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Kayin
@Kayin

Since everyone is doing their ... anti?? game design takes, let me do mine.

We'll start with the coldest take. Good Game Design accomplishes a Goal. I think that's... pretty universally uncontroversial? Like even if someone somehow disagreed, I don't think they'd say I was going out on much of a limb. But despite this, there is trouble!! Because not all goals are good goals and I feel like the majority of budding devs who go down the design rabbit hole start designing with two of the worst goals you could have!!

The two goals are Making a Good Game and Not Making a Bad Game.

Almost any other goal is better. Wanna piss the player off? Great goal! Wanna be obtuse and unapproachable? awesome! Is your goal to try and seem like you don't have a goal? Hell yeah. Wait, you WANT to make a Bad Game? Slow down buddy, that's a noble goal, but that's super hard because by having a goal that cool you're probably going to make a good game!

The other two though? The ones most starting devs work with? Unopinionated, cowardly goals. Both are deeply related to. They boil down making a great game to putting as much Good Stuff in as possible, by minimizing the amount of Bad Stuff. Coyote time? Well, good games have that, and bad games don't. I don't wanna embarrass myself and make that mistake! If good games are deep, and I add complications, and make those complications have risk reward, it should automatically be engaging... right? But "Good" Won't Make Your Heart Thump. That "Good", in isolation, doesn't mean anything because it doesn't invoke anything. Being Good for Goods sake is what gets you the current AAA landscape, in all it's banality. Smooth content.

Aevee's post can stand alone. It doesn't need me fixating on one specific angle of it outside the fact that I feel like I was there. I was the Objective Game Designer. I was posting on the (lol) sirlin dot net forums with the biggest bunch of rigid dorks(many of us eventually recovered), arguing design while being afraid to even MENTION that I made IWBTG. Who would take me seriously if I made IWBTG? I, after all, made the critical error of not simply avoiding Bad Game Design. So I ended up spending a lot of time (less on those forums, but certainly other places) defending myself and my design. I was both embarrassed and proud of it at the same time.

"You don't understand, the goal wasn't to be fair it was to be funny!! It's not just surprise! Anything shocking is a surprise! It's a joke because it's built to"

Is good game design overrated, or is what people call good game design simply not good? It might seem like splitting hairs... because, well it is. But I've been in this fight so long I can't let my self cede the concept of "Good Game Design" to those whose only ambition is to Not Fail.

They don't deserve that phrase.

good Game Design can be a lot like good Prose. Prose for its own sake can feel flat and vapid. But good prose can find novel ways to invoke complicated feelings both efficiently and beautifully. It's a communication aid -- a wonderful and artful way to achieve a goal.

... And like prose, not all good novels have or need great prose. Great prose is just one tool. It's hard to make much of anything on prose alone. In fact, it's almost impossible to have Great Prose without a context to give that Prose meaning. "Purple Prose", the unnecessarily flower writing done when you're too uncertain to write confidently. An empty performance. A lot of Good Game Design is Purple Prose, a fanciful flourish supporting nothing of substance. "Good" Game Design isn't good. It's robotic and commercial. The only objective goal in game development is exploiting people for money.

Actual Good game design is when a game designer makes feel something.


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in reply to @Kayin's post:

It's such a perfect example of a bad "good game design rule" because that type of repetition is exactly something you should be aware of and consider but by being put forth as a 'rule', well... you know how that turned out!!

It's fucked up how you can just look and be like "Yeah that was a Three Tile Rule era game"

yeaa, i think with most Good Game Design rules, or just game design in general... it's really about like, critical thinking?
Like, "Why is this here? What is this doing for me?" and not being afraid to add or remove things regardless of convention

A game - or any creative work - cannot be "good" intrinsically, it can only be "good" according to some metrics or beliefs, and eliding what those metrics are (which you might call the framework used to analyse the work, or perhaps, "taste") by simply saying it's "good" or "bad" makes any kind of discussion completely impossible. It's assuming there is an objective reality when there simply is not, there is only a consensus reality and these days even that's looking dicey. So, many JRPGs certainly do not succeed by the criteria laid out by western game developers influenced by UX design intended for productivity tools and casinos, this is true, but if what you personally value isn't those things, then this isn't a problem.

