Games & Virtual Worlds Series

Designing Games & Interactive Stories

Environments

A game environment refers to the virtual world or setting in which a video game takes place. It includes all of the objects and events that the player encounters as they progress through the game. The game environment can be simple or complex, depending on the game, and may include elements such as terrain, buildings, characters, and objects. It provides the context for the player’s actions and gives them a sense of place within the game world.

In addition to serving as the backdrop for gameplay, the game environment can also contribute to the storytelling in a game. The design and details of the environment can help to establish the game’s setting and atmosphere, and can provide clues and hints about the game’s story and characters. The game environment can also be used to convey information to the player through the use of visual and audio cues, such as ambient sound effects and background music.

Cultural Context

The virtual environment of a video game can provide a wealth of information about the cultural and anthropological context of its game world. This can be achieved through a variety of techniques, including the use of architecture, clothing, and other visual elements that are characteristic of a particular culture or time period.

For example, a game set in ancient Egypt might include pyramids, hieroglyphics, and other elements that are characteristic of Egyptian culture. Similarly, a game set in a fictional fantasy world might include elements of various real-world cultures, such as medieval European castles, Asian temples, and African tribal villages.

In addition to visual elements, the game environment can also provide information about the culture and anthropology of a game world through the use of dialogue, character names, and other written or spoken information. For example, a game set in a fictional version of medieval Japan might include characters with Japanese names, dialogue spoken in Japanese, and other cultural elements that are characteristic of Japan.

The virtual environment of a video game can serve as a rich source of human information, helping to immerse the player in the world of the game and provide a sense of authenticity and realism.

Detail

There are several approaches that video games can take when it comes to the amount of detail that is rendered in the game. Here are a few examples:

High detail: Some games are known for their highly detailed environments, characters, and objects. These games often use advanced graphics engines and high-quality textures to create a sense of realism and immersion. Examples of games that show a high degree of fine detail include the “Crysis” series and the “Red Dead Redemption” series.

Low detail: Other games may choose to minimize the level of detail in order to achieve a specific aesthetic or to focus on other aspects of the game. For example, a game with a retro or pixel art style might intentionally use low-resolution graphics in order to evoke the look of older games. Other games might use low detail as a way to reduce the demands on the player’s hardware or to allow for a more streamlined gameplay experience.

There are several reasons why the level of depicted detail can vary in games. One reason is simply the aesthetic choice of the game’s designers, who may want to create a specific look or atmosphere for the game. Another reason is technical limitations, as some games may be limited in their ability to render detailed graphics due to hardware or software constraints. Finally, the level of detail can also be affected by factors such as the intended audience of the game or the focus of the gameplay experience.

Aesthetics & Style

The aesthetic choices made by the game’s designers have a major impact on the player’s experience of the game, influencing how they perceive the game world and its characters, and shaping their emotional response to the game.

There are many different approaches to video game art, and game designers have a wide range of tools and techniques at their disposal for creating the look and feel of a game. Here are a few examples of interesting approaches to video game art:

Photorealistic graphics: Some games strive to achieve a high level of realism in their graphics, using advanced techniques such as 3D modeling and rendering to create detailed and lifelike environments and characters. Examples of games with photorealistic graphics include the “Uncharted” series and the “Crysis” series.

Stylized graphics: Other games choose to go for a more stylized look, using simplified or abstracted graphics to create a specific aesthetic or atmosphere. Examples of games with stylized graphics include “Journey” and “The Legend of Zelda: Breath of the Wild”.

Pixel art: Some games use pixel art, which involves creating graphics using small, colored squares (pixels), to achieve a retro or nostalgic look. Examples of games with pixel art graphics include “Super Mario Bros.” and “Celeste”.

Hand-drawn graphics: Some games use hand-drawn graphics to create a unique and expressive visual style. Examples of games with hand-drawn graphics include “Okami” and “Dragon’s Crown”.

Emotion Design

Game designers use a variety of techniques to shape players’ emotions in video games. These techniques can be used to create a wide range of emotions, including fear, excitement, joy, sadness, and more.

