Sunday, March 31, 2013

A War Games Essay

This is an essay I wrote for one of my classes regarding war games and serious games. While I normally despise such academic papers as overly formal and dry, I very much enjoyed the topic and research involved with this paper.


The use of war games for the development regarding strategies and people.

War games have been a popular hobby for many gamers. From digital games such as Star-Craft to the traditional fantasy war games such as War-Hammer 40k they have provided endless hours of entertainment. However, there is another much more serious side to this pastime. This essay reviews the origins of war games, their evolution and steadfast popularity in the development of strategies and training for the military and more recently business. While some may scoff at the idea that one could 'play war' and have it translate to effective real-world battle strategy, the military and defense departments around the world do not. 

An important concept regarding war games is the size and scope of the war game. The history of war games generally expands in size and scope as countries are able to bring more and more people into the conflict. As the size of the battle being represented though the war game increases the mechanics of the war game start to change. More things must be simulated through the games mechanics such as environmental characteristics, economics, even the politics of surrounding nations. The earliest of these games generally only dealt with military intelligence, objectives and resources. By the 1800s to the 1930s war-games generally concerned themselves with the environmental, logistical and economic impact the actions in the war game could effect. By the 1950s war games started to become much more in the scope of global affairs, and included political motivations and additional sides besides just the attacker and aggressor ( Weiner 13). 

The exact origin of war games may be impossible to pinpoint, however M.G. Weiner describes that there are four commonly accepted views as to how they most likely got their start. His first opinion is that they started from generals and their advisers drawing into the sand to plan the major moves of an operation. They may even have elected someone to act as an opponent and create counter moves to the battle plan. Another related way that war games could have come about was through similar scrawls in the sand to describe to troops and commanders of their role in military operations. It is also possible that war games originated from a more game like scenario where they were developed to keep generals skills sharp and to occupy their time. The fourth and final way is that war games completely originated from leisure past times initially derived from enjoyment (Weiner 2-3). What is known for certain is that by the 1st century ad Romans used ‘sand tables’ to predict possible military scenarios for their military strategies (McLeroy).

One of the first documented war games appeared in Europe during the Middle-Ages in the form of chess. The way chess was played at the time was very similar to the way military conflicts of the day played out. However by the 17th century most war games were modifications of chess, but were not useful for military training since warfare had changed and they were lacking in the critical quality of realist conflict resolution. Simply put the game mechanics of these early war games did not reflect the mechanics of warfare.

By the early 19th century Prussian/German military commanders who studied actual battles started developing war games that had game mechanics that mirrored the situations and outcomes of actual battles (Dunnigan 190-91). Roger Smith, Chief Scientist and Technology Officer for the Army's Program Executive Office for Simulation, Training, and Instrumentation, stated that some of the greatest innovations of German war games was how they used statistics and numbers to resolve battlefield actions instead of more traditional methods (McLeroy).

The military's initial documented use of war games started with the German/Prussian military's creation of paper war games. These war games started with a military writer in the 1700s by the name of Gerog Vinturinus. His initial game had 3600 squares on a board with different squares representing different types of terrain. He also published a very detailed 60 page rule book as to how his game should be played. The next Prussian game of note was made by Georg Leopold Von Reisswitz, the Prussian war counselor of Breslav in the year 1811. This transferred war-game rules to a sand table at 1:2373 scale and had rules for troop movement that was unrestricted by squares. In 1824 his son, Von Reisswitz Jr. came up with his own war-game. Von Reisswitz Jr. is often to be considered the father of modern war games with his innovations such as red and blue square units as well as commander units, the use of dice, an umpire, and rules for unit command. When the chief general staff of the German army Von Meffling was initial told of this game he was skeptical, but after a demonstration he became of its largest supporters. However, the game itself was long and tedious to play (Weiner 6-7). These games proved their effectiveness as an aid for military training in the six weeks war with Austrian in 1866 and the Franco-Prussian war in 1870-71. After these wars other countries started taking note of the Kriegspiel variants that were being used by the Prussian military (Michael 52). In 1876, Von Verdy du Vernois simplified the rules and allowed for greater player freedom. This created division between rules heavy ‘ridged war game’ vs. tactical freedom and experienced umpire based ‘free war game’. These divisions still exist in the war games even today (Weiner 7).

