VideoGames

Some hints about Microsoft Games User Research Methods

I am not a regular reader of Wired but stumbling across it in Mexico the other day after two weeks offline was refreshing, especially this piece about game testing at Microsoft Games User Research. The article basically describes the work done on Halo 3 by a team of user researcher. Some excerpts i found interesting:

"Pagulayan's team quickly went to work building tools for extracting gameplay data, including the location of each player and when and where they fired weapons, rode vehicles, killed aliens, and died. They ran weekly tests, analyzing 2,300 hours of play by 400 gamers in under two months. Over and over again, they found snags — a mutant alien that was far too powerful, a lava pit that too many players fell into. (...) Some tests include a pop-up box that interrupts the player every few minutes, asking them to rate how engaged, interested, or frustrated they are. Pagulayan also has gamers talk out loud about what they're experiencing, providing a stream-of-consciousness record of their thought process as they play. (...) After each session Pagulayan analyzes the data for patterns that he can report to Bungie. For example, he produces snapshots of where players are located in the game at various points in time — five minutes in, one hour in, eight hours in — to show how they are advancing. If they're going too fast, the game might be too easy; too slow, and it might be too hard. He can also generate a map showing where people are dying, to identify any topographical features that might be making a battle onerous. And he can produce charts that detail how players died, which might indicate that a particular alien or gun is proving unexpectedly lethal or wankishly impotent. The lab also records video footage of every testing session and hyperlinks these clips to the individual progress reports. If the design team wonders why players are having trouble in a particular area, they can just pull up a few test games to see what's going wrong"

Interesting enough, there are some result examples, about spatial behavior that I found pertinent:

"Pagulayan pulls up an early map of Jungle; on it are superimposed the locations of about 30 testers after half an hour of play. The dots are scattered throughout the terrain. This, he says, is bad: It means that people were wandering aimlessly instead of progressing through the level. "People were lost," Pagulayan says. "There wasn't much deep analysis to do here." To solve such problems, the designers must subtly direct player movement by altering the world in small ways. In this case, they decided to change the geography of the Jungle level so that in certain places players had to jump down a steep ledge to reach the next area."

This is very similar to what Ubi Soft employed for Splinter Cell (see here).

See the two examples they give:

The first one shows how "players wandered lost around the Jungle level: Colored dots showing player location at five-second intervals (each color is a new time stamp) were scattered randomly. So Bungie fixed the terrain to keep players from backtracking. Sure enough, the dots clustered by color, showing that players were moving smoothly through the map."

This one is about "player deaths (represented in dark red on this "heat map" of the level) were skewing toward the base on the left, indicating that forces invading from the right had a slight advantage. After reviewing this image, designers tweaked the terrain to give both armies an even chance.

Why do I blog this? although these techniques are common in User Experience, it's good to see how they are applied and which sort of results they lead to.

Richard Bartle interview

There is a very long and comprehensive interview of Richard Bartle on the Guardian games blog, which addresses lots of different topics. Some excerpts I found interesting:

"MUD has little that today's virtual worlds don't, but it lacks something they do have which makes it worth looking at: baggage. In today's virtual worlds, there are many components that are only there because they were in the worlds that the designers played. These things work, but the designers don't know - or even consider - why they work. A designer will ask "what character classes are we going to have?" when they should first ask "are we going to have character classes?". Only when they have decided that yes, they are going to have them, will they know why they want them, and therefore why they are important. With MUD, we had no precedents. Therefore, a designer looking at MUD can do so in the knowledge that everything there is there for a reason, and then hypothesise what that reason might be (or, if they realise I'm not dead yet, ask me). (...) Most people will use the technology but not care about the worlds as worlds. If you want the intelligent stuff, you'll be able to find it; however, if you don't know it's there, you won't know to look."

Why do I blog this? some good points here, also considering what I just blogged about "design inheritance" and the persistence of stereotypes. It's indeed important to see how the game design/user interface/user experience evolved over time from tabletop role-playing games to MUD and them MMORPGs. The strong typologies of "class" or material prevails in an unbelievable way, promoting certain aspects of the games. What would be the alternatives?

