrative and interactive engagement, LAMP programmers, 370
158–159 The Last of Us, 206–207
social interactivity, 143–146 Lau, Edmund, 35
time-scale view of, 155–159 Lawrence, D. H. 44–45, 60, 96
interactivity budget, 161–163 League of Legends, 162, 203
internal state, 124 “legacy” games, 101
mental load, 159–161 Legend of Zelda, 256
mental models leveling treadmill, 260
arousal, 129–130, 132–133 levels of organization, 81–82
building, 131–132 lifetime value (LTV), 352
engagement, 129–130, 134–137 limited-play pricing, 211
systemic approach to, 122–123 limits to growth, 72–75
whole experience, 129 linear curves, 323
interactivity budget, 161–163 linear effects, 63–65
interconnected world, 34–36 linear interpolation, 329
internal model of reality, 103–106 linked events, probability and, 305
Dwarf Fortress example, 105–106 “living” documents, 288–289
endogenous meaning, 104 local action, 277
second-order design, 104–105 localization, 212
internal state, 124, 270 logistic curves, 327–328
intransitive balance, 316 long-term cognitive interactivity, 141
inventors, 174 long-term goals, 111
 MECHANICS 429

loops, 60–61, 219 trophic cascades, 77–78

balancing loops, 61–62, 220–221 unintended consequences loops, 70–71
for behaviors, 285–286 Loopy, 260–261
chaotic effects, 68–70 Lostgarden blog, 114
combined effects, 63–65 Lotka–Volterra equations, 65–66
combining, 251–253 LTV (lifetime value), 352
components of, 221–224 ludus, 91, 95
defining Luhmann, Niklas, 32–33, 129
goals, 258
linking player experience and system
design, 259–260 M
looping structure, 258–259 Machinations, 223–224, 260–261
designer’s loop, 232–233 machines
in game design, 221 functional game elements as, 103
game systems, 253 randomness, 106–107
combat systems, 256 magic circle, 90
construction systems, 257 main systems (detailed design document), 213
progression systems, 253–256 Man, Play, and Games (Callois), 90
skill and technological systems, 257 Mann, Terrence, 177
social and political systems, 257 marginal utility, 255
gameplay loops, 235–236 Mario Kart, 62, 93, 246
ecologies, 248–251 market channel, 346–347
economies, 240–248 Marvel War of Heroes, 230, 239–240
engines, 236–240 Maslow, Abraham, 149
game’s model loop, 225 Maslow’s hierarchy of needs, 149
interactive loops, 137–138, 225–226 massively multiplayer online games. See MMOs
action/feedback interactivity, 138–141 (massively multiplayer online games)
blending types of, 142–143 mastery-achievement motivations, 201
cognitive interactivity, 141–143 Masuda, Takahiko, 14
core loops, 127, 212–213, 226–231 mathematical game balancing, 303–304
cultural interactivity, 152–153 mathematical modeling
designer’s loop, 128, 181–182 nonlinear effects, 65–66
emotional interactivity, 147–152 versus systemic modeling, 66–67
flow in, 153–155 Maturana, Humberto, 32–33
social interactivity, 143–146 MAU (monthly active users), 351–352
time-scale view of, 155–159 McGonigal, Jane, 92
levels and hierarchy, 233–235 MDA (Mechanics-Dynamics-Aesthetics)
limits to growth, 72–75 framework, 92–93
linear effects, 63–65 Meadows, Donella, 32
mathematical modeling, 65–67 mean, 306
nonlinear effects, 63–66 meaning in games, 116–117
player’s mental loop, 225 emotions and, 208–209
questions to consider, 264–265 endogenous meaning, 104
random effects, 67–68 meaningful decisions, 107–108
reinforcing loops, 61–62, 220 meaningful decisions, 107–108
systemic loops, 180 mechanics
systemic modeling, 66–67 game mechanics, 101, 220–232
systems design, 220 MDA (Mechanics-Dynamics-Aesthetics)
tragedy of the commons, 76–77 framework, 92–93
430 MECHANICS-DYNAMICS-AESTHETICS (MDA) FRAMEWORK

