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Added 24 Jan 05 Updated JUST
Publisher New Riders Games
Publication Date 2003-05-11
Paperback - 648 Pages
ISBN 1592730019
How often have you heard "anyone can design a game?" While it seems like an easy job, game ideas are cheap and plentiful. Advancing those ideas into games that people want to play is one of the hardest, and most under-appreciated, tasks in the game development cycle. Andrew Rollings and Ernest Adams on Game Design introduces both students and experienced developers to the craft of designing computer and video games for the retail market. The first half of the book is a detailed analysis of the key game design elements: examining game concepts and worlds, storytelling, character and user interface design, core mechanics and balance. The second half discusses each of the major game genres (action, adventure, role-playing, strategy, puzzle, and so on) and identifies the design patterns and unique creative challenges that characterize them. Filled with examples and worksheets, this book takes an accessible, practical approach to creating fun, innovative, and highly playable games.
How often have you heard "anyone can design a game?" While it seems likean easy job, game ideas are cheap and plentiful. Advancing those ideasinto games that people want to play is one of the hardest, and mostunder-appreciated, tasks in the game development cycle. Andrew Rollingsand Ernest Adams on Game Design introduces both students and experienced developers to the craft of designing computer and video games for the retail market. The first half of the book is a detailed analysis of thekey game design elements: examining game concepts and worlds,storytelling, character and user interface design, core mechanics andbalance. The second half discusses each of the major game genres(action, adventure, role-playing, strategy, puzzle, and so on) andidentifies the design patterns and unique creative challenges thatcharacterize them. Filled with examples and worksheets, this book takesan accessible, practical approach to creating fun, innovative, andhighly playable games.
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The book was great in condition and looked new and it came in fast like promissed.
This book is enjoyable for anyone interested in computer game design. However, enjoyable and illuminating are two different things. Beginning with the obviously misguided analysis that computer games are not an art form because the process of designing them is not all a matter of creativity, but that of skill and calculation as well (which is the way it is for any art form), the authors begin a journey of, well, describing what computer games are like.
Overall, the book seems more to describe than explain, more to report than interpret. There arises no general, well defined thesis from its 500+ page volume. At best, this book can be said to raise a lot of issues which a designer ought to have in mind when designing a game.
However, the vast majority of the issues raised are either of secondary importance or generally irrelevant. It breaks down the process of game design into topics in a way which is neither natural nor logical, and proceeds to pursue a rather sizyphusian discussion of each of these topics in turn. These are: What is Game Design?, Game Concepts, Game Settings and Worlds, Storytelling and Narrative, Character Development, Creating the User Experience, Gameplay, and The Internal Economy of games and Game Balancing.
This division makes very little sense. These topics are all so closely related, some to the point of overlapping, that attempting to develop a theorem which deals with each of them separately would result in exactly the kind of negligible book we have before us.
Actually, it would be impossible for the authors to develop any meaningful discussion of their subject, because they fail to define a) what we are trying to create and b) how do we measure our success. Nor can such a definition be induced from this overflous and superficial book. Without this definition, there is nothing that binds the book’s pieces together (and, actually, had the authors bothered to provide a rigorous definition, they would have realized that no reasonable definition could be found for the garbled mess they’ve created), and it remains a pile of expressions in the spirit of "some people did this in some games, and some people did that in some other games". In short, the book does an admirable job in showing how NOT to perform a critical analysis of a subject, not to mention attempt to construct a wholesome theory.
While the book can be interesting at times, mainly because it makes one think on how such a book SHOULD be written, it is chuck full of assertions obviously made on the basis of misunderstandings, like the authors’ curious misuse of the term Suspension of Disbelief, or their suggestion of the Hero’s Journey narrative template as an object of imitation rather than a tool for analysis.
The authors’ goal with this book also seems questionable. At one point, they assert that, even were it possible, we wouldn’t like our player to be tormented by remorse after taking an immoral action in the game. Why? isn’t moral education one of the most important and unique roles of art? If it were indeed possible, and I’m sure it is, it would’ve been a glorious achievement for this medium, one which would put all its previous achievements far behind.
Or are the authors only interested in computer games as a source of pure fun? If so, I suggest they invest their impressive talent and enthusiasm in cooking or adult toy design - a medium’s greatness lies not in the fun it offers, and these repeatable fields are all about fun.
An interesting book for raising a large scale discussion, but one which falls short of grasping the deeper principles of its subject, and is, therefore, unimportant.