[near] futures of digital entertainment

Yesterday I gave a talk in Lyon for the video game/mobile game industry about the "near futures of digital entertainment". Slide are available here (english) and ici (en français).

The talk started by a quick overview of research projects about mobile/pervasive gaming (location-based games, mobile tagging, etc) showing how this is difficult to throw to the markets (hardware/software issues + infrastructure problems...). I then tried to show some hints about what to do with examples that I find interesting and very down-to-earth: using the phone microphone, tv-phone tie in, etc. The point was to show people from the industry that they can do something almost overnight, not using ultra-tech fancy GPS solutions and stuff.

I concluded the talk with a mapping of the possibilities (in the form of an uncertainty cone):

The horizontal line shows the consumer market. When circles/things are close to the edges, it means that it’s not certain to be around before few years? The problem is to find what can turned them into more market-orientated products. For example, a way to bring location-based games closer to the market would be to forget the use of GPS but to let people self-disclose their locations.

Gaming in South Korea

In SFGate, there is a great forecast article by Jeff Yang about MMO evolution and South Korea. He basically describes the success of MMO in Korea, showing how this "american invention" has been turned into a "a $15 billion market cap" due to two main reasons: "the nearly universal availability of broadband Internet, due to a concerted government effort to invest in its digital infrastructure during Korea's boom years of the early and mid Nineties". And the "dramatic collapse of the South Korean economy in 1997" which led laid-off people to on-line game to avoid being depressed (!).

More interesting to me is this part of the article that shows how koreans/asians see the game industry, as something different from the European/American vision:

"E3 is a gathering for the old school videogame industry," he says. "It's driven by consoles, and it's all about the retail channel -- people pushing hardware and selling boxes. We think the future of gaming is very different. The Internet has given developers a real opportunity to play on a level playing field--to create a market where the best ideas win. And the breeding ground for the best ideas right now is here -- in Asia." (...) "We think the whole concept of spending $50 to buy a box, and then paying $15 a month just to try it out -- that's ridiculous," says Hong. "In Asia, virtually all of the new games that are being released are 'free to play' games. What this means is that you can try a game out just by downloading it and registering. But if you want certain enhancements -- special items, more abilities, unlockable characters -- you pay for those. About half of the revenues in the Korean games market today come from virtual item sales. People get hooked on the game, and they want to build up their characters beyond a limited level. Get it free, play the damn thing for free, pay for what you like. It's an enormously powerful concept."

In addition, Yang also presents some game design issues that seems very relevant:

""The entire Lineage experience was possible because of the 'blood pledge' feature," says Hong. "It's the key ingredient of the game --it forces gamers to build relationships and creates social hierarchies. (...) This counterbalanced relationship between "seniors" and "juniors" is written into the cultural DNA of many Asian societies (...) Sword of the New World as his magnum opus, a sweeping epic inspired by European Baroque style, set in a fantastic variant of the Age of Exploration. The game had been developed with a unique new concept in mind: Instead of creating individual characters, players would create families consisting of as many as 36 characters, of which three could be controlled at any time. "It's very much an Asian concept," says Hong. "Korean players, for instance, tend to create multiple accounts, so they can experiment with every class and skill variation. And because players would always complain about not being able to juggle all of their different accounts easily, Kim thought, well, what about a game where you could have all these characters together? And making them into a family -- all the characters in an account have the same last name -- well, that's very Asian too."

Why do I blog this? some relevant material/data here to be employed as appetizers in discussion with game designers. I find interesting the way the korean do not make differentiations/silos between what is in the game industry and what is not, a recurring problem here in Europe.

Use of weather data feeds in video games

The change of seasons in Animal Crossing (Nintendo DS) always struck me as an interesting example of digital/physical interconnection but there is a now a leap forward described in TR:

"Electronic Arts's new sports game will have a novel level of realism: live weather that affects play. (...) With online play increasing in popularity, EA developers are focused on improving the user experience. "We try to add whatever technology, feature, or function to games that gives the player real-world experience," says Kyle Hanley, a producer for EA Sports. With broadband Internet now widely available, the company decided to try to incorporate dynamic data into the games. (...) Developers at EA Sports made this capability a reality in NCAA Football 2008 by integrating a live feed from the Weather Channel."