Mechanics-Dynamics-Aesthetics (MDA) tokens in, 99

framework, 92–93 zero-sum view in, 245–246
median, 306 monthly active users (MAU), 351–352
meetings, pitch, 380–381 Monty Hall problem, 307–309
Meier, Sid, 92 Monument Valley, 100
mental load, 159–161 Morningstar, Chip, 342
mental models, 107 morphology, 30
arousal, 129–130, 132–133 motivations, 200–202
building, 131–132 MVP (minimum viable product), 402
engagement, 129–130
becoming and staying engaged, 134
definition of, 134 N
neurochemical engagement, 134 name-value pairs, 270
player’s mental loop, 225 NAP (near-arithmetic progression) curves, 331
metacognition, 14 narrative, 115–116
metagaming, 101–102 designing, 179
metastability, 42–45 detailed design (concept document), 213
Michigan Fish Test, 14–15 interactive engagement, 158–159
Microsoft Excel, 261 nautical game example, 275–276
milestones attributes, 275
alpha milestone, 405–406 behaviors, 283–285
beta/first release milestone, 406 core parts, 274–275
military training, transitive balance in, 313 detail design process, 275–276
mimicry games, 91 game concept, 273–274
Minecraft, 117 near misses, 310–311
minimum viable product (MVP), 400–401 near-arithmetic progression (NAP) curves, 331
misleading feedback, 283 negative affect in gameplay, 166–167
MMOs (massively multiplayer online games), 95 negative feedback loops, 60–62
definition of, 198 Nesbitt, Richard, 14
faucet/drain economies in, 55–57 NetLogo, 260–261
game-mediated social interaction, 144 neurochemical engagement, 135–137
mockups, 263–264 neuroticism, 202
mode, 306 neutrons, 41, 44
modeling Newton, Isaac, 16
mathematical, 65–67 No Man’s Sky, 117
systemic, 66–67 nonlinear effects, 63–66
models of emotion, 148–150 nonsensical feedback, 283
molecules, 43–45 norepinephrine, 136
Mollenkopf, Stephen, 34 normal distribution, 306
moment-to-moment gameplay, 141 normalization, 272
monetization, 353
concept document, 210–211
designing, 179–180
O
Monopoly, 61, 101–102, 208–209 objectives (detailed design document), 213
boosting engines, 237 Objectivism, 153
braking engines, 239–240 observation of playtests, 397
reinforcing loops in, 221 “The One Question,” 196
 PITCHING GAMES 431

oneness, 47 core parts, 274–275

openness to experience, 202 detail design process, 275–276
OpenOffice, 261 game concept, 273–274
opposition, 108–109 questions to consider, 291
organization, levels of, 81–82 repeated games, 102
organization charts, 366 rules, 99–101
oven-heating loop, 23–25 simple/atomic parts, 268
oxytocin, 136 tokens, 98–99
types of, 269–270
parts of systems
P behaviors, 53
P&L responsibility, 365 boundaries, 52–53
pacing, 339–340 converters, 57–58
Pac-Man, 140 deciders, 57–58
paidia, 91, 95 flow between, 54
pairs, name-value, 270 resources, 54
Papers, Please, 147, 161–162 sinks, 55–57
Parable of the Polygons, 279 sources, 54
paradigm shifts, 17 state, 51–52
parasympathetic nervous system, 230 stocks, 54–55
parts of games, 267–268. See also loops A Pattern Language (Alexander), 32, 46–47
attributes, 270–273 patterns, 46–47
first-order attributes, 271–272 payload of pre-processed information, 158
ranges, 272–273 Peggle, 140–141
second-order attributes, 271–272 pendulum, path of, 19–20
third-order attributes, 271–272 persistence, 51, 82
balancing, 332–334 personality traits, 202
attribute values, 335–336 phases of game production
attribute weights, 334–335 concept, 401
decoupling cost from value, 336–338 finishing games, 406–407
behaviors, 276–277 preproduction, 401–402
emergence, 278–280 features and assets, 402
feedback, 280–283 length of, 403
generic, modular behaviors, 277–278 project plans, 402–403
local action, 277 production, 403–404
looping systems, 285–286 alpha milestone, 405–406
defining, 268–269 beta/first release milestone, 406
design process, 286–287 commercial release, 406
documentation for production analytics, 404–405
design documents, 287–289 phenomenological thinking, 15
spreadsheet details, 289–291 physiological needs (Maslow’s hierarchy), 149
updating, 288–289 piecewise linear curves, 329–331
game mechanics, 101 pitching games, 376
internal state of, 270 elevator pitches, 379–380
metagaming, 101–102 follow-up, 384–385
nautical game example pitch content, 381–382
attributes, 275 call to action, 384
behaviors, 283–285 “iceberg” approach, 382–384
432 PITCHING GAMES

