NYU 9th Floor Talks: Creating an ARG

Frank Lantz, director of the NYU Game Center, gave a talk about Chain Factor, an alternate reality game that his company, Area/Code, developed for CBS.

Presentation

• Games were about human social interaction. In the modern era, games met computers and became more about the player's relationship to the machine. Recently, however, especially in NYC, people have become more interested in social interactions again and public space games have been on the rise. Some examples include Rockband, Payphone Warriors, physical space games, and real-world games.
• Area/Code was about real-world games, big games, and cross-media games. They focused on location-aware technology and games that connect or overlap with the real world. They transform public space and social media into new gameplay.
• "Area" stood for location-based media such as graffiti and billboards, while "Code" meant technology. The company had about 6-8 people doing work-for-hire.
• CBS approached Area/Code about making an alternate reality game (ARG) for their television show, Numb3rs. At that time, ARGs were really popular with the success of A.I's The Beast., ilovebees, Year Zero, and Perplexity.
• 42 Entertainment pioneered ARGS. The David Fincher movie called The Game also popularized the genre. ARGs are about reality hacking, making simulation seep into reality so that the players don't know what's real and what's part of the game.
• CBS actually didn't know what an ARG was. They would sometimes confuse it with MMO, LARP, Geocaching, and VR.
• Area/Code tackled ARGs and tried to solve traditional problems with the genre. Almost all ARGs are entirely unplayable, requiring advanced literacy of the genre and requiring players to be involved from the start. There was also no replayability given that they were focused on narrative, which plays out only once. Most people who say they love ARGs have actually never played them.
• They identified four core values of ARGS which are collaborative problem solving, participatory storytelling, puzzles, and a narrative and performative arc.
• The things that they didn't want to include were fake websites and blogs, improvisational writing and performances, and multimedia.
• The problems they wanted to solve were a difficult player experience, brick walls caused by puzzles, confusion, ambiguity, obfuscation, lack of feedback and rewards, lack of progress, the requirement of specialized literacy, multimedia, and the traditional flow of story to puzzle to story.
• Their gameplay goals included making it procedural, rule-based, emergent, fluid, accessible, suspenseful, dramatic, mysterious, challenging, intriguing, thought-provoking, and casual.
• They wanted to make an ARG around a casual puzzle game. Numb3rs also wanted to make an episode centered around an ARG. Area/Code helped the producers of the show write the episode. The episode, Primacy, was about an evil ARG game designer named Spectre who was making a game called Chain Factor.
• Area/Code wanted to make the game as a narrative artifact. They were inspired by several works including...
• Oulipo, an experimental narrative collective from the 1980s who did procedural generated literature. They wanted to make sure that the story was the puzzle.
• Maze, a choose-your-own-adventure book with illustrations of mazes. The book release was tied to a real-life prize for the first person to find the shortest path through the maze. The voice of the narrator was great and jester-like, and it served as an unreliable game master.
• Masquerade, another book that was tied to a real-life treasure hunt. There were clues on every page that led to the location of a golden rabbit.
• Pale Fire, a novel where the theme of the story was expressed through its structure. The writer himself is a fictional character in the novel.
• Planet Puzzle League, a casual puzzle game based on Panel de Pon. It exhibits both lightness and depth.
• Chain Factor's pre-production was suppose to be 30 days. Kevin Cancienne, the lead programmer, was suppose to develop a new prototype everyday for 30 days, to which he said it was "bullshit." The team built one prototype, which ended up being Chain Factor, and then stopped. It was already really fun.
• The prototype was very configurable, which allowed the team to discover the best version of the game and find the fun. The paper prototype before the digital prototype took about 10 minutes.
