What can the current VR market teach us about design?

In this post:

 

Introduction

I figured I would write this post now, since it is rapidly becoming outdated. For a while now, I’ve been following the popularity of various virtual reality (VR) games. Specifically, I’m interested in the real player engagement generated by these games, for the purpose of creating a rough qualitative model which can predict a given game’s success.

What are the stakes here? Assume we want to make a profitable VR game on a (relatively lean) budget of $500,000. In order to break even, you need to sell 25,000 copies at a $30 price point. In reality, your price point is probably lower ($20 or $25), and you’ll be selling a large number of copies at a discounted price point in Steam sales. Your budget may also be higher (think 1-2 million dollars). However, we can also assume your sales figures will be roughly doubled if you release the game on PSVR, and maybe tripled if you release on Oculus Quest (big assumptions, but these are all ballpark numbers anyways).

More than 1,000 games with VR support were released on Steam in 2018. Even assuming that 80% of those are hot garbage, you need to beat about 165 other games in order to reach that 25,000 sale mark. That’s right: by the time you get to the 35th best-selling game in 2018, you are looking at games that only sold around 25,000 copies.

I will delve a little more into the specifics later, but the crux is that, in 2018, there is heavy correlation between sales and active playerbase. That is, the games that people keep playing tend to get the most sales. Therefore the pertinent question is: what can we glean from the top-played games, so that we can more reliably develop profitable VR games?

More explanation can be found at the end of this post. But, a caveat: here I’m mainly looking at Steam and assuming it is a representative sample of the market at large. Ok, let’s jump right into it.

 

What are consumers choosing?

If we take a gander at what games people are playing on Steam in a given day, you’ll find a list that looks like this:

  • Beat Saber
  • Pavlov VR
  • B&S (full title: Blade and Sorcery)
  • Rec Room
  • H3VR (full title: Hot Dogs, Horseshoes, and Hand Grenades)
  • Skyrim
  • Arizona Sunshine
  • Job Simulator
  • SUPERHOT VR
  • Onward
  • Fallout
  • GORN
  • Elven Assassin
  • The Lab
  • Zero Caliber VR
  • Space Pirate Trainer
  • STAND OUT

This is roughly ordered by player count. Beat Saber usually has between 1000 and 1500 players, Pavlov usually has about half that; Rec Room, B&S, and H3VR have a few hundred players, and the others have between 120 and 20 players.

(Rec Room and The Lab are free, so we will ignore those henceforth)

Most of these have between 200,000 and 500,000 owners on Steam. Some are lower; B&S, Elven Assassin, STAND OUT, and Zero Caliber have 40,000 – 100,000 owners. Note that you can’t multiply the owner count by the sale price to get the gross revenue, because owners include people who got it for free or at a heavy discount. However, high owner count usually means high revenue.

All of these “top-played” games landed on the top 20 best-selling list of games for 2018. Despite the low ratio of active players to total owners, the top-played list is remarkably stable. All this suggests that it isn’t freak chance that these games are on top.

There are only a few games from the top 20 best-sellers in 2018 that aren’t on this “active playerbase” list:

  • Orbus VR
  • DOOM VFR
  • Raw Data
  • Rick and Morty
  • I Expect You To Die
  • Budget Cuts
  • Sairento VR
  • Sprint Vector

These all have ownership numbers between 20,000 and 100,000 on steam, but normally 10 or fewer active players at a given time.

The ones in bold are linear singleplayer games — i.e. you play them once and you’ve gotten everything out of them — so it isn’t surprising they don’t have an active playerbase. Three of the others, OrbusVR, Raw Data, and Sairento VR, benefit from a first-movers advantage. OrbusVR is the first “VR MMO”, while Raw Data and Sairento were some of the first games with significant amounts of content and “good graphics”. This has placed them as well-known titles in the VR market, and continues to drive consumer interest despite the fact that they clearly can’t sustain player interest. I would argue that Sprint Vector also benefits from a sort of second-hand first-movers advantage, being developed by Survios, the same company behind Raw Data (and thus benefitting from higher consumer awareness).