After World War 2 operations research was the main type war-game played. This was generally larger scale and included logistics instead of just battle scenarios (Dunnigan 192). For determining the outcome of battles rigid war games that did not need a experienced general as a referee became favored to moderated ones since they offered a degree of consistency that free-form war games did not. Developments in computing made in the 1950s made it possible to carry out detailed computations quickly to do multiple computations of a game thus preventing the games from becoming to tedious (Weiner 6-7). operational research war games were also being developed such as ATLAS. This computer OR program was run by the Department of Defense in various versions starting in the 60s and continued to the 1980s (Michael 53).The RAND Stratagey Assesment Center (RSAC) was developed in the 1970s to evaluate the possible outcomes for scenarios in which the Soviet Union wished to enhance their prospects as a nation and the United States was to deter nuclear war at the lowest effort possible.(Davis 7).

RSAC purposes to do this with automated war gaming (Davis 12). Automated war games are played out through AI and have distinct advantages over traditional war games. The four main issues with non-automated war games were, the time it took to play, lack of interest after several iterations, distaste for highly structured rules, cost of maintaining humans and experts. Have lead to the need to develop automated war games (Davis 16). Previous to 1983 computers were not advanced enough to be used for war games, but by 1983 AI could be used for this for several reasons. Rule based programs could be developed in which cause effect relationships between the moves, stratageies and components of a large scale war game or operational research could be evaluated. Computers also had developed complex enough pattern matching software to try to guess how a country would react to given scenarios via their past actions. This was important because larger scale conflicts of the period required strategies that could take into account the actions of multiple players in a given or purposed conflict. Computer languages had also advanced to the point where it was easier to train and develop people to write programs for computers even if they did not have a programming degree. Finally chess playing computer algorithms provided a basis for computers to make semi intelligent decisions based on sorting through all the possible moves and outcomes and choosing the best move (Davis 18). The Advanced Studies department of the Raytheon Missile Systems Division also created a simulation of air battles, space missions, missile exchanges, disarmament inspection systems and international political-economic competitions during the 1960s (Michael 53).

By the 1980s the military started using networked games to allow soldiers to work with each other and against each other in teams for training purposes. From this not only flight simulators were created but also tank and Humvee simulators (Michael 55). However by the turn of the millennium the defense department started turning to the entertainment games industry for additional technology to use in their military simulations. DARWARS, a defense program, has developed war games such as modifications of commercial games to train soldiers how to survive convoy ambushes (Michael61). According to business development manager at MultiGen-Paradigm Inc, Juliana m. Slye, there is greater sophistication in military products than in the games. The military’s war games also are focused differently than consumer products. Consumer products are often only concerned with the end engagement and have a very limited scope. They also contain many optimizations and are focused on the fun factor. When converting these games to military simulations there is trouble with the fact that the games are made with technology optimized for only the end engagement. Thus this means that flight simulation technology isn’t made to work with first person shooter technology and there is no technology developed for the advanced logistics required by the military. For instance there is no game technology that integrates the logistics of launching an f18 military aircraft from an aircraft carrier. Also military simulation needs to show the interaction of a large number of systems such as the ship, the airplanes, and also the tanks and vehicles on the ground. Also no commercial games simulate all the preparation and down-time and logistics in a real battle. Off the shelf technology developed for games has reduced the cost it takes to develop for these technologies but it still requires full scale development to develop a state of the art military simulation. Rear Adm. Fred Lewis (ret.) executive director Nation Training Systems Association states that there is no guidelines as to what should be taken from the civilian entertainment field which makes the integration of such technology difficult to gauge. Tim Palmer chief technical officer of CG2 states that the technology is changing so fast that it is out pacing their predictions (Drumheller).

By the 1990s and millennial era the technology for advanced war games became accessible to more than the US military. War games, with modified mechanics to represent the corporate world are also used to play out scenarios in US business. For training, these war games let managers implement strategies they have only hear about in class room training courses. These also help to enlighten the lower level workers with regards to what their management is dealing with in regards to things like unproductive work or cutting costs (Marshall). While these war games do not replace business consultants, they are able to help in rapidly prototyping new business strategies. Also, just like their military counterparts, these war games are increasingly becoming automated and being used for training of lower level business people who need to understand the logistics. These war games allow the employees to understand the kinds of logistics they may be dealing with as well as the sort of random occurrences and natural disasters that can impact sales and profits. These kind of simulations also track the strategies used and try to get ‘smarter’ from tactics that have been enacted. They also include the possibility of inputting real world data into the war game to be used as a simulation tool. The users of these war games and simulation programs do stress however that they do not want to take the decision making out of the hands of the people. The cost of these war games is also very expensive in excess of a million dollars for some larger companies like AT&T and $100,000 for corporate war games on the low end (Bulkeley). War game development evolution shows no signs of slowing down as its small but important consumer base always needs to gauge and simulate all manners of conflicts.

War games have had a steadfast popularity for a multitude of reasons, but there is always one main reason that they will never go out of favor. They are cheaper than full scale operations or, in the military’s case, wars. The time, money, and resources are much smaller than the cost it takes to run a full scale military training exercises (190 Dunnigan). Beyond this one simple and undeniable fact Weiner in 1959 outlines some additional reasons as to why war games have uses. He first identifies them as valuable training aids which can help with multiple tasks to-days military must undertake. One is communicating orders and procedures to troops as well as calculating planning and logistics both of which current simulations are designed to help. He also denotes that the use of time weather and local conditions are an important factor that make war games important as a portion of training. The second reason he believes that war games are are important is that they allow the military commanders to see things in a different point of view and play from the side of the enemy. Weiner believes that this allows people to see holes in their operations they may not have considered. One of the most important reasons Weiner has for war games being needed by the military is their ability to plan for new tactics, doctrines and military systems. Through the use of hypothetical war games relationships of units and systems can be discovered to help in the creation of new strategies and tactics. Through playing the same situation over again with one major change to see the difference in outcomes it can help project the needed forces for future scenarios. Deployment of plans and strategies can also be tested in multiple scenarios allowing the testing of tactics without the threat of losses that are normally incurred. All of this coalesces into Weiners’ final point that war games can be used to develop theory. War games allow commanders to see the greater structure in war that most generals only could learn otherwise by fighting large scale wars (Weiner 25).

The RAND Strategy Assessment Center (RSAC) does exactly what Weiner has purposed. Simply put they develop AI, or a process of strategies to play automated war games under multiple conditions to determine the most effective strategies. They then use this information to formulate actions in the field. This is a cheap and effective way for the United States to test strategies multiple times, under multiple conditions to determine their effectiveness. This system is also used to test concepts and strategies with regards to possible enemy actions if certain scenarios are enacted. These type of things were used to help predict soviet actions during the cold war and test the possibility of escalation between the countries (Davis).

From war games vast history, evolution and continued use we can see that war games are in fact an important part of planning for large organizations. The analysis here proves that war games, while a popular leisure for some gamers, is also a very serious form of entertainment. 



Biliography:

Bulkeley, William M. "Management: Business games attract big warriors. " Wall Street Journal 22 Dec. 1994, Eastern edition: National Newspaper Abstracts: 3. ProQuest.com Web. 11 Feb. 2011.

Davis, Paul K., and James A. Winnefeld. The Rand Strategy Assessment Center Santa Monica, CA: Rand, 1983. Print.

Drumheller,Michelle. "Military simulations: More than entertainment. " National Defense 1 Nov. 1999. ProQuest. Web. 11 Feb. 2011.

Dunnigan, James F. Wargames Handbook, Third Edition: How to Play and Design Commercial and Professional Wargames. San Jose, Ca.: Writers Club, 2000. Print.

Marshall, Jeffrey and Maselli, Marigrace. "Computer Simulations Offer War Games' for Bankers. " American Banker (pre-1997 Fulltext) 23 Jan. 1989 ProQuest.com Web. 11 Feb. 2011.

