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Game Design Workshop
A Playcentric Approach to
Creating Innovative Games
Fourth Edition
Game Design Workshop
A Playcentric Approach to
Creating Innovative Games
Fourth Edition

Tracy Fullerton
CRC Press
Taylor & Francis Group
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Contents

Foreword. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xix
Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxi
Acknowledgments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxiii
Image Credits and Copyright Notices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxvii
Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxxi

Part 1 Game Design Basics. . . . . . . . . . . . . . . . . . . . . . . . . . 1

Chapter 1 The Role of the Game Designer . . . . . . . . . . . . . . . . . . . . . . . . . . 3
An Advocate for the Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Playtesters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Passions and Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Communication. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Teamwork. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Inspiration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Becoming a Better Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Creativity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
A Playcentric Design Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Setting Player Experience Goals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Prototyping and Playtesting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Designers You Should Know. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Iteration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
The Iterative Design Process. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Prototypes and Playtesting in the Industry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
v
vi Contents

Designing for Innovation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Designer Perspective: Christina Norman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Designer Perspective: Warren Spector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
End Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Chapter 2 The Structure of Games. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Go Fish versus Quake. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Go Fish . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Quake . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Comparison. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Engaging the Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Challenge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
What is a Puzzle?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Premise. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Character. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Story. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Dramatic Elements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
The Sum of the Parts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Defining Games. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Beyond Definitions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Designer Perspective: Jane McGonigal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Designer Perspective: Randy Smith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
End Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Chapter 3 Working with Formal Elements. . . . . . . . . . . . . . . . . . . . . . . . . . 57

Players. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Invitation to Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Number of Players. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Roles of Players . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Player Interaction Patterns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Persuasive Games. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Objectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Procedures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Connect Four. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Super Mario Bros.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
 Contents vii

Comparison. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
System Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Defining Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Rules. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Rules Defining Objects and Concepts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Rules Restricting Actions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Rules Determining Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Defining Rules. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Lives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Units. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Health . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Currency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Actions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Power-ups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Inventory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Special Terrain. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Conflict . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Obstacles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Opponents. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Dilemmas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Boundaries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
The Mechanic is the Message. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Outcome. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Designer Perspective: Tim LeTourneau. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
End Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Chapter 4 Working with Dramatic Elements. . . . . . . . . . . . . . . . . . . . . . . . 97

Challenge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
A Challenging Activity That Requires Skill. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
The Merging of Action and Awareness. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Clear Goals and Feedback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Concentration on the Task at Hand. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
The Paradox of Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
The Loss of Self-Consciousness. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
The Transformation of Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Experience Becomes an End in Itself . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
viii Contents

Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
The Nature of Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Types of Players. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Levels of Engagement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Premise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Character . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Story. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Directing Games for Emotion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
World Building. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
The Dramatic Arc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Designer Perspective: Dr. Ray Muzyka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Designer Perspective: Don Daglow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
End Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Chapter 5 Working with System Dynamics . . . . . . . . . . . . . . . . . . . . . . . . 129

Games as Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Properties. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Behaviors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Relationships. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
System Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Deconstructing Set. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Tic-Tac-Toe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Chess. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Mastermind versus Clue. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Economies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Simple Bartering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Complex Bartering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Simple Market. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Complex Market. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Metaeconomy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Emergent Systems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Interacting with Systems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Information Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Feedback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Interaction Loops and Arcs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Tuning Game Systems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
 Contents ix

Designer Perspective: Alan R. Moon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Designer Perspective: Frank Lantz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
End Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Part 2 Designing a Game . . . . . . . . . . . . . . . . . . . . . . . . . 167

Chapter 6 Conceptualization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Where Do Ideas Come From?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Brainstorming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Brainstorming Best Practices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Alternative Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
List Creation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Idea Cards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Electronic Arts Preproduction Workshop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Mind Map. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Stream of Consciousness. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Shout It Out. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Cut It Up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Surrealist Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Research. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Editing and Refining. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Technical Feasibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Market Opportunity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Artistic Considerations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Business/Cost Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
A Conversation with Will Wright. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Turning Ideas into a Game . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Focus on the Formal Elements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Practice, Practice, Practice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Feature Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Getting the Most out of Focus Groups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Feature Storyboards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Experimental Gameplay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Ideas vs. Designs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Designer Perspective: Josh Holmes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
End Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
x Contents

Chapter 7 Prototyping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Methods of Prototyping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Physical Prototypes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Battleship Prototype. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
More Examples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Up the River Prototype. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Prototyping a First-Person Shooter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Catastrophic Prototyping and Other Stories. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Perspective on Physical Prototyping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Prototyping Your Original Game Idea. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Visualizing Core Gameplay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Building the Physical Prototype. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
The Design Evolution of Magic: The Gathering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Refining Your Visualization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Making the Physical Prototype Better. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Beyond the Physical Prototype. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Designer Perspective: James Ernest. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Designer Perspective: Katie Salen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Chapter 8 Digital Prototyping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Types of Digital Prototypes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Prototyping Game Mechanics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Prototyping Aesthetics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Prototyping Kinesthetics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Prototyping Technology. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Using Software Prototypes in Game Design. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Prototyping Cloud. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Designing Control Schemes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Prototyping for Game Feel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Selecting Viewpoints. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Overhead View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Side View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Isometric View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
First-Person View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Third-Person View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Effective Interface Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Form Follows Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Metaphors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
 Contents xi

Visualization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Grouping Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Consistency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Feedback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Prototyping Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Programming Languages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Game Engines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Level Editors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Designer Perspective: David Perry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Designer Perspective: Elan Lee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
End Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Chapter 9 Playtesting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Playtesting and Iterative Design. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Recruiting Playtesters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Self-Testing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Playtesting with Confidants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Playtesting with People You Do Not Know. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Finding the Ideal Playtesters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Playtesting with Your Target Audience. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Conducting a Playtesting Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Why We Play Games. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Introduction (2–3 Minutes). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Warm-Up Discussion (5 Minutes). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Play Session (15–20 Minutes). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Discussion of Game Experience (15–20 Minutes) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Wrap-Up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Methods of Playtesting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
How Feedback from Typical Gamers Can Help Avoid Disappointing Outcomes . . . . . 289
A Primer for Playtesting: Don’t Follow These Rules! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
The Play Matrix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Taking Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Basic Usability Techniques. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Do Not Lead. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Remind Testers to Think Out Loud . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Quantitative Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Metrics in Game Design. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Data Gathering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Test Control Situations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
xii Contents

Playtesting Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Connect Four. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Final Analysis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
End Note. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Chapter 10 Functionality, Completeness, and Balance. . . . . . . . . . . . . . 311

What Are You Testing For? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Foundation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Structure. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Formal Details. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Refinement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Is Your Game Functional? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Is Your Game Internally Complete?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Solution #1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Solution #2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Solution #3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Solution #4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Discussion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Loopholes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Loopholes versus Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Dead Ends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
Wrapping Up Completeness. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
Is Your Game Balanced?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Balancing Variables. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Balancing the Dynamics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Reinforcing Relationships. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Dominant Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Dominant Strategies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Balancing Positions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Symmetrical Games. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
Asymmetrical Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
Asymmetrical Objectives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Ticking Clock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Protection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Combination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Individual Objectives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Complete Asymmetry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Balancing for Skill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Balancing for the Median Skill Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
 Contents xiii

Balancing Dynamically. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Balancing Computer-Controlled Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Techniques for Balancing Your Game. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Think Modular. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
A Conversation with Rob Pardo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Purity of Purpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
One Change at a Time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Spreadsheets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Designer Perspective: Brian Hersch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Designer Perspective: Heather Kelley. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
End Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Chapter 11 Fun and Accessibility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Is Your Game Fun?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349
Challenge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349
Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Story. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354
Analyzing Appeal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354
Improving Player Choices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Types of Decisions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Dilemmas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Cake-Cutting Scenario. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
The Prisoner’s Dilemma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Puzzles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Rewards and Punishments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
Anticipation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Surprise. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Progress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
The End. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
Fun Killers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Micromanagement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Tuning and Balance: Us vs. It. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Stagnation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Insurmountable Obstacles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
Arbitrary Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Predictable Paths. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Beyond Fun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Is Your Game Accessible? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Using Audio as a Game Feedback Device. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
xiv Contents

Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Designer Perspective: Robin Hunicke. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383
Designer Perspective: Lorne Lanning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
End Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388

