YTN Episode 009

The 9th Episode of Your Turn Next is now available!

This episode kicks off with an introduction of a man who needs no introduction (unless you don’t know him), Geordie Hicks. We also chat about what we’ve been up to lately before discussing a listener-recommended topic, asymmetrical game design.

Let us know in the comments or via email if you have any topics, questions, or ideas you’d like us to discuss in a future podcast. The email address is: contact@clockworkphoenixgames.com

And if you’re looking for links to some of the things we discussed this episode, here’s where to find more about:

YTN Episode 008

The 8th Episode of Your Turn Next is now available!

This episode kicks off with with a discussion of what we’ve been up to lately in terms of conventions, games, playtesting, and more. We also discuss Ryan’s shiny new 3d printer and what this technology could mean for miniatures games and board games as we look to the future.

Let us know in the comments or via email if you have any topics, questions, or ideas you’d like us to discuss in a future podcast. The email address is: contact@clockworkphoenixgames.com

And if you’re looking for links to some of the things we discussed this episode, here’s where to find more about:

A Game by Any Other Name

During the podcast about skill, luck, and social elements in games (Episode 6), we very briefly talked about whether certain activities could be classified as games or not. Those couple of sentences have spawned multiple discussions about what truly makes something a game or not a game. The topic has come up a number of times with my fellow podcasters, with other folks in the game industry, and at the Penny Arcade Expo convention. Rather than trying to summarize all those discussions, however, let’s start with the absolute authority on everything – the internet. The first definition for “game” to pop up in my web search was that a game is “a form of play or sport, especially a competitive one played according to rules and decided by skill, strength, or luck.”

Based on my discussions, one of the most common elements that some gamers want to infuse into the definition of a game is meaningful player choice. Personally, I want my games to have lots of meaningful player choice. If the outcome of the game feels completely random, it’s not a game I consider enjoyable. But we’re not trying to define a good game, simply a game, and it’s pretty hard to argue that Candy Land and Chutes & Ladders are not games. They don’t involve a single meaningful player choice, yet they’re among some of the top-selling board games of all time. A large portion of betting games similarly lack any way for the player to influence the outcome. There are, in fact, numerous checks and balances in place to ensure that the outcome remains completely random. We could claim these activities are not games, but the gaming commission will likely disagree. So I think we’ve got to concede that something can be a game even if it does NOT have meaningful player choice.

On the flip side, we could argue that a game must have an element of luck, but that’s a far more difficult position to defend. Numerous “classic board games” do NOT involve luck elements or randomization. If Chess and Go are not board games, I think we very quickly need to reassess our definition.

Another common element that some folks want in the definition is that a game has a winner. The definition noted that a game was a form of play or sport, “especially a competitive one,” implying that winners are at least common in gaming. Certainly, many games have winners, but entire genres of games do not have this particular element. The vast majority of role-playing games do not lead to a single player being declared the winner, plenty of video games past and present never reach a “You Win” ending, and numerous party games have arbitrary winners or no winner at all. It seems pretty clear that you do NOT need to have a winner to have a game.

It would sure be nice if we could say all games are fun. Unfortunately, most of us don’t have to think back too far to come up with an experience with a game that was NOT fun. Perhaps it was because of the behavior of another player at the table, perhaps it was because of some bad luck regarding the luck-based elements of the game, or perhaps the game itself is simply not one you would ever find enjoyable. But as noted earlier, we’re not trying to define a good game but simply a game, and we’re unlikely to find a game in all the world that every single player would agree is fun.

So we could say a game is something you play. It’s in the definition above, and no one can really claim that it’s wrong, but the word “play” isn’t quite as clear as it could be since we “play” music and movies and such. So what if we shift that just a bit and call a game an activity that has one or more players? It still isn’t a complete definition of a game, but I think  it includes a lot of game activities our previous criteria ruled out. Whether a game is player choice oriented or luck based, co-operative or competitive, fun or un-fun, a game DOES have one or more players.

And the last portion of the game definition the internet started us with is that a game has rules. This is another element that’s come up in conversation fairly frequently. One could potentially argue that the rules aren’t always codified or that they aren’t always clear, but there is always some form of rules underpinning a game. I think we could make the case that rules are what separate a randomized event from a game. A ball falling on a spinning plate with numbers and colors on it is not a game, but if you add in the betting rules of Roulette and add some players, I think most readers could agree we’ve got a game there. Again, we’re not defining a good game, just a game, and a game DOES have rules.

So that leads us to define a game as “an activity with one or more players performed in accordance with established rules.”

