03.11.25
Developing contextual awareness
Intro to game design theory
The objective of this session is to develop our understanding of how 2D games have evolved through the application of critical analysis.
Learning game design theory is beneficial for our future, as we can use this knowledge in our future projects that incorporate the same principles and techniques used in other games.
Having even a basic understanding of how game design is created and presented will greatly help us in creating an enjoyable gaming experience, as well as incorporating some of the same tactics used in other games into our own.
Genre
A specific genre, or in this case, a game genre, is a classification of games based on their core gameplay, rather than their visual or narrative features.
Unlike a book, where you read its text to grasp the story, or watch a film to become immersed in the world through visuals and audio, Games differ from them as you have physical input in pushing the game forward through your actions, controlling the character you are assigned to.
3 game genre examples include:
- 2D/3D Platformer
This refers to games in which you control a character who can run and jump to navigate a specific environment the player is placed. This can include things such as platforms or obstacles (known as blockers) to inhibit progress or to give extra challenge to the game.
- Racing
This refers to games where you take control of a vehicle or character and participate in a competition; they can be based on real-world racing leagues or be more cartoonish and fantastical.
- RPG
This stands for 'Role Playing Game', which refers to games where you take control of a character and assume their role in a fictional setting.
Verbs:
The actions the player can perform in-game
Versatile Verbs:
Where certain actions the player can perform in-game can lead to other unique actions.
The Secret of Mario’s Jump (and other Versatile Verbs) | Game Maker’s Toolkit. (2017). YouTube. Available at: https://www.youtube.com/watch?v=7daTGyVZ60I.
This is when the developer provides a safe environment to teach the player how to do something without outright telling them, instead by visual cues and clever enemy/blocker spawning.
This can be useful in game design, as it doesn't break immersion and maintains the player's state of flow throughout the game, without interruptions from text boxes, pop-ups, etc.
Half-Life 2’s Invisible Tutorial | Teaching Players. (2015). YouTube. Available at: https://www.youtube.com/watch?v=MMggqenxuZc.
2D Platformer Analysis
Sonic the Hedgehog 1991
This was the first game I analysed. Released in 1991, developed by Sonic Team and published by Sega. It is a fast-paced 2D platformer.
From my analysis, I have observed the following verbs: running and jumping and rolling by holding down on the D-pad.
This game teaches each specific verb through heavy use of invisible tutorials that incorporate trial-and-error exploration.
The first opening level begins in an open, safe space, with the player positioned on the left and no enemies in range/in sight of the player's view, enticing them to experiment with the controls and move right.
As you continue forward, you are presented with your first platform, item box and enemy. You learn here that everything is interconnected with jumping onto it.
Compared to games released before Sonic the Hedgehog, such as Super Mario bro's, this game boasts a lot more of a cleaner and friendlier player experience as well as a steep learning curve with the momentum mechanic.
However, it also uses a lot of the same gameplay principles, such as invisible tutorials to teach the player how to play, as well as trial and error.
Critique:
I think this game accomplishes its goal very well in teaching the player, especially in the mid-section, by presenting platforms, an enemy, and an item box on top, which entices players to travel upwards.
Something I could take away from this is the open safe area that the game starts in for the player to experiment with before moving forward, encountering an upward curve of difficulty.
However, it's important to note to maintain that curve and not create a spike of difficulty that hampers the players' experience with unfair level design, etc.
Sonic the Hedgehog 3 1994
The next game I had analysed was Sonic the Hedgehog 3, released in 1994, published by SEGA and developed by Sonic Team. It is a fast-paced platformer and the 3rd game of a trilogy.
Moving forward, you are presented with slopes with rings above and an enemy placed on a tree, throwing stuff at the player.
Most of the same level design tactics, such as invisible tutorials, are used, but differently.
Most of the same verbs are present, such as running, jumping and rolling. However, through my observation and own self-experimentation, there are a few new verbs.
The spin dash, a versatile verb, needs two button actions to pull off: the insta-shield, which you enable after jumping by pressing the same button to jump again and other verbs such as swinging.
It also includes new cutscenes that play seamlessly through gameplay, giving context to what is happening story-wise.
Critique:
Compared to the first game, I think this evolves the franchise very well with the addition of in-game cutscenes presenting story and scope not seen before in a game when it was released.
However, I believe for an opening start to the level, the first game does it better with a branching path for a player to choose right at the start, presenting 3 things all at once without being overbearing for a new player.
Something I could take away from this game is the addition of in-game cutscenes to further the story, adding context and motivation to what the player is doing, and to visually show what the game will look like before the player is in control.
However, it is important to make sure not to make these cutscenes too long for fear of boring the player with long explanations or badly paced scenes. It is also important to not make them too short, making their inclusion feel pointless.
In order to make these work, I will need to find the right middle ground and show information or specific scenes that are important to the story and player to progress them forward.
