Bottom-up game design

Existing definitions

Adams defined bottom-up game design in 2004 as turning a simulation or a real-life mechanism into a game. It assumes that any process that is subtle or interesting to program is also going to be interesting to play with. If the simulation has too many variables, many of them end up being useless, and this results in possible dominant strategies and the game being dull.

Lopes and Kuhnen redefined bottom-up game design in 2007, as applying a particularly fun gameplay verb or mechanic, complementing it with the appropriate setting, content and story. Developers think first about the elementary game actions, called verbs, that the player can execute (move, attack, ...) and then about the aesthetics (fantasy universe, ...). Examples are games in the Doom series, which were built barely as excuses for the brutal, over-the-top shooting gameplay; the oppressing universe and mood simply fit well with the gameplay.

In 2010, Deleon focused more on the medium constraints with his definition: concept inspired by or chosen partly by its form of representation. For instance, Bubble Bobble is about shooting a ball into balls of similar color, and the little dragons or fruits are merely decorations. Same for Bejewelled. Bottom-up designed games also include games made for particular platforms with limited hardware (like Bogost's games for the Atari 2600).

More theory: ludemes

Ludeme was a term coined by Berloquin or Dawkins in the early 1970s, as a portmanteau of ludic meme, because a ludeme can be found in many (classes of) games. Ludemes are described by Parlett as conceptual elements of the game, most typically equivalent to its "rules" of play. For example, whereas the material piece shaped like a horse and designated "knight" is a component of the game, the distinctively skewed move of a knight is a ludeme of the class "rule of movement". But other types of ludemes also exist. For example, the name, referend and associated connotations of "knight" - those of a chivalric courtier - may be said to constitute a thematic ludeme.

At GDC 2005, Koster presented his vision of a grammar of gameplay, referring a lot to ludemes. For Koster, ludemes are atomic mechanics with at least 2 possible outcomes (e.g. moving a Checker piece to capture, prepare, or force the opponent to capture (which is actually a kind of preparation)), among which at least one is failure (even if failure only means closing some of the player's opportunity doors). Synonyms of ludemes are: verbs (Crawford), choices (Meier), or conflict. Each ludeme involves a UI action (e.g. pressing button). In terms of complexity, Chess is more complicated than Checkers because each of the 6 types of Chess pieces has its own movement and capture ludemes, while all Checker tokens have the same ludemes.

Bottom-up game design in practice

As Lopes and Kuhnen pointed out, designing games with a top-down approach is somewhat of a dark art when it's time for the designer to bridge the gap between the high-level concept (e.g. in terms of experience, emotions and feelings targeted to the player) and the routine tasks of the player (e.g. drawing a card, moving their avatar or attacking). Current game design textbooks such as Adams' Fundamentals or Schell's Book of Lenses, putting forward player-centricity, suggest a top-down approach by focusing on the experience the entire game should convey to the player.

But a player-centric bottom-up approach is also possible. I'm trying here to provide prescriptive rather than proscriptive steps. In the bottom-up process, the designer should ask the following questions:

• What are the elementary actions the player can do? (define the ludemes)
• How can these actions be fun? (feeling of latent power, fiero, schadenfreude, aesthetic pleasure, ...)
• What are the transitions between these actions? (for the ludeme "roll a dice", it is when the dice is rolling)
• How fun are the transitions? (surprise, feeling of progression)
• Sanity checks: how do the actions fit together as a whole? (pointing to shoot in FPS should not be followed by a dice roll, the intense mechanical ludemes of Doom should be matched with horror-aesthetics ludemes such as the lack of light, ...) Does the overall feel of the game match the feeling of all the elementary actions put together? (ludemes should add up, not negate each other)

This process is tentative, possibly flawed, and therefore feedback is most welcome.

For the win - Doctorow 2010

Doctorow C. 2010, For The Win

Notes from For The Win from Doctorow. The book's license is Creative Commons NC-SA. No spoiler here, only some interesting concepts mentioned throughout the book.

Part I: The gamers and their games, the workers at their work

• Some players in developing countries like China or India farm gold or are paid to raid with richer solo players from the West to drop them gear or level them up. Western players want to keep up with their friends gear- and XP-wise.
• The parents, whether Indians or Americans, don't understand how their kids can spend so much time playing online games. American parents talk about addiction whereas Indian parents about waste of time.
• There are multiple, competing interworld exchanges: want to swap out your Zombie Mecha wealth for a fully loaded spaceship and a crew of jolly space-pirates to crew it? Ten different gangs want your business. Even RL traders place money on the value of virtual gold, because virtual gold fluctuates a lot and can be exchanged against RL money through the official in-game banks. RL criminal cartels also turn IG gold into real money.
• Big gold farming businesses hire hardcore gamers to kill other farmers. The biggest sellers of virtual gold are game companies themselves and they hire killers too.
• Dungeons are made so that farmers make less and less money: grinding gold gives 12k the first hour, 8k the second, 2k the third, and 100 at the end. Then, a GM appears and bans them, but they've already collected as much as they could for the night before going to sleep.
• Mechanical Turks were an army of workers in gamespace. All you had to do was prove that you were a decent player -- the game had the stats to know it -- and sign up, and then log in whenever you wanted a shift. The game would ping you any time a player did something the game didn't know how to interpret -- talked too intensely to a non-player character, stuck a sword where it didn't belong, climbed a tree that no one had bothered to add any details too -- and you'd have to play spot-referee. You'd play the non-player character, choose a behavior for the stabbed object, or make a decision from a menu of possible things you might find in a tree.

Part II: Hard work at play

• Mushroom Kingdom is a Mario-based MMO from Nintendo-Sun. You can play on the side of Princess Peach, or on Bowser's.
• Prikell equations: a certain amount of difficulty plus a certain amount of your friends plus a certain amount of interesting strangers plus a certain amount of reward plus a certain amount of opportunity equalled fun
• virtual currency tended to rest pretty close to its real value, plus or minus five percent
• Socio-economics experiment about envy: lock 25 grad students in a room for 8 hours. Give each of them a poker chip and say "Every hour I'm going to give each of you $20 per chip you hold". At the beginning, each chip is worth 8*20=$160. After 2 hours, chips start being exchanged against dollars, and at the end of the 8th hour, some chips even get traded for $50, while they only bring $20 to their owner. Each of them started and kept trading because of the fear that he was missing out on what the rest of them were getting: the sirens called Someone else is getting richer, why aren't you?. Greed is "if 1 is good, then 10 is definitely better". Envy is about what other people think is good, and being part of the crowd.
• Gamerunners spend most of their time in the Command Room, watching the world through logs, screens, chat channels, or charts, to get a feeling of the game worlds - Fingerspitzengefuhl.
• the game soundtrack has its own AI that creates more dramatic moments

Part III: Ponzi

• Gold farmers used to login from Asian IP addresses, give all the gold from an account to a newbie without speaking a single word, who in turn would give it silently to a bunch of other newbies from guilds with names like "afasdsadssadsa289". Later, gold farmers logged in using American proxies, started speaking broken English, and became indistinguishable from profitable Western kids.
• After their 12-hour shift, some gold farmers relax by playing some more with a separate avatar that they only use to play, not to work with.
• Pacific protest: ask everyone to gather in downtown and eat ice-creams. Recruit people passing-by in giving them ice-creams.
• If you nuked every account involved in a gold-farming buy, we'd depopulate the world by something like 80 percent.
• Coke ran games that turned over more money than Portugal, Poland or Peru.