Many of the top-played games also benefit from a first-movers advantage. Some happened to be high-quality games in a very early market: Space Pirate Trainer, Arizona Sunshine, Job Simulator, SUPERHOT. Some happened to hit a particular niche, maybe without being high-quality: STAND OUT, H3VR.

But, are there features intrinsic to these games that we can learn lessons from?

Only 40% of the top-played games have a multiplayer mode, and you would expect games with active playerbases to have multiplayer support. When you consider all the top 35 best-selling games (which, remember, you need to be in to turn a profit) only 25% have multiplayer. I used to think that a VR game needed multiplayer support, even if people didn’t tend to use it, because it added significant perceived value to the consumer. This is clearly not the case. From a numbers perspective, adding multiplayer support is currently not worth it.

I suspect that having a game with an active playerbase is healthy for sales, since it places you on the front page of the “What’s Being Experienced” chart in the Steam store. It looks like this:

As a player, this list is very appealing. It shows what games people have found to be continually fun; if I buy a game from this list, I have a higher chance of maximizing the bang for my buck.

So while VR games can and have been successful with low replayability (Moss and I Expect You To Die come to mind), creating a game that players can return to night after night significantly increases the chances of making a profit. A game that people can keep playing is also a game that people will keep talking about both online and in real life, and word-of-mouth is not to be underestimated as a force for generating sales in the VR market.

However, it is incredibly difficult to provide the sort of value that keeps a player entertained for months, especially since every player wants something different. This is where user-created content and mods are invaluable. It is no accident that the games with the biggest active playerbases are also well-known for their user-generated content and mod support: VR chat, Rec Room, Beat Saber, Pavlov VR, B&S, and Skyrim. In fact, it could be said the mods for these games are more popular than the games themselves.

If someone says “I couldn’t imagine playing this game without mods,” as is often said of those games mentioned above, it isn’t a sign of failure on the developer’s part. It is a sign that they have provided a platform that will continue to excite people and generate sales, even without further effort from the developers. It is the holy grail of VR game development: maximum engagement at minimum cost.

Thus, we have a basic template for thinking about a VR game with a chance of profitability: a mod-friendly singleplayer game that a player can jump into night after night and that makes them want to talk about their experiences.

 
 

Three Design Pillars

What keeps players coming back? What keeps them in the headset when they could be doing other things? In my estimation, all the top-played games succeed in one or more of three design categories, or pillars:

  • Kinesthetically satisfying core loop
  • Colorful and compelling atmosphere or character (henceforth “compelling character”)
  • Fantasy fulfillment

 

A kinesthetically satisfying core loop is a basic gameplay loop that, absent all else, makes you move your body in a way that feels good. The best of these have the player doing things you can imagine a kid doing by himself on a playground just because it’s fun to do. Beat Saber, B&S, GORN, Space Pirate Trainer, and SUPERHOT all get you moving in satisfying ways. There isn’t a lot of standing still, trying to point your controller at something, or fumbling with menus, or fiddling with two small objects. They have sweeping motions and encourage you to sway your body smoothly and sinuously. When describing the game to your friends, you can move your body and make sounds with your mouth to convey the experience.

Compelling character is when a character in the game, or simply the attitude of the game itself, makes you want to stay in it. Arizona Sunshine has a fun self-narrator that lends life to a game that otherwise would become a drag after half an hour. Job Simulator is silly and absurd. GORN is a masterful blending of comical and gory action that sucks players right into the universe with minimal friction.

Finally, fantasy fulfillment is the thing most players actively look for in a VR game. They want to be a Jedi, a gladiator, a marine, a wizard, a survivor of the zombie apocalypse. Whether through the story, the action, or the environment, a game with fantasy fulfillment transports the player to a different time, place, and role. Their return to the real world after a play session is a shock, and it creates a yearning to return to that place where they were something different than they are in real life.

Some VR games ride solely on their fantasy fulfillment. People harp on Skyrim VR for being a bad VR port, but it hits the top-played list because it has such rich, immersive environments. H3VR is a gun simulator with some game modes tacked on. Most successful VR games have at least partial elements of fantasy fulfillment. Even Beat Saber, a game that isn’t really *about* anything, still generates fawning comments about how it really feels like you are wielding a lightsaber.