Why do I blog this? I've always been curious about weather in video-games, that's the sort of curious feature that is interesting to examine (and think about how to design for). In this case, I find it IMHO very intriguing and at the same time very trendy: the availability of data ("traces" left by humans or nonhumans) leads to design opportunities. What's next? weather as new interaction partner (or as an opponent) in games where you can compete against the weather.

200 traditional games for 500 DS software titles

Some excerpts from the WSJ about the Nintendo DS (by Yukari Iwatani Kane):

"Behind the fastest-selling portable videogame player in Japan is an unusual shift in the culture of gadgets: People are clamoring for it not just for games, but also to keep a household budget, play the guitar, and study the Buddhist scripture Heart Sutra. Since its introduction in 2004, the DS, which responds to writing and speech, has spurred software makers to fill the Japanese market with an eclectic array of reference guides, digital books and study tools. (...) Of the 500-odd DS software titles released or in the works so far, only about 200 are traditional videogames. (...) More than 60% of the DS units were bought by people who don't think of themselves as videogame users, Enterbrain said."

And the difference of strategy between Nintendo and Sony:

"Nintendo's big rival, Sony, isn't following the DS into books and references. Sony is trying to attract new game users to its PlayStation Portable machines with easy-to-play games such as virtual tennis. It says it will continue to focus on games that show off its high-quality screen and advanced technology."

Why do I blog this? some interesting figures and arguments about the success of the DS to be used in some future work about gaming foresight. 200/500 is an intriguing ratio... definitely not followed by Sony.

Game industry foresight by E. Adams

Some interesting quotes from Ernest Adam's foresight about the future of gaming:

"Games that depend on that depend on location or travel? Useful in theme parks, Laser Tag, etc. Not ever going to be a major segment. Compare # of video gamers to # of paintball players.Compare # of video gamers to # of paintball players. (...) In the long run...... Mobile phones will not drive out other devices. Other devices will absorb mobile phone capability. Just as everything now contains a digital clock, someday everything will contain a mobile phone. (...) In 30 years, In 30 years, how how we play has not changed - Handheld/mobile on the bus to school - Console in the living room - PC in the home office or kid ’s bedrooms bedroom

Convergence will be partial, not total. - A computer monitor is better than a TV. - Handhelds cannot cannot contain the best hardware. - A PC is a poor machine for group play. (...) The all-over VR body suit: Only as a very high--end option for fanatics"

Why do I blog this? some interesting thoughts here, need to use that material later on, quite like the very pragmatic approach.

CACM about gaming

No time to parse it yet, but the latest issue of Communications of the ACM is about "creating a science of game". As Michael Zyda points out in the introduction:

"Today's game industry will not build a game-based learning infrastructure on its own. It got killed in the early days of edutainment (2000–2004), and shareholder lawsuits continue to prevent game industry executives from attending conferences where the topic of games for education might be headlined. So, computer scientists must be responsible for making this happen and not wait for the risk-averse to come around.

To be able to deploy the new medium for societal good, we need a well-defined R&D agenda. (...) We hope these articles influence your personal research in the direction of games, helping you understand why computer science must be willing to support games' R&D and societal missions. It's been great fun for me to waylay these fellow games researchers and educators into sharing their ideas and insight. Their work represents initial steps on the continuum of research and education necessary to create the new science. With them, we position ourselves to begin to understand and repurpose this vibrant interactive medium."

Why do I blog this? this exemplifies the interesting trend lately towards "game for social change" that include serious gaming or interesting initiative such as worldwithoutoil (although this topic is not addresses in the CACM issue).

