Game Feel
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Review
The following game design luminaries have promised quotes:
Jonathan Blow, Company: Number-None, Game: Braid
Matthew Wegner, Development Director, Flashbang Studios, LLC, Games: Sealab 2021 Sweet Mayhem
Aubrey Hesselgren, Game Designer, Amorphous, Games: Hoop World, Unannounced XBLA game
Derek Yu, Artist, Game Designer, Bit Blot, Games: Aquaria, I'm O.K.
Alec Holowka, Programmer, Game Designer, Bit Blot, Games: Aquaria
Katherine Isbister, Associate Professor, Rensselaer Polytech (RPI), Morgan Kaufmann game author.
Jonathan Blow, Company: Number-None, Game: Braid
Matthew Wegner, Development Director, Flashbang Studios, LLC, Games: Sealab 2021 Sweet Mayhem
Aubrey Hesselgren, Game Designer, Amorphous, Games: Hoop World, Unannounced XBLA game
Derek Yu, Artist, Game Designer, Bit Blot, Games: Aquaria, I'm O.K.
Alec Holowka, Programmer, Game Designer, Bit Blot, Games: Aquaria
Katherine Isbister, Associate Professor, Rensselaer Polytech (RPI), Morgan Kaufmann game author.
Product Description
"Game Feel" exposes "feel" as a hidden language in game design that no one has fully articulated yet. The language could be compared to the building blocks of music (time signatures, chord progressions, verse) - no matter the instruments, style or time period - these building blocks come into play. Feel and sensation are similar building blocks where game design is concerned. They create the meta-sensation of involvement with a game.
The understanding of how game designers create feel, and affect feel are only partially understood by most in the field and tends to be overlooked as a method or course of study, yet a game's feel is central to a game's success. This book brings the subject of feel to light by consolidating existing theories into a cohesive book.
The book covers topics like the role of sound, ancillary indicators, the importance of metaphor, how people perceive things, and a brief history of feel in games.
The associated web site contains a playset with ready-made tools to design feel in games, six key components to creating virtual sensation. There's a play palette too, so the desiger can first experience the importance of that component by altering variables and feeling the results. The playset allows the reader to experience each of the sensations described in the book, and then allows them to apply them to their own projects. Creating game feel without having to program, essentially. The final version of the playset will have enough flexibility that the reader will be able to use it as a companion to the exercises in the book, working through each one to create the feel described.
*Demystifies this crucial, fundamental, and unexplored aspect of game design with case studies and fully interactive examples
*Interviews with industry luminaries and in-depth examination of many classic games from a fresh angle
*Website includes a fully playable interactive playset with ready-made tools for game designers
The understanding of how game designers create feel, and affect feel are only partially understood by most in the field and tends to be overlooked as a method or course of study, yet a game's feel is central to a game's success. This book brings the subject of feel to light by consolidating existing theories into a cohesive book.
The book covers topics like the role of sound, ancillary indicators, the importance of metaphor, how people perceive things, and a brief history of feel in games.
The associated web site contains a playset with ready-made tools to design feel in games, six key components to creating virtual sensation. There's a play palette too, so the desiger can first experience the importance of that component by altering variables and feeling the results. The playset allows the reader to experience each of the sensations described in the book, and then allows them to apply them to their own projects. Creating game feel without having to program, essentially. The final version of the playset will have enough flexibility that the reader will be able to use it as a companion to the exercises in the book, working through each one to create the feel described.
*Demystifies this crucial, fundamental, and unexplored aspect of game design with case studies and fully interactive examples
*Interviews with industry luminaries and in-depth examination of many classic games from a fresh angle
*Website includes a fully playable interactive playset with ready-made tools for game designers
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
4.7 out of 5 stars (20 customer reviews)
4 of 4 people found the following review helpful:
4.0 out of 5 stars
The Game/Player Feedback Loop (not haptics), 10 Aug 2009
By oldtaku - Published on Amazon.com
This review is from: Game Feel: A Game Designer's Guide to Virtual Sensation (Morgan Kaufmann Game Design Books) (Paperback)
Customer review from the Amazon Vine™ Programme
First of all, this is not about haptics (literal 'feel', as in force feedback or other simulated touch) though haptics are touched on (har). It's about tuning the feel of a specific kind of game - the sort where your avatar, seen or unseen, becomes a virtual extension of your real self. This requires a certain tight feedback loop of repeated player input and game response that's fast enough that it becomes to some degree chunked and unconscious. Games like Super Mario 64, Half-Life, Burnout, and Geometry Wars all qualify. Civ IV and Starcraft, even though they're great games, don't qualify - the input is too far removed.It comes with a companion website, [...], and you are expected to follow along by downloading various example apps from the site at given points in the text and play with them. And they do add a huge amount to the book.