pitch meetings, 380–381 playtesting, 184–185. See also prototyping

preparation feedback, analyzing, 398–399
audience identification, 378 finishing, 397
goal identification, 376–377 goals of, 392
knowing your material, 378–379 importance of, 391
Pixar, 184 player-based balancing, 298
plans, project, 402–403 preparation, 393
platformer games, 198 final checks, 396
platforms, defining in concept document, scripts, 393–394
211–212 surveys, 394–396
player-based balancing, 298 running playtests, 396–397
players. See also playtesting test subjects, 392–393
agency, 100 testing methods, 397–398
behaviors and cognitive load, 125–126, 159 when to test, 391
choosing for playtesting, 392–393 Poincaré, Henri, 46
game+player system, 122, 214 Poker, 95
goals, 109–111 political systems, 257
intuition, 298 polynomial curves, 324
mental loops, 225 Portal, 197
mental models, 107, 225 positive feedback loops, 60–62
motivations, 200–202 possibilities for play, 102–103
as part of larger system, 97–98 postmortems, 405
personality traits, 202 power curves. See progression and power
player agency, 100 curves
player behavior data Power Grid, 183, 221
acquisition and first experience, 350–351 predator-prey equations, 65–66
community, 354 predictability, 175–176
conversion, 352–353 premium pricing, 210
retention, 351–352 preparation
usage, 353–354 for pitching games
player cohorts, 349–350 audience identification, 378
player expectations, 281 goal identification, 376–377
player experience, 206 knowing your material, 378–379
emotions and meaning, 208–209 for playtesting, 393
fantasy, 206–207 final checks, 396
key moments, 207–208 scripts, 393–394
linking with system design, 259–260 surveys, 394–396
player information, collecting, 349 preproduction phase (game production),
player-based balancing, 298 401–402
player-to-player economies, 244–245 features and assets, 402
target audience, 200–204 length of, 403
demographics, 202–203 project plans, 402–403
environmental context, 203 presentations (pitches), 382–384
motivations, 200–202 present-tense action, 139
psychographics, 200–202 prestige loops, 247
as type of opposition, 109 price boundaries, 345–346
player-to-player economies, 244–245 primary emotions, 147
 PROTOTYPING 433