Obviously, each of these pillars are highly personal. Different people like different characters, have different fantasies, and enjoy different motions. For example, I can’t stand the bow-and-arrow motion in VR, but I know a lot of people enjoy it — hell, the only VR “genre” more prevalent than bow-and-arrow games are shooters.

It is thus a developer’s goal to execute on a concept that squarely hits all three pillars for their target audience while still doing the other things a game needs to do to succeed, like providing a unique value proposition to the player and being easy to market. These three design pillars are necessary, but not sufficient, for success.

Does this describe your VR game?

A single-player game that fulfills a fantasy for players. Once in the headset, it immediately captures players with a kinesthetically fun core loop, and keeps them playing for its compelling character. Players want to talk about their experience in the game and play it again, exploring user-generated content and mods to play exactly what they want and how they want.

 
 


(The rest of this post is data sources and housekeeping. Feel free to skip it.)
 

Appendix

I’ve been using data from a few sources:

https://vrlfg.net/ VR LFG provides live stats from Steam for VR games.
http://steamspy.com/ SteamSpy provides historical data and ownership numbers for Steam games.
https://vrscout.com/news/steam-leak-reveals-vr-player-count/ This was a player count leak in summer of 2018.
https://store.steampowered.com/sale/2018_top_vr/ This is a list of games by “top-selling in 2018”, measured by gross revenue, sorted into buckets or “tiers” (but not ordered within a given tier).
http://gamstat.com/games/ Not relevant to this post, since I focus only on Steam stats, but GamStat provides stats on Playstation games including PSVR, currently the largest virtual reality platform.

The numbers I used in this post are mostly from May 2019, but I don’t think moving that needle backwards or forwards by 6 months would change the conclusions of this post.

To put game owner counts in perspective, at the tail end of 2018 there were roughly 2.5 million Oculus Rift headsets sold, and 1.5 million Vive headsets. There were also around 4 million PSVR headsets (thus the comment about releasing for PSVR doubling sales numbers). These PCVR numbers from Statista are corroborated by a report by NVIDIA that there are about 4 million PC headsets total out there.

[1] PCVR headset sales from Statista
[2] NVIDIA PCVR headset count confirmation
[3] PSVR headset sales

There are two major storefronts on PC — Oculus and Steam. This hampers analysis a little, because numbers from Oculus are basically impossible to come by. However, based on some other data I’ve been privy to, sales numbers on the Oculus store may be about 50% of sales on Steam. I have no idea how reliable this number is, or what the variance is, but it at least provides a starting point for ballpark estimates.

Rough player counts are possible for Steam through Steamspy, and Playstation through Gamstat, but ultimately without access to the raw data behind each of these platforms, opportunities for quantitative analysis are limited (as are my skills in that regard). However, obviously some patterns have emerged.

It seems to me that this general alignment between what people are continuing to play and what is selling well is a sign that 2018 was the first year of stability in the VR market. Games can no longer benefit easily from a first mover’s advantage, where people will buy a game simply because it fills a gap in the market.

Below are the best-selling VR games in 2018, along with ownership numbers. The games were sorted into tiers based on the sales achieved in 2018, meaning some games in lower tiers have higher owner counts than games in higher tiers, due to release date or sales pattern differences.

Platinum (Tier 1)

Game Release User Score Owners
Beat Saber 2018 [EA] 97% 563,000
Pavlov VR 2017 [EA] 89% 370,000
H3 VR 2016 [EA] 97% 297,000
Job Simulator 2016 84% 280,000
SUPERHOT VR 2017 89% 262,000
Onward 2016 [EA] 91% 256,000
Arizona Sunshine 2016 86% 249,000
Skyrim VR 2018 82% 215,000
Fallout 4 VR 2017 71% 201,000
GORN 2017 [EA] 97% 195,000
OrbusVR 2017 [EA] 81% 29,000

Gold (Tier 2)