This book is enjoyable for anyone interested in computer game design. However, enjoyable and illuminating are two different things. Beginning with the obviously misguided analysis that computer games are not an art form because the process of designing them is not all a matter of creativity, but that of skill and calculation as well (which is the way it is for any art form), the authors begin a journey of, well, describing what computer games are like.
Overall, the book seems more to describe than explain, more to report than interpret. There arises no general, well defined thesis from its 500+ page volume. At best, this book can be said to raise a lot of issues which a designer ought to have in mind when designing a game.
However, the vast majority of the issues raised are either of secondary importance or generally irrelevant. It breaks down the process of game design into topics in a way which is neither natural nor logical, and proceeds to pursue a rather sizyphusian discussion of each of these topics in turn. These are: What is Game Design?, Game Concepts, Game Settings and Worlds, Storytelling and Narrative, Character Development, Creating the User Experience, Gameplay, and The Internal Economy of games and Game Balancing.
This division makes very little sense. These topics are all so closely related, some to the point of overlapping, that attempting to develop a theorem which deals with each of them separately would result in exactly the kind of negligible book we have before us.
Actually, it would be impossible for the authors to develop any meaningful discussion of their subject, because they fail to define a) what we are trying to create and b) how do we measure our success. Nor can such a definition be induced from this overflous and superficial book. Without this definition, there is nothing that binds the book’s pieces together (and, actually, had the authors bothered to provide a rigorous definition, they would have realized that no reasonable definition could be found for the garbled mess they’ve created), and it remains a pile of expressions in the spirit of "some people did this in some games, and some people did that in some other games". In short, the book does an admirable job in showing how NOT to perform a critical analysis of a subject, not to mention attempt to construct a wholesome theory.
While the book can be interesting at times, mainly because it makes one think on how such a book SHOULD be written, it is chuck full of assertions obviously made on the basis of misunderstandings, like the authors’ curious misuse of the term Suspension of Disbelief, or their suggestion of the Hero’s Journey narrative template as an object of imitation rather than a tool for analysis.
The authors’ goal with this book also seems questionable. At one point, they assert that, even were it possible, we wouldn’t like our player to be tormented by remorse after taking an immoral action in the game. Why? isn’t moral education one of the most important and unique roles of art? If it were indeed possible, and I’m sure it is, it would’ve been a glorious achievement for this medium, one which would put all its previous achievements far behind.
Or are the authors only interested in computer games as a source of pure fun? If so, I suggest they invest their impressive talent and enthusiasm in cooking or adult toy design - a medium’s greatness lies not in the fun it offers, and these repeatable fields are all about fun.
An interesting book for raising a large scale discussion, but one which falls short of grasping the deeper principles of its subject, and is, therefore, unimportant.
The first half of this book is great, and the chapter on *What Gameplay Is* alone makes this book more than worth it. Rollings and Adams propose a new definition of game - to replace Sid Meier’s off-the-cuff definition "A series of meaningful choices" - that is more general, more liberating, and more true. So anyone who is annoyed by the fact that their favorite linear platformer supposedly isn’t a game by the Meier definition can turn to this. It sounds like a small thing, but so many designers quote the Meier definition so often I expect that this small pebble will create ripples that will effect the kinds of games we see in the future. By focusing on challenges rather than choices, Rollings and Adams have changed the way I think about game design.
Also, while Rollings’ other book is most suited for people making strategy games, this book really is general enough to be a worthy read for anybody working on any kind of game.
I only gave it four stars because, for me, the last half of the book--summary chapters of different game genres--was mostly throwaway, rarely going into very much depth or telling me information I didn’t know already.
In writing a book review, it’s important to realize the importance of "cover previews." In essance, the cover previews provide a contract for either what a book is about or what information the book will provide.
For instance, the back cover of the book On Game Design posits: "How do you turn a great idea into a game design? What makes one design better than another? Why does a good design document matter, and how do you write one? This book answers these questions and stimulates your creativity?"
It is important to note that the book does not limit itself to console video games or computer games. The essence of the rules discussed in this book are those of creating any type of game. Right away that should tell you whether or not you’re going to find the book useful. Are you looking for a book that tells you, in general and abstract terms, what concepts are involved with creating a game, or are you looking for a book that actually works examples of concepts?
While this book does a good job of providing many checklists for consideration, advice for certain conditions, and a dictionary of possible ways to view game design, the writers do not follow through. There are few solid examples of checklist scenarios or of worked-through versions of a game scenario which a game designer would find helpful. Without a practical means to an end, there is little purpose in reading these examples except for reassurance that you’re facing the same problem that other people have faced. There are many psychology texts available for that situation already.
If you’re used to reading programming books, like I am, you’re probably aware that they follow a standard format: Propose a problem, choose a method of solution, work through several to many versions of the solution, solve the problem. With only a proposal, it is rather unhelpful to not see why one solution is better than another when it comes to game design. For that matter, as you might have guessed, the level of abstraction to design presented in this book leaves no space for any code examples.
While the advice given in certain situations might be helpful to someone who knows nothing about game design, it is highly likely that whoever reads this book will have little need of it since the advice is so much common sense that a gamer of several years would already be aware of much of this. It’s like a senior in college having to take freshman seminar.
But, aside from this little discussion of fault, there is much to be savored in this book. Don’t let this review scare you off! Get a copy of the book. Read it. Keep it as a reference for when you might need a more formalized way of presenting a problem you face in game design.
And as I’m sure you know, once you’ve found a way to state a problem, you’re almost ready to find a way to solve it.
As the global computer games industry becomes bigger business, and games are increasingly recognised as an art form, it seems surprising that the process of game design is so misunderstood. Books like Rollings and Adams on Game Design help clarify the process of game design, and as such are a vital step in clarifying game design, and providing guidance as to what that process entails.
Rollings and Adams on Game Design (hereafter, `the book’) covers in broad strokes the elements of game design, both in general terms, and in connection with specific genres. The book begins by identifying the common elements of games of all kinds, and then moves on to discussing the many different classes of game, and what they have in common.
The first section, The Elements of Game Design, is an excellent treatment of the broad-strokes components of game design - a novice designer will find much to educate in this section, and even an experienced pro will find wisdom and opinion well worth the time and money. Topics such as narrative design and game balancing - often ignored - are dealt with in a generalised but comprehensive fashion, and as such this section also serves as an excellent introduction to the role of a game designer.
The main body of the book is in the second section, which consists of individual chapters covering various game genres. Because no single standard for game genre exists, the choice of genres may raise some eyebrows with some people, but within the context of the book the genre choices are very sensible and provide a good framework.
The quality of the genre chapters is variable, but generally of an excellent standard. Some are truly exceptional however, in particular that on Sports Games and the sub-section on Games for Girls contain information very hard to gain from another source. Chapters on Action, Strategy, Vehicle simulations and Construction/Management sims provide a solid discussion of the key features of these genres, although Action has been defined in such a way as to seem biased towards shooters and against platform games. It may have been worth considering these two largely divergent genres as separate forms - but to do so would have been to risk fragmenting the focused nature of the material.
Chapters on Adventure Games, A-life and other minority pursuits are quite possibly the best summary of the forms available anywhere, and the chapter on online games (written with the assistance of Raph Koster) is a superb précis of a notoriously difficult to summarise area.
There are some drawbacks, but mostly due to the generalised nature of the work. Because the book must cover everything, it necessarily covers everything briefly. Many of the chapters end when you are just beginning to get a taste for the details. As the authors note, an attempt to cover everything in detail would be the work of several volumes.
Similarly, although much is said of the process of game mechanic design and game world abstraction, little is said of the process of design where it relates to the involvement of the team as a whole. Game design is often a process of `game design co-ordination’ - managing the design of the game through the changing world of the development cycle. The book provides no help for this challenging task - which again would need a book of its own to cover thoroughly.
That aside, this book is an essential reference for any game designer with less than ten years of experience, and especially for anyone new to the practice of game design. People with an interest in games will learn a tremendous amount about the underlying mechanisms of game design, and need not worry about complex mathematics or other technical detail, as most of the book is written in very easy-to-follow prose.
For anyone who has started on the path of a game designer, or who is interested in game design, Rollings and Adams on Game Design offers a superb breadth of information and should be considered an essential purchase.
This is one of the better books on interactive game design, and makes a good introduction to the subject. The authors are familiar with a wide variety of game genres and discuss them intelligently.
It reads well and is quite comprehensive, and the fact that the authors are clearly familiar with many recent games, and use them as examples, makes the book stronger.
I’d suggest someone interested in this career get this book, along with Eddie Dombrower’s "Art of Interactive Entertainment Design" as two good choices to understand the issues and processes involved in putting out games.
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