Principia Mathematica (Newton), 29 production phase, 403–404

probability alpha milestone, 405–406
changing probabilities, 307 beta/first release milestone, 406
cognitive biases, 307–309 commercial release, 406
definition of, 304 production analytics, 404–405
fairness, 309–310 production analytics, 404–405
likely occurence of unlikely events, 310–311 production chains, 222
probability distributions, 305–307 production phase (game production), 403–404
randomization, 304–305 alpha milestone, 405–406
separate and linked events, 305 beta/first release milestone, 406
process of game design commercial release, 406
designer’s loop, 181–182 production analytics, 404–405
iterative nature of, 177–178 programmers, 369–370
structural parts, 180–181 progression
systemic loops, 180 balancing, 338–339
thematic architecture of, 178–180 pacing, 339–340
processes, complicated, 58–59 secondary progression, 341
producers, 366–368 time and attention, 340–341
product descriptions, 206 core loops, 213
game world fiction, 210 designing, 179
monetization, 210–211 progression and power curves
player experience, 206 cost/benefit definitions, 320–323
scope, 212 exponential curves, 324–327
technology, tools, and platforms, 211–212 linear curves, 323
visual and audio style, 209–210 logistic curves, 327–328
product development NAP (near-arithmetic progression)
development teams curves, 331
art and sound, 371–372 piecewise linear curves, 329–331
game designers, 368 polynomial curves, 324
organization chart, 366 progression systems, 253–256
other team members, 372 progression and power curves, 320
producers, 366–368 cost/benefit definitions, 320–323
programmers, 369–370 exponential curves, 324–327
QA (quality assurance), 370–371 linear curves, 323
UI/UX, 369 logistic curves, 327–328
top-priority items for, 359–360 NAP (near-arithmetic progression)
product managers, 367–368 curves, 331
product vision, 357–358 piecewise linear curves, 329–331
production, 399 polynomial curves, 324
concept phase, 401 progression systems, 253–256
finishing games, 406–407 project managers, 367–368
iterative design, 399–400 project plans, 402–403
iterative production, 400–401 protons, 39–42, 44
stage gating, 400 prototyping, 184–185, 263–264. See also
preproduction phase, 401–402 playtesting
features and assets, 402 analog prototypes, 387
length of, 403 answering questions with, 388–389
project plans, 402–403 definition of, 386–387
434 PROTOTYPING

digital prototypes, 387 reward of fast action, 139–141

getting started with, 388 Reynolds, Craig, 36
intended audience for, 389–390 rhythm games, 198
keeping separate, 387 Risk, 245–246
moving fast, 390 Rock Band, 196
psychographics, 200–202 Rock-Paper-Scissors, 102, 311–313
psychological engagement, 137 Rock-Paper-Scissors-Lizard-Spock, 312
roguelike games, 199
role-playing games. See RPGs (role-playing
Q games)
QA (quality assurance), 370–371 roles
Qualcomm, 34 complementary roles, 146
quality assurance (QA), 370–371 team roles, 364
“quality without a name,” 47, 60, 96 art and sound, 371–372
Quantic Foundry development team organization chart, 366
cognitive threshold diagram, 160–161 executive teams, 364–365
gamer motivations, 200–202 game designers, 368
quarks, 41–44 other team roles, 372
producers, 366–368
programmers, 369–370
R QA (quality assurance), 370–371
rabbits, introduction into Australia, 25–26 studio roles, 365–366
The Rainbow (Lawrence), 44–45 UI/UX, 369
Rampart, 238 Romantic philosophers, 30
random determination, 108 Romero, Brenda, 152
randomization, 304–305 Rovio, 172
randomness RPGs (role-playing games), 252
creating uncertainty with, 106–107 definition of, 199
random determination, 108 experience points in, 62
random effects, 67–68 rules
randomization, 304–305 design process for, 180–181
range, definition of, 306 “house rules,” 101–102
ranges, attribute, 272–273 metagaming, 101–102
rapid prototyping tools, 260–261 purpose of, 99–101
reality, internal model of, 103–106 as type of opposition, 108–109
Dwarf Fortress example, 105–106 RuneScape, 325
endogenous meaning, 104 running playtests, 396–397
second-order design, 104–105 RvR (Realm vs. Realm combat), 313
Realm of the Mad God, 145
Realm vs. Realm combat, 249–250, 313
reductionist thinking, 16–21 S
reflexive attention, 139 safety (Maslow’s hierarchy of needs), 149
reinforcing loops, 61–62, 220 Salen, Katie, 92
repeated games, 102 sample size, 301–302
The Resistance, 99 satiation, 255
resources, 54, 221–222 SBF (Structure-Behavior-Function)
core resources, 321–322 framework, 94
subsidiary resources, 322 schedules, variable, 244
retention, player, 351–352 schools of fish, shape of, 78–79
 STRUCTURE (GAME) 435