Game Release User Score Owners
Space Pirate Trainer 2017 [prev. EA] 95% 164,000
DOOM VFR 2017 59% 119,000
Raw Data 2017 [prev. EA] 87% 97,000
Rick and Morty 2017 74% 89,000
I Expect You To Die 2017 92% 68,000
Budget Cuts 2018 73% 49,000
STAND OUT 2017 [EA] 77% 44,000
Zero Caliber VR 2018 [EA] 73% 39,000
Sairento VR 2018 [prev. EA] 90% 38,000
Sprint Vector 2018 90% 28,000

Silver (Tier 3)

Game Release User Score Owners
Audioshield 2016 82% 126,000
Serious Sam: The Last Hope 2017 85% 79,000
Blade & Sorcery 2018 86% 74,000
Fruit Ninja VR 2016 85% 69,000
Dead Effect 2 VR 2017 83% 55,000
Richie’s Plank Experience 2017 83% 45,000
Moss 2018 91% 43,000
VTOL VR 2017 94% 37,000
In Death 2018 91% 29,000
Duck Season 2017 86% 28,000
Creed 2018 82% 27,000
Talos Principle VR 2017 87% 23,000
Box VR 2017 87% 22,000
Serious Sam 3 VR 2017 89% 19,000
LA Noire 2017 62% 18,000
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Indiscriminately Valuing Non-Violent Games

Starting with the 1980s arcade games Galaxian and Missile Command, games and combat became nearly synonymous. This was only exacerbated in the 90s by the advent of wildly popular shooters like Doom. The choice to focus a game around antagonism, combat, and violence was not a conscious design decision, but a necessity of the industry and environment. There were abstract games that didn’t contain violence, but in general the highest-profile games were about, in essence, murder.

Doom screenshot

Doom: you shoot things. Dead simple.



Then a renaissance occurred in academia, and suddenly games were art. Nobody really knew what to do with this fact or what it meant, but it was revolutionary, and regardless of anything else, games were definitely art. To support this, a number of innovative (perhaps iconoclastic) non-violent games — games like Journey and Gone Home — were foisted up as evidence that games are art. “Games are art, they can convey aesthetics beyond violence.” Good, great. Innovative games that are fun without using violence in their designs are awesome.

Journey screenshot

Journey is one of the seminal games in the recent wave of “artistically-valuable” indie games.



However, this easily morphed into a reactionary movement. Since these games without violence or combat were touted as being somehow better or “more elevated” than your run-of-the-mill murder simulator, it became obvious that a game that was violent was inherently less.

Obviously, this sort of indiscriminate valuing of non-violent games is a terrible idea. A game that doesn’t use violence can be poorly designed and not-fun (Dear Esther, Mountain), just like a game that uses violence and combat can provoke deeper aesthetics (Hotline Miami, This War of Mine). Part of the problem is that nobody has developed the proper critical skills to analyze these non-violent, pacifistic games. Those that could view the design choices evenly and rationally are too busy climbing up their own assholes and praising the games for not using combat. On the other side, core gamers are immediately turned off by the lack of combat and write it off as boring.

This War Of Mine screenshot

Refugees have said This War of Mine accurately conveys the constant fear of living in a war-torn region.



One result of this dysfunction is the proliferation of so-called “walking simulators”. These are games whose main play involves walking around consuming either written, visual, or aural media, perhaps with light puzzle-solving mechanics (or similar accents). Many enterprising developers, whether they realize it consciously or not, have seized on the fact that making such a game guarantees some measure of success. They will be praised by academics and critics interested in furthering games as a legitimate medium, and have their game purchased by the small-but-steady audience of non-core, non-casual gamers (most of whom probably chafe at being called gamers).

Some walking simulators are great; I actually enjoyed Gone Home, in a way that I probably wouldn’t have if it had been a movie. They do a good job of immersing you in a focused, meaningful experience. Others are scattered or diluted by dissonant design decisions — like Corpse of Discovery. But nobody cares, because these games aren’t being evaluated on their merits as a game. They are either praised for being a game without combat mechanics, or they are ignored because they are a game without combat mechanics. Little else tends to go into the evaluation process.