Part 3 Working as a Game Designer. . . . . . . . . . . . . . . . 389

Chapter 12 Team Structures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Team Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392
Publisher versus Developer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392
Developer’s Team. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
Game Designer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
Producer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
Building Inclusive Design Teams. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Programmers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Visual Artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401
QA Engineers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403
Specialized Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403
Level Designer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404
Publisher’s Team. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
Producer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
Marketing Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
Executives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
QA Engineers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Usability Specialists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
User Research and Metrics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408
Team Profile. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
All Contribute to the Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Team Building. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410
Team Communication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410
Conducting Meetings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411
Agile Development. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
Designer Perspective: Nahil Sharkasi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413
Designer Perspective: Matt Firor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416
Designer Perspective: Jenova Chen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
End Note. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
 Contents xv

Chapter 13 Stages and Methods of Development. . . . . . . . . . . . . . . . . . . 423

Stages Defined. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Concept/Contract. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424
Preproduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426
Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427
QA/Polish. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428
From Classroom to Console: Producing flOw for the PlayStation 3. . . . . . . . . . . . . . . . . 429
Ongoing Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431
Using Agile Development. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431
Agile Project Planning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Goals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Priorities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434
Schedule. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434
Budget. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435
Scoping and Revising . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436
Opportunities for Indie Gamemakers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437
Milestones and Approvals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
Designer Perspective: Michael John. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
Designer Perspective: Jeff Watson. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Chapter 14 Communicating Your Designs . . . . . . . . . . . . . . . . . . . . . . . . 449

Visualization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449
Flowcharts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Tables and Spreadsheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Concept Art. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Description. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454
Virtual Reality and the Oculus Rift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455
Formats for Design Documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
Contents. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
Design Macros. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
Designer Perspective: Anna Anthropy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
Designer Perspective: Rob Daviau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469
End Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469
xvi Contents

Chapter 15 Understanding the New Game Industry . . . . . . . . . . . . . . . . 471

The Size of the Game Industry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471
Platforms for Distribution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Consoles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Sony PlayStation 4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Microsoft Xbox One. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Nintendo Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Computer (PC and Mac) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Mobile (Phone and Tablet). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474
Virtual Reality and Alternate Reality. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474
Genres of Gameplay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474
Action Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
Strategy Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
Role-Playing Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
Mobile Game Design and Zombies, Run!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476
Sports Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479
Racing/Driving Games. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479
Simulation/Building Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479
Flight and Other Simulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480
Adventure Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480
Educational Games. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480
Children’s Games. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480
Casual Games. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480
Experimental Games. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Publishers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Electronic Arts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Square Enix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Nintendo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Sony Computer Entertainment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482
Developers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482
The Business of Game Publishing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483
Element 1: Development. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483
Element 2: Licensing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484
Element 3: Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485
Element 4: Distribution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486
Designer Perspective: Keita Takahasi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487
Designer Perspective: Graeme Bayless. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492
End Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492
 Contents xvii

Chapter 16 Selling Yourself and Your Ideas to the Game Industry. . . . 493
Getting a Job at a Publisher or Developer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
Educate Yourself. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
Academic Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494
Play Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494
Design Games and Levels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494
Know the Industry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495
Networking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495
Organizations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495
Conferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495
Internet and E-mail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496
Starting at the Bottom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496
Interning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
QA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
Pitching Your Original Ideas. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
Pitch Process. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
Pitch Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
What Happens after the Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500
Independent Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501
Designer Perspective: Erin Reynolds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502
Designer Perspective: Matt Korba. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505
Designer Perspective: Asher Vollmer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508

Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
Foreword
There is a connection. Every point in my life is con-
nected to every other point. The connection is there.
One need only imagine in full freedom.
—Peter Handke
There is magic in games.
Not magic like a level 19 fireball spell is magic.
Not the kind of magic you get when you purchase a
trick in a magic store. And not the kind of mystical
experience that organized religion can go on about.
No, games are magic in the way that first kisses are
magic, the way that finally arriving at a perfect solu-
tion to a difficult problem is magic, the way that con-
versation with close friends over good food is magic.
The magic at work in games is about finding hid-
den connections between things, in exploring the
way that the universe of a game is structured. As all
game players know, this kind of discovery makes for
deeply profound experiences. How is it possible that
the simple rules of chess and Go continue to evolve
new strategies and styles of play, even after centu-
ries and centuries of human study? How is it that the
nations of the entire world, and even countries at
war with each other—at war!—can come together to
celebrate in the conflict of sport? How do computer
and videogames, seemingly so isolating, pierce our
individual lives, and bring us together in play?
To play a game is to realize and reconfigure these
hidden connections—between units on a game board,
between players in a match, between life inside the
game and life outside—and in so doing, create new
meaning. And if games are spaces where meaning
is made, game designers are the meta-creators of
meaning, those who architect the spaces of possibil-
ity where such discovery takes place.
Which is where this book comes in. You are read-
ing these words because you are interested in not
just playing games, but making them. Take my word
for it: Game Design Workshop is one of the very few
books that can truly help you to make the games that
you want to make. Those games bursting from your
heart and your imagination. The ones that keep you
up at night demanding to be designed. Games that
are brimming with potential for discovery, for mean-
ing, for magic.
Game Design Workshop presents, with sharp intel-
ligence and an eye to the importance of the design
process, tried-and-true strategies for thinking about
and creating games. More than just fancy notions
about how games work, Game Design Workshop is
a treasury of methods for putting game design theo-
ries into practice. Tracy Fullerton has real experience
making games, teaching game designers, and writing
about game design. And I can honestly say that she
has personally taught me a great deal about games. In
the ambition of its scope and the value of its insights,
you hold in your hands a unique text.
Why do we need a book like Game Design
Workshop? Because despite the fact that games are
so very ancient, are part of every culture, and are
increasingly important in people’s lives, we hardly
know anything about them. We are still learning.
What makes games tick? How do we create them?
How do they fit into culture at large? The explosion
of computer and videogames in recent decades
has multiplied the complexity and the stakes of
xix
xx Foreword
such questions. For better or worse, questions like
these don’t have simple answers. And Game Design
Workshop won’t give them to you. But it can help
you figure out how to explore them on your own,
through the games you design.
We are living through the rebirth of an ancient
form of human culture. Just as the 19th century ush-
ered in mechanical invention, and the 20th century
was the age of information, the 21st will be a century
of play. As game designers, we will be the architects,
the storytellers, and the party hosts of this playful
new world. What a wonderful and weighty respon-
sibility we have. To bring meaning to the world. To
bring magic into the world. To make great games.
And to set the world on fire through play.
Are you with me?
Eric Zimmerman
Preface
So much has changed in the game industry since
I wrote the first edition of this book almost fifteen
years ago. There has been an explosion in new plat-
forms of play and an emergence of exciting new
markets and genres of games. Today, it seems that
everyone plays games, everywhere. The one con-
stant I see in this world of change is the need for
innovative game designers to realize the potential
for play in all of these new platforms and places.
And so I offer this updated edition, with its
strong focus still on learning the playcentric process
of design and iteration, but enhanced with updated
techniques and ideas that have sprung from today’s
industry, and filled with the perspectives of new
designers who are on the front lines of facing today’s
design challenges and opportunities—designers such
as Jane McGonigal, Ian Dallas, Dan Cook, Robin
Hunicke, Randy Smith, Michael John, Elan Lee, Anna
Anthropy, Christina Norman, and more. This edi-
tion includes sidebars on building inclusive teams,
on emerging opportunities in independent design
and publishing of games, on emotion-driven game
design, on mobile games and virtual reality systems,
on art games and social games, and on techniques
for tuning games and using metrics to get the best
player experience.
Back when I wrote the first version of this book,
there was a sense in the field that game design was
not something that could be taught. You either
had a “knack” for games or you didn’t. Needless
to say, I didn’t agree. Fast-forward fifteen years
and the sense is completely different. Now, game
design programs, such as the one that I direct at
USC, are seen as incubators for innovative ideas
and people. The training that students get in such
programs is coalescing into a set of best practices
that turn out creative people who are able to work
well on diverse teams, and who have strong design
skills and understanding of how to create interest-
ing game mechanics. Some of these programs have
arisen in technical schools, some in art schools,
and others in a staggering variety of disciplines
that cross the humanities, arts, and sciences. Game
design is everywhere.
Not only is everyone learning game design, but
everyone is doing it. Today’s schoolchildren are
using construction games like Minecraft or SimCity
to learn history and environmental awareness. Their
love of games is leading them to learn critical skills
like systems thinking and procedurality. They are
modding and making and playing and learning and
the boundaries between these things are no longer
clear or important. What will the world look like in
another fifteen years, when the children who grew
up learning from and thinking in game systems
become adults? What games will they want to play
then? What systems will they engage with to learn
more about the world? I can hardly wait to see.
The students who studied game design with me
while I wrote the first three editions of this book
have completely stunned me with their talent and
vision. They have set new levels of aesthetic expec-
tations for the field as a whole and are deeply
embedded in the changes that will define the next
generation of play. The games that I see coming
out of the industry today, especially in the world of
xxi
xxii Preface
experimental and independent designs, make me
believe that this is only the beginning of the evolu-
tion of play that we will see, culturally, creatively,
and commercially.
I am so thrilled to be part of this change, and to
know that this book has inspired so many to follow
the path of innovative game design. I can only hope
that the students and designers who read this new
edition will do so with the same passion and com-
mitment as those who have done in the past fifteen
years.
Play on!
Acknowledgments
I’d like to thank the many game designers, produc- Glenn Entis, Vanedge Capital
ers, executives, and educators who have provided James Ernest, Cheapass Games
invaluable ideas, information, and insights during the Noah Falstein, Google
writing of the several editions of this book. These Dan Fiden, Signia Venture Partners
talented individuals include: Matt Firor, Zenimax Online Studios
Scott Fisher, USC School of Cinematic Arts
Steve Ackrich, Activision Nick Fortugno, Playmatics
Phil Adams, Interplay Tom Frisina, Tilting Point
Anna Anthropy Bill Fulton, Ronin User Experience
Graeme Bayless, E-line Media Richard Garfield, Wizards of the Coast
Ranjit Bhatnagar John Garrett, LucasArts
Seamus Blackley, Innovative Leisure Jeremy Gibson, University of Michigan Ann Arbor
Jonathan Blow Chaim Gingold, UC Santa Cruz
Chip Blundell, Youbetme Greg Glass
Ian Bogost, Georgia Institute of Technology Susan Gold, Northeastern University
Chris Brandkamp, Cyan Bing Gordon, Kleiner Perkins Caulfield & Byers
Jeff Chen, Activision Sheri Graner Ray, Schell Games
Jenova Chen, thatgamecompany Bob Greenberg, R/GA Interactive
Stan Chow, Centrix Studio Michael Gresh
Doug Church, Valve Gary Gygax
Dino Citraro, Periscopic Justin Hall
Dan Cook Brian Hersch, Hersch and Company
Don Daglow, Daglow Entertainment Richard Hilleman, Electronic Arts
Elizabeth Daley, USC School of Cinematic Arts Kenn Hoekstra, Pi Studios
Ian Dallas, Giant Sparrow Leslie Hollingshead, Vivendi Universal Games
Rob Daviau, IronWall Games Josh Holmes, 343 Industries, Microsoft
Bernie DeKoven Adrian Hon, Six to Start
Jason Della Rocca, Execution Labs Robin Hunicke, Funomena
Dallas Dickinson, BioWare Steve Jackson, Steve Jackson Games
Neil Dufine Michael John, GlassLab and Electronic Arts
Peter Duke, Duke Media Matt Kassan
Troy Dunniway, Realta Entertainment Kevin Keeker
Greg Ecker Heather Kelley, Perfect Plum