What do you think? Is that an accurate definition of a game? Are there activities we’ve accidentally included that are not games? Are there games we’ve excluded with our definition? Perhaps most importantly of all, how would you personally define a “game?”

YTN Episode 007

The 7th Episode of Your Turn Next is now available!

Join the YTN team as we briefly discuss The Waiting Game blog from August 27th and then discuss this year’s PAX, how PAX has changed over the past decade or so, and then discuss various traditional games as well as video games that the crew has been playing lately.

Let us know in the comments or via email if you have any topics, questions, or ideas you’d like us to discuss in a future podcast. The email address is: contact@clockworkphoenixgames.com

And if you’re looking for links to some of the things we discussed this episode, here’s where to find more about:

YTN Episode 006

The 6th episode of Your Turn Next has just gone live!

Join the YTN team as we discuss the Three Element Alchemy blog from July 23rd and then discuss the mix of skill-based, luck-based, and socially-based gameplay elements, our favorite alchemical admixtures of those elements, our experiences at GenCon, and some truly unique games we’ve experienced.

Let us know in the comments or via email if you have any topics, questions, or ideas you’d like us to discuss in a future podcast. The email address is: contact@clockworkphoenixgames.com

And if you’re looking for links to some of the things we discussed this episode, here’s where to find more about:

YTN Episode 005

The 5th episode of Your Turn Next has just gone live!

Join the YTN team as we discuss the Stay on Target blog from July 6th and then discuss target audiences, the games we think hit their target audience, and the games we think have appeal even beyond their target audience.

Let us know in the comments or via email if you have any topics, questions, or ideas you’d like us to discuss in a future podcast. The email address is: contact@clockworkphoenixgames.com

And if you’re looking for links to some of the things we discussed this episode, here’s where to find more about:

Stay On Target

The target audience is a critical consideration for any product. During my engineering days, such considerations were very clear. The customer would provide specifications, and I would create the control panel or wiring diagram or program to meet those specifications.

As a game developer and sometimes-writer, the target audience’s wants and needs are far less cut and dried. When it comes to creative pursuits, it’s very easy to fall into creating the game you would want to play or the story you would want to read, but this can be a trap. It can lead to an audience that’s much narrower than the target audience you truly want. In the worst cases, it can lead to restricting yourself to an audience of one! Obviously, this is less than ideal for any sort of product.

And so it becomes very important to define the target audience at the start and to keep that target audience firmly in mind, even if you are not a member of that target audience, make that especially if you are not a member of that target audience. Target audience will impact art choices, game mechanics, and even aspects of your game as seemingly innocuous as packaging.

It’s also highly beneficial to consider ways to expand your target audience. Movies frequently tone down certain elements in order to achieve a PG-13 rating instead of an R rating. Whether you personally like it or loathe it, the fact remains – PG-13 movies gross two to three times more than R rated movies on average.

Cutting down on over-the-top gore or sensuality can have the same impact for games. In some cases, it can broaden your audience by entire nations that have censorship laws against certain themes or imagery. Always be mindful, however, that aiming for too broad an audience can dilute the appeal. Just because a game doesn’t offend anyone out there doesn’t mean it appeals to anyone out there, either.

Forming First-Rate Feedback

You may not hear it very often, but I firmly believe that many folks currently in game development are there at least in part because they knew how to give great playtest feedback. Playtesters work closely with game developers to help create a superior finished game and are, in essence, junior developers on the project. So when a game developer position is available, it’s only natural to think of these junior developers and consider the best among them for a full-time position.

Creating great playtest feedback ties into the playtest practices I talked about in The Science of Playtest article, but that’s really just the beginning. A playtester could have truly impressive playtest practices and an amazingly insightful mind for game development yet still provide very little to the playtest process unless they know how to communicate their playtest feedback effectively.

One of the reasons it’s so difficult to give great playtest feedback is that the gaming culture is often rooted in knee-jerk reactions and hyperbole. When visiting forums or social media groups, how often have you read extreme commentary about how good or bad a game (or card or model or whatever) is based on little to no actual experience with the product? Unless you don’t go on gaming forums or social media groups, I’m guessing you’ve seen such feedback quite a bit.

Good playtest feedback is basically the opposite of that. You want a good understanding of the game (or card or model) before expressing anything more than your first impressions, and you want to avoid hyperbole since it’s a barrier to clear communication. Consider, for example, how much clearer it is to say you think something “should cost 1 more point (or mana, gem, etc.)” versus saying you think it “is ridiculously overpowered.” In one case, the game developer knows exactly what you think. In the other, it would be very easy to overcompensate when attempting to correct the game balance.