The near future of gaming

Some rough issue about the near future of gaming, prepared for a workshop for a client: With regards to the notion of gaming, the video game market/industry is COMPLICATED - Because the notion of “games” is expanding from game console/computer games/portable games to serious gaming (e.g. simulation, training applications), web-based games, mobile gaming (e.g. electronic sudoku, mogi mogi), electronic toys and robots (e.g. Nabaztag, Leapfrog products), social platforms (e.g. Second Life, Habbo Hotel) or alternate reality gaming. We now think in terms of “Digital entertainment”. - Because it is composed of different industries, which have different business models, constraints, rules, target groups and timescale/work practices. - Innovation in the field tend to be sustained by outsiders (for instance Habbo Hotel designed by Finnish company Sulake Games, that already has 50 millions users),

In the short term, the picture is actually slightly simpler: - Even though the news are quite wii-centered lately, do not forget that other big guys (Microsoft and Sony) still matter. The tech-driven aspects of the game industry are still important and we still don’t know how users will react to the new game controller. - Sequels (e.g. Pro Evolution Soccer 5) and blockbusters (e.g. Zelda, Super Mario) continue to be important because players still acknowledge their value based on the history. - However, pay attention to game breakthroughs (Elektroplankton, Spore) with disruptive gameplay, which are trying to set new trends of original game design. - Look at the evolution of MMORPG and how the number of player evolves over time; look at how a new job appeared: community manager: a subset of the game designer activity, focused on sustaining and developing MMOG communities. - Try to understand the computer/console game business model (distributors/publishers/design studio) that put an incredible amount of pressure on innovation, leading to neverending sequels. Then think that the most innovative gameplay are designed by new actors (Sulake Games, In-Fusio). - Even though user-generated content is more a matter of videos (You Tube) or pictures (Flickr), the game industry begins to be impacted. And rumors says that Nintendo might provide development facilities on the Wii. - Gaming seems to pervades every moments and places of life (mobile gaming, location-based applications) BUT the home is still the most important location of digital entertainement. Where would be the locus of entertainment in the future? - The Wii re-installed some physicality in gaming, what does that say for other playful environment based on movements/gestures? What are the other scales that matter?

Why do I blog this? these are some raw notes that I used in a workshop about the "near future of entertaining technologies" a while ago, starting point for break-out groups to work on scenarios. Material provided to participants was also: Play Today - an Experientia report on the latest trends in electronic toys and games Alice Taylor's presentation at Aula GAMERS IN THE UK: Digital play, digital lifestyles. (BBC report) It’s only a game by Stephan Somogyi (The Economist, Summer 2006) The Wright Stuff by Will Wright (PopSci) MMOG Chart subscriptions Where Game Meets Web, Raph Koster Speaks Out, an interview of Raph Koster by Bonnie Ruberg (Gamasutra) Participants were also encouraged to read webglogs such as Terra Nova.

Troubles ahead for the game industry

Gamasutra features a very interesting interview of game designer Raph Koster about various trends regarding innovation and the video game industry (at the GDC07 his talk was interestingly entitled "Where game meets the web"). His claim is that the video game industry is "doomed because the web is stealing their thunder", which is an impression I share. Looking at the statistics shows that some web games such as Webkinz, (2.5 million uniques in December), Toontown or Club Penguin (4.5 millions uniques in december) attract more than MMOs. Why is that? mostly because they "don't think of them as being part of our industry", which oh-so-true given that they often feel more concerned by 3D engines, realism and AI. When chatting with companies about Habbo or Toontown, I have often encountered people telling me that "nah this is not in the video game industry so this is not our problem". Some key excerpts I found relevant:

" there’s something up with the ways we do our development practices. The web principles are release often and fail fast. We don't do that. We plan for two or three years, putting something together and then dumping it out there. With the web guys, it's just a whole different method of operating. Flickr patches every half hour.

I think we have to look at the current game industry as being a subset of big media, and big media is running into some issues lately. It's not that they're going to go away, and it's not that they're going to have less power. Well, maybe they will have less power in some ways. But what's happening in the other industries, like film, TV, music, publishing, is we are seeing a radical redistribution of power--where the money is going and where the eyeballs are going. Some of the industries have adapted better than others. We shouldn't kid ourselves; we're in the exact same boat. The only reason that isn't happening even more with us is that our industry isn’t relying on proprietary record play. Can you imagine if there was a standardized platform games, if PC were it, what would happen to the games business? The answer is, we'd be screwed. (...) The one thing the web makes sure of is that there are enough content creators to make any given content creator irrelevant, or superfluous at any rate."