xxiii
xxiv Acknowledgments

Scott Kim Erin Reynolds, Zynga

Naomi Kokubo, LavaMind Sam Roberts, USC School of Cinematic Arts and
Matt Korba, The Odd Gentlemen IndieCade
Vincent Lacava, Pop and Co. Neal Robison, AMD
Lorne Lanning, Oddworld Inhabitants John Rocco
Frank Lantz, NYU Game Center Brenda Romero, UC Santa Cruz and Loot Drop
Nicole Lazzaro, XEODesign Bill Roper, Disney Interactive
Marc LeBlanc, TapZen Kate Ross, Wizards of the Coast
Elan Lee, Xbox Entertainment Studios Rob Roth
Tim Lee, Whyville Jason Rubin
Nick Lefevre, Konami of America Chris Rubyor, Microsoft
Richard Lemarchand, USC School of Cinematic Arts Susana Ruiz
Tim LeTourneau, Zynga Katie Salen, Gamelab Institute of Play
Ethan Levy, FamousAspect Kellee Santiago, Ouya
Stone Librande, Electronic Arts Jesse Schell, Carnegie Mellon University
Rich Liebowitz, Behaviour Interactive Carl Schnurr, Activision
Starr Long, Portalarium and Stellar Effect Steve Seabolt, Electronic Arts
Sus Lundgren, PLAY Research Group Nahil Sharkasi, Microsoft
Laird Malamed, Oculus VR Bruce C. Shelley
Michael Mateas, UC Santa Cruz Tom Sloper, Sloperama Productions
Don Mattrick, Zynga Randy Smith, Tiger Style
American McGee, Spicy Horse Games Warren Spector
Jane McGonigal Phil Spencer, Microsoft
Jordan Mechner Jen Stein, USC School of Cinematic Arts
Nikita Mikros, Tiny Mantis Entertainment Michael Sweet, Berklee College of Music
Scott Miller, 3D Realms Steve Swink, Flashbang Studios
Peter Molyneaux, 22Cans Keita Takahashi, Funomena
Alan R. Moon Chris Taylor, Gas Powered Games
Minori Murakami, Namco Brian Tinsman, Wizards of the Coast
Janet Murray, Georgia Institute of Technology Eric Todd, Electronic Arts
Ray Muzyka, Threshold Impact Kurosh ValaNejad, USC Game Innovation Lab
Christina Norman, Riot Games Jim Vessella, Zynga
Dan Orzulak, Electronic Arts Jesse Vigil, Psychic Bunny
Trent Oster, Overhaul Games Asher Vollmer
Rob Pardo, Blizzard Entertainment Jeff Watson, OCAD
Celia Pearce, Georgia Institute of Technology Steve Weiss, Sony Online Entertainment
David Perry, Gaikai at Sony Computer Entertainment Jay Wilbur, Epic Games
America Dennis Wixon, USC School of Cinematic Arts
Sandy Petersen, Barking Lizards Technologies Will Wright, Stupid Fun Club
Chris Plummer, DeNA Richard Wyckoff, Reverge Labs
Rhy-Ming Poon, Activision Eric Zimmerman, NYU Game Center
Nathalie Pozzi
Kim Rees, Periscopic I would also like to thank my editors and agents at
Stephanie Reimann, Xbox Entertainment CRC Press, Elsevier, Morgan Kaufmann, CMP, and
John Riccitiello Waterside Productions:

Rick Adams, CRC Press
Dorothy Cox, CMP Books
Danielle Jatlow, Waterside Productions
Georgia Kennedy, Elsevier
Laura Lewin, Elsevier
Carol McClendon, Waterside Productions
Acknowledgments xxv
Jamil Moledina, CMP Books
Dawnmarie Simpson, Elsevier
Paul Temme, Elsevier
And, of course, all of my students and colleagues at
the University of Southern California.
Image Credits and
Copyright Notices
Cover design by Ala’ Diab
Playtesting and prototyping photos by Tracy
Fullerton and Chris Swain unless otherwise noted
Diagrams and illustrations by Tracy Fullerton unless
otherwise noted
Images from You Don’t Know Jack™ courtesy of
Jellyvision—© Jellyvision, Inc.
Image from Beautiful Katamari © 2007 Namco
Bandai Games
Image from chess tournament courtesy of SKBosna
Image from Quake tournament courtesy of Foto
Image from Darfur is Dying © 2006 Susana Ruiz
Image from World of Warcraft™ © 2007 Blizzard
Entertainment®
Image from City of Heroes © 2007 NCsoft
PAC-MAN™ © 1980 Namco Ltd,. All Rights
Reserved. Courtesy of Namco Holding Corp.
Image from 7th Guest © Virgin Interactive
Entertainment
Image from Tomb Raider courtesy of Eido
Interactive. © Eidos Interactive Ltd.
Image from Slingo courtesy of Slingo, Inc. © Slingo
SOUL CALIBER II™ © 1982 Namco Ltd. All Rights
Reserved. Courtesy of Namco Holding Corp.
SOULCALIBUR II® & © 1995 1998 2002 2003
NAMCO LTD., ALL RIGHTS RESERVED.
Scotland Yard © Ravensburger
Scrabble, Monopoly, Milton Bradley’s Operation,
Lord of the Rings board game, Connect Four,
and Pit © Hasbro
Images from Dark Age of Camelot courtesy of
Mythic Entertainment. Copyright © 2003 Mythic
Entertainment, Inc. All rights reserved. www.
darkageofcamelot.com
Images from Maximum Chase™ courtesy of
Microsoft Corporation. Screenshots reprinted
by permission of Microsoft Corporation
POLE POSITION™ © 1982 Namco Ltd,. All Rights
Reserved. Courtesy of Namco Holding Corp.
MotoGP™ © 1998 2000 Namco Ltd., All Rights
Reserved. Courtesy of Namco Holding Corp.
MotoGP3 © 1998 2000 2001 2002 NAMCO LTD.,
ALL RIGHTS RESERVED. Licensed by Dorna.
Image from Halo 3 © 2007 Microsoft Game Studios
Image from Bejeweled courtesy of Popcap Games
© Popcap Games
Image from Prince of Persia 3D © Red Orb
Entertainment
Images from Settlers of Catan © Mayfair Games
Image from Secret of Monkey Island courtesy of
LucasArts. LucasArts and the Lucas Arts logo
are registered trademarks of Lucasfilm, Ltd. ©
1990 Lucasfilm Entertainment Company Ltd. or
Lucasfilm Ltd & or TM as indicated. All rights
reserved.
xxvii
xxviii Image Credits and Copyright Notices
Image from Jak and Daxter Copyright © 2003 Sony
Computer Entertainment America, Inc. “Jak
and Daxter” are trademarks of Sony Computer
Entertainment America, Inc. Courtesy of
Naughty Dog
GALAXIAN™ © 1979 Namco Ltd,. All Rights
Reserved. Courtesy of Namco Holding Corp.
Images from Tony Hawk Pro Skater, Pitfall, and
Stationfall courtesy of Activision—© Activision
Image from Day of the Tentacle courtesy of
LucasArts. LucasArts and the Lucas Arts logo
are registered trademarks of Lucasfilm, Ltd. ©
1993 Lucasfilm Entertainment Company Ltd. or
Lucasfilm Ltd & or TM as indicated. All rights
reserved.
“Images from Diablo® II, Warcraft® II, and Warcraft®
III: Reign of Chaos™ courtesy of Blizzard
Entertainment®”
Image of PacManhattan © Doug Jaeger
Image from Metal Gear Solid courtesy of Konami
Computer Entertainment Japan © 1987-2003
Konami Computer Entertainment Japan
Images from Dungeon Siege courtesy of Microsoft
Corporation. Screenshots reprinted by permis-
sion of Microsoft Corporation
Images from “The Incredible Machine: Even More
Incredible Contraptions” courtesy of Sierra
Entertainment, Inc. All Rights Reserved.
Image of Peacemaker © ImpactGames
Image from Space Invaders courtesy of Taito
Corporation. © Taito Corporation (1978-2003)
Images from Myst courtesy of Cyan Worlds, Inc.
© Cyan Worlds, Inc. Used by permission. All
rights reserved.
Image from Lara Croft courtesy of Eidos Interactive.
© Eidos Interactive Ltd.
Image of Duke Nukem courtesy of 3DRealms/
Apogee—© 3DRealms
Images from God of War © Sony Computer
Entertainment of America
Image from Shadow of the Colossus © Sony
Computer Entertainment
Image from Façade © Michael Mateas and Andrew
Stern
Up the River © Ravensburger
Spider-Man 2 and True Crime 2 game design dia-
grams courtesy of Activision Central Design ©
2007 Jeff Chen and Carl Schnurr
Spore digital prototype images © 2007 Electronic Arts
Ratchet & Clank animation prototype images ©
Sony Computer Entertainment
Jak X: Combat racing prototype images © Sony
Computer Entertainment America, Inc.
Image from Elite Beat Agents © Nintendo
Space War image © Digital Equipment Corporation
Image from MSN Game Zone Backgammon cour-
tesy of Microsoft Corporation. Screenshots
reprinted by permission of Microsoft
Corporation
Images from Unreal 2 courtesy of Epic Games, Inc.
© Epic Games, Inc.
Image from Deus Ex courtesy of Eidos Interactive.
© Eidos Interactive Ltd.
Illuminati © Steve Jackson Games
Images from Hulk courtesy of Universal Interactive. ©
2003 Universal Interactive, Inc. © 2003 Universal
Studios. Hulk: TM & © 2003 Marvel Characters, Inc.
Used with Permission. Hulk™ interactive game and
all of its screen images is copyrighted by Universal
Interactive, Inc. and is used under license.
Image from Magic: The Gathering Online © 1995-
2003 Wizards of the Coast
Image from Thief III courtesy of Eidos Interactive. ©
Eidos Interactive Ltd.
Images of usability labs courtesy of Microsoft
Corporation
Image from Castle Infinity © Castle Infinity Inc.
“Concept Art from Starcraft: Ghost™ provided by
Blizzard Entertainment®
Image of Jenova Chen © Vincent Diamante
Images of Cloud © University of Southern California
Images of Braid and Oracle Billiard’s prototype ©
Jonathan Blow
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gulf of crime. Having resolved on the means to be employed in the
murder, she sent for a quondam servant of her father, Robert Weir,
who lived in the neighbouring city. He came to the place of
Waristoun, to see her; but it appeares her resolution failed, and he
was not admitted. She again sent for him, and he again went. Again
he was not admitted. At length, on his being called a third time, he
was introduced to her presence. Before this time she had found an
accomplice in the nurse of her child. It was then arranged that Weir
should be concealed in a cellar till the dead of night, when he should
come forth, and proceed to destroy the laird as he lay in his chamber.
The bloody tragedy was acted precisely in accordance with this plan.
Weir was brought up at midnight from the cellar to the hall by the
lady herself, and afterwards went forward alone to the laird’s
bedroom. As he proceeded to his bloody work, she retired to her bed,
to wait the intelligence of her husband’s murder. When Weir entered
the chamber, Waristoun awoke with the noise, and leant inquiringly
over the bed. The murderer then leapt upon him. The unhappy man
uttered a great cry. Weir gave him some severe blows on vital parts,
particularly one on the flank vein. But as the laird was still able to cry
out, he at length saw fit to take more effective measures. He seized
him by the throat with both hands, and, compressing that part with
all his force, succeeded, after a few minutes, in depriving him of life.
When the lady heard her husband’s first death-shout, she leapt out
of bed, in an agony of mingled horror and repentance, and
descended to the hall; but she made no effort to countermand her
mission of destruction. She waited patiently till Weir came down to
inform her that all was over. Weir made an immediate escape from
justice, but Lady Waristoun and the nurse were apprehended before
the deed was half-a-day old. Being caught, as the Scottish law terms
it, “red-hand,”—that is, while still bearing unequivocal marks of guilt,
—they were immediately tried by the magistrates of Edinburgh, and
sentenced to be strangled and burnt at the stake.
The lady’s father, the Laird of Dunipace, who was a favourite of
King James VI., made all the interest he could with his Majesty to
procure a pardon; but all that could be obtained from the king was
an order that the unhappy lady should be executed by decapitation,
and that at such an early hour in the morning as to make the affair as
little of a spectacle as possible. The space intervening between her
sentence and her execution was only thirty-seven hours, yet in that
little time Lady Waristoun contrived to become converted from a
blood-stained and unrelenting murderess into a perfect saint on
earth. One of the then ministers of Edinburgh has left an account of
her conversion, which was lately published, and would be extremely
amusing, were it not for the loathing which seizes the mind on
beholding such an instance of perverted religion. She went to the
scaffold with a demeanour which would have graced a martyr. Her
lips were incessant in the utterance of pious exclamations. She
professed herself confident of everlasting happiness. She even
grudged every moment which she spent in this world as so much
taken from that sum of eternal felicity which she was to enjoy in the
next. The people who came to witness the last scene, instead of
having their minds inspired with a salutary horror for her crime,
were engrossed in admiration of her saintly behaviour, and greedily
gathered up every devout word which fell from her tongue. It would
almost appear, from the narrative of the clergyman, that her fate was
rather a matter of envy than of any other feeling. Her execution took
place at four in the morning of the 5th of July, at the Watergate, near
Holyrood-house; and at the same hour her nurse was burned on the
Castlehill. It is some gratification to know that the actual murderer,
Weir, was eventually seized and executed, though not till four years
afterwards.—Chambers’s Edinburgh Journal, 1832.
 A TALE OF PENTLAND.