Sonic Generations 2010
The next game I analysed was Sonic Generations, released in 2010, developed by Sonic Team and published by SEGA. It's a 2.5/3d platformer game which features 2 gameplay styles featuring high speed, reactive gameplay which stems from player input.
Compared to previous games, where this wasn't present prior, this can provide additional help for new or returning players.
I think this is useful, but it can become repetitive if the same pop-ups return multiple times over explaining very basic actions such as jumping.
Once the stage has started, there are immediate differences with rings being present on the screen above the player.
However, it more or less starts out the same with the player in a safe environment free to explore before going forward to be met with platforms, an enemy and an item box, similar to Sonic 1 (1991), as this game takes clearer inspiration from that game.
Verbs from previous games are present, such as running, jumping and rolling with the spindash having its own dedicated button on the controller you use to play the game with.
Critique:
This game differs from previous entries by telling more than showing. There are still elements of invisible tutorials; however, there are a lot more hand-holding moments with the game.
Stating actions you can do instead of letting your own experimentation teach you, which could become a detriment to the player feeling as if they are being downplayed, with the explosion of tutorials and pop-ups telling them what and how to do something.
Something I could take away from this is the 2.5 style of look, which mixes 2D camera work with 3D elements, creating a unique visual style for the player that offers lots to look at without feeling too overwhelming.
Otherwise, I'd risk confusing the player with level design that appears solid but is actually part of the background.
Rayman 1995
The next game I analysed was Rayman, which was released in 1995, developed by Ubi Pictures and published by Ubisoft and is a difficult 2D platformer.
This provides context for the story for what is happening, as well as showing the player what the visuals of the game may look like.
Compared to a game such as Sonic 3, which was released in 1991, this feels like an evolution, where in that game, controls were not shown in-game and were merely taught due to the player's experimentation with the gamepad/controller.
In Rayman, the controls are shown before starting the game, which could help a player grasp the general gist of button prompts they can do before beginning the first stage.
Although I do believe the controls could have been taught through gameplay instead of a static screen, because it disrupts the player's experience by slowing down the pace at which the player can begin playing.
Upon starting the first stage, it starts around the same as the other games I had analysed; beginning the player off in a safe space, character on the left, etc.
This time, there are platforms, some collectable orbs and foreground elements in the player's view.
With the players' knowledge of controls from the previous screen, they can experiment with the level design in front of them and explore their surroundings.
From all I've analysed, this game uses trial and error/experimentation tutorials as well as written tutorials on a separate screen to teach the player how to play the game.
Critique:
Compared to other games, I believe this is a step up in the right direction; however, minor tweaks added could make it better, such as a more fluid way of teaching without pauses on a separate screen to teach basic controls, etc.
If I were to take anything from this game, the combination of breadcrumbing aswell as a short screen showing off the controls of certain actions, to lead the player to where I want them to go, it can be used for an easy, unintrusive learning experience as they explore throughout the level through their own ambition using what they already know, following a preset but not mandatory guide.
Rayman Legends 2013
The next game I analysed was Rayman Legends, released in 2013, developed by Ubisoft Montpellier and published by Ubisoft.
As you begin the game within the first stage, like all the other before it, you start out in a large open space with no dangers around you, but this time it is a long open road to a large mushroom in the ground that stands out towards the player.
Walking up to it presents us with the first type of tutorial this game uses, which is pop-ups.
These appear near newly discovered things/objects or to assist in some areas to show what action to take to progress.
Using what the player learned from the previous pop-up, they will jump up and use the previous action they learned to release the character in the cage, teaching them that they can release these characters from their confinement.
This presents us with the second type of tutorial the game uses, which involves invisible tutorials and presents us with various verbs, such as jumping, punching, without pausing the flow of the game.
Critique:
I enjoy how the developers designed the stages with both pop-ups and invisible tutorials, not breaking the flow with either one and using both together as one to guide the player through with their own explorative behaviour.
Compared to previous games, such as Rayman 1, this is a vast improvement in terms of pace and as a learning experience without pausing the game with separate screens, etc.
If I were to use this in any future projects, I would like to use pop-ups to visually indicate which actions did what at a specific time to help teach the player before testing them later on when they push forward.
Oddworld: Abe's Oddysee, 1997
Compared to previous games, there is a vast tonal drift with a much darker and grungier setting, which is also shown with the opening cutscene when starting a new save file, which gives context to the world and story.
Once the scene ends, you are immediately thrown into the game to a safe area, alike the other games I have discussed prior
In this area, we are shown our first tutorial-based prompt, being visualised as scrolling text woven into the world's design on a screen.
This game differs from others in that each section of a stage is placed on a separate screen, which gets loaded when you get to the edge of it to move on.
Via the player's own curiosity, they will pull the lever, which drops the other character down a trapdoor which was beneath them.
On a later screen, it is shown how many of these characters are around the game and how many you've either saved or how many have fallen to a casualty.