Why do I blog this? I share Koster's concerns and don't really know how this will evolve. Personally I do think that the Web is a great platform because of (1) availability of a critical mass of users, (2) presence of open standards, (3) fast development process, less cycles.

The less than 5% of users who download games

Mobile gaming - the troubled teenage years by Stuart Dredge (Receiver #17, end of 2006) offers an interesting perspective on mobile gaming in Europe. First about figures, the authors describes the mobile gaming situations as a teenage troublesome period: "According to industry analyst M:Metrics, 4.2% of UK mobile users downloaded a mobile game in August this year. This figure was 2.6% in Germany, 4.8% in Spain, and just 1.1% in France".

To understand the situation, he looks at "what traits characterised mobile gaming's infancy" and sums it up with the concept of "familiarity": the fact that mobile phone users were provided with retro-games (tetris, pacman...). They proved to be popular because they appeared as safer choices on operator portal and websites (than unknown new games). From the user experience point of view also:

" Creatively speaking, there is another reason why these retro games are so well suited to mobile. They have simple 2D graphics and constrained playing areas, which work well on a small mobile screen, and also four-way digital movement, which suits the mobile keypad. Pac-Man and Tetris are not just familiar to users, their gameplay experience does not disappoint when translated to a phone, in stark contrast to some attempts to port modern-day console games with their 3D graphics and analogue controls."

This is extremely interesting, especially given than lots of energy is devoted to creating 3D stuff on tiny screens.

Then the article deals with the near future and what is needed:

"Developers are focusing on creatively working within the restrictions of mobile phones, taking inspiration from the simple gameplay mechanics of the retro games, while creating new and original IP for mobile. (...) All these games use mobile's constrained screen and less-than-ideal controls as a strength rather than a weakness. (...) there's also a need for mobile to find its wings as a gaming platform, with developers figuring out how to create games that make even more use of the singularities and strengths of mobile handsets. In the developed world, most mobile phones sold today have cameras inside, for example. By definition, they are connected – both through GPRS or 3G connections, through short-range wireless technologies like Bluetooth and in an increasing number of new handsets, Wi-Fi too. Operators can track a handset's location using its Cell ID, and handsets are beginning to appear with GPS chips inside too. All of these features can in theory be used for gaming. In practice, there have been severe technical challenges to developers tapping into them in the past, but these are being solved as users upgrade to newer phones. (...) An extension of this connectivity – and an area that Microsoft is also focusing on – is cross-platform gaming. This could be a mobile phone user playing chess against someone on their PC or interactive TV, for example (...) Finally, there's location."

And he also has a good point saying that "should not take away from the fact that millions of mobile gamers will continue to play Tetris, Monopoly and even Snake, no matter how sophisticated their handset is". There are different users, with different needs and interests. Why do I blog this? some good elements here about the opportunities in mobile gaming, that resonates with the talk I did last week in Barcelona about the very topic.

"Offline gaming" opportunities in mobile gaming

Musing in the train this morning with Frederic, we discussed a near-future laboratory topic: offline-gaming that Julian describes more thoroughly here. This is also helpful for the presentation for Mobile Monday I am working on. Let's start with Julian's notes (the near future laboratory method is about knots):

"Can there be "offline gaming" where the screen disappears to the point of it not even being necessary? Where you sort of ambiently know that you're gaming in the sense that your actions and activities "offline" will register in the game world once you get back to your normal human computer later? Can you still be gaming while you're doing a run to the market, without being consciously and actively "in" the game while doing the grocery shop? But still, knowing in the back of your mind that, hey, cool! I'll get my shopping done and probably get a +2 power up!"

This said, it led Frederic and I to think about 2 main axes: the connection to the network (yes, the internets) and the use of the mobile device display as the output. Therefore, we have this simple 2x2 matrix that set the design space for mobile gaming opportunities:

Strictly speaking "offline gaming" should only refer to game played out of the network but we started using it for the square "no network/no display" (maybe because "off-the-screen-offline" is not really nice to pronounce). I've also put "crossmedia gaming" to represent games that (for instance) can be played on cell phone and then brought back to the computer either to benefit from a larger display or an access to the network (or a larger bandwidth...), that is the case with V-migo. Instead of using the crossmedia term, one can also say that a constant access to the network is hard to reach, thus even synchronous situations are alternance of sync/async moments.

Besides, the fact that the squares are empty on the picture above does not mean that nothing has been done in them; however I have to admit that the "offline gaming" square is maybe less crowded.

Now, that would be the way to design offline gaming interactions? let's wait a bit to gather some thoughts (but the use of motion is one of the avenue here).

Mobile games and standards

TR dealt with mobile gaming few weeks ago (because of the GDC). The article was about the (possibly) biggest problems in the field: a lack of standards:

"The mobile-phone environment unfortunately has been driven by the service providers, and they have different demands for what technologies can and can't be used," says Michael Zyda (...) "It's a crazy era, much like the early days of computing, when each manufacturer was making their own operating system and there weren't standards for interoperability,"

TR describes the fragmentation caused by hardware and software issues: presence of different physical controls (button placement), different software platforms... leading developers to test it on "12 platforms" (I quote it because my feeling that the correct number is 1000). The problem being that... companies do not really want to standardize stuff ("They want to lock you into the way they do things"), so it's still about walled gardens. Game designers (like the ones at Shufflebrain) then rely on networks rather than on cell phones. Why do I blog this? stuff for my presentation next week at Mobile Monday, Bcn, about mobile gaming (and its crux need for new metaphors).

Video games and warfare

An interview of Dr Malcom Davis, a lecturer in Defence Studies with the Defence Studies Department of King's College London, in which he describes his research interests hugely relevant to modern combat game design. Most of the interview is about the spatial environment: the importance of urban environment ("Most warfare in the future will take place in complex urban environments, where house to house fighting") its realism ("What is missing is the chaos of battle"), the missing notion of embodiment ("consumer military simulations are never going to be totally realistic because ultimately people don't really die or get injured, and thus the fear element is never going to be there"), the lack of mixed settings ("what is missing, particularly in an urban environment, are civilians mixed in with military forces").

Also of interest:

" the enemies of the future will always be trying to threaten or degrade our military-technological advantage, and one of the best ways that they can achieve that is by attacking our information systems, and the networks which generate the 'sensor to shooter' link. Thus it is important not to make an assumption that the data-links and networks will survive for very long. We have to be able to fight and win when the networks go down."

Why do I blog this? some interesting ideas here about spatial environment (how is it lived) and translation from gaming to reality.

Spatiality in Habbo Hotel + designing for open-ended play

Some notes taken after viewing the LIFT07 talk of Sampo Karjalainen (Sulake Corporation): "Open-ended play in Habbo" (video). Sampo described how Habbo is a virtual hang out for teenagers, an open environment in which you can do things, no clearly explicit goal. A bit like Second Life but browser-based (more accessible) and not in 3D, it targets teenagers. Figure are quite amazing: 7millions unique users every month, medium age: 13y.o. gender distribution: almost 50/50.

What I found pertinent is the spatial aspects of Habbo Hotel. Sampo differentiated the following "spaces".

1) Public rooms: designed by Sulake, most of the users go here, chat online with existing friends, meet new friends and "be together"+ Games inside Habbo Hotel compete/cooperate: gaming rooms, kissing booth, photobooth (polaroid-like), changing room (exchanging you clothes as quickly as possible) with the rules of the games usually explained as sticky notes on the walls.

2) User-created rooms: the most intriguing aspect and the one that makes users come back:: user's own room: every user can create their own room (design, furnitures, pets, rare items bought with habbo credits) and people express themselves. So there are also wharehouse in which people store collected items (so that the value of the items then goes up). Some activities emerged: virtual horsetable (people dress up in brown, black... play the horse and the other ones take care of them... they type in chat what they are doing "I am burshing you...", they kind of roleplay, we did not provide any items to support this but they do it), adoption houses (rooms in which you can get adopted by another user and people the role of mothers and child).

3) Activities expand outside habbo: - traders go to online auction like ebay or in schoolyards, - community websites (writing articles about what is going on, values of items, some user-created games). Sulake tries to support this: helping people to set their own webpage

Then he described some guidelines to have this "open ended play". His point is that users do create lots of interesting content for other users. It is a source of new stuff every hour every day and Sulake would not be able to create so many things. The strategy was rather to provide tools for people. How can we design to support this type of play? what is needed to support it?

Some practical ideas: 1) you need something to play with, some type of objects/type of environment. Not necessarily huge amount of items but rather the possibility to combine them in various ways. (Examples: Mii, Legos, chats) 2) intuitive interaction: if you enable the user to move and rotate/edit, it supports the play much better than what we have in classic interaction with a browser. It's also good to keep the user interface very invisible (to not cut the flow of play). 3) set up a mood for play: nobody will laugh if you do sth stupid, it should be less utilitarian 4) foster all kind of user-create goal. traditional games tend to have one dimensional goals but here it's much more interesting if the user select what he/she wants to create. The range of things that can emerge is then higher 5) still define and test likely use-cases: you need to have some ideas of things you expect to see, and test them 6) the shared social setting: it becomes much more interesting when people can comment on things created by others (for the creator and the others).

Why do I blog this? Working on some future project ideas, these insights from Sulake are very relevant in terms of studies that concern spatialities in virtual worlds. It makes me think of practices in MOO back in the 90s.

Warren Spector and MMO

An interview of Warren Spector on Gamasutra. Some excerpts I was interested in:

Gamasutra: You've been a long time proponent of single player roleplaying experiences, what do you think of MMOs?

WS: Honestly, I don't much care for them. If I'm going to have a social experience, I'd rather have it in person. I feel like a blind, deaf and dumb person watching a movie while I'm playing an MMO because the social experience is really shallow. Again, this is one of the things I'll end up talking about at the GDC, but I'm, perhaps to a fault, a story person. I really need narrative. The level of narrative that people have been able to achieve in MMOs has been so shallow. I'm one of those people who doesn't find anything interesting at all in leveling up, finding a +3 sword or paper-dolling a character with a purple cloak. That doesn't appeal to me in any way as a human being. Put that all together and the play experience of MMOs is on par with roleplaying back in ‘87. In all fairness, my wife is a World of Warcraft addict. (...) I think if someone solves the problem of “I don't want to interact with 10,000 of my personal friends, ever, and somehow make 10,000 people all be the hero of a compelling story,” then I'll be a lot more interested in that game style.

Why do I blog this? even though I do not agree with him, it's interesting to hear his argument about MMO. His background in writing might explain this stance and the way he thinks about game design is a different approach that can be good to take into account. (There is a lot more to draw in this interview)

LEGO CEO on play

In the paper edition of Monocle, there is an interview of LEGO's CEO (Mr. Knudstorp). An interesting part of it deals with two aspects that are relevant for critical foresight of gaming (it's short but it's from the Lego guy):

M: Have electronic games changed the way that kids play?

JVK: That's a good question. But the fact is, play is not changing. Kids still compete, they fight, role-play. They play the world you and I live in because they aspire to be in it. They love running after a football and they'll do that 20 years from now.

M: Let's look forward. What excites you within these walls?

JVK: We are working on some projects in virtual space, including Lego factory, wich has the potential to be as important to the Lego world as Second Life is to the rest of the world

Why do I blog this? in terms of foresight, the first assertion is interesting because it describes "play" (and side-aspects such as competition, physical exercices) as a driving force for kids. Though I am more intrigued than excited by the second part, the Lego MMOG appears to be a step towards that direction ("The LEGO Group and NetDevil will launch a LEGO-themed Massively Multiplayer Online Game (MMOG), bringing the LEGO experience into a new, safe, and fun virtual environment.").

See also the 291Mb video of the interview.