By James Hogg, the “Ettrick Shepherd.”

Mr John Haliday having been in hiding on the hills, after the battle
of Pentland, became impatient to hear news concerning the
sufferings of his brethren who had been in arms; and in particular, if
there were any troops scouring the district in which he had found
shelter. Accordingly, he left his hiding-place in the evening, and
travelled towards the valley until about midnight, when, coming to
the house of Gabriel Johnstone, and perceiving a light, he
determined on entering, as he knew him to be a devout man, and one
much concerned about the sufferings of the Church of Scotland.
Mr Haliday, however, approached the house with great caution, for
he rather wondered why there should be a light there at midnight,
while at the same time he neither heard psalms singing nor the
accents of prayer. So, casting off his heavy shoes, for fear of making a
noise, he stole softly up to the little window from whence the light
beamed, and peeped in, where he saw, not Johnstone, but another
man, whom he did not know, in the very act of cutting a soldier’s
throat, while Johnstone’s daughter, a comely girl, about twenty years
of age, was standing deliberately by, and holding the candle to him.
Haliday was seized with an inexpressible terror; for the floor was
all blood, and the man was struggling in the agonies of death, and
from his dress he appeared to have been a cavalier of some
distinction. So completely was the Covenanter overcome with horror,
that he turned and fled from the house with all his might. So much
had Haliday been confounded that he even forgot to lift his shoes,
but fled without them; and he had not run above half a bowshot
before he came upon two men hastening to the house of Gabriel
Johnstone. As soon as they perceived him running towards them
they fled, and he pursued them; for when he saw them so ready to
take alarm, he was sure they were some of the persecuted race, and
tried eagerly to overtake them, exerting his utmost speed, and calling
on them to stop. All this only made them run faster; and when they
came to a feal-dyke they separated, and ran different ways, and he
soon thereafter lost sight of them both.
This house, where Johnstone lived, is said to have been in a lonely
concealed dell, not far from West Linton, in what direction I do not
know, but it was towards that village that Haliday fled, not knowing
whether he went, till he came to the houses. Having no
acquaintances here whom he durst venture to call up, and the
morning having set in frosty, he began to conceive that it was
absolutely necessary for him to return to the house of Gabriel
Johnstone, and try to regain his shoes, as he little knew when or
where it might be in his power to get another pair. Accordingly, he
hasted back by a nearer path, and coming to the place before it was
day, found his shoes. At the same time he heard a fierce contention
within the house, but as there seemed to be a watch he durst not
approach it, but again made his escape.
Having brought some victuals along with him, he did not return to
his hiding-place that day, which was in a wild height, south of Biggar,
but remained in the moss of Craigengaur; and as soon as it drew
dark, descended again into the valley. Again he perceived a light in
the distance, where he thought no light should have been. But he
went towards it, and as he approached he heard the melody of
psalm-singing issuing from the place, and floating far on the still
breeze of the night. He hurried to the spot, and found the reverend
and devout Mr Livingston, in the act of divine worship, in an old void
barn on the lands of Slipperfield, with a great number of serious and
pious people, who were all much affected both by his prayers and
discourse.
After the worship was ended, Haliday made up to the minister,
among many others, to congratulate him on the splendour of his
discourse, and implore “a further supply of the same milk of
redeeming grace, with which they found their souls nourished,
cherished, and exalted.” The good man complied with the request,
and appointed another meeting at the same place on a future night.
 Haliday having been formerly well acquainted with the preacher,
convoyed him on his way home, where they condoled with one
another on the hardness of their lots; and Haliday told him of the
scene he had witnessed at the house of Gabriel Johnstone. The heart
of the good minister was wrung with grief, and he deplored the
madness and malice of the people who had committed an act that
would bring down tenfold vengeance on the heads of the whole
persecuted race. At length it was resolved between them that, as soon
as it was day, they would go and reconnoitre, and if they found the
case of the aggravated nature they suspected, they would themselves
be the first to expose it, and give the perpetrators up to justice.
Accordingly, next morning they took another man into the secret,
a William Rankin, one of Mr Livingston’s elders, and the three went
away to Johnstone’s house, to investigate the case of the cavalier’s
murder; but there was a guard of three armed men opposed them,
and neither promises nor threatenings, nor all the minister’s
eloquence, could induce them to give way one inch. The men advised
the intruders to take themselves off, lest a worse thing should befall
them; and as they continued to motion them away, with the most
impatient gestures, the kind divine and his associates thought meet
to retire, and leave the matter as it was; and thus was this mysterious
affair hushed up in silence and darkness for that time, no tongue
having been heard to mention it further than as above recited. The
three armed men were all unknown to the others, but Haliday
observed that one of them was the very youth whom he saw cutting
off the soldier’s head with a knife.
The rage and cruelty of the Popish party seemed to gather new
virulence every day, influencing all the counsels of the king; and the
persecution of the Nonconformists was proportionably severe. One
new act of council was issued after another, all tending to root the
Covenanters out of Scotland, but it had only the effect of making
their tenets still dearer to them. The longed-for night of the meeting
in the old hay-barn at length arrived, and it was attended by a still
greater number than on the night preceding. A more motley group
can hardly be conceived than appeared in the barn that night, and
the lamps being weak and dim rendered the appearance of the
assembly still more striking. It was, however, observed that about the
middle of the service a number of fellows came in with broad slouch
bonnets, and watch-coats or cloaks about them, who placed
themselves in equal divisions at the two doors, and remained without
uncovering their heads, two of them being busily engaged taking
notes. Before Mr Livingston began the last prayer, however, he
desired the men to uncover, which they did, and the service went on
to the end; but no sooner had the minister pronounced the word
Amen, than the group of late comers threw off their cloaks, and
drawing out swords and pistols, their commander, one General
Drummond, charged the whole congregation in the king’s name to
surrender.
A scene of the utmost confusion ensued. The lights being
extinguished, many of the young men burst through the roof of the
old barn in every direction, and though many shots were fired at
them in the dark, great numbers escaped; but Mr Livingston and
other eleven were retained prisoners, and conveyed to Edinburgh,
where they were examined before the council and cast into prison.
Among the prisoners were Mr Haliday and the identical young man
whom he had seen in the act of murdering the cavalier, and who
turned out to be a Mr John Lindsay, from Edinburgh, who had been
at the battle of Pentland, and in hiding afterwards.
Great was the lamentation for the loss of Mr Livingston, who was
so highly esteemed by his hearers. The short extracts from his
sermons in the barn, that were produced against him on his trial,
prove him to have been a man endowed with talents somewhat above
the greater part of his contemporaries. His text that night it appears
had been taken from Genesis:—“And God saw the wickedness of man
that it was great in the earth, and that every imagination of the
thoughts of his heart was only evil continually.” One of the quoted
passages concludes thus:—
“Let us join together in breaking the bands of the oppressors, and
casting their cords from us. As for myself, as a member of this poor
persecuted Church of Scotland, and an unworthy minister of it, I
hereby call upon you all, in the name of God, to set your faces, your
hearts, and your hands against all such acts, which are or shall be
passed against the covenanted work of reformation in this kingdom;
that we here declare ourselves free of the guilt of them, and pray that
God may put this in record in heaven.”
 These words having been sworn to, and Mr Livingston not denying
them, a sharp debate arose in the council what punishment to award.
The king’s advocate urged the utility of sending him forthwith to the
gallows; but some friends in the council got his sentence commuted
to banishment; and he was accordingly banished the kingdom. Six
more, against whom nothing could be proven farther than their
having been present at a conventicle, were sentenced to
imprisonment for two months; among this number, Haliday was one.
The other five were condemned to be executed at the cross of
Edinburgh, on the 14th of December following; and among this last
unhappy number was Mr John Lindsay.
Haliday now tried all the means he could devise to gain an
interview with Lindsay, to have some explanation of the
extraordinary scene he had witnessed in the cottage at midnight, for
it had made a fearful impression upon his mind, and he never could
get rid of it for a moment; having still in his mind’s eye a beautiful
country maiden standing with a pleased face, holding a candle, and
Lindsay in the meantime at his horrid task. His endeavours,
however, were all in vain, for they were in different prisons, and the
jailer paid no attention to his requests. But there was a gentleman in
the privy council that year, whose name, I think, was Gilmour, to
whose candour Haliday conceived that both he and some of his
associates owed their lives. To this gentleman, therefore, he applied
by letter, requesting a private interview with him, as he had a
singular instance of barbarity to communicate, which it would be
well to inquire into while the possibility of doing so remained, for the
access to it would soon be sealed for ever. The gentleman attended
immediately, and Haliday revealed to him the circumstances
previously mentioned, stating that the murderer now lay in the
Tolbooth jail, under sentence of death.
Gilmour appeared much interested, as well as astonished at the
narrative, and taking out a note-book, he looked over some dates,
and then observed—“This date of yours tallies exactly with one of my
own, relating to an incident of the same sort; but the circumstances
narrated are so different, that I must conceive either that you are
mistaken, or that you are trumping up this story to screen some
other guilty person or persons.”
 Haliday disclaimed all such motives, and persevered in his
attestations. Gilmour then took him along with him to the Tolbooth
prison, where the two were admitted to a private interview with the
prisoner, and there charged him with the crime of murder in such a
place and on such a night; but he denied the whole with disdain.
Haliday told him that it was in vain for him to deny it, for he beheld
him in the very act of perpetrating the murder with his own eyes,
while Gabriel Johnstone’s daughter stood deliberately and held the
candle to him.
“Hold your tongue, fellow!” said Lindsay, disdainfully, “for you
know not what you are saying. What a cowardly dog you must be by
your own account! If you saw me murdering a gentleman cavalier,
why did you not rush in to his assistance?”
“I could not have saved the gentleman then,” said Haliday, “and I
thought it not meet to intermeddle in such a scene of blood.”
“It was as well for you that you did not,” said Lindsay.
“Then you acknowledge being in the cottage of the dell that night?”
said Gilmour.
“And if I was, what is that to you? Or what is it now to me or any
person? I was there on the night specified; but I am ashamed of the
part I there acted, and am now well requited for it. Yes, requited as I
ought to be, so let it rest; for not one syllable of the transaction shall
any one hear from me.”
Thus they were obliged to leave the prisoner, and forthwith
Gilmour led Haliday up a stair to a lodging in the Parliament Square,
where they found a gentleman lying sick in bed, to whom Mr
Gilmour said, after inquiring after his health, “Brother Robert, I
conceive that we two have found out the young man who saved your
life at the cottage among the mountains.”
“I would give the half that I possess that this were true,” said the
sick gentleman. “Who or where is he?”
“If I am right in my conjecture,” said the privy councillor, “he is
lying in the Tolbooth jail, under sentence of death, and has but a few
days to live. But tell me, brother, could you know him, or have you
any recollection of his appearance?”
“Alas! I have none,” said the other, mournfully, “for I was
insensible, through the loss of blood, the whole time I was under his
protection; and if I ever heard his name I have lost it, the whole of
that period being a total blank in my memory. But he must be a hero
in the first rank; and therefore, oh, my dear brother, save him
whatever his crime may be.”
“His life is justly forfeited to the laws of his country, brother,” said
Gilmour, “and he must die with the rest.”
“He shall not die with the rest if I should die for him,” cried the
sick man, vehemently. “I will move heaven and earth before my
brave deliverer shall die like a felon.”
“Calm yourself, brother, and trust that part to me,” said Gilmour.
“I think my influence saved the life of this gentleman, as well as the
lives of some others, and it was all on account of the feeling of
respect I had for the party, one of whom, or, rather, two of whom,
acted such a noble and distinguished part toward you. But pray,
undeceive this gentleman by narrating the facts to him, in which he
cannot fail to be interested.” The sick man, whose name, if I
remember aright, was Captain Robert Gilmour, of the volunteers,
then proceeded as follows:—
“There having been high rewards offered for the apprehension of
some south-country gentlemen, whose correspondence with Mr
Welch, and some other of the fanatics, had been intercepted, I took
advantage of information I obtained regarding the place of their
retreat, and set out, certain of apprehending two of them at least.
“Accordingly, I went off one morning about the beginning of
November, with only five followers, well armed and mounted. We
left Gilmerton long before it was light, and having a trusty guide,
rode straight to their hiding-place, where we did not arrive till
towards the evening, when we started them. They were seven in
number, and were armed with swords and bludgeons; but, being
apprized of our approach, they fled from us, and took shelter in a
morass, into which it was impossible to follow them on horseback.
But perceiving three more men on another hill, I thought there was
no time to lose, so giving one of my men our horses to hold, the rest
of us advanced into the morass with drawn swords and loaded horse-
pistols. I called to them to surrender, but they stood upon their
guard, determined on resistance; and just when we were involved to
the knees in the mire of the morass, they broke in upon us, pell-mell,
and for about two minutes the engagement was very sharp. There
was an old man struck me a terrible blow with a bludgeon, and was
just about to repeat it, when I brought him down with a shot from my
pistol. A young fellow then ran at me with his sword, and as I still
stuck in the moss, I could not ward the blow, so that he got a fair
stroke at my neck, meaning, without doubt, to cut off my head; and
he would have done it had his sword been sharp. As it was, he cut it
to the bone, and opened one of the jugular veins. I fell; but my men
firing a volley in their faces, at that moment they fled. It seems we
did the same, without loss of time; for I must now take my narrative
from the report of others, as I remember no more that passed. My
men bore me on their arms to our horses, and then mounted and
fled, trying all that they could to stanch the bleeding of my wound.
But perceiving a party coming down a hill, as with the intent of
cutting off their retreat, and losing all hopes of saving my life, they
carried me into a cottage in a wild lonely retreat, commended me to
the care of the inmates; and after telling them my name, and in what
manner I had received my death wound, they thought proper to
provide for their own safety, and so escaped.
“The only inmates of that lonely house, at least at that present
time, were a lover and his mistress, but intercommuned Whigs; and
when my men left me on the floor, the blood, which they had
hitherto restrained in part, burst out afresh and deluged the floor.
The young man said it was best to put me out of my pain, but the girl
wept and prayed him rather to render me some assistance. ‘Oh,
Johnny, man, how can you speak that gate?’ cried she. ‘Suppose he
be our mortal enemy, he is aye ane o’ God’s creatures, an’ has a soul
to be saved as well as either you or me; and a soldier is obliged to do
as he is bidden. Now Johnny, ye ken ye were learned to be a doctor o’
physic; wad ye no rather try to stop the bleeding, and save the young
officer’s life, as either kill him, or let him bleed to death on our floor,
when the blame o’ the murder might fa’ on us!’
“‘Now, the blessing of heaven light on your head, my dear Sally!’
said the lover, ‘for you have spoken the very sentiments of my heart;
and, since it is your desire, though we should both rue it, I here vow
to you that I will not only endeavour to save his life, but I will defend
it against our own party to the last drop of my blood.’
“He then began, and, in spite of my feeble struggles, who knew not
either what I was doing or suffering, sewed up the hideous gash in
my throat and neck, tying every stitch by itself; and the house not
being able to produce a pair of scissors, it seems that he cut off all the
odds and ends of the stitching with a large sharp gully knife, and it
was likely to have been during the operation that this gentleman
chanced to look in at the window. He then bathed the wound for an
hour with cloths dipped in cold water, dressed it with plaster of
wood-betony, and put me to bed, expressing to his sweetheart the
most vivid hopes of my recovery.
“These operations were scarcely finished when the maid’s two
brothers came home from their hiding-place; and it seems they
would have been there much sooner had not this gentleman given
them chase in the contrary direction. They, seeing the floor all
covered with blood, inquired the cause with wild trepidation of
manner. Their sister was the first to inform them of what had
happened, on which both the young men gripped to their weapons,
and the eldest, Samuel, cried out with the vehemence of a maniac,
‘Blessed be the righteous avenger of blood! Hoo! Is it then true that
the Lord hath delivered our greatest enemy into our hands!’ ‘Hold,
hold, dearest brother!’ cried the maid, spreading out her arms before
him. ‘Would you kill a helpless young man, lying in a state of
insensibility! What! although the Almighty hath put his life in your
hand, will He not require the blood of you, shed in such a base and
cowardly way?’
“‘Hold your peace, foolish girl,’ cried he, in the same furious strain.
‘I tell you, if he had a thousand lives I would sacrifice them all this
moment! Wo be to this old rusty and fizenless sword that did not
sever his head from his body when I had a fair chance in the open
field! Nevertheless he shall die; for you do not yet know that he hath,
within these few hours, murdered our father, whose blood is yet
warm around him on the bleak height.’
“‘Oh! merciful heaven! killed our father!’ screamed the girl, and
flinging herself down on the resting-chair, she fainted away. The two
brothers regarded not, but with their bared weapons made towards
the closet, intent on my blood, and both vowing I should die if I had a
thousand lives. The stranger interfered, and thrust himself into the
closet door before them, swearing that, before they committed so
cowardly a murder they should first make their way through his
body.
 “Samuel retreated one step to have full sway for his weapon, and
the fury depicted on his countenance proved his determination. But
in a moment his gallant opponent closed with him, and holding up
his wrist with his left hand, he with the right bestowed on him a blow
with such energy that he fell flat on the floor among the soldier’s
blood. The youngest then ran on their antagonist with his sword and
wounded him, but the next moment he was lying beside his brother.
As soon as her brothers came fairly to their senses, the young woman
and her lover began and expostulated with them, at great length, on
the impropriety and unmanliness of the attempt, until they became
all of one mind, and the two brothers agreed to join in the defence of
the wounded gentleman, from all of their own party, until he was
rescued by his friends, which they did. But it was the maid’s simple
eloquence that finally prevailed with the fierce Covenanters.
“When my brothers came at last, with a number of my men, and
took me away, the only thing I remember seeing in the house was the
corpse of the old man whom I had shot, and the beautiful girl
standing weeping over the body; and certainly my heart smote me in
such a manner that I would not experience the same feeling again for
the highest of this world’s benefits. That comely young maiden, and
her brave intrepid lover, it would be the utmost ingratitude in me, or
in any of my family, ever to forget; for it is scarcely possible that a
man can ever be again in the same circumstances as I was, having
been preserved from death in the house of the man whom my hand
had just deprived of life.”
Just as he ended, the sick nurse peeped in, which she had done
several times before, and said, “Will your honour soon be
disengaged, d’ye think? for ye see because there’s a lass wanting till
speak till ye.”
“A lass, nurse? what lass can have any business with me? what is
she like?”
“Oo, ’deed, sir, the lass is weel enough for that part o’t, but she may
be nae better than she should be for a’ that; ye ken, I’se no answer for
that, for ye see because “like is an ill mark”; but she has been aften
up, speiring after ye, an’ gude troth she’s fairly in nettle-earnest now,
for she winna gang awa till she see your honour.”
The nurse being desired to show her in, a comely girl entered, with
a timid step, and seemed ready to faint with trepidation. She had a
mantle on, and a hood that covered much of her face. The privy
councillor spoke to her, desiring her to come forward and say her
errand, on which she said that “she only wanted a preevat word wi’
the captain, if he was that weel as to speak to ane,” He looked over
the bed, and desired her to say on, for that gentleman was his
brother, from whom he kept no secrets. After a hard struggle with
her diffidence, but, on the other hand, prompted by the urgency of
the case, she at last got out, “I’m unco glad to see you sae weel comed
round again, though I daresay ye’ll maybe no ken wha I am. But it
was me that nursed ye, an’ took care o’ ye in our house, when your
head was amaist cuttit off.”
There was not another word required to draw forth the most
ardent expressions of kindness from the two brothers, on which the
poor girl took courage, and, after several showers of tears, she said,
with many bitter sobs, “There’s a poor lad wha, in my humble
opinion, saved your life; an’ wha is just gaun to be hanged the day
after the morn. I wad unco fain beg your honour’s interest to get his
life spared.”
“Say not another word, my dear good girl,” said the councillor; “for
though I hardly know how I can intercede for a rebel who has taken
up arms against the government, yet, for your sake and his, my best
interest shall be exerted.”
“Oh, ye maun just say, sir, that the poor Whigs were driven to
desperation, and that this young man was misled by others in the
fervour and enthusiasm of youth. What else can ye say? But ye’re
good—oh, ye’re very good! and on my knees I beg that ye winna lose
ony time, for indeed there is nae time to lose!”
The councillor lifted her kindly by both hands, and desired her to
stay with his brother’s nurse till his return, on which he went away to
the president, and in half-an-hour returned with a respite for the
convict, John Lindsay, for three days, which he gave to the girl, along
with an order for her admittance to the prisoner. She thanked him
with the tears in her eyes, but added, “Oh, sir, will he and I then be
obliged to part for ever at the end of three days?”
“Keep up your heart, and encourage your lover,” said he, “and
meet me here again, on Thursday, at this same hour, for, till the
council meet, nothing further than this can be obtained.”
 It may well be conceived how much the poor forlorn prisoner was
astonished when his own beloved Sally entered to him with a
reprieve in her hand, and how much his whole soul dilated when, on
the Thursday following, she presented him with a free pardon. They
were afterwards married, when the Gilmours took them under their
protection. Lindsay became a highly qualified surgeon, and the
descendants of this intrepid youth occupy respectable situations in
Edinburgh to the present day.
 GRAYSTEEL:
A TRADITIONARY STORY OF CAITHNESS.

In a beautiful valley in the highlands of Caithness, lies embosomed

a small mountain tarn, called the Loch of Ranag. The hill of
Bencheildt, which ascends abruptly from the water’s edge, protects it
on the north. On the south it is overlooked by a chain of lofty
mountains, individually named Scarabine, Morven, and the Pap,
which form a natural barrier betwixt Sutherland and Caithness.
Morven, the highest in the range, is nearly two thousand feet above
the level of the sea, and turns up conspicuously over the
neighbouring summits, like a huge pyramid. The extensive wild lying
between this magnificent chain of hills and Ranag, is clothed in the
autumnal season with rich purple heather; and here the plover and
the grouse, the denizens of the solitary waste, live unmolested,
except by the murderous gun of the sportsman. Near the north edge
of the loch to which we have just alluded, there is a small island, on
which may be still seen the ruins of an old keep or castle. The last
proprietor of this fortalice is said to have been a noted freebooter of
the name of Graysteel, who kept the whole county in alarm by his
predatory incursions from the Ord to Duncansbay Head, and, like
Rob Roy and others of the same stamp, rigorously exacted “black
mail,” or protection money. Tradition also reports, that, besides
being possessed of great bodily strength, he was an expert
swordsman, and a person of such a jealous and tyrannical
disposition, that none durst venture to hunt or shoot on his grounds,
without being challenged to single combat; and it may be added, that
none whom he encountered trespassing in this way ever escaped
alive out of his hands. It happened that one of the family of Rollo,
while pursuing his sport in the direction, one day unfortunately
encroached on the sacred property of the robber. Being informed by
some of his retainers that a stranger was hunting on the west side of
the lake, Graysteel immediately sallied forth, and, running up
towards the sportsman with menacing looks and gestures, gave him
the accustomed challenge. Rollo saw he had no alternative but to give
him combat, and being a high-spirited young man, he instantly drew
his sword; and, although he defended himself for some time with
great skill and courage, it is needless to say that he sank at last,
mortally wounded, under the more powerful arm of his antagonist.
The ruffian afterwards stripped the dead body of every thing that was
of any value, and then threw it into the loch.
The account of this melancholy occurrence, as soon as it reached
the family and relatives of the unfortunate youth, plunged them into
the deepest distress; but none did it inspire with more poignant
regret than the young laird of Durie, who was his bosom friend, and
had just been affianced to his sister, a very beautiful and interesting
girl of sixteen. The moment he heard of Rollo’s tragical death, he
determined to avenge it, although he knew he had little chance of
surviving a personal encounter with such a desperado as Graysteel.
Accordingly, having furnished himself with a good Highland
broadsword, and without communicating his intention to any one, he
set off for the residence of the freebooter. Nor was the route he had
to take, any more than the occasion of the journey, agreeable. A
trackless moor, of some miles in extent, lay between him and Ranag,
so very bleak and barren, that, in the words of the poet,
The solitary bee
Flew there on restless wing,
Seeking in vain one blossom where to fix.

He had not gone far, however, when he was overtaken by a severe

storm, which rendered it impossible for him to continue his journey.
The wind, which blew at times with irresistible fury, dashed the rain
in his face, mingled with hail, and howled like a maniac on the naked
moor. Clouds of turbid vapour, issuing, as it were, from a vast
furnace, hurried across the sky; and now and then the rolling of
thunder, while it prognosticated a continuance of the storm, added
not a little to its terrors. Driven by the wind, and battered by the rain,
our traveller began anxiously to look around him for some place of
shelter. At length, to his great joy, he espied, a few hundred yards
distant, a small solitary cottage, situated on the edge of the moor.
Thither he immediately directed his steps, and, on entering, found its
sole occupant to be a poor aged widow, who lived upon the
gratuitous bounty of the public. There was something, however, in
her appearance, though bent down with years and infirmities, that
spoke of better days. On a small stool beside her lay the Bible, which
she seemed to have been just reading. She welcomed in the stranger
with a look of much cheerfulness, and kindly offered him such
accommodation for the night as her scanty means could afford. As
the storm continued to rage with unabated violence, Durie gladly
accepted the proffered hospitality; and, in the meantime, the
venerable hostess did all in her power to make him comfortable, by
putting an additional peat or two on the hearth, and furnishing him
with something to eat. On examining the scanty furniture of the
apartment, which was now more distinctly seen by the light of a
blazing turf-fire, he observed, in one corner, a very uncommon-
looking sword, with the appearance of which he was not a little
struck. The hilt and blade were covered over with a variety of strange
characters and fantastic devices, plainly indicating that it was of
foreign manufacture, and belonged to a remote period. His curiosity
was powerfully excited; and on asking the old woman how she came
by such a magnificent weapon, she gave him the following particulars
regarding it. The sword, which had originally belonged to a noble
Saracen, was that of her deceased husband, who had been a
volunteer in the regiment of Highlanders that had gone over to
Holland under the command of Lord Reay. He had received it as a
present from a Polish Jew, whose life he had saved in a moment of
extreme danger. She, moreover, informed him that her husband,
while on his deathbed, had strictly enjoined her not to sell or dispose
of it in any way, but to preserve it as an heirloom of the family. On
getting this account of the sword, Durie told the woman who he was,
and the errand on which he was going, and begged of her to give him
the use of it for a single day. After much entreaty, she at last agreed
to give it, on the condition that it should be strictly returned.
The storm, which was short-lived in proportion to its violence,
gradually died away towards morning; and at the first peep of dawn
our hero, who burned with impatience to measure weapons with the
murderer of his friend, was up, and, with his enchanted sword firmly
girt on his side, pursuing his solitary route across the moors. His
spirits were now buoyant with hope; and he beheld with a feeling of
sympathy the universal gladness which, after the late convulsion of
its elements, was diffused over the face of nature. Already the “bird
of the wilderness” sang blithely overhead, whilst the beams of a
brilliant morning sun were beginning to dissipate the mists which lay
thick and heavy upon the hills. Our traveller was not long in reaching
the brow of Benchieldt; and scarcely had he descended half way
down the side fronting the castle, when he was met by Graysteel,
who, as usual, challenged him for intruding on his grounds, and
desired him to draw and defend himself. “Villain!” cried Durie,
unsheathing his weapon, which flashed in his hand like the
Scandinavian monarch’s celebrated elfin sword—“villain! you
wantonly slew my friend, and you shall this day atone for it with your
heart’s blood!”
The robber chief laughed scornfully at what he considered an
empty bravado, and immediately made a thrust at his opponent,
which the latter parried off with admirable dexterity. A desperate
struggle now ensued. Graysteel fought with the fury of an enraged
mastiff; but young Durie pressed upon him so hard with his never-
failing blade, that he was obliged to give way, and at last received a
mortal wound. After this, the hero of our tale went immediately
home, and, having raised a body of stout followers, proceeded back
to Ranag, took the castle, and nearly levelled it with the ground.
The denouement of our little story may be anticipated. After a
decent period for mourning had elapsed, Durie led his beautiful
bride to the hymeneal altar. Nor, in the midst of his happiness, did
he forget his good friend, the old woman of the moor. The sword,
which had proved so invaluable an auxiliary to him in the hour of
need, he not only returned to her, but he took her under his
protection, and kept her comfortable for the rest of her days—
Joy seized her withered veins, and one bright gleam
Of setting life shone on her evening hours.

—John O’Groat Journal, 1836.

 THE BILLETED SOLDIER.

In the autumn of 1803, the Forfar and Kincardine militia,—then an

infantry regiment of about 1000 strong,—en route from the south of
Scotland to Aberdeen, along the coast road, happened to perform the
march between the towns of Montrose and Bervie on a Saturday. The
want of the required accommodation in Bervie for so many men
rendered it necessary that a considerable portion should be billeted
in the adjoining villages of Johnshaven and Gourdon, and on farmers
and others on the line of march. In carrying out this arrangement, it
so happened that one private soldier was billeted on a farmer or
crofter of the name of Lyall, on the estate of East Mathers, situated
about a mile north-west of the village of Johnshaven. David Lyall,
gudeman of Gateside, was a douce, respectable individual, a worthy
member, if not an elder, of the secession church, Johnshaven. His
wife, Mrs Lyall, possessed many of the good qualities of her worthy
husband, whom she highly venerated, and pithily described as being
“as gude a man as ever lay at a woman’s side.” Mrs Lyall was a rigid
seceder, a strict Sabbatarian, stern and rigorous in everything
relating to the kirk and kirk affairs, deeply learned in polemical
disquisitions, had a wondrous “gift of gab,” and by no means allowed
the talent to lie idle in a napkin.
The soldier produced his billet, was kindly received, treated to the
best as regarded bed and board, was communicative, and entered
into all the news of the day with the worthy couple. Everything ran
smoothly on the evening of Saturday, and an agreeable intimacy
seemed to be established in the family; but the horror of Mrs Lyall
may be conceived, when, on looking out in the morning rather early,
she saw the soldier stripped to the shirt, switching, brushing, and
scrubbing his clothes on an eminence in front of the house.
 “Get up, David Lyall,” she said, “get up; it ill sets you to be lying
there snoring, an’ that graceless pagan brackin’ the Lord’s day wi’ a’
his might, at oor door.”
David looked up, and quietly composing himself again, said, “The
articles of war, gudewife, the articles of war; puir chiel, he canna help
himsel—he maun do duty Sunday as well as Saturday.”
The soldier, after cleaning his clothes and taking a stroll in the
romantic dell of Denfenella adjoining, returned in time to breakfast,
which was a silent meal. With Mrs Lyall there was only “mony a sad
and sour look,” and on the table being cleared, she placed on it, or
rather thrust, the “big ha’ Bible” immediately in front of the soldier.
“Weel, mistress,” said the soldier, “what book is this?”
“That’s a beuk, lad,” said the gudewife, “that I muckle doubt that
you and the like o’ ye ken unco little about.”
“Perhaps,” was the reply; “we shall see.”
On opening the book the soldier said, “I have seen such a book
before.”
“Gin ye’ve seen sic a book before,” said Mrs Lyall, “let’s hear gin ye
can read ony.”
“I don’t mind though I do,” said the soldier, and taking the Bible
he read a chapter that had been marked by Mrs Lyall as one
condemnatory of his seeming disregard of the Sabbath. The reading
of the soldier was perfect.
“There, lad,” said David Lyall, “ye read like a minister.”
“An’ far better than mony ane o’ them,” said the mistress; “but gifts
are no graces,” she continued; “it’s nae the readin’ nor the hearin’
that maks a gude man—na, na, it’s the right and proper application—
the practice, that’s the real thing.”
David saw that “the mistress was aboot to mount her favourite
hobbyhorse,” and cut her lecture short by remarking that “it was
time to make ready for the kirk.”
“Aye, ye’ll gae to the kirk,” said Mrs Lyall, “an’ tak the sodger wi’
ye; and see that ye fesh the sermon hame atween ye, as I am no gaun
mysel the day.”
The soldier acquiesced, and on their way to church Mr Lyall
remarked, among other things, that “the gudewife was, if anything,