I'm slightly conflicted by this book - Swink does a good job of laying out exactly what makes a good game feel right, but it's a bit too chatty and repetitive, and there is a lot it 'it should do x' without as much indication of how to do x as I would have expected. If you tinker with the provided example apps much of it will come into focus, though from a tuning side if not implementation side.
I also didn't feel I learned a lot new till the end of the book, though it certainly helps to have it all laid out semi-rigorously as a checklist. On the other hand I've also played too many video games since Super Mario Bros where the designers obviously did NOT know this stuff, so I would highly recommend that anyone working in the game industry read this if you're not already Mark Cerny.
The real payoff for me came in the last several chapters where he analyzes several videogames in detail: Asteroids, Super Mario Bros, Bionic Commando, Super Mario 64, and Offroad Velociraptor Safari. And the chapter on experimental games to push the limits of the various game feel metrics was quite interesting as well.
There are charming hand illustrations throughout, and a constant stream of references to games (new and old) that you should have played at some point if you're a serious game author or player and which provide a shared reference. On the other hand, if you haven't, you might lose the point being made.
I'd give this 4.5 stars if I could - it's a good informative book, but for most of it I didn't feel utterly compelled to keep reading no matter what, and I need that for 5 stars. There are also some obvious errors an editor should have caught, though since the technical content is almost entirely on the website it doesn't hurt too much.
2 of 2 people found the following review helpful:
5.0 out of 5 stars
Excellent guide for designing involving games, 3 Aug 2009
By Trevor Burnham - Published on Amazon.com
This review is from: Game Feel: A Game Designer's Guide to Virtual Sensation (Morgan Kaufmann Game Design Books) (Paperback)
Customer review from the Amazon Vine™ Programme
Steve Swink writes at length in this book about an aspect of game design that's rarely considered in a formal way: How to make a game feel responsive and consistent with a player's expectations. He's particularly concerned with games that play in real-time and give instant feedback, and makes his point with a rich set of examples. For instance, why was Street Fighter II so much more successful than the plethora of other, superficially similar fighting games that came out around the same time? Swink's answer: Because when you press a button in Street Fighter II, you get a response very fast--usually within 100ms, even if your character is in the middle of another move. Any lag beyond 240ms, Swink argues (with scientific data), leads to player frustration.Swink also talks about "polish," the subtle visual or aural cues that alter a player's expectations. A slight change in the texture filter used on a sphere changes it from solid to squishy in the player's mind, and affects how they'll try to interact with it. The importance of polish to a game can hardly be overstated. It's what separates "Gears of War" from the hordes of other zombie shooters on the market.
Think of this as a more in-depth sequel to the superior Game Design Workshop. It should be on every video game designer's shelf.
2 of 2 people found the following review helpful:
5.0 out of 5 stars
Enlightening Stuff, 29 July 2009
By Grant Beaudette - Published on Amazon.com
This review is from: Game Feel: A Game Designer's Guide to Virtual Sensation (Morgan Kaufmann Game Design Books) (Paperback)
Customer review from the Amazon Vine™ Programme
When playing a video game, it's common to talk about how it feels. Stiff, floaty, slippery, etc... The feel of a game has got to be the most crucial, yet hard to define aspect of a game. Game Feel explores this elusive yet essential quality.The book looks at the feel of a game both in abstract and mathematically definable ways. It surveys areas like controller input, rules, game world context and experience enhancing polish effects (sound design, particles, etc...)
Later chapters focus on examples of popular games that exhibit good game feel (Asteroids, Super Mario Bros., Bionic Commando & Mario 64) and break down the components that make these games feel so good to play.
This book is kind of a dense read, which is pretty much unavoidable given the topic, but the author does a pretty good job keeping things entertaining with a rather humorous writing style. The topics are also well divided, laying out each concept separately.
The book also has a companion website that contains playable examples of the concepts being covered. Unfortunately at the time of this review, only a few of the examples are actually there. Plus they have to be downloaded onto your computer rather than simply loading directly in the browser. It would also be nice if the site linked to all the articles the author mentions in the foot notes so I could avoid typing in a bunch of 40 character URLs.
This book is an enlightening read even if you only desire to play video games rather than design them. I personally liked the parts on virtual perception and how some of these principles of appealing game feel are similar to principles of appeal animation. (Overlap, Squash & Stretch, etc...) It's also nice that the author wraps up with a look at some of the possible future developments of game sensation.
All in all, Game Feel is an eye-opening look at the most important part of video games; the part going on in our heads.
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