McLeroy, C.. "History of Military Gaming. " Soldiers 1 Sep. 2008: Research Library, ProQuest.com Web. 11 Feb. 2011. 

Michael, David. Serious Games: Games That Educate, Train and Inform. Boston, MA: Thomson Course Technology, 2006. Print.

Weiner, M. G. "An Introduction to War Games | RAND." RAND Corporation. RAND.org Aug. 1959. Web. 11 Feb. 2011. .

Saturday, March 30, 2013

Block (An FPS in Zero)

I like FPS games. Yeah I know about Call of Duty, and Yes it does totally dominate the genre.

However, my work at DigiPen has me make games, and when I got the chance to make whatever  wanted I decided to make a puzzle FPS called block. And it was the first FPS made in DigiPen's internally developed Zero Engine. So I wrote a lot of code from scratch and honestly the controls were not as good as I hoped. But for a game made in a month or so with little to go off of, it was a good proof of concept. I have some fond memories of the project.

(P.S. This was from my website, if you saw it there before)

Game summary
Block is a game where the player manipulates the world through placing and removing blocks within the environment Using this ability they need to navigate challenges and puzzles withing the game world.


Playtest results
The game simply was tedious in its first iteration; it was a long slog of block placing because simply people saw the answer to the puzzle and then needed to sit back and built it. This is hardly idea for a super awesome puzzle game.


What I changed
Simply making the player build less seemed to be the correct answer. the action of placing blocks themselves is not an autotelic experience its simply a means to an end. Therefor I made changes to minimize and speed up the block placing as well as fine tuning the controls.


What went right
The game has a wow factor; people look at it and immediately get a sense of wonder an possibilities This was by far one best parts of working on this game since it was just cool to work on. Also defining blocks to regions helped guide players as to where they were supposed to be looking and helped subtly lead the players to their goal.


What went wrong
The block placing and regions internal code wasn't flexible; it was hard to make changes and get things working the way they should've. Often small changes meant large rewrites of code and lots of wasted time.


What I learned
Simply this was a project where there just wasn't time to further refine where the mechanics needed to be for the concept to be viable. Also the level design challenges would've bogged down development considerably. Also I believe there is a way for this mechanic to work but the production schedule just doesn't allow for more time to experiment and iterate at this time.

Friday, March 29, 2013

MDA: Going Beyond Alchemy


Some say game design is an alchemy, a blend of art and science. However, others dare to question that sediment! I am not one who questions the inevitable evolution of design to a chemistry, but the application of a science with such an entropy. Regardless, there is a benefit to those creators, those authors of games, in the study of such an imperfect chemistry. 


So here is an old start to an essay regarding MDA (if you're panicking as to what that is just read the intro below). Ideally I was going to write much more on the topic; however my passion for game development outweighs my minimal dislike of how some used of MDA. I live for what I love, not for what I mildly dislike.
Luckily, I don't have to worry so much about it as one of my friends Victor Cecci is on the case. While here I have a slightly critical take, he is currently in the midst of writing a paper on the topic. I've gotten to look at where he's taking it and it's really going much farther for him than I hoped to deliver.
I'm positing this however to really try to increase the exposure of MDA and hopefully generate some interest in his work. Honestly, I have found MDA as a great (even if imperfect) language to talk about games. I hope you find this brief overview interesting and pursue more on the topic. (Also start bothering Victor to finish his paper, He's gonna do a great job and I want to watch him panic a little as he starts to realize just how helpful and informative this paper will be to designers, developers and critics of video games.)

Here is the old post from my website:

Intro:

I study games in a production oriented game-school. Much of the analysis done there is based around a particular understanding of the MDA framework (from seeing and reading about Marc LeBlanc talks about MDA I feel that this understanding is different from his own). I think that this understanding of MDA as it has been presented is vague, is somewhat impractical for the realities of development.

As harsh as it sounds, my goal isn't to remove MDA from the curriculum; it’s to change the way MDA is being presented and help it become stronger and more useful. Simply the current form is imperfect, and I want to try to improve and refine it. As a matter of fact MDA as it is currently presented is useful, just not for a production environment.