Gone Home screenshot

Gone Home gives the player a meaningful experience despite being limited to looking at rooms and listening to audio.



A student game at USC, Chambara, got changed during development to be “non-violent”. The game originally saw samurai dueling in a starkly colored world. Now instead of blood, hitting an enemy produces a burst of feathers. Apparently this one tweak now qualifies it as “a transcendently beautiful and artistic entertainment game with a pacifistic outlook”. That is a direct quote from a faculty member at the school. You may see why this is troublesome to me. First of all, changing blood to feathers doesn’t change the fact that your game is about sneaking around and hitting other people with sticks before they hit you. That seems a far cry from a “pacifist outlook”. Second, this change actually hurts the game aesthetically. The blood splatters beautifully complemented the dichromatic nature of the game’s world. I consider the stark look of a blood splatter to be more artistic than a burst of feathers. Yet the game’s devs decided to make this tweak. Did they do it because it would benefit the game? No. According to the devs, “we were uncomfortable with the violence the game displayed and did not feel like it accurately reflected who we were and what we believed.” In other words, they value a game that contains bloodshed differently than a game that does not. Are they allowed to make this decision based on their personal beliefs? Absolutely. But isn’t it absurd to pretend that this tweak lends the game a “pacifist outlook”, and that it in turn allows the game to transcend to the angelic ranks of non-violent video games?

Blood Splatters

Blood splatters…


Feather Splatters

…and “feather splatters”.



I would urge critics and academics to judge pacifistic games on their merits as a game, not on their merits as a non-violent game. I would urge developers to treat the presence of combat and violence as just one among a countless sea of other design possibilities. If it aids your experience goal, you should include it and tailor it to the needs of your game as an experience. If it doesn’t don’t include it. But don’t decide to make your game non-violent or exclude combat mechanics just because it means your game will be valued as inherently better by a specific set of people.

VR Isn’t Ready

Recently I’ve heard a lot of hubabaloo about VR, especially with regards to games. This wave of hype has been going on for while, but it has personally intensified for me because one of my professors this semester is running a VR startup. I’m also working on a VR-compatible game, so VR talk has become more relevant to me.

Array of current VR headsets

Array of current VR headsets



First off, I believe VR is still 10 years away from its prime-time. The tech is just not advanced to a viable level right now, and some fundamental issues of user experience have yet to be solved.

For example, my professor gave an example of why VR is such an immersive mode of interaction: the first time people put on the headset and jump into a virtual world, they reach out and try to touch objects. He trumpeted this as being evidence of a kinetic experience (i.e. it pushed them to “feel” things beyond what they immediately see). While is this kind of true, I see it far more as evidence of a fundamental shortcoming. The moment a user tries to interact with the world and fails, they are jerked out of the fantasy and immersion is broken. This is true in all games; if a user believes they can interact with the world in a certain way but the world doesn’t respond correctly, the user is made painfully and immediately aware that they are in a game, a simulation.

Control VR isn't enough.

Control VR isn’t enough.

This brings me to the first huge issue: the input problem. VR output is relatively advanced, what with Oculus and Gear VR and Morpheus. But we’ve seen little to no development effort targeted at ways for the user to interact with the world. Sure we have Control VR and such projects, but I think these haven’t caught on because they are so complicated to setup. Oculus made huge strides by turning the HMD into a relatively streamlined plug-and-play experience with a minimal mess of cables. We have yet to see how Oculus’s custom controllers affect the space, but I have a feeling they aren’t doing enough to bridge the haptic gap. We won’t see VR takeoff until users are no longer frustrated by the effort to give input to the game by these unintuitive means. As long as users are constantly reminded they are in a simulation, VR is no better than a big TV and a comfy couch.

Speaking of big TVs: the output tech isn’t good enough. The 1080p of the DK2 is nowhere near high enough to be immersive. Trust me: I’ve gotten to try out a DK2 extensively in the past few months at zero personal cost. My opinion is informed and unbiased. Trying to pick out details in the world is like peering through a blurry screen door. As long as I’m tempted to pop off the headset and peek at the monitor to figure out what I’m looking at, VR isn’t going to take off. Even the 2160×1200 of the consumer Oculus won’t be enough. When we get 3K or 4K resolutions in our HMDs, VR will be a viable alternative to monitor gaming. Of course, this tech is likely 5-10 years away for our average consumer.

