Slashdot Mirror
Fun is Fine - Toward a Philosophy of Game Design
David Kennerly writes "The Entertainment versus Art debate flares perennially. These participants may be having fun, but the dichotomy is uniquely inappropriate to games. By the end of this article, we may disentangle the faulty dichotomy. After reconsidering what we think we know about a game, fun, and art we may come to discover that Nomura and Costikyan are correct: 'If you were to write a Seven Lively Arts for the 21st century, the form you'd have to mention first is clearly games.' --Greg Costikyan"
What is the Sound of One Hand Designing?
"[Do not] mistake yourself for an 'artist.' Our goal is to create newer and more fun games. Art is not our goal." Tetsuya Nomura, Final Fantasy character designer[1]
The Entertainment versus Art debate flares perennially. These participants may be having fun, but the dichotomy is uniquely inappropriate to games. For example among MMORPGs, to Jessica Mulligan, fun subsumes art[2]; whereas, to Raph Koster, art subsumes entertainment.[3] I will challenge the dichotomy itself. Crafting fun is the art of the game.
To paraphrase Stephen King: Put your game design desk in the corner to remind yourself every day that Art supports Life, not the other way around.[4] By the end of this article, we may disentangle the faulty dichotomy. After reconsidering what we think we know about a game, fun, and art we may come to discover that Nomura and Costikyan are correct:
"If you were to write a Seven Lively Arts for the 21st century, the form you'd have to mention first is clearly games." Greg Costikyan[5]
To begin disentangling, we need to come to terms with the game as a unique medium.
A Unique Medium
"Unfortunately, as similar as the two media are, the differences are real and compelling and the superficial similarities can actually make people LESS effective in new, game-oriented roles." Warren Spector[6]
Games are not like other forms of art. To define a game: if it uses points, has players and rules, it's a game. Of course a game may be part of a service or a world or a community, too. To keep a game, as I use the term here, from being confused with all the disciplines that game theory has been applied to (economics, psychology, politics, empirical analysis), call it "a parlor game," if the reader must. But Joe and Jane at the checkout counter call it a game.
As the sound designer for the Lord of the Rings: The Two Towers video game wrote:
"It is unproductive to think of games as âinteractive movies,â(TM) although many people tend to think of games in those terms. Let's be clear: games and films are different media. The techniques, processes, and skills involved in the creation of each are unique and not interchangeable. The metrics by which each is judged are also different, meaning that many of the properties that make for a good film would lead to a lousy game, and vice versa."[7]
Narratives, which includes most films, and games differ dramatically, because games donâ(TM)t tell stories, players tell stories. A narrative is a passive experience. One watches and feels but does not do. The audience is not the actor. In a game, the audience is at once the actor, also. Herein is a conflict of purpose. The author of a narrative must control the lives of the actors. Whereas, the designer of a game must abdicate control. To paraphrase Will Wright's first advice for a budding game designer: Games are about players having fun; not about writers solving the narrative problems they want to solve.[8]
Part of the problem is that an intellectual property rarely links a fine narrative to a fine game. Dungeons & Dragons is not J.R.R. Tolkien-in-the-medium-of-a-game. American McGee's Alice is not an adaptation of Lewis Carroll-in-the-medium-of-a-game. Go or Eleusis, which are puzzling, logical, and playfully deep, offers better comparison to Lewis Carroll. Reiner Knizia came closer with his cooperative board game of "Lord of the Rings," which retains the spirit of the novel. But still "Lord of the Rings" is more of a novelty than a fine game.
Many game-movie crossovers, such as Tomb Raider or Mario Brothers, failed and so did movie-games, such as Atariâ(TM)s E.T.[9] or Braveheart. Their lesson: satisfy an audience for a movie, a player for a game. A bleak road lies before one who seeks a movie experience in a game or vice versa~$?ugh the fine game invokes something powerful inside the willing player, don't look for J.R.R. Tolkien or Lewis Carroll in a game. He's not there. Equally, there
Comment removed based on user account deletion