• The core mechanic of the game involved dropping numbered discs into a grid. When a number on a disc matches the number of adjacent discs in that row or column, that disc disappears.
• On the Chain Factor website, there's a quote of the day and a FAQ, both sometimes with deep philosophical text. While playing the game, there would be random error messages that tell the backstory of the two developers, Spectre and Frank.
• Power mode has locked boosts that can be unlocked by entering multiple keycodes. These codes were hidden all over the place outside of the game, including in the Primacy episode, posters and billboards in the real world, fake banner ads on websites, forums posts, and television spots. When you find and enter a secret code, you'd get an e-mail from Spectre.
• The error messages that told the backstory were based on score, so people had to actually get good at the game to get the clues.
• The backstory revolves around Spectre creating a global mathematical scheme. Millions of players thought they were just playing a simple puzzle game, but were actually solving and cracking a large-scale math problem. Spectre is trying to pull off a giant bank heist by crowd-sourcing math problems.
• The gameflow was story, clues in the real world, unlock powers, obtain a higher score, and get more of the story.
• The fans created an elaborate wiki that reassembled the game's structure. 
• The core puzzle game was really good. Margaret Robinson of Lookspring wrote an article about how much she loved the game and she eventually married Kevin Cancienne.
• Casual players were playing so much of the game that they were actually unlocking the error messages. They gradually became more involved with the ARG mystery.
• Later, it turned out that Spectre's plan wasn't to steal money from Wall Street. He studied economy and was an anarchist. He believed the world was in dystopia and wanted to destroy the world economy.
• This story was inspired by Ant Colony Optimization and the works of Luis von Ahn, who created Captchas and the ESP game, both games that solve real-world problems.
• The theme of the story was reflected in the structure of the game. Both the story and the mechanics were about distributed computing.
• Erik Wolpaw has stated that there are two kinds of stories, the story story and the game story. If he ever made a game, he would reduce the delta between the two types of stories to zero, which he did when he made Portal.
• The climax of Chain Factor was a "shootout" between Spectre and the hired programmer, Frank. Frank grew suspicious of Spectre's plans and built a backdoor in the code to foil his plans. While Spectre's mode was the Power Mode, Frank's mode was the Survival Mode. Whichever mode acquired the more accumulated points gave that person the power to carry out their plans.
• In the end, it was a race between the casual players who were mostly playing Power Mode and the ARG players who were trying to sway the victory towards Frank. However, some ARG players also wanted to see what would happen if Spectre won. Finally, Spectre wins in the end. The ending is a note from Spectre planting a time bomb of economic destruction and promoting distribution over accumulation. Of course, Area/Code couldn't actually crash the economic market so in the story, Spectre was merely planting the seeds of his plan. A month later, the market literally crashes and it was a great coincidence that pushed the story of Chain Factor.
• The game played on the moral status of game choices. However, ARG players knew that it was a fictional narrative and they wanted to see how the story would play out.
• The core puzzle game was a success. The puzzle game was an excuse for the team to make a simple abstract puzzle game instead of the large, real-world, cross-media games that they were used to.
• Using the game as a narrative artifact led to its oblique and eccentric personality. The team needed to make a game about math and numbers to tie in with the television show, and it turned out quirkier than it would've without the story. It's good to embrace constraints because it helps guide you to solve problems.
• Combining opposites (an abstract puzzle game with an ARG) also led to the game's success.
• The core puzzle game was strong enough to live on its own and the mechanics were repurposed for the iOS game, Drop7.

