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Game Architecture and Design:
A New Edition
Contents at a Glance
I
1
2
3
4
5
6
7
8
II
9
10
11
12
13
14
15
Game Design
First Concept 3
Core Design 35
Gameplay 59
Detailed Design 87
Game Balance 105
Look and Feel 141
Wrapping Up 171
The Future of Game Design 197
Team Building and Management
Current Methods of Team Management 227
Roles and Divisions 245
The Software Factory 263
Milestones and Deadlines 293
Procedures and “Process” 327
Troubleshooting 367
The Future of the Industry 409
III
16
17
18
19
20
21
22
23
24
Game Architecture
Current Development Methods 433
Initial Design 457
Use of Technology 511
Building Blocks 553
Initial Architecture Design 607
Development 637
The Run-Up to Release 687
Postmortem 719
The Future of Game Development 747
IV Appendixes
A Sample Game Design Documents 785
B Bibliography and References 887
Glossary 893
Index 897
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Game Architecture and Design:
A New Edition
Andrew Rollings
Dave Morris
800 East 96th Street, 3rd Floor, Indianapolis, Indiana 46240
An Imprint of Pearson Education
Boston • Indianapolis • London • Munich • New York • San Francisco
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Game Architecture and Design:
A New Edition
Copyright © 2004 by New Riders Publishing
All rights reserved. No part of this book shall be reproduced,
stored in a retrieval system, or transmitted by any means—
electronic, mechanical, photocopying, recording, or otherwise—
without written permission from the publisher, except for the
inclusion of brief quotations in a review.
International Standard Book Number: 0-7357-1363-4
Library of Congress Catalog Card Number: 2003111600
Printed in the United States of America
First printing: November, 2003
08 07 06 05 04
7 6 5 4 3 2 1
Interpretation of the printing code: The rightmost double-digit
number is the year of the book’s printing; the rightmost singledigit number is the number of the book’s printing. For example,
the printing code 04-1 shows that the first printing of the book
occurred in 2004.
Publisher
Stephanie Wall
Production Manager
Gina Kanouse
Senior Project Editor
Kristy Hart
Copy Editor
Chrissy Andry
Senior Indexer
Cheryl Lenser
Composition
Gloria Schurick
Manufacturing Coordinator
Dan Uhrig
Interior Designer
Kim Scott
Cover Designer
Aren Howell
Trademarks
Media Developer
Jay Payne
All terms mentioned in this book that are known to be trademarks
or service marks have been appropriately capitalized. New Riders
Publishing cannot attest to the accuracy of this information. Use of
a term in this book should not be regarded as affecting the validity
of any trademark or service mark.
Marketing
Scott Cowlin
Tammy Detrich
Hannah Onstad Latham
Warning and Disclaimer
Publicity Manager
Susan Nixon
Every effort has been made to make this book as complete and as
accurate as possible, but no warranty of fitness is implied. The
information is provided on an as-is basis. The authors and New
Riders Publishing shall have neither liability nor responsibility to
any person or entity with respect to any loss or damages arising
from the information contained in this book.
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This book is dedicated to the memory of Ram De Silva,
respected colleague and beloved friend.
‰
Andrew Rollings
In loving memory of my father, Victor Morris.
‰
Dave Morris
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Game Architecture and Design: A New Edition
Table of Contents
Introduction
Part I
xxiii
Game Design
Chapter 1
First Concept
3
The Shock of the New
3
The Creative Road Map
4
Having the Idea
Inspiration
Synthesis
Resonance
Convergence
6
7
8
9
10
Shaping the Idea
Dramatic Effect
11
11
The Treatment
15
Taking Stock
Analysis
Evaluation
Justification
Case Study 1.1
16
16
17
17
18
The One-Page Pitch
Feasibility
Commercial
Technological
Developmental
Getting it Down
Case Study 1.2
Chapter 2
20
20
20
21
Initial Treatment for Conquerors
21
22
Core Design
35
What Is a Game?
Cool Features
Fancy Graphics
Puzzles
Setting and Story
35
36
36
37
37
Games Aren’t Everything
Case Study 2.1 Story Versus Gameplay
38
39
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Chapter 3
Games Mean Gameplay
Case Study 2.2 A Missed Opportunity?
