Description

In this 2012 GDC session, Firaxis Games’ Sid Meier examines what types and categories of decisions are inherently interesting in the process of game design.

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My Notes

  • 00:46: “A game is a series of interesting decisions.” - Sid Meier, GDC 1989
    • 01:33: a series of: this speaks to the pacing of the game (fast/slow)
    • 02:01: interesting decisions:
      • It’s probably easier to find what is not and interesting decision.
        • Example: If player always chooses A, then that’s not very interesting. Either you should give the player a reason to not choose A, or you should just automatically choose A for the player and move on.
  • ❓: 03:06: Really? Are all games a series of interesting decisions?
    • This isn’t necessarily a philosophy that applies to every game, but it is certainly useful for most games.
  • 03:46: How do we use this idea of interesting decisions?
    • this is one way to find the fun.

Characteristics of Interesting Decisions

07:10:

  • Tradeoffs
  • Situational: The decision is highly dependent upon your current situation.
    • Might be a good decision in one situation, but a bad decision in another situation
  • Personal: tied to the player’s gaming style
    • cautious vs. aggressive vs. stealthy
  • Persistence: How long the decision affects the game play
    • long-term vs. short term
      • long-term decisions should inform the player of the ramifications beforehand.

Types of decisions

11:36:

  • Risk vs. reward
  • short term vs. long term
    • 15:06: One of the strengths of Civ is that you always want just one more turn. This happens because there are short/medium/long-term goals. At any given moment there are unresolved goals that make you want to continue.
  • play style, personality
    • e.g. turtle/cozy vs. rush
  • 17:49: Customization, Self-Expression, Aesthetics
    • e.g. In Civ you can name your cities. This doesn’t affect gameplay other than aesthetics.
      • But it’s still valuable to the gaming experience because it allows the player to feel emotionally invested in the game play.

Information

  • 18:37: Setting the scene: Think about what info does the player have before making the decision?
    • it’s dangerous to assume the player knows the same things as the designer.
  • 21:03: There is a learning curve to your game.
    • As the player gains more skill/experience, there is a difference to the amount and kind of info that they need
  • 21:45: Use genre conventions to your advantage.
    • Players know some of how your game works already because they have experience with other games in the same genre.
      • So by following the genre conventions, there is less that the player needs to learn because they already learned it.
      • But then add more. Don’t just follow the conventions or that will feel boring.
      • Reinforce the genre conventions. Let your mechanics follow the player’s expectations.
        • You can break some of these conventions, but make sure your player knows that this part is different.

Giving Feedback to the Player

  • 25:06: What information/feedback results from the player making that decision?

Getting Feedback From the Players

  • 28:38 You should be getting a feedback loop
    • constant iteration of your design, playtesting, etc.
  • Listening to the different kinds of players:
    • 30:14: Mr. Kick-Butt:
      • likes a challenge
      • If they won the game, they like it. If they lost, then they hate it.
    • 31:34: Ms. Genre:
      • Loves a specific genre. Dislikes any deviations from that genre.
    • 32:32: Mr. MinMax:
      • Is looking for the optimal game strategy.
    • 33:27: Ms. Paranoid:
      • Is convinced that the computer is always cheating against them.

Transcript