Question and Answer

• CBS approached Area/Code about making an ARG, but didn't exactly understand what an ARG was. It was the summer of ARGs and they were going with what was popular at the time.
• Numb3rs fans didn't really play Chain Factor, and vice-versa.
• The narrative was all laid out in a spreadsheet.
• The game ran for four months.
• Players self-organized their community.
• How did the team design around the ads and how long it would take for players to solve the puzzles in the ads? The team assumed that once the ads were found, then the puzzles were solved, which proved to be true while the game was running. One of the animated ads was suppose to be shown at a mall. Unfortunately, the mall didn't run the ad so Area/Code faked a video of the ad and posted it on the forums.
• Drop7 does not share any code or assets from Chain Factor, only the game mechanics. Game design cannot be copyrighted.
• CBS wanted to find a company to help them do non-traditional advertisement. Area/Code couldn't guarantee that they'll bring more viewers to Numb3rs, but they did guarantee that they'll do something quirky and interesting that would engage a lot of people.
• ilovebees was a good inspiration for Chain Factor because of the phone booth mechanics.
• Chain Factor did not integrate any live events because they wanted accessibility for everyone. They also already do so many live events in the other games that they were aiming to do something different.

NYU 9th Floor Talks: Designing a Good Game Tutorial

Gonzalo Frasca, former director of Powerful Robot studio, gave a talk about designing a good game tutorial.

Presentation

• Gonzalo also ran ludology.org, which he no longer maintains.
• Gonzalo comes from Uruguay, one of the few countries that fully implemented the One Laptop Per Child program. Every child has a free laptop and over 75% of the country has free wifi since it's a small country. Many kids make Youtube videos, mostly about cows.
• The last game by Powerful Robot is Space Holiday, which is a connect-the-dots game for the iOS.
• Steven Spielberg's ex-wife, Amy Irving, had a child with Steven and later married a Brazilian filmmaker named Bruno Barreto. Bruno showed a film he was working on to Steven's son, Max. Ten minutes into the film, Max tells Bruno that the film won't work because if you can't tell who's good or bad in the first ten minutes, then the film fails. This was film knowledge that Steven had passed onto his son.
• Likewise, all game developers' efforts are worthless without a good tutorial.
• The only good video about tutorials that Gonzalo found was an episode of Extra Credits titled Tutorial 101 (http://penny-arcade.com/patv/episode/tutorials-101).
• The #1 rule of tutorials is that coders hate tutorials. They hate having to hardcode a first-user experience.
• Tutorials are not just about teaching rules; they create meaning for the game. The three main aspects to creating meaning in a game are rules, signs, and performance.
• Rules - Grand Theft Auto's Tony should kill prostitutes. SOCOM's soldiers must kill Arabs. These rules effect player's perspectives of their goals and of the game's story.
• Signs - The Allied's Plan and Spain's Reconquest are both labyrinth games made in 1939. They are the exact same game, but themed to have completely different meanings. The graphics, art, and skinning of a game can create different meanings.
• Performance - Dance Dance Revolution can be played with a dance pad or a customized controller for your fingers. The different controls tests player's abilities. Different hardware affects how we play the games and create different relationships between the game and its players.
• Tutorials teach goals and rules, but also tell you about characters, the world, and the story. Tutorials should show you the enjoyable actions that the game has to offer.
• Goombas are evil because of their evil eyebrow. Spinies are bad because they have spikes on their shells. Simple art can immediately show you whether something is good or bad.
• "Don't show, don't tell, SIMULATE." Players learn best by doing and making mistakes.
• CW's Arrow web game has a chunk of text to read in the tutorial. With such a text-heavy tutorial, almost every player would just close the popup and skip over it.
• In Space Holiday, the asteroids (colloquially called "space people" or "space crap") were originally just asteroids. Unfortunately, it took a while before playtesters figured out they were bad. So the development team added angry faces to the asteroids and happy faces to the stars, and everyone immediately understood the roles of the objects.
• There were also stars dressed as ninja (ninja stars) that can throw shuriken to destroy asteroids.
• Teach mechanics by designing a level where the only choice is to perform that mechanic. Players would see what happens by performing the only available option.
• There is a common idea among game developers that tutorials should be invisible and that players shouldn't even know that they are playing a tutorial. But this is sometimes not enough. There's nothing wrong about doing something supposedly less elegant. It's okay to SHOW.
• Showing is done in many complex television series when they do "Previously on..."
• In the tutorial for Angry Birds, the game just shows an image of how to play. The character design and backgrounds also add information.
• Good toys are good at explaining how they work without a manual.
• This Russian Roulette toy shows you how to play just by looking at the box. It's plastic and pink, which shows that it's safe. It has multiple bullets, only one of which has a hidden spring so that it can actually shoot out. The box shows you how to load the gun and how to use it.
  