39
40
Creating the Game Spec
Case Study 2.3 Integrating Game Objectives
Features
Case Study 2.4 An Instance of Emergence
Gameplay
Interface
Case Study 2.5 An Elegant Interface
Rules
Case Study 2.6 The Rules Must Serve the Features
Level Design
Case Study 2.7 Interesting Level Design
42
43
43
45
45
47
48
48
49
50
51
Example Game Spec
Case Study 2.8 Game Spec
The Value of Prototypes…
…And the Necessity of Documents
53
53
57
58
Gameplay
59
What Is Gameplay?
Implementing Gameplay
The Dominant Strategy Problem
Near Dominance
Case Study 3.1 Environment Plus Rules Equals Gameplay
Supporting Investments
Versatility
Case Study 3.2 Unexpected Versatility
Compensating Factors
Case Study 3.3 Balancing Compensating Factors
Impermanence
Shadow Costs
Case Study 3.4 Shadow Costs in Age of Empires
Synergies
A Final Word About Gameplay
60
61
62
63
67
70
71
72
74
75
76
77
77
78
79
Interactivity
Kinds of Interactivity
Case Study 3.5 A Different Kind of Interactivity
“Why?” Versus “What?”
80
81
82
84
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Game Architecture and Design: A New Edition
Chapter 4
Chapter 5
Chapter 6
Detailed Design
87
The Designer’s Role
Case Study 4.1 A Development Timeline
87
88
Design Documentation
The Gameplay Spec
The Designer’s Notes
Case Study 4.2 The Need for Documenting the Spec
92
92
93
94
Using The Design Documents
95
Fitting Design to Development
Tiers and Testbeds
Case Study 4.3 Planning the Mini-Specs to Fit
the Architecture
97
98
100
Why Use Documents at All?
102
Game Balance
105
Player/Player Balance
Symmetry
106
107
Player/Gameplay Balance
Case Study 5.1 Is This Supposed to Be Fun?
Reward the Player
Let the Machine do the Work
Make a Game You Play With, Not Against
Case Study 5.2 The Save Game Problem
111
111
113
113
114
114
Gameplay/Gameplay Balance
Component and Attribute Balance
Case Study 5.3 Component and Attribute Balance in
Dungeon Keeper
Intransitive Game Mechanics Guarantees Balance
Case Study 5.4 Attribute Balance Using SPS
Case Study 5.5 Using Game Theory Analysis to
Achieve Balance
116
117
132
A Game Balance Checklist
139
Look and Feel
141
Ambience
Sound
Case Study 6.1
Vision
Case Study 6.2
142
143
143
144
146
Sound Effects at Their Best
A Discordant Note
119
120
126
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Table of Contents
Touch
Interface
Case Study 6.3
Case Study 6.4
Chapter 7
Chapter 8
147
Meshing the Interface with Look and Feel
Sometimes Less Is Less
148
148
150
Storytelling
A Toolbox of Storytelling Techniques
Case Study 6.5 An Example of a Look-and-Feel Document
Case Study 6.6 An Unexpected Development
Case Study 6.7 An Unsatisfying Conclusion
152
153
157
162
167
The Sum of the Parts
169
Wrapping Up
171
The Professionals
The Game Concept
Planning for Change
The Technology
Development
The Team
Costs and Timelines
Gameplay
The Future
172
173
174
180
182
186
187
189
192
The Future of Game Design
197
The Necessity of Design
Don’t Be Afraid to Plan
Case Study 8.1 Design Saves Time
Why Design Is Fine
Case Study 8.2 Keep the Design up to Date
197
198
198
200
202
Essentials of Game Design
Is it Original?
Is it Coherent?
Is it Interactive?
Is it Interesting?
Is it Fun?