These never caught on.

These never caught on.

This all isn’t to say that current VR efforts are for naught. These early adopter experiments are definitely useful for figuring out design paradigms and refining the tech, However, it would be foolish to operate under the assumption that VR is posed to take the gaming world by storm. VR is not the new mobile. VR is the new Kinect. And like the Wii and Kinect, VR is not a catch-all interaction mode; most gaming will always favor a static, laid-back experience. You can’t force people to give up lazy couch-potato gaming.

Of course, outside of gaming it may not be a niche interaction mode. In applications where immersion is not the goal and users expect to have to train in the operation of unnatural, intuitive controls, VR may very well thrive. Medicine, industrial operation, design, and engineering are obvious applications. It might even be useful for education purposes. But temper your expectations for gaming.

Trapped between Eye Candy and Motivation

There’s this really big problem when it comes to working on games (or really any sort of project that lies at the intersection of engineering and design). It has nothing to do with programming or design or testing or art or sound or anything else like that.

The problem is staying motivated. This is especially bad when you are working alone, but it can even happen in groups of 2 or 3 people. Beyond that, you can always find motivation in the stuff that other people are doing, because it comes from outside of your personal drive and creativity. But in small groups or solo projects, the game becomes your baby, and then you get tired of your baby.

Sometimes this happens when you work so long on one subset of features that they sort of blur together and become the totality of the project to you. You quickly get tired of this smaller sub-problem (especially tweaking and tweaking and tweaking), then get tired of the game without realizing there is other interesting work to be done.

Or maybe you realize that there is a lot of stuff to do on the project, but you’ve been working on it so long without much visible or marked improvement that you begin to despair. Maybe the project will never flower, you think. Maybe your efforts will never be used to the full extent they were designed for.

Wherever this loss of motivation comes from, there is one piece of advice I heard that really helps me. It boils down to this: if you keep wishing your game was awesome, make it awesome. Add in that feature you keep thinking about, but keep putting off because there is more important framework-laying to do. Or take some time off and mess around with that one technical gimmick (shader, hardware stuff, multi-threading, proc-gen, or what have you). When you feel yourself losing motivation, give yourself permission to go off and get it back. Don’t soldier on, because your project will inevitably end up on the dump heap with all the other projects you abandoned.

The only problem is, everyone (including myself) always says that adding eye-candy and little trinkets to your project prematurely is a Bad Idea. If you make your game cool by adding eye-candy, the wisdom goes, then your game is no longer cool because of the gameplay (you know, the point of a game). Arguments about whether gameplay is important not-withstanding, if adding a few bits of visual indulgence saves your game from succumbing to ennui, then by all means, add the cool things!

From Light

I haven’t posted in a while, in part because I’ve been busy with a lot of things. Maybe I’ll make posts about some of those other things at one point, but right now I just want to talk about From Light.

Logo for the game.

From Light is a game that I have had the pleasure and honor to help develop. It was originally created as a class project by two other students, but when it showed promise they decided to develop it further. Our team has now grown to 10 people, all (save one) students at USC.

The game is a 2D puzzle platformer based on long-exposure photography (holy hell have I said that line a lot). Basically, you can etch out light trails onto film using the stars in the sky, then jump on those trails to navigate the levels.

I mention that I’ve said the above line a lot because the game got accepted into the PAX 10 for PAX 2015, and I went up to Seattle last weekend with 3 other teammates to show the game off at the four-day gaming convention. This, you may have gathered, is completely and mindbogglingly awesome. I get to work on a game that is recognized and validated by real-world people! And truly, the reception of PAX was way more than I ever would have expected. People frickin’ loved the game!

 PAX 10 Logo  Photo of us at the booth.