• It's also okay to TELL, but remember that "12 word headlines get almost as much readership as 3-word headlines." You don't have to be wordy to convey a message. Keep the messaging short, succinct, and to-the-point.
• Cut the Rope has some small text in the tutorial, telling the player to cut the rope. Even though that message is shown with images and is in the title of the game itself, it doesn't hurt to drive in that point.
• Some concepts need text explanations such as pressing the reset button to restart the level.
• Space Holiday has a few text tutorials indicating "You can't cross the paths" and "You must use all the stars!"
• Rovio has two rules -- there's no text in their games and that they'll sell anything with eyes.
• Gonzalo's personal playtesting has revealed that people don't read text on iPhone, but they do on an iPad.
• You can see fear from playtesters on an touchscreen game. The iPhone screen can be easily broken or scratch, and many playtesters understand that.
• Tutorial is not just in the game, but also on the box and in the marketing. Design of the screenshots in the App Store is as essential as the design of the app icon. Both Cut the Rope and Star Holiday have a mini-tutorial in the App Store screenshots.
• Tutorials teach more than just rules, characters, and the world. It's an elevator pitch to your players. It's especially important in this day and age of free-to-play games and a crowded market.
• The often gaming trope "Game Over, Try Again" is the key. Games are about making mistakes and growing.

Question and Answer

• The tutorial is like professing yourself on a first date. "I know I'm awesome, why aren't you getting this?"
• A general rule that Gonzalo follows - after building a game, cut the difficulty in half. It's easy to start losing sight after working on it for a while and unconsciously add in more complexity. So even though the game is already extremely easy for you to play, since you've been working on it everyday, the difficulty is too much for a new player.
• Don't get your friends to be playtesters because they are worried about disappointing you. Instead, get strangers or at least, other people's friends.
• People are usually right about what is right about your game, but are always wrong about what is exactly wrong with your game.
• Some genres are definitely harder to create tutorials for.
• Portal is a tutorial as much as a game.
• Immersion doesn't exist without breaking immersion.
• The best tutorials are about breaking the rules of your game. Unfortunately for the programmer, there is no design paradigm that exists for tutorials.
• Educational tutorials and simulations work best when people's lives or money are at risk. Tutorials tend to be less effective in a safe school environment or in a game meant for entertainment.

NYU 9th Floor Talks: The Cutting Edge of Game Research

Ken Perlin, a Computer Science professor at NYU, presented some of his cutting edge research in procedural animation and education games.

Presentation

• Ken is the founding director of NYU's Media Research Lab and the Director of the Games for Learning Institute. He is a mathematician who has won an Academy Award for his noise and procedural texturing techniques that have been used in film and television.
• Ken started his career in computer graphics. Being in the industry for so long, he has experienced the power of Moore's law, seeing computers get twice as faster every two years.
• He has developed several hundred Java applets. Some of his work can be found on his NYU homepage (http://mrl.nyu.edu/~perlin/).
• When researching something, you have to boil it down to the simple possible version.
• One of Ken's biggest research interests has been conveying emotions through artificial characters.
• In Polly's World (http://mrl.nyu.edu/~perlin/experiments/polly/track.html), Ken tries to convey emotions with the least possible number of vertices and polygons. The procedurally animated character is made up of only 6 vertices, but displays a wide range of emotions through its movements. Our brain maps simple animations to emotions.
• Why do we care about animated characters? Ken researches the human body as an instrument to understand psychological emotions.
• In Responsive Face (http://mrl.nyu.edu/~perlin/experiments/facedemo/), Ken researches what's the simplest emotive face possible. At the very least, an emotive face requires movements of the eyebrows, lid, gaze, head, and mouth. A person has n-points in the face like a keyboard has a number of notes and facial expressions are like chords.
• Micro noise movements and procedural variations makes the emotions more realistic. Without these micro movements, the face is just a lifeless still picture.
• Autistic children have trouble looking at other human's faces and thus grow up not knowing how to read emotions. However, they don't have that problem with artificial, computer-generated faces. Many autistic children used Responsive Face to learn human emotions.
• Plan 9 From Outer Space, often regarded as the worst movie ever made, is almost unwatchable because the acting is so bad. The actors' faces are so emotionless that it's impossible to identify with the characters.
• In an attempt to create an "interactive Pride and Prejudice," Ken developed an applet with five birds with disembodied feet. The birds showcase procedural walking animation, which is tons better than canned animations.
• We should think of avatars the same way a director thinks about actors in a live play. We shouldn't communicate actions to the avatar (ie. "jump here", "punch that", "open this door"), but communicate emotions (ie. "you love her"). Likewise, actors shouldn't indicate (ie. "I am feeling happy!", "I feel very sad."), but actually emote.
• With Fish Tales (http://cims.nyu.edu/~perlin/fishtales2/), players can record a one-minute story using Bob the fish and two bouncing balls.
• In Candy Circle (http://mrl.nyu.edu/~perlin/candycircle/), players make procedural music using a spinning wheel filled with candy. It researches the rule of the fifths; when the further away the chords are, the more dissonant the sounds are.
• Ken also experimented with spiral escalators (http://mrl.nyu.edu/~perlin/escalator/). Spiral staircases always go right going upwards because they were designed solely for battle. Since most knights were right-handed, it would give the advantage to the person who's above.
• The barrier of entry to making games is so high. Ken would like to have more people coming into the arts that are enabled by programming.
• There are "fake languages" such as Code Do It and Scratch that enable people to jump into programming. Ken is researching how to make programming more integral to education.
• Ken's New Line Fractals (http://mrl.nyu.edu/~perlin/newlinefractal/) show mathematical visual examples of fractals. Students can move vertices around to experiment with creating their own fractals.
• Using a real-time interpretive version of Java, Ken created Flower, in which students can directly edit the code and immediately affect the flower. In Musical Rubber Ducky, students can affect the ducky but also the music too using live code. Can we invite them to the narrative as well?
• Ken developed a Pride and Prejudice reader. Before the invention of books, literature used to be written on scrolls. Someone later introduced the concept of pages, a fixed length record that changes per edition. But writers wrote and thought in terms of sentences and paragraphs, not in pages.
• In this interactive map of Pride and Prejudice, you can see the entire book's topology. You can easily identify the key chapters of the book using filters and highlights.
• Asteroid is a game that topologically and mathematically exists on a torus or a doughnut.
• The second book to use the interactive map is Winnie the Pooh. This version also includes a procedurally animated bear that users can play around with using live coding. The code editor includes tools that enable learning programming easier. When you insert a 2D array, a map will appear that lets you set dots and automatically generate the points in the array for you.
• Everyone should be able to program. It should be as accessible as painting, filming, and writing. People need immediate feedback to instigate learning.
• Ken is really interested in how to power up this maker culture.

Question and Answer

• Learning tools should be like Google Docs in that they are collaborative, shared documents. People should have conversations with each other about creation. Learning is a performative activity.
• Just like how jazz is to music composition and improvisation is to acting, we need live perfomative structures for coding to learn programming.
• What's the difference between games and simulation? Games have goals.
• We need to increase programming literacy and convey programming as a liberal art. Kids need to look at code in their early stages.
• Ken remembers reading a children's book when he was a child and at the end were the advanced notes for the teacher to read. Although Ken couldn't read the notes as a child, he understood that that's what he was learning and that he'll eventually be able to read the advanced text. Kids shouldn't be using a fake language, but rather be looking at what the grown ups are using. They should be exposed to C++ or Java-like languages.
• Kids are learning reading through other subjects such a history and science. We should teach coding gradually in the same way.
• Many people are reluctant to learn coding, but that's okay. We should focus on teaching the kids. We don't currently live in a society that requires that level of technical knowledge, but this might change ten years in the future.
• Excel is a programming environment that many people use, despite not being programmers. Max/MSP is a programming language that non-programmers such as visual and sound artists use. Both of these programs are always running live and give immediate feedback. There's no intermediate building or compiling stage.
• People don't necessarily need to learn C++ or Java the same way that not all writers have to linguists. Guitarists don't need to learn how to make guitars.
• Programmers have a sense of being macho. Music, on the other hand, is more inclusive. We need a real-time sharing structure and a more inclusive environment for non-programmers.
• Will books become non-linear in the future? This may very well happen, but it won't replace the books as we know them. Different media can coexist the same way that different instruments can coexist. It's not all about hacking and recombinations. Technology is the wrong word to describe media; these are instruments.
• Will the secondary functions of the interactive reader overshadow the literary work itself? The work lives on if they're great. Beethoven lived on when the Beatles came around and the Beatles didn't go away when Lady Gaga came around.

NYU 9th Floor Talks: From Boticelli's Venus to Super Mario

Chris Solarski, author of Drawing Basics and Video Game Art, gave a talk at NYU about how video games can learn from the foundations of art.

Presentation

• Chris was a 3D artist at Sony but always wanted to be a concept artist. He quit his job and studied traditional art and painting for two years. He later worked at Gbanga.
• He was selected by the Swiss Arts Council to present at the Game Culture Conference and argue for games as an art form. It was the first time for him to think about game art and fine art as the same.
• His book, Drawing Basics and Video Game Art, covers character design, environments, fundamentals of art, and many other topics. The constant thread throughout is emotions.
• The fundamentals of art such as classical composition, volume, light, perspectives, and proportions can all be applied to video games.
• Many classical artworks have hidden composition lines that dominate our eye flow. For example, Johannes Vermeer's Diana and her Companions uses a circular composition to guide our eyes towards the soft nature of the work. On the other hand, Peter Paul Rubens' Massacre of the Innocents uses very angular and diagonal lines to convey aggressiveness. Emotions are communicated by displaying composition over details.
• Edgar Degas's Waiting shows a good contrast between a circular composition and an angular one.
• "Reality can be reduced to simple shapes."
• Games, unlike fine art, have dynamic composition. While fine art captures a moment in time, the composition of a video game is constantly changing based on the player's path.
• There are many ways emotions can be communicated.
• By level design and pathways
• Gears of War is a very aggressive and angular game. The way the characters move, the sudden movements of the camera, and the level design and pathways are all very angular. The level design include many corners and sharp turns.
• By character movement
• Vanquish is a very angular game in its character movements.
• Journey, however, uses circular composition in its open canvas and the way the characters move.
• By character and environment design
• Sword and Sworcery uses an art style that's halfway between round and angular. The use of rectangles communicate tranquility.
• Mario uses a sphere concept to denote that he's a good guy. His head, nose, stomach, hands, feet, and even his mustache are composited using circle shapes. Wario, on the other hand, has sharpening details to make him a more aggressive character. In the Mario games, many enemies have spikes and triangles to indicate their evil nature.
• By the relationship between character and environment
• In Chris's own game, MORF (http://www.solarskistudio.com/games.html), there are only two levels with no technical differences between them. There are only aesthetic differences in that the first level, everything is rounded, and in the second level, everything is angular. However, playtesters treated the second level as dangerous and even said "ouch" whenever they run into the spikes.
• By narrative and character development
• Link in The Legend of Zelda: Ocarina of Time always stands and moves in the same way the entire game. There's nothing about his movement that shows you he's becoming more of a hero. However, his heroic progression is shown through the UI icons. As he becomes stronger, he will have more options and icons in his inventory.
• Eugene Delacroix has said that we're not all flat, we're always changing every minute.
• We're too focused on creating one experience (aggressive vs. passive) that we're not focusing on character depth.
• Journey does a decent job of conveying emotions through character movement (walking vs. running vs. walking against the snowstorm).
• By player's movements
• Motion controllers, camera, and touch use the physical body language to control the game. This revolution bring artist collaboration between the developer and the players.
• Mario Kart has smooth turns while Tron Revolution has sharp, abrupt turns.
• A game designer is like a music composer.
• Immediate actions require immediate communication.
• The three most basic shapes are circle (representing softness), squares (representing stability), and triangles (representing danger and aggressiveness).
• In The Lord of the Rings, the Hobbit homes are very circular, the castles and the forests are very rectangular, and the towers and Sauron himself are very angular. Even the volcano is the shape of a triangle.
• Industrial design of cars also take into account of these three simple shapes. Compare a Volkswagon beetle vs. a minivan vs. a Ferrari.
• We do judge books by its cover. We think of speed, stability, or softness just by looking at its shape.
• GlaDos from Portal is a circular character, yet she turns out to be evil. She is a very deep and complex character. Her design was inspired by Boticelli's Venus when turned upside down. You can see the zig-zag hair and the opposing curves.