Here are a few examples of how game designers use specific techniques to create emotions in players:

Horror games: Horror games often use techniques such as low lighting, loud noises, graphic depictions of violence, and objects that suddenly appear in order to create fear and suspense in the player. These techniques can be very effective at creating a sense of unease and uncertainty in the player, and can be particularly effective when used in combination with a well-designed game world and story.

Positive emotions: There are also many techniques that game designers can use to create more positive emotions in players. For example, games that use bright, colorful graphics and upbeat music can help to create a sense of joy and excitement in the player. Similarly, games that use heartwarming storylines and characters can help to create a sense of warmth and affection in the player.

Other techniques that game designers can use to shape players’ emotions include the use of lighting and color to create a specific mood or atmosphere, the use of music and sound effects to create a sense of tension or release, and the use of character dialogue and voice acting to convey emotion.

Seven Universal Emotions

Paul Ekman is a psychologist who is known for his work on the study of emotions and facial expressions. In his research, he proposed that there are seven universal emotions that are recognized and expressed in the same way across all cultures:

Happiness: A feeling of joy or contentment.

Sadness: A feeling of sorrow or melancholy.

Anger: A feeling of hostility or frustration.

Fear: A feeling of anxiety or dread.

Disgust: A feeling of revulsion or distaste.

Surprise: A feeling of being taken aback or caught off guard.

Contempt: A feeling of superiority or disrespect.

Ekman’s theory of universal emotions has been influential in the field of psychology and has been widely studied and debated by researchers. While some researchers have questioned the existence of universal emotions, others have argued that there is evidence to support the idea that certain emotional expressions are recognized and interpreted in similar ways across cultures.

ere are a few examples of how video game designers have used Paul Ekman’s seven universal emotions in their game design:

Happiness: Many video games use techniques such as bright, colorful graphics, upbeat music, and positive character interactions to create a sense of joy and contentment in the player. For example, the Mario series is known for its cheerful, cartoonish graphics and lighthearted gameplay, which helps to create a sense of happiness in the player.

Sadness: Some video games use techniques such as melancholy music, dark or muted colors, and emotional storylines to create a sense of sadness in the player. For example, the game To the Moon tells a poignant and emotional story that is designed to evoke feelings of sadness in the player.

Anger: Games that involve intense action or competition, such as first-person shooters or sports games, can often create feelings of anger in the player. This can be achieved through the use of tense music, fast-paced gameplay, and aggressive character interactions.

Fear: Horror games are known for their use of techniques such as low lighting, loud noises, and frightening imagery to create a sense of fear and suspense in the player. For example, the Resident Evil series is known for its use of jump scares, grotesque monsters, and atmospheric environments to create a sense of fear in the player.

Disgust: Games that involve gross or disturbing imagery, such as survival horror games, can create feelings of disgust in the player. For example, the Dead Space series is known for its use of grotesque monsters and gory violence to create a sense of disgust in the player.

Surprise: Many games use techniques such as sudden loud noises, unexpected events, or plot twists to create a sense of surprise in the player. For example, the Until Dawn game uses these techniques to keep the player on their toes and create a sense of uncertainty and tension.

Contempt: Some games use techniques such as sarcastic or snarky character dialogue, or storylines that involve characters acting in a superior or arrogant manner, to create a sense of contempt in the player. For example, the Fallout series often uses this approach to create a sense of irony and humor in the game.

There are several design challenges that game designers face when rendering emotions in their games. One challenge is the risk of creating emotions that are cliché or predictable. This can happen when game designers rely too heavily on certain techniques or tropes to create emotional responses in the player, such as using overly dramatic music or overly sentimental storylines. These approaches can be effective in some cases, but can also be perceived as overly familiar or trite if they are used too frequently.

Another challenge is the risk of creating emotions that are too strong or intense. Some players may be uncomfortable with games that elicit strong emotional responses, such as fear or sadness, and may prefer more subtle or nuanced emotional experiences. Game designers must be careful to balance the intensity of the emotional responses they create in order to avoid overwhelming or alienating the player.

Finally, game designers must also consider the potential cultural and personal differences that can affect the way players experience emotions. Different players may have different emotional responses to the same game, depending on their cultural background, personal experiences, and individual temperament. This can make it challenging for game designers to create emotionally effective games that will resonate with a wide range of players.

Music & Dopamine

Music has been shown to have an effect on the neurotransmitter dopamine, which is involved in reward, pleasure, and motivation. Listening to music can trigger the release of dopamine in the brain, which can create feelings of pleasure and enjoyment in the listener.

Game designers can build on this relationship between music and dopamine in their music design for games in order to trigger specific emotions in the player. For example, they can use music with a fast tempo and intense rhythms to create a sense of excitement and energy in the player. Similarly, they can use music with a slower tempo and more mellow melodies to create a sense of relaxation or contemplation in the player.

Game designers can also use music to create a sense of tension or suspense in the player. This can be achieved through the use of dissonant or unsettling melodies, or through the use of musical techniques such as building and releasing tension through the use of musical dynamics.

Pacing

Pacing refers to the rhythm and flow of a game, and game designers use various techniques to create pacing in video games, including:

Tempo: The tempo of the game refers to the speed at which the game progresses. Game designers can use techniques such as increasing or decreasing the speed of gameplay, or using faster or slower music, to control the tempo of the game and create a specific pacing. For example, a game with a fast tempo might use fast-paced gameplay and energetic music to create a sense of excitement, while a game with a slower tempo might use more leisurely gameplay and mellow music to create a sense of relaxation.

Tension: Tension is a feeling of anxiety or anticipation, and game designers can use techniques such as using suspenseful music or creating challenging gameplay to create a sense of tension in the player. This can be used to create a sense of excitement or to build up to a dramatic event in the game.

Threat or Suspense: Game designers can also use elements of threat or danger, such as enemies or hazards, to create a sense of suspense or tension in the player. This can be achieved through the use of challenging gameplay, suspenseful music, or other techniques that create a sense of danger or uncertainty.

Movement Impetus: Game designers can also use the player’s movement and progress through the game world to create a sense of pacing. For example, they can use techniques such as forcing the player to move quickly through a series of challenges or obstacles to create a fast-paced experience, or allowing the player to explore a more open world at their own pace to create a slower-paced experience.

In Western media, creators generally make due with this short list of the main features of Pacing, and fine-tune these factors until the work “feels right.”

In Japan, by contrast, other techniques for managing pacing were developed in the context of Noh theatrical design.

Zeami Motokyo was a 14th century Japanese actor, playwright, and theorist who developed a set of pacing concepts known as Jo, Ha, and Kyu. These concepts were used to create a sense of rhythm and flow in the performing arts, and are still used today in various forms of performance.

Jo: Jo refers to the beginning or introduction of a performance, and is characterized by a slow and steady pace. This is the stage at which the performer establishes the mood and atmosphere of the performance, and sets the tone for what is to come.

Ha: Ha refers to the break or transition between the beginning and the end of the performance, and is characterized by a sudden shift in pace. This is the stage at which the performer creates tension or suspense, and prepares the audience for the climax of the performance.

Kyu: Kyu refers to the rapid or explosive finale of the performance, and is characterized by a fast and intense pace. This is the stage at which the performer delivers the climax of the performance, and brings the performance to a dramatic conclusion.

Zeami’s pacing concepts of Jo, Ha, and Kyu are still used today in various forms of performance, including music, theater, and dance, and have also been applied to the field of game design. Game designers can use these concepts to create a sense of rhythm and pacing in their games, and to build tension and suspense in the player.

Related Articles

Ideation, Brainstorming & Innovation

Audiences, Game Titles & Player Types

Prototyping, Playtesting, Iteration & Fun

Affordances, Game Dynamics, Gameplay & Core Loops

Pillars, Goals, Features & Elements

Game Worlds, Dimensionality & Time

Mapping & Wayfinding

Demographics by Age & Sex

Flowcharting, Algorithms & Pseudocode

Game Documentation

Bibliography & Further Reading

• A Game Design Vocabulary: Exploring the Foundational Principles Behind Good Game Design by Anna Anthropy and Naomi Clark
• A Theory of Fun for Game Design by Raph Koster
• Advanced Game Design: A Systems Approach by Michael Sellers
• An Introduction to Game Studies by Frans Mayra
• Basics of Game Design by Michael Moore
• Blood, Sweat, and Pixels: The Triumphant, Turbulent Stories Behind How Video Games Are Made Blood, Sweat, and Pixels: The Triumphant, Turbulent Stories Behind How Video Games Are Made by Jason Schreier
• Board Game Design Advice: From the Best in the World vol 1 by Gabe Barrett
• Building Blocks of Tabletop Game Design: an Encyclopedia Of Mechanisms by Geoffrey Engelstein and Isaac Shalev
• Character Development and Storytelling for Games by Lee Sheldon
• Chris Crawford on Game Design by Chris Crawford
• Clockwork Game Design by Keith Burgun
• Elements of Game Design by Robert Zubek
• Fundamentals of Game Design by Ernest Adams
• Fundamentals of Puzzle and Casual Game Design by Ernest Adams
• Game Design Foundations by Brenda Romero
• Game Design Workshop by Tracy Fullerton
• Game Mechanics: Advanced Game Design by Ernest Adams and Joris Dormans
• Game Writing: Narrative Skills for Videogames edited by Chris Bateman
• Games, Design and Play: A detailed approach to iterative game design by Colleen Macklin and John Sharp
• Introduction to Game Systems Design by Dax Gazaway
• Kobold Guide to Board Game Design by Mike Selinker, David Howell, et al
• Kobold’s Guide to Worldbuilding edited by Janna Silverstein
• Level Up! The Guide to Great Video Game Design, 2nd Edition by Scott Rogers
• Narrating Space / Spatializing Narrative: Where Narrative Theory and Geography Meet by Marie-Laure Ryan, Kenneth Foote, et al.
• Narrative Theory: A Critical Introduction by Kent Puckett
• Narrative Theory: Core Concepts and Critical Debates by David Herman, James Phelan, et al.
• Narratology: Introduction to the Theory of Narrative, Fourth Edition by Mieke Bal
• Practical Game Design by Adam Kramarzewski and Ennio De Nucci
• Procedural Storytelling in Game Design by Tanya X. Short and Tarn Adams
• Professional Techniques for Video Game Writing by Wendy Despain
• Rules of Play by Salen and Zimmerman
• Storyworlds Across Media: Toward a Media-Conscious Narratology (Frontiers of Narrative) by Marie-Laure Ryan, Jan-Noël Thon, et al
• Tabletop Game Design for Video Game Designers by Ethan Ham
• The Art of Game Design, 3rd Edition by Jesse Schell
• The Board Game Designer’s Guide: The Easy 4 Step Process to Create Amazing Games That People Can’t Stop Playing by Joe Slack
• The Cambridge Introduction to Narrative by H. Porter Abbott
• The Grasshopper, by Bernard Suits
• The Routledge Companion to Video Game Studies by Bernard Perron and Mark J.P. Wolf
• The Routledge Encyclopedia of Narrative Theory by David Herman
• The Ultimate Guide to Video Game Writing and Design by Flint Dille & John Zuur Platten
• Unboxed: Board Game Experience and Design by Gordon Calleja
• Video Game Storytelling: What Every Developer Needs to Know about Narrative Techniques by Evan Skolnick
• Writing for Video Game Genres: From FPS to RPG edited by Wendy Despain
• Writing for Video Games by Steve Ince
• 100 Principles of Game Design by DESPAIN

Acknowledgement

This online courseware was co-authored with OpenAI technology in order to produce a clear, succinct writing style that will be accessible to the widest range of readers from a variety of backgrounds.

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