And at PAX one of the things I heard again and again was that taking a game to completion, to the point where it could be shipped and sold as an actual game (y’know, for money), is an invaluable experience. Not only do you get a sellable game and a fantastic line on your resume, you also get all the experience involved in taking a game from 80% to 100%, and all the non-development business stuff involved in getting your game out to consumers. Needless to say, this convinced me that we should take From Light to completion. Before, I had been hesitant because as students it was unlikely we could put in the time to finish it fully. However, I am now willing to work harder than I have ever worked before to finish this game.

In the meantime, if it strikes your fancy please “like” the game on Facebook, or follow us on Twitter, or just download the game from our website.

The Community-Driven Game

Imagine you are driving a car, and you have three of your misanthropic friends in the back. Suddenly they lean forwards and ask if they can help steer. You think this might be a bad idea, but before you can react they clamber forwards and put their hands on the wheel. Most people would at this point judge the situation as “not a good idea”.

Replace your annoying friends with the Internet (uh oh), and replace the car with an indie game. Congratulations, you have just created the perfect environment for a terrible game to develop. Actually, often times the situation only gets as far as the Internet playing backseat driver, yelling out confusing and contradicting directions that are both useless and hard to ignore. But for a game like KSP, the community has leapt into the passenger seat and nearly wrested controls from the developer.

The developers of KSP are driving towards a cliff of not-fun. They could probably make a good game that stood on it’s own and appealed to a certain audience if left to their own devices. However, because the early prototypes of the game drew such a diverse crowd, the fans want the game to head in a couple of conflicting directions. Few people share a common vision for the game, and a lot of people like to play armchair game designer.

I honestly think some of the more prolific modders in the community have been taking the game in a more suitable direction. Meanwhile, the community quibbles over what should be included in the stock game and what shouldn’t. I want to take one of my biggest peeves as a case study:

One of the most touted arguments against certain large features is that the feature merely adds another level of complexity without adding any “true gameplay”. For example,

  • Life Support would just mean another thing to worry about, and it would reduce the amount of shenanigans you can do (stranding Kerbals on planets for years, etc).
  • Living Room/Sanity mechanics? Nope, it would just be a hassle. You have to bring up bigger habitats any time you want to send a mission to somewhere far away. It doesn’t add any gameplay during the mission.
  • Reentry heating? That just restricts craft designs, making people conform to certain designs and plan around reentry.
  • Different fuel types? Too complex, requires a lot of learning and planning before hand, and only restricts your options during a mission (again, restricting shenanigans).
  • Realistic reaction wheels that don’t provide overwhelming amounts of torque and require angular momentum to be bled off with a reaction system periodically? Could prove to be annoying during a critical part of a mission if you hit max angular momentum. Requires you to put in a reaction system even if you only want to rotate your craft (not translate).

Do you see the problem with these arguments? You are arguing that something shouldn’t be added to the game because it adds gameplay that isn’t in the game right now. See how circular and pointless the argument is? The worst part is that it could be extended to basically any part of the game that exists right now.

  • Electric charge? What if you run out of charge during a critical maneuver, or go behind the dark side of the planet. It’s A GAME, we shouldn’t have to worry about whether or not the craft is receiving light. Just assume they have large batteries.
  • Different engine types? That would add too much planning, and just limits the performance of the craft. What if I need to take off, but my thrust is too low to get off the ground? That wouldn’t be very fun.
  • Taking different scientific readings? That sounds like it would be pretty tedious. You shouldn’t add something that is just going to be grinding. The game doesn’t have to be realistic, just fun.
  • A tech tree? Why restrict players from using certain parts? What if they want to use those parts? You shouldn’t restrict parts of the game just so the player has to play to unlock them. That doesn’t accomplish anything.

Hell, why even have a game in the first place? It sounds like a lot of thinking and planning and micromanagement and grinding.

Of course, this could be considered reductio ad absurdum, but the problem is that it actually isn’t. The arguments against Life Support or different fuel types or reentry heating just don’t hold any water. Yet people hate against them, so the developers are less likely to put them in the game. Since I started with a metaphor, I’ll end with one:

The developers of KSP are driving towards a cliff because the community told them to. Fortunately, they realized it and are now putting on the brakes. In response, the community is shouting “why are you putting on the brakes? That only slows the car down!” To which I reply, “yes, yes it does.”