I believe this is a smart decision by the developers to use show, not tell to help the player learn what to do through their own actions.
One of the game's core mechanics is gamespeak, using this, you can hold a button on your controller and press a different one for your character to say many different things, such as "hello", "stop" and "follow me".
Using these mechanics, you can interact with your fellow employees and have only one follow you at a time to a safe exit portal, which you activate by chanting.
This differs a lot from the other games I have covered previously, as while those games had trial-and-error components with tricky yet fluid platforming, with jumping and attacks to damage enemies/blockers in your path.
This game slows down the pace dramatically with rigid controls and in-depth mechanics, needing you you navigate around enemies instead of jumping or punching them, with the addition of permanent consequences to your actions as you go to save all your employees as you progress through the game.
Critique:
I think this game does an excellent job at teaching the player without breaking the pace and slowing the game down more than it needs to, with text-based tutorials and invisible tutorials by using your actions to show what consequences can occur.
Something I could take away from this, if i were to make a game similar to this, would be how text is woven into the stage itself and how invisible tutorials are used to teach the player what they can and shouldn't do, however, when doing so, I'd best make sure I am teaching the right lesson and not the wrong one.
25.11.25
DDS 5 - Playtesting The Valve Way
11.11.25
Platformer level design workshop
The aim of this lesson was to demonstrate our understanding of 2D platformer contexts and design elements through practical implementation.
The activity that was set before us was to draft out a Super Mario Maker level layout using grid paper and context from a video we watched beforehand.
Super Mario Bros. 30th Anniversary Special Interview ft. Shigeru Miyamoto & Takashi Tezuka. (2015). YouTube. Available at: https://www.youtube.com/watch?v=DLoRd6_a1CI.
Before watching this video, I had the impression that level design was made in a VERY specific software.
However, after I learned that level design is drafted out on grid paper, using annotations and colour coding to illustrate to co-workers what the level is meant to look like.
My team decided to ease the player in by placing them on the left side of the screen, while on the right, there was a simple area littered with coins and platforms for the player to jump on, using lots of breadcrumbing.
For example, in the grid shown on the right, I used breadcrumbing to instinctively lead the player to the left side of the screen to acquire a power-up.
So when they make their way to the right and encounter flying enemies, they will learn to use their newly acquired power-up and dispatch the enemy.
The most difficult part about designing a level with other people is trying to make everything align properly and connect coherently.
Level design sheets:
Once I had finished designing the level on paper, I recreated it in Super Mario Maker 2 to show it off to the class.
Feedback from class
From my feedback, it was mostly positive; however, many of them were taking note of the level of difficulty for the player, deeming it too easy for a first level.
Overall, I think the level that my teammate and I designed is good, but there certainly can be additional challenges added, as well as less handholding to give the player a more thought-through and fluid run through the level.
Going into future projects with his feedback in mind, I will use this to further my experience in game development to improve and design more challenging levels by perhaps adding more obstacles, bottomless pits, etc, slowly over time, increasing it as a smooth curve to test the player's knowledge beforehand.
17.11.25
Applying lessons of psychology to game design
The objectives of this lesson were to understand the psychology maps and their use in game design research, and to be able to conduct player acting to develop accurate player empathy that will inform your own design.
Designers can benefit from psychology in games to research studied personalities that people have.
This is useful to see what motivates them to play for years at a time, learning to understand and create empathy for these types of players.
This serves a game designer well to make something in either a similar way or to diverge entirely to target a different audience. If a game designer doesn't understand different game types and empathise with different players, they risk designing themselves into a corner. Understanding these different types can assist you in many ways to become a more competent designer.
Bartle types
There are 4 types of players in this psychological map, the Bartle types, those being;
- Explorer
defined as players who love to explore aspects of games from how they work to their mechanics, before moving on.
- Achiever
Defined as players who like to accomplish all available tasks or missions to earn rewards or just for their own satisfaction.
- Socializer
Defined as players who prefer to interact with people, enjoying a community experience, to see whether they can support each other if one is struggling.
- Killer
Defined players who are usually competitive and love the thrill of a game, seeking to win at all costs, using skills and tech they have learned to win.
Using these 4 types, you can distinguish what each player is like and what games they would
typically prefer over others.
Ocean:
This is known as the big 5; however, for this lesson, we only looked at 4, those being;
- Openness to experience <---> Novelty
- Conscientiousness <---> Challenge
- Extraversion <---> Stimulation
- Agreeableness < --> Harmony
With this knowledge in mind, I went to a site where I could take a test to figure out my EMP (Empathy Blind Spot).
Using this map, I was given a game to Player Act, where I would play a game which related to my EMP and act as if I were the person the game was made for to try and get a better understanding of why someone would like this type of game.
Player Acting Report - The Eye of Judgement
15.12.25
Contextual Awareness Presentation Slides:
Presentation Video: