Principles of Game Design

1.     Focal point – This principle is self-explanatory. The player has to understand what his focus is in the game and whether or not the focus is kept as the game progresses. An example of this is in Oddworld: Abe’s Oddysee, where the focus is always kept on the main character Abe and his quest to rescue the Mudokons, while completing the tasks set for the player.

2.     Anticipation – This means that the player must be informed that something is about to happen, whether it would be through visual or audio means. A clear example of this is in the game Metal Gear, when Snake is seen by any of the guards a loud ping sound occurs and an exclamation mark appears above the guard’s head, showing that Snake is in danger.

3.     Announce Change – The meaning of this is to let the player know where he exactly is in the game and keep them in control. This principle is often overlooked, but is necessary for the player to be aware of the change. Examples of this are in many games but to specify, Abe’s Oddysee uses this when you rescue a Mudokon and a number appears on the top of the screen, signifying that you have rescued that many Mudokons in total. Also in Metal Gear when Snake collects ammo or weapons the number or name of the gun appears to show he has collected that many of that item.

4.     Behavior and Believable Events – This means that the characters and events must behave according to the expectations of the player, and the actions and behaviors of the game itself must satisfy the player’s logic. An example of this is in Tenchu: Silent Assassins when the player uses flash bombs to blind the guards and get away, the player expects the guard to be disorientated.

5.     Overlapping Events and Behavior – The game needs to be interesting and not only have one change occur at a time. This appeals to the player and helps the overall dynamic of the game. A good example of this is in Abe’s Oddysee when Abe uses his friend Elum to complete the puzzles ahead and finish the level.

6.     Physics – The player will play the game with a basic understanding of physics, so you should always adhere to the laws of gravity, weight, elasticity, etc. but at the same time not be hindered by it. An example of this is in Tenchu: Silent Assassins when the player uses his grappling hook to climb to the top of a building, and then performs sneak attacks by jumping off the building without taking any fall damage.

7.     Sound – Sound is key to set the scene for the player, to let him know where he is and what is going on around him. In game this can range from sound effects to background music. A perfect example of this is in Metal Gear, where the music is quiet and calm until Snake is seen by a guard, and the music changes from calm to hectic and loud sound effects accompany the background music to signify the danger and suspense.

8.     Pacing – This means that the player should always have diversity and be given a choice of whether or not he performs a certain action the right way or the wrong way. This can include areas of high concentration accompanied by shorter areas with a straightforward goal.  One of the examples of this is in Tenchu: Silent Assassins where the player can choose to either fight the guards head on with power attacks and light attacks, or he can choose to assassinate the enemy silently as to not draw attention.

9.     Spacing – The player needs space in his environment to exact the right move and thus complete his task. You must consider the right elements for what the player is about to encounter. A good example of this is in Metal Gear when Snake moves into a new room and guards are patrolling the area, so the player must use the environment to either sneak past the guard or fight them.

10.            Linear Design Versus Component Breakdown – Linear design means to solve the challenges as they come, which can lead to loss of focus but provides creative solutions to the game. Component Breakdown provides insight into primary objectives and allows for logical thinking, but can restrict innovation. This doesn’t necessarily mean you use one and not the other though, as one method can be more appropriate than the other at times. Examples of component breakdown are in both Metal Gear and Tenchu, where the character has the choice to either face the enemy head on or attack silently. An example of linear design would be Abe’s Oddysee, where the character has to solve puzzles or defeat enemies to enter the next level.

11.            Player – This means to help the player contribute to the experience, either by making the player feel empowered throughout the game or to simply blow them off their seats. An example of this is in Abe’s Oddysee, where the character can transform into the Mudokon god Shrykull to defeat the enemies in the level.

12.            Communication – This means to question whether the player is using the correct move to complete the task, or is the player being pointed in the right direction. A good example of this is in Abe’s Oddysee, where the environment is shaped to always point the player in the right direction.

13.            Appeal – An important part of game design, as it establishes whether or not your game idea is compelling enough to keep playing or, to put it simply, if the game is boring then do you want to keep playing. This could mean when punches actually shake the screen, or the sound is affected by elements in the game itself. An example of this is in Tenchu: Silent Assassins, when your character is attacked by a guard, the screen shakes to accommodate the pain your character feels, and thus makes the game feel more realistic.