scientific method, 16–21 social referents, 145

scope social systems, 257
defining in concept document, 212 software engineers, 369–370
scope creep, 404 solar system, views of, 28–29
scope creep, 404 sound design, 371–372
scripts for playtesting, writing, 393–394 sources, 54, 222
scrum, 400–401 space for play, designing, 180
second difference, 324, 325 Splendor, 117, 184, 237–238
secondary progression, 341 sports games, 199
second-order attributes, 271–272 spreadsheet documentation, 261, 268–269,
second-order design, 104 289–291
security (Maslow’s hierarchy of needs), 149 spreadsheet specific, 268–269
self-actualization (Maslow’s hierarchy of sprints, 400–401
needs), 149 spurious correlations, 21
selling points, unique, 204 stage gating, 400
semantic distance, 125 stagnation, 248, 342
Senet, 118 Star Realms, 256
separate events, probability and, 305 state
serotonin, 135 definition of, 51–52
Settlers of Catan, 99, 246 internal state, 124, 270
shape of schools of fish, 78–79 statements
shooters, 196–197 concept statement, 195–196, 381–382
short-term cognitive interactivity, 141 x-statements, 205
short-term goals, 110 static engines, 236
Sid Meier’s Pirates, 116 Steambirds: Survival, 114
Siebert, Horst, 19 Stellaris, 107, 162
sigmoid (logistic) curves, 327–328 stock market crash of 1929, 73–74
SimCity, 172, 209 stocks, 54–55, 222–223
Simkin, Marvin, 257 story-driven games, 115–116
simple collections, 58–59 storytellers, 173
simple resources, 222 strategy games, 159–161, 199
simple/atomic parts, 268. See also game parts strengths, knowing, 173
The Sims, 209 stress of fast action, 139–141
simulation games, 199 structural coupling, 82
single-player games, 97 structural parts
sinks, 55–57, 223 design process for, 180–181
size of teams, 372 game mechanics, 101
skill and attainment (Maslow’s hierarchy of metagaming, 101–102
needs), 149 repeated games, 102
skill and technological systems, 257 rules, 99–101
Slime Rancher, 279–280 tokens, 98–99
Smuts, Jan Christian, 22, 30, 60 structure (game)
social casino games, 310–311 architectural and thematic elements,
social goals, 111 111–112
social interactivity, 143–146 autotelic experience, 114–115
game-mediated social interaction, 144 content and systems, 112–114
techniques for encouraging, 144–146 meaning, 116–117
social needs (Maslow’s hierarchy), 149 narrative, 115–116
social reciprocity, 146 themes, 116–117
436 STRUCTURE (GAME)

definition of, 94 systemic machines, 235–236

depth in, 84–86 ecologies, 248–249
functional aspects, 102 ecological imbalances, 250–251
functional elements as machines, 103 kinds of, 249–250
internal model of reality, 103–106 economies, 240–241
meaningful decisions, 107–108 currencies, 243
opposition and conflict, 108–109 economic issues, 245–248
player goals, 109–111 economies with engines, 243
player’s mental model, 107 examples of, 244–245
possibilities for play, 102–103 unfolding complexity in, 242–243
randomness, 106–107 engines, 235–236
uncertainty, 106–107 boosting engines, 236–239
game mechanics, 101 braking engines, 239–240
metagaming, 101–102 systemic modeling
repeated games, 102 overview of, 66–67
rules, 99–101 systemic organization of games, 96–97
structural parts architectural and thematic elements, 111–117
design process for, 180–181 functional aspects, 102–111
game mechanics, 101 player as part of larger system, 97–98
metagaming, 101–102 structural parts, 98–102
repeated games, 102 systemic organization of games, 96–97
rules, 99–101 player as part of larger system, 97–98
tokens, 98–99 structural parts
tokens, 98–99 game mechanics, 101
Structure-Behavior-Function (SBF) metagaming, 101–102
framework, 94 repeated games, 102
studio roles, 365–366 rules, 99–101
style guides, 210 tokens, 98–99
subatomic structure, 39–42 systemic thinking. See systems thinking
subjective contour, 22 systems
subprime lending, 74–75 adaptability, 82
subsidiary resources, 322 complicated versus complex, 58–60
Sudoku, 141 definition of, 49–51
Sumitomo Chemical Plant, 34–35 downward causality, 80–81
Super Meat Boy, 297 emergence, 78–80
supply and demand, 245 game systems, 112, 253
surveys, creating, 394–396 balancing, 114
symmetrical distribution, 307 combat systems, 256
sympathetic nervous system, 230 construction systems, 257
synergy, metastability and, 42–45 content-driven games, 112–113
system design documents, 262 progression systems, 253–256
system technical design documents, 263 skill and technological systems, 257
systema, 28 social and political systems, 257
systemic depth and elegance, 83–86 systemic games, 113–114
systemic game designers. See levels of organization, 81–82
game designers loops, 60–61
systemic games, 113–114 balancing loops, 61–62
systemic loops, 180 chaotic effects, 68–70
 TESTING 437

combined effects, 63–65 history of, 28–30

limits to growth, 72–75 importance of, 33
linear effects, 63–65 and interconnected world, 34–36
mathematical modeling, 65–67 metastability and synergy, 42–45
nonlinear effects, 63–66 patterns and qualities, 46–47
random effects, 67–68 rise of, 30–32
reinforcing loops, 61–62 subatomic structure, 39–42
systemic modeling, 66–67 Theseus’ ship paradox, 38–39, 45–46
tragedy of the commons, 76–77 The Systems View of Life (Capra), 32–33
trophic cascades, 77–78
unintended consequences loops, 70–71
metacognition, 14 T
parts of tabletop games, 176
behaviors, 53 Tacoma Narrows Bridge, 68–69
boundaries, 52–53 The Tao of Physics (Capra), 32
complicated processes, 58–59 target audience, 200–204
converters, 57–58 demographics, 202–203
deciders, 57–58 environmental context, 203
flow between, 54 identifying, 378, 389–390
resources, 54 motivations, 200–202
sinks, 55–57 psychographics, 200–202
sources, 54 teamwork, 356
state, 51–52 balancing with needs of individuals, 363
stocks, 54–55 communication, 361–362
persistence, 82 development teams
structural coupling, 82 art and sound, 371–372
systemic depth and elegance, 83–86 game designers, 368
systems thinking, 23–27 organization chart, 366
current state of, 32–33 other team members, 372
examples of, 23–27 producers, 366–368
experiencing systems, 36–37 programmers, 369–370
history of, 28–30 QA (quality assurance), 370–371
importance of, 33 UI/UX, 369
and interconnected world, 34–36 executive teams, 364–365
metastability and synergy, 42–45 practices of successful teams, 356–357,
patterns and qualities, 46–47 360–361
rise of, 30–32 principles for, 363–364
subatomic structure, 39–42 product development, 359–360
Theseus’ ship paradox, 38–39, 45–46 product vision, 357–358
teams as, 372–373 studio roles, 365–366
upward causality, 80–81 team size, 372
wholes, 86 teams as systems, 372–373
systems design, 220. See also loops technology
systems thinking, 23–27 defining in concept document, 211–212
current state of, 32–33 technological systems, 257
examples of, 23–27 Temple Run, 140
experiencing systems, 36–37 Terraria, 116
game analysis and, 182–184 testing. See playtesting
438 THEMATIC ARCHITECTURE