Here are a few other things to keep in mind.

Always present a potential solution. The number one tip for effective feedback is to always include your thoughts on how to fix the problems you’ve identified. The game developer might not use your solution exactly as written, but it gives a clear picture of the direction you think the change should go and the scope of the change. “Based on the past several playtest games, we think this card should cost 1 more gem” is a good example of showcasing the direction and scope of a recommended change.

Balance being clear with being concise. There’s no perfect formula for finding this balance, but feedback that is too verbose has the potential for your message to get lost in the noise while feedback that is too terse won’t sufficiently explain how or why you’ve reached your playtest conclusions. When you reach the end of a section of playtest feedback, reread it and ask, “Did I sufficiently explain how I reached my conclusion?” and add some detail as necessary. Then ask, “Did I talk about things that have nothing to do with my conclusion?” and trim those out as necessary.

Prioritize your feedback. Sometimes, you’ll have quite a bit of playtest feedback, and that’s great! But you’ll also want to prioritize playtest feedback. Whether you use a numbered list or a color code or a “high, medium, low” system is up to you, but some sort of priority system is super helpful. There’s a lot of playtest feedback to consider, and a way to quickly identify the most important problems your group identified will help make those a priority for potential changes.

YTN Episode 003

The 3rd episode of Your Turn Next has just gone live!

Join the YTN team and a special guest as we discuss The Science of Playtest blog post from June 1st.

Let us know in the comments or via email if you have any topics, questions, or ideas you’d like us to discuss in a future podcast. The email address is: contact@clockworkphoenixgames.com

And if you’re looking for links to some of the games we discussed this episode, well… it was mostly just Werewolf:

The Science of Playtest

I’m pretty passionate about playtesting. More specifically, I’m passionate about establishing and maintaining good playtest practices. I’ve had the opportunity to playtest many different products over the years for a number of different game companies. I’ve participated in playtest sessions as a playtester, as a playtesting coordinator, and as a game developer, giving me a broad perspective on playtesting and plenty of opportunities to see what works most effectively.

When I sat down to write this article, one of the article names that appealed to me for a moment was “The Art of Playtest.” The other side of my brain, however, immediately rebelled at the thought. I’ve mentioned in blogs and podcasts in the past that I love how game development merges analytical and creative pursuits. That’s true of playtesting just as it’s true of game development, but playtesting requires far more objectivity and critical thinking than people might realize.

It’s easy to think of a playtest session like a normal gaming session – you hang out with friends, and you play a game. Then, because it’s a playtest session, you talk a bit about how you felt the game went and what aspects of it you feel could be a bit different. There’s nothing wrong with that kind of playtesting, but that’s not enough.

Playtest games are essentially experiments. I’ve often said that “playtesting is light on play and heaving on testing.” The goal of players is to compete for victory in a game. The goal of testers, however, is to help create a better finished product. It doesn’t matter who wins or loses. You’re not testing player skill. It doesn’t even matter if you finish the game. What matters is what you learn and how effectively you communicate that information to the game developer. Shifting your mindset from working against other players as competitors to working with other players as fellow scientists performing an experiment will go a long, long way toward increasing the value and impact of your playtest feedback.

Thinking about your playtest session as an experiment will help in all sorts of ways beyond that first step of working with your opponents rather than against them. Taken to heart, it helps alleviate some of the following playtest pitfalls in a way that comes as second nature.

1. Don’t play favorites. When performing experiments, you need to test a variety of outcomes. Even after you find your favorite character, faction, play style, etc. in a playtest game, don’t get hung up there. There’s a ton more variables to consider, and you should take this opportunity to experiment. Your goal should be the balance and fun of the game as a whole, not one specific element of the game.

2. Expect change. It’s very easy to form opinions about a game mechanic or a character or a rule and then stick to that opinion. As gamers, we do it all the time. As playtesters, however, it’s a trap! Playtest games are constantly changing, and it’s absolutely critical to look at the current version of the game rather than relying on outdated impressions.

3. Consider the big picture. It’s easy to get hung up in the current revision of the game and your own playtest group’s experiences. After all, your feedback is the piece of the picture you see. In the big picture, however, lots of other folks are submitting playtest feedback, and the current revision of the game is changing all the time. Your feedback will be heard and considered, but it won’t always result in immediate and visible change.

So those are some of my thoughts on the science of playtest. In the next blog, I’ll be continuing the topic of playtesting to talk about how to maximize your playtest feedback. Being an effective playtester not only helps to make great games, but working smoothly with game developers can frequently lead to additional opportunities in the gaming industry.