Question and Answer

• Lines, shapes, and composition all have powerful influences on emotions. So do complementary and conflicting colors. Mario's colors are near complementary, while Wario's are super contrasting.
• Halo's characters move in circular, slow arcs, while the enemies are more angular and aggressive.
• Pixar's Wall-E has a slow, lonely introduction and a large chase at the end of the film. Games are often the opposite with the chase at the beginning and the slow grind afterwards.
• The Art of Journey is a wonderful book that covers level design and color composition of Journey.
• In-game photography is not a surprising trend to come out of video games, since many game environments and composition are very beautiful.
• The talk reduced emotions to three fundamental shapes, but reality is much more complex. Designers should find inspiration from outside world and real experiences to drive their design.

NYU 9th Floor Talks: Bennett Foddy on Creative Practice

Bennett Foddy, creator of QWOP and GIRP, gave a talk at NYU Game Center about his creative practices.

Presentation

• Bennett breaks down his creative practices into five principles.
• Principle #1 - Put down the controller and think outside the computer.
• Figure out ways of input before you start developing your games with the computer.
• His latest game, Get On Top, is played with two giant trampolines with Playstation move controllers strapped underneath them. Jump on the trampolines to make your character jump.
• It's a wrestling game where you have to get your character on top of the opponent's,
• He was inspired by Japanese arcade games that utilizes large elaborate peripheral controllers.
• There was a fan critique of Armored Core's control scheme, which almost demands players to have 15 fingers and constant active input of the face buttons. One fan joked that the best way to play the game is to turn the controller around.
  