If there is any one thing that makes a work intrinsically good, it's the relation with its creator. Does it uphold their vision? Are they satisfied with it? That makes it a good work of art, and it's the only thing that possibly can. But even that's still just one way of looking at it. A creator can fail to implement their vision and still create something widely beloved.

"What were they trying to do?" has to be one of the most useful lenses to apply to any medium. But yeah so many games, even big budget ones try to be such an unopinionated type of "Good" that it becomes meaningless.

Good game design kinda falls into the same problem I have with discussing video game genre.

People in game design spaces are so obbsessed with 'video games are art' but have this almost steadfast refusal to talk about video games in the way you talk about art?

Art is defined by emotion but video games and the way we talk about them are defined by structure and it kind of infects everything about them.
Like when we talk about videogames Metro 2033 is the same 'genre' as Bulletstorm, and that's absolutely fucking cracked. Imagine if you put a film like The Road in the same genre as fuckin Crank? That would be absolutely deranged.

Movies for one example are defined by what they make you feel, commedies make you laugh, horror makes you afraid, thrillers make you anxious etc. Games want to be movies so bad but we defined em by the way you interact with them? And like the way you talk about something changes the way you think about it, so if we always on like the base level think of games by their systems and how we interact with them rather then by the feelings they invoke, then it's really only natural that so many people will think of game design as structure and systems before they think of emotion.

When people make their favorite games ever lists idk how they manage to rank multiplayer games with single player games that seems so insane to me like w/e it's no big deal but in my mind I have no idea how I'm supposed to compare like... idk, Guilty Gear to Super Metroid?????

This kind of here's-my-idea-about-what-good-art-is-but-maybe-by-defining-rules-of-good-art-we-have-created-a-paradigm-where-the-only-good-art-from-now-on-is-to-break-my-rules is exactly how the fine art world talks about contemporary art lmao

The latter. Inside the world of art criticism what's valued the most in terms of new art is a new idea that challenges the paradigm of what art is.

So for example one of the more celebrated modern artists of the latter part of the 20th century had a creative process that went like so: call up a factory, give them instructions on how to create a sculpture, have them do all the work from that point on and get it delivered to the gallery to be displayed, without the artist ever even inspecting the product. Art where the novel idea is to reject the connection between art and artist - a real attack on what it means for a physical object to be fine art, to be the art of the person whose name is on the label, etc.

I remember watching a GDC talk by Mike Rosewater where he described how they read feedback to Magic cards. If everyone thought a card was fine that was terrible. What they really hoped for was a split of people loving and hating a card. Because strong emotions kept people invested, engaged. "Fine" made people go look for something better. Basically the same thing you said.

Usually when games are talked about as art by big studios and their peers I just don't believe them. Remember that time where the intro menu robot in Detroit leaves at the end to signify robots are free now, but people complained so they put her back?

I think this is a similar type of game design idea but when I was going to school for this, the most important thing I learned is that the worst thing a video game can be is boring. The professor I learned this from was a nethack enjoyer (based) so I set out exclusively to make games that pissed him off because I thought it was very funny (he also thought it was funny)

Working for a uni program that taught game design was interesting because we had to start everyone with the same foundational work (i.e. here's what Theory of Fun says about the topic). But as students dove deeper into the subject, course material became much more open ended. Like "make a game based around conveying these two emotions." It wasn't perfect, but could sometimes lead a designer-in-training to make something really cool.

I also bump into weird "Good game design" stuff in my own work because as much as people want to believe it, game research isn't a silver bullet. Like, if I'm doing my job right, I'm not telling you as a designer how to make your game (unless it's like specifically about accessibility issues). I'm giving the designer the info they need to figure out if they're actually making the game they think they're making. So if you want to make a game obtuse and unapproachable to the player, fantastic! Let's figure out if you're hitting that mark together.

about 3 or 4 years ago i realized my game design goal is "create a world that queer people want to live in", at all costs. A lot of the compromises i've made would make gameplay purists cringe, but you know what, screw them! Thanks for this post, you've put a lot of things into words that i've been unable to. ❤️