Advanced Game Projects

In the USC Games program (which spans a number of majors and schools), we have annual process that falls under the moniker of Advanced Game Projects, or AGPs. This process involves a student-assembled and student-lead team building a game in a roughly 10 month development cycle. I’m excited that this process exists.

Bloom, an AGP from a previous year.

It starts with a pitch process in the Spring semester, currently consisting of three phases: a paper proposal, submission of a prototype, and finally a live pitch sessions with a board of judges. Games that pass successfully through the pitch process get slated for development the following year. A student lead (who presumably came up with the idea, assembled a small team for the pitch, and is generally the main driver behind the project) begins to recruit a large team and pound out pre-production design over the Summer.

In the Fall, most people on an AGP team register for the associated class, which gives time to meet and talk with mentors from the industry about the management problems that have cropped up. Because working on an AGP is a requirement of my major, there is always a pool of student talent for teams to pick up. This results in AGP teams that can range anywhere from 20 to 40 people. Needless to say, this is a huge undertaking and an incredible responsibility for the team lead.

However, by Demo Day in the Spring, the team will have (hopefully) created a relatively well-polished game, albeit generally small in scope. The games are displayed at Demo Day, and not only do students attend and sample the various AGPs, but industry professionals are present as well. So AGPs are a great opportunity for networking with professionals and finding mentors, as well as landing a big, fat, good-looking game in your portfolio.

I have an ambition to lead an AGP in my sophomore or junior year, but in the mean time I’ve hopped on board with an AGP that plans to pitch later this Spring. Being present from the start of the process and being able to talk with the team lead gives great insight. Even if the AGP doesn’t make it past the pitching process, I’ve learned a lot about do’s and dont’s of assembling and running a team, as well as formulating and developing an idea into a pitchable game.

The idea we are pitching is for a humorous single-player side-scrolling multi-character action-adventure role-playing hack-and-slash, or more basically, Castle Crashers meets Dawn of War 2. Or something.

A screenshot from our latest prototype.

The eternal struggle is a combination of scope and pushing the game in a direction that is likely to pass the pitch process. You see, certain types of games tend to be favored; the faculty making the decision explicitly point this out. Games that focus on pushing the boundaries of technology, implement rare or radical gameplay concepts, are socially progressive, or take risks and target uncommon platforms are generally selected over games that try to put a small spin on a well-worn concept, or aim to execute a tried-and-true concept especially well.

This difficulty is compounded by an ultimate lack of direction with our current concept (at least in my mind). The takeaway is that a game concept should be centralized around a single, appealing idea. Hearing that concept should instantly spark at vivid image in your mind, and should either inspire you to work on the project or play the game. This is why iterating on an existing idea is less appealing. In addition, if you find yourself searching for material to fill out your game with, the core concept probably isn’t strong enough. The feel or driving mechanic (whatever makes your game sound good in the first place) should spawn a myriad of possible directions. Thinking hard about what to cut out of your idea is a good position to be in; thinking hard about what would be a good thing to put in is not.

Maybe this seems counter-intuitive, or vague and unhelpful. Let me give you an example by explaining one of the concepts that I might potentially develop into a pitchable AGP.

I actually described this in a previous post. Basically, the player struggles to keep their third world country afloat, and build up. I like to describe it as Banished crossed with Civilization. The player experience goal is something along the lines of “after struggling to balance a myriad of factors based on real-life, players gain a new appreciation for the difficulties faced by distant and otherwise foreign places.”

As you can see, I would be approaching the game from a social-awareness / global education standpoint. Like KSP teaches players physics, this game would teach players the difficulties of third-world politics. Of course, the game is also a technical and design challenge. Technically, building a simulation with enough fidelity that also performs well would be hard. Creating challenging AI opponents would also be interesting. Design-wise, the game needs a fun yet realistic interplay of economics, politics, and sociology, which is a design direction I doubt many AGPs have pursued. This sort of novelty would be appealing to the pitch process, I imagine.

However, my plans continue to evolve as I watch the process unfold. If all goes according to plan, I’ll pitch next year.

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