• Although this was just a joke, Bennett thinks it's pretty cool and sees it as an opportunity. Why not make a game that requires you to play like this? The control scheme is complicated and clumsy, but there can be an interesting game that can come out of it.
• The NES controller is very simple and recognizable. It only has a directional pad and two buttons, essentially giving players the total of 3 verbs. But designers should start thinking of their game design in terms of verbs first, and then map the controller to their actions.
• Principle #2 - Integrate
• In Fable 2's seduction minigame, a radial HUD with icons appear. The player's attention moves towards the icons and bars, and the characters and world are faded to the background. The HUD becomes the focus and distracts from the world.
• Health bars are a non-integrated system. They are out of field and floating in the air, and breaks the players' immersion. Fighting games are a genre in which fans and developers alike claim that health bars are completely essential. But even fighting games can deal with health bars. For example, Bushido Blade is about fast-action and one-hit kills.
• Bennett's own fighting game for Indiecade, Fistmonger, has no floating health bars. Both fighters are standing on top of a cliff and the point of the game is to knock the other off. Instead of health bars, every time a fighter is hit, the clifftop degrades, making it easier for the fighter to fall off.
• In Tim Roger's Ziggurat for the iOS, your shots will explode and you can cause chain explosions. This combo system is invisible to the player and never shown onscreen.
• CLOP's difficult ramp is an actual ramp.
• The 2nd room of VVVVVV has a difficulty spike in the form of a floor of spikes.
• QWOP and Super Hexagon have integrated rules. You immediately know what to do when starting the game. Non-integrated rules need to be explained.
• Principle #3 - Build for immediacy
• Don't include a tutorial in your game. Tutorials rob players of any sense of discovery and exploration. It's like a person who always finishes sentences for you.
• Good examples of non-tutorial games are Limbo and Bennett's own cricket game, Little Master.
• Bennett attaches a MIDI mixing controller to his games and connects every relevant variable to a slider. He can tweak fast and test all variables in real-time.
• No tutorial leads to discovery which leads to elation and satisfaction.
• Princple #4 - Play with the player
• The developer's role is traditionally like a mentor or a tour guide. Bennett likes to have a warped perspective of this relationship.
• The developer should be standing in for Player 2, trying to defy, confuse, and embarrass the other player.
• In Secret of Monkey Island, there is a fishing minigame where a bird comes in at the end and steals your fish. Inspired by this, at the end of GIRP, when you reach for the gift box at the top of a cliff, a bird might swoop in and steal it.
• In CLOP, many players might exploit the game by only using the horse's front legs to drag the rest of the body forward. The game can catch players doing this and unlock the "Lame Horse" mode where the hind legs become paralyzed.
• By reacting to the way the players play the game, you can play together.
• Watch players play through a designer's eye.
• During playtesting, don't fix your game based on one playtester failing. If the player is lost in the maze, it doesn't mean you should remove the maze.
• Proteus has no tutorial.
• In Eradica, if you put the disc upside-down, the intro screen would be shown upside-down as a prank.
• Playful tricks have a personal contract between player and developer. It makes the player more aware of the game maker.
• Principle #5 - Push, don't press
• This principle is derived from a Jonathan Blow quote.
• Pushing is understanding the promise of game design.
• Don't do the obvious because it's not surprising to the player. You have to push yourself to find more.
• Push the mechanics to their limits and exhaust their functions, but don't force the mechanics to be more interesting than they may turn out to be (pressing).
• Bennett's Sun God is a game where two characters are tethered by a rope. It's a player game that can also be played by one player (just like a xylophone). The characters leave cherry blossom trails.
• Bennett was happy with how the game ended up looking, but not so satisfied with its gameplay. He might have pushed too hard. He forced the tether mechanic to work, instead of scrapping the idea when he realized it wasn't working.
• "The most creative are no different in IQ with their peers, but are able to get themselves to a specified mood to be most creative. They get themselves into a state of play and exhibit childlike behavior." -- John Cleese
• Alfred Hitchcock would sometimes tell completely irrelevant stories during stressful times on set. While odd to many of his colleagues, he did this deliberately to ease his cast and crew and get them into a mental state of play.
• It's easy to tell forged signatures from real ones. Forged signatures starts and stops, while real signatures flow naturally. This is similar to calligraphy vs. sculpting from stone marble.
• SVN makes your creative thinking too safe. Game design decisions feel like they don't matter anymore because you can always just rollback to an earlier version. Game jams and prototypes solve this problem because they keep games small and light.
• Long full production of games is a drudgery that takes away from the fun of the prototype.

Question and Answer

• What's a light physical game? Catch.
• Jesse Schell has said to make a fun toy first.
• There are different types of frustration and Bennett thinks that in-game frustration is good.
• Bennett's games require a bit of literacy of technology. But relying too much on literacy and conventions would limit your game design.
• Bennett wants to make a game where you play as a bird and is pushed out of a nest. You have to learn to fly immediately. This is an appropriate metaphor for how he wants players to play his games.
• Hokra is a game that Bennett thinks is easy to get into a state of flow because it has an easy learning curve.
• Bennett's has had several collaborations in the past including the boxing game with Tom Rogers and Get on Top with Douglas Wilson.
• Designers should learn to code.
• Don't be too systemic and delete changes. Knowing that you can possibly lose everything liberates you to make big changes and take risks.