Will Wright about trends in video games

POPsci features a very long and insightful interview of Will Wright (game designer of The Sims and working on his next project called Spore). IMO, the article is important because it describes the current trends in the gaming industry. Let's see some of them below with quotes: The first trend is certainly the interest towards user-generated content. Wright wants to turn players in "Pokemon designers, Neopet designers, or Pixar designers":

I think Second Life is interesting because they have given the players such huge control over the environment (...) In Spore, the tools are more and more powerful than they were in The Sims, so the next step is, now, how do we take those things and use them to build a narrative (...) Every time the player makes something in the game – creature, building, vehicle, planet, whatever, it gets sent to our servers automatically, a compressed representation of it. As other players are playing the game we need to populate their game with other creatures around them in the evolution game, other cities around them in the civilization game, other planets and races and aliens in the space game, and those are actually coming from our server and were created by other players. So there's an infinite variety of NPCs that I can encounter in the game that are continually being made by the other players as they play. (...) We're going to have different feedback mechanisms. One of the things we're going to be doing continually is rating the most popular content, so when you make a creature you're going to be able to go to what we call the metaverse report and get a sense of what is your creature's popularity ranking relative to other people's creatures.

And he recognizes that an economy that emerges out of it is inevitable: as in Second Life, it will develop, go on eBay or other platforms and might lead to "some sort reward".

Second, gaming foster an "augmented sociality" that is based on the content and is achieved not in the game itself but with other channels:

the asynchronous socializing through content, which we're already seeing in The Sims web community. huge communities form with very well-known people based on the content they've made, other people taking that content and telling cool stories with it.

Third, the educational model of using games is now less about directly teaching content/facts but rather making people know processes. This has been a long discussion in psychology and educational sciences but there are still some people trying to design games to make kids learn irregular verbs or Napoleon's battles. Actually, the thing is that video games are less good at declarative learning (content) and better for procedural learning and problem solving. And it's good to see a game design such as Will Wright agreeing with that:

I think in a deep way yeah [answering the question "Do you see Spore, or the rest of your games for that matter, as being educational?"] – that's kind of why I do them. But not in a curriculum-based, 'I'I'm going to teach you facts' kind of way. I think more in terms of deep lessons of things like problem-solving, or just creativity – creativity is a fundamental of education that's not reallytaught so much. But giving people tools.

And finally, concerning the future of gaming, Wright addresses the articulation between interactions in the physical environment and digital interactions. In a sense, the question can be rephrased as how to turn data generated from real-world interactions and put them back in the game to enrich the playful experience:

One thing that really excites me, that we're doing just a little bit of in Spore... I described how the computer is kind of looking at what you do and what you buy, and developing this model of the player. I think that's going to be a fundamental differentiating factor between games and all other forms of media. The games can inherently observe you and build a more and more accurate model of the player on each individual machine, and then do a huge amount of things with that – actually customize the game, its difficulty, the content that it's pulling down, the goal structures, the stories that are being played out relative to every player.

Why do I blog this? this is a quite good overview of the current game trends (and I left aside some other issues). Besides, it's pretty refreshing to hear them from a game designer and not from observers/researchers who try to shake the game industry.

What's missing in MMO

An interview of Ralph Koster in RealMMO addresses some interesting question regarding MMORPG:

I think WoW sets us back only in specific ways. I think it moves us forward in other specific ways. Blizzard, as usual, nailed polish, nailed guiding the player, nailed a look and feel. They took the old formula and put it in really snazzy bottles. That’s what they do best, and they are very very good at it – the best in the industry. But they also didn’t pick up the ball and run with a lot of stuff that are growing trends in the MMO industry today – and what’s more, given their expertise, they probably never will. We’re seeing a lot of interest in stuff like user-created content, in-world economies in games like Eve Online, and so on, and we don’t see anything that sophisticated in WoW. WoW is very much a “theme park” sort of world, one which is about putting you on a ride and letting you experience it. (...) I hope the next big thing is what we’re working on! If I had to sum it all up in one world, it’s “choice.” One of the things about the more directed games is that they really don’t give you choice. “You pays your money, you takes yer ride.” You don’t get to hop off midway or try out different ways to play. And while pretty much everyone enjoys a theme park ride at least once, the number of people who come back to it over and over is relatively limited compared to the broader array of activities in the world. We lose sight of the fact that WoW is big, but MySpace dwarfs it.

Why do I blog this? because this interview of Koster starts scratching the surface of some avenues MMO that should be pertinent to explore. However, user-created content in an MMO can also be thought as very similar to the object creation in MUDs (the only differences here are that it's in 3D and that it can be sold).