Hi everyone! As you may know, I did a talk at Indiecade ’17 last month. It went really well, so I thought I’d piece together a lot of that talk into a podcast episode to share with you guys. It’s about the special problem of avoiding toxicity, violence, and hostile feelings in strategy games, and how single player games are part of that solution.
I was originally going to put together a video version of it as well, but I don’t think I’ll have time to do that because I’ve really gotta get back to Push the Lane. Expect some streams of that soon.
If you’d like, you can follow along somewhat and/or check out this PDF of the slideshow. Not all slides worked with the audio, so for the podcast I had to delete some sections, so beware that it might be a little bit confusing.
In other news, there should be some big exciting site announcements for keithburgun.net coming really soon.
As always, you can support this show by visiting my Patreon page. Thanks as always to supports like Aaron Oman and Jean-Marc Nielly.
In Part 1, I discussed the cultural and messaging problems involved with portraying the glorification of violence. In this part, I’ll be discussing the mechanical ruleset issues that tend to arise as a result of working with violent themes and settings.
I do not advocate “starting with theme” – you should certainly not start a game design out by saying something like “Three heroic warriors travel into the Grundendo Forest to find the Enchanted Obelisk and destroy the evil villain Sorcerer Johns.” This is not a game design concept, and I think most designers understand that. You’re not only failing to communicate any mechanical, rule-based idea, but you’re also restricting your ability to develop rules by the metaphor. Essentially, it’s working backwards: theme is the metaphor we apply to our rules to help communicate them. Starting a game design with a theme is like starting a novel with painting the cover artwork.
With that said, it’s useful to at least use small, loose bits of theme, especially during a game’s earliest design phases. If you’re like most designers, you probably start with a “genre” of some kind or a specific game – perhaps something like, “it’s like Advance Wars, but _____”, or it’s a “Rogue-like, but _____”. With that as your “base”, you work out from there. If you’re a good designer, you probably do a lot of problem solving, which involves a lot of dramatic changes to those systems, but you still have that original genre or game as a base. Continue reading →