A diamond in the rough (MDA theory):

MDA strands for Mechanics (the rules of a game), Dynamics (those rules in motion; groups of mechanics interacting), and Aesthetics (what emotions and feelings players get from the dynamics). The summation of a game's Aesthetics are a breakdown of why it is “fun” or “engaging” to play. This allows for a specific description of an experience beyond a simple metric (ie it was kind of fun).

Essentially all game designers approach games by building mechanics which create dynamics which create aesthetics. Players experience games in reverse; they feel the aesthetics, understand the dynamics and (maybe) understand the mechanics. Players often have a very hard time seeing all the mechanics behind the dynamics and aesthetics that are experiencing. Game designers have a hard time seeing how mechanics will affect the dynamics and aesthetics of the games they are creating (mechanics do not translate 1:1 with specific aesthetics).

MDA can be used to break down and describe what a game is (or even what a genre is). Once a game or prototype is created and its prominent Aesthetics are identified you can make changes to the Mechanics and Dynamics to accentuate these features. This will make the game more appealing (better) to people who enjoy that aesthetic.

Each game has 2-3 core aesthetics

A game will create certain aesthetics in greater proportion than others. Thus players who want these aesthetics will like the game. Most games or game genres have 2-3 core aesthetics or aesthetics that are consistently reinforced through the game. Other aesthetics may appear from time to time; but in the end

The Mechanics, Dynamics, and Aesthetics can all be described as discrete parts.

A game’s Mechanics are essentially described as your rules. In an RPG his would be your stats and your derived stats, in a it’s how fast you move, it’s the particular set of rules by which enemy detection happens.

A game’s Dynamics are how your rules work together. In an RPG this could be things like character builds, or in a fighting game combos, or in an RTS it can be the interplay of limited resources requiring expansion/extermination/exploration to control more resources.

A game’s Aesthetics are the feelings that players have when playing your game. For instance particular games may be constructed to recreate the fantasy of sailing a boat; having dynamics to simulate the weather, the state of your rigging, and an environment similar to the ocean or coastline. An aesthetic or feeling of challenge may be created (regardless of actual difficulty) when a game becomes time limited, requires multiple objectives to be completed, and perhaps has additional consequences for failure.

A list of Aesthetics

Provided below is a list and description of specific aesthetics that games have been identified. There is the possibility of additional aesthetics (names used by the paper ‘MDA: A Formal Approach to Game Design and Game Research’ will appear in parentheses if they differ, an asterisk will appear if the aesthetic is unique to this particular interpretation of MDA).

Sensation

The Aesthetic of Sensation is created when a game has a strongly desirable component based upon the 5 senses. Often this is a visual and/or auditory component of the game that is particularly desirable. Some games that use sensation as a core aesthetic are Superbrothers: Sword and Sorcery EP, BIT.TRIP BEAT and BIT.TRIP RUNNER, and Dear Esther.

Fantasy

The Aesthetic of Fantasy is created when a game tries to recreate the fantasy of a particularly cool persona. Often this is the “Hollywood version” of a particular job, like a special operations soldier, of fighter pilot. It can also be something actually fantastical like fighting in a giant robot, piloting a spaceship against all odds, being a vampire, slaying dragons or attending an idealized version japanese highschool with magical powers. This also includes games that are simulations; or try to accurately recreate a specific experience (like conducting a train, or being a pilot) or simulate a fantastical experience like a zombie apocalypse. Many games have a Fantasy element, but examples would be Amnesia: The Dark Descent, Ikaruga , ARMA and Day Z, and DEFCON.

Narrative

The Aesthetic of Narrative is created when a game contains drama surrounding their characters. essentially the interactions between the characters (and possibly the player) make up a significant desirable component. Simply you want to see what happens next with the characters as you progress through the game. Some games with a strong Narrative Aesthetic would be Catherine, Neverwinter Nights 2, Dragon Age, Metal Gear Solid 4.