thematic architecture, 178–180 time

thematic game elements, 111–112 balancing progression with, 340–341
autotelic experience, 114–115 time-scale view of interactive loops, 155–159
content and systems, 112 core loops, 156–157
balancing, 114 cycles of engagement, 157–158
content-driven games, 112–113 narrative and interactive engagement,
systemic games, 113–114 158–159
meaning, 116–117 timestamps in documentation, 291
narrative, 115–116 The Timeless Way of Building (Alexander), 32, 47
themes, 116–117 time-scale view of interactive loops, 155–159
themes, 116–117 core loops, 156–157
concept document, 214 cycles of engagement, 157–158
thematic architecture, 178–180 narrative and interactive engagement,
thematic game elements, 111–112 158–159
autotelic experience, 114–115 timestamps in documentation, 291
content and systems, 112–114 timing of feedback, 282
meaning, 116–117 title (concept document), 195
narrative, 115–116 tokens, 98–99, 180–181, 221–222
themes, 116–117 tools, 260
Theseus’ ship paradox, 38–39, 45–46 defining in concept document, 211–212
“thingness” rapid prototyping tools, 260–261
systems as things, 87–88 spreadsheets, 261
Theseus’ ship paradox, 38–39 whiteboards, 260–261
thinking aloud in playtesting, 398 Torg, 252
Thinking in Systems (Meadows), 32 total progression ratio, 324
“The Third Thing” (Lawrence), 44, 60, 96 tower defense games, 199–200
third-order attributes, 271–272 Townsend, Michael, 325
This War of Mine, 147, 208–209 toymakers, 174
thought processes Tozour, Paul, 356
differences in, 14–15 trading economies, 244
holistic thinking, 21–22 tragedy of the commons, 76–77
metacognition, 14 Train, 152–153, 162–163, 167
phenomenological thinking, 15 transitive balance
reductionist thinking, 16–21 achieving, 315–316
systems thinking, 23–27, 182–184 examples of, 311–314
current state of, 32–33 requirements for, 314–315
experiencing systems, 36–37 trophic cascades, 77–78
history of, 28–30 Tumbleseed, 299–301, 351
importance of, 33 Twilight Struggle, 90
and interconnected world, 34–36 twisting ideas, 189–190
metastability and synergy, 42–45 Tycho Brahe, 28
patterns and qualities, 46–47
rise of, 30–32
subatomic structure, 39–42 U
Theseus’ ship paradox, 38–39, 45–46 UI (user interface) team role, 369
three-door problem, 307–309 Ultima Online, 55–57
Tic-Tac-Toe, 107 uncertainty, 106–107
 ZIMMERMAN, ERIC 439

unfolding complexity, 242–243 weight coefficients, assigning to attributes,

unintended consequences loops, 70–71 334–335
unique selling points (USPs), 204–205 Wertheimer, Max, 30
unlikely events, likely occurence of, 310–311 whiteboards, 260–261
Up, 184 whole experience. See game concept
updating documentation, 288–289 wholes, 86
upward causality, 80–81 Wiener, Norbert, 31
U.S. military training, transitive balance in, 313 The Witcher 3, 130
usage-based metrics, 353–354 Wittgenstein, Ludwig, 95–96
user interactions (UX) team role, 369 “Wizard of Oz” protocol, 398
user interface (UI) team role, 369 wolves, reintroduction into Yellowstone
USPs (unique selling points), 204–205 National Park, 26–27
UX (user interactions) team role, 369 working title (concept document), 195
world (game)
concept document, 210
V designing, 179
valence, 148 rules, 99–101
values World of Warcraft, 130, 249–250, 314
assigning to attributes, 335–336 arbitrage, 343–344
decoupling cost from, 336–338 NAP (near-arithmetic progression) curves, 331
design process for, 180–181 stock limitations in, 256
VandenBerghe, Jason, 178 Wright, Will, 172, 209
Varela, Francisco, 32–33 writing scripts for playtesting, 393–394
variable schedules, 244 Wu Xing, 312
vasopressin, 136
vertical slice of game, 389
vigor, 134 X
vision, product, 357–358 XP (experience points), 62, 252
visual artists, 371–372 x-statements, 205
visual feedback, 281–282
visual style, 209–210
Y
Yellowstone National Park, reintroduction of
W wolves into, 26–27
water molecules, 43–45 Yerkes-Dodson curve, 153–154
ways of thinking. See thought processes Yerkes-Dodson Law, 132–133
weaknesses, working to, 173
weapons, balancing, 332–334
attribute values, 335–336 Z
attribute weights, 334–335 zero-sum view, 245–246
decoupling cost from value, 336–338 Zimmerman, Eric, 92