Challenge

The Aesthetic of Challenge is created when a game creates perceived difficulty in the tasks the player is asked to perform. This may not be actual difficulty the player just needs to feel as if they are completing a difficult task and the completion of the task is rewarding in and of itself. Examples of games with a heavy Challenge Aesthetic would be Portal, SpaceChem, Super Meat Boy, Legend of Grimrock.


Fellowship

The Aesthetic of Fellowship is created when a game fosters a team work or community focus. You often see this in games where players are massively working together. An example of this is in most if not all ARGs and MMORPGs, However you can specifically see this in a lot of Co-op modes in games.

Discovery

The Aesthetic of Discovery is created when a game features finding things that are new. Often you see this in games that require actual exploration of new territory. However it can also be about finding new characters, items ect. While all games contain some elements of discovery, it’s most often a core Aesthetic if you find yourself wondering, what’s over there? I wonder who/what that is? Metroidvanias fall into this category as does Myst, or the Hexen series; I would also argue that dungeon crawlers with random maps or roguelikes also fall into this category (A Valley Without Wind is another good example).

Expression

The Aesthetic of Expression is created when a game focuses on the creation of a personal identity. This is generally seen when you create a character that the world responds to, even if these wishes aren't completely in line with what the player themselves might do (the character takes on a life of its own/ the player starts role-playing). The later Elder Scrolls series typically does this (as does Fallout 3), as does Dragon Age Origins and to an extent the Mass Effect series.

Abnegation (submission)

 The Aesthetic of Abnegation is created when a game focuses on the player doing repetitive actions for an incremental improvement or reward. Essentially the player gets rewarded from working an assembly line fashion. Games like Borderlands, Castlevania: Harmony of Despair, and Dungeon siege 2 are an example of this.

Competition*

The Aesthetic of Competition is created when a game focuses on the players (controlled by other people or a computer) working against each other to complete a goal. Basically it’s a game with multiple players under the same or similar rules where one player or group of player “Wins” and others “Lose”. Most fighting games, and multiplayer shooters and racing games have Competition as a core Aesthetic.

Dominance *

The Aesthetic of Dominance is created when the strict rules of the game create a struggle between the player and “the game” or the rules of the game. This is often seen where the often absurd difficulty of the game itself is seen as intentional and a part of the game. Examples of this would be 'I wanna be the guy' or Dark souls.

Kinesthetics *

The Aesthetic of Kinesthetics is created when the game causes the player to extend into actions of the game. Much like driving a car, in which the car becomes part of one's identity. Simply the physical actions are tuned in such a way that the player begins to innately identify with the games avatar or the actions. Examples of this would be DDR or Mario Bros.

Mastery *

The Aesthetic of Mastery is created when the game enforces replayability by setting up the game so that the player does better during each session through. Essentially practice makes perfect. Often this can be seen with competitive games, but also with games that have a difficult execution challenge (ie have a large difficulty). Examples of games that include Mastery are Rainbow 6: Vegas 2, Counter-strike, Starcraft, and Chess (Many sports fall into this category too)

Growth *

The Aesthetic of Growth is created when the game has the player watch and effect something that develops over time. Generally there is a sense of indirect control (or unknown control) of a things progression. Examples of this would be the Sims, Harvest Moon and those Tamogachi from years past. 

Tuesday, March 26, 2013

Explaining Game Design

Here, is another sort of Blog-y post from my website which I never liked. It's a post about how I was able to break down game design in something easier to explain.

Intro

When I was driving to Oregon with my father we began talking about some rapid prototyping game design classes I was struggling with at DigiPen. Through our discussion (and his confusion, since he doesn’t even play video games) he asked me to break down “Game Design” into 5 parts. Well I couldn't do it on the spot, but lucky we were going on a family backpacking trip. During some time spent resting in seclusion at the top of a waterfall I came to my answer (apparently, that kung-fu movie stuff really works). So to explain game design (even to your parents or people who just don't understand), I broke it down into the following 5 parts. 

1. Theme

Having a theme, central message, or motto to your game will help you make decisions during development. All the work in a game, the art, the music, the mechanics, the level content, will contribute to a theme. If you never set one, the work in your game may speak quietly to different themes and in the end it may appear as if the game has no theme at all. At worst you may have a confusing theme or two or three competing themes that confuse the player.

2. Style

Games need to have a style or a type of consistency in how they deliver and create and experience for players. This means that the art, music and narrative presentation are done in a way that serves the game and is consistent. If a game doesn't have a style it often means that the assets will clash with others and confuse players.

3. Usability

A major portion of Game Design is usability and accessibility of a game. This means having good controls for the game and feedback regarding actions (both successful and unsuccessful). In addition to feedback and controls the player must also be given training and explanation regarding the actions they are required to take (ie there needs to be some sort of tutorial).

4. Flow

The Player of a game improves over time. The game designer is responsible for crafting an experience that facilitates or helps a player reach a flow state (see Flow by Mihaly Csikszentmihalyi). Essentially this means a game designer is responsible for making sure a game isn't too hard or isn't boring (as dictated by their Theme and Style).

5. Mechanics

It is the responsibility of the game designer to determine the rules and goals by which a games takes place. Basically they have to develop the game mechanics. These mechanics and rules (even the game genre) are determined by the Theme and Style of the game and further adjusted for purposes of Usability and Flow.

Epilogue

With this foundational understanding of game design, I hope people better have a better understanding of what game design is (Oddly, still a problem in the industry). I also hope that this helps prospective and current game designers become more aware of the problems they will face when they create a game.

Game Summary: UTAH Traditional RPG


I'm really unmotivated about writing academic essays; So when my games class told me I needed to write a history paper on any topic and my games class told me to make a wild west RPG. UTAH the historically based RPG was born.

I have strong opinions on traditional RPGs, and this game system was a basis for more simple systems I've used for quick RPG proto-typing.

Game summary
'Utah' is Pen and Paper RPG set in historical Utah during the wild west.
My focus for the game was to create a RPG that was simple, with fast and deadly combat. I also wanted to frame some of the unique historical characters of the period and bring attention to some of the little known aspects of Utah.

Playtest results

My play-test results were generally positive. I initially had only started out with a fast and deadly combat system. However during an off the cuff play test session I decided to set the game in Utah. This had hilarious results when players labeled the bandits I had as "Mormon Raiders". I was content to mark this down as actions from irreverent and snarky players, until I ran a web search.

What I changed

So "Mormon Raiders" were apparently a real thing. So this off hand comment lead me to research the history of Utah its attempted succession from the United States, and its rocky relationship for years after.

What went right
On the positive side, I was able to keep with historical accuracy fairly well with this assignment. Oddly these factions were not particularly good to begin with. I also was satisfied with the amount of intrigue that was found within this setting. The characters themselves were very interesting to write about and the historical setting at times felt too good to be true. The game is also simple, its not as convoluted as some RPG systems out there. All in all the game is accessible and has a strong historical setting.

What went wrong

The development of the game was generally good, however there were some parts of the game I wish I could've done better. My main concern is that I wanted to test the game more. This game was created in a somewhat limited time-frame as there were other projects being created concurrently. There was time allotted for testing that I took use of; but I wanted more. I was also considerable constrained by some of the choices I made. I wanted combat to be fast and deadly, but this makes the game a little bit rough, and players just cant go in guns blazing. I'm also concerned that the portrayal of the factions may be seen insulting; However I really tried to portray all factions as 'bad' in some way. I may not have been nice, but I tried to be fair.

What I learned

What I really learned here was that I work best when I can focus my self into a single project. I was working in another game project class and I was constantly choosing between working on this project and the other one. I also will try to stay away from historical topics in the future because there are a lot of sensitive issues that would've cropped up if this game had a commercial release.

Download
Download

Monday, March 25, 2013

New Stuff

Earlier this year I set up a website here.

But honestly its not exactly where I wanted to to be, and honestly Web Design is not a passion for me (I can pull it off, but my heart lies elsewhere). A blog is more my style, A web page isn't an experience I feel I can best deliver.

So before GDC I'm gonna bring it over (also I get antsy waiting for conventions and stuff, I got to do something!).

I hope my blog doesn't explode with the new content.