203
204
204
205
206
206
The Future of Design
Making Designs More Generic
Nonsymbolic Design
Case Study 8.3 Comparing Nonsymbolic and
Symbolic Design
207
208
209
211
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Game Architecture and Design: A New Edition
Part II
The Future of Games
The Next Decade
The Strengths of Software
The Crossroads of Creativity
Case Study 8.4 An Example of Mise En Scene
212
213
214
215
219
Games as Entertainment
222
The Way Forward
224
Team Building and Management
Chapter 9
Current Methods of Team Management
227
The Current Development Model
The Origins of the Industry
The Trouble with Game Developers
The Problem Developer
Excessive Long Hours Mean an Unsuccessful Project
Exceptions to the Rule
Case Study 9.1 Quake, StarCraft, and XCOM: Interceptor
228
228
231
234
241
242
243
Chapter 10 Roles and Divisions
245
Assigning Personnel
Management and Design Division
Programming Division
Art Division
Music and Miscellaneous Division
Support and Quality Assurance Division
245
247
249
250
251
253
Improving Morale and the Working Environment
Morale Boosters
Morale Booster Caveats and Warnings
255
255
261
Spreading the Risk
262
Chapter 11 The Software Factory
263
What Is a Software Factory?
263
Why Use a Software Factory?
Solving Game Development Issues
Case Study 11.1 The Effects of Losing Key Personnel
Case Study 11.2 Code Reuse
265
266
268
269
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Table of Contents
Organizing a Software Factory
A Structural Overview
Group Responsibilities and Interactions
Case Study 11.3 Ineffective Problem Handling in Action
Case Study 11.4 Effective Problem Handling in Action
Case Study 11.5 The Benefits Of Tool Reuse
271
271
273
274
276
281
Applying the Software Factory Structure and Methodology
Getting off the Ground
Knowing When to Use Each Team—a Parallel Development
Timeline
Rotating and Reassigning Team Members
Case Study 11.6 The Indispensables
285
286
The Suitability of a Software Factory
290
Smaller Teams
290
The Final Word
291
Chapter 12 Milestones and Deadlines
287
289
289
293
How Milestones Currently Work
Case Study 12.1 What Fuzzy Milestones Can Do to
a Project
294
Fuzzy Milestones
299
Milestones and Mini-Milestones
299
When to Use Milestones
301
Making Your Milestones Accurate
Case Study 12.2 The Costs of Canceling Projects
Checkpoint 1.0 General Requirements Gathering
Checkpoint 1.1 Technological Requirements Gathering
Checkpoint 1.2 Resource Requirements Gathering
Checkpoint 2.0 General Feasibility Study
Checkpoint 2.1 Technological Feasibility Study
Checkpoint 2.2 Resource Availability Study
Checkpoint 3.0 Draft Architecture Specification
Checkpoint 3.1 Project Initialization
The Next Steps
301
304
305
307
308
309
311
312
312
313
314
Defining Milestones
Bad Milestones
Good Milestones
Case Study 12.3 A Real-Life Milestone
Research Versus Deadlines
Evaluation of Milestones
314
316
321
322
323
324
297
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Game Architecture and Design: A New Edition
Chapter 13 Procedures and “Process”
Procedures
Reviews
Testing in General
“Process”
Case Study 13.1
327
328
329
333
Process Gone Mad
341
345
Procedures: Where to Use Them?
The Design Phase
The Development Phase
The Testing Phase
348
349
352
354
Source Control and Code Reviews: A Synergy
Case Study 13.2 Source Control? We Don’t Need
No Steenkin’ Source Control!
What Should Source Control Be Used For?
355
The Importance of Information Transmission
Proactive and Reactive Information Transmission
358
362
Chapter 14 Troubleshooting
Risks
Design and Architecture Problems
Case Study 14.1 The Case of the Deaf Manager
Schedule Threats
Case Study 14.2 Applied Schedule Readjustment
Organizational Problems
Contractor Problems
Personnel Problems
Development Problems
Process Problems
355
358
367
372
376
379
388
394
396
398
399
401
406
Chapter 15 The Future of the Industry
409
The State of the Industry
The First Era
The Second Era
The Third Era
Violence in Games
409
410
411
411
415
The New Model Developers
Case Study 15.1 It’s Hard for Developers
421
423
The Online Revolution
Delivering Games Online
Playing Games Online
427
427
428
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Table of Contents
Part III
Game Architecture
Chapter 16 Current Development Methods
433
The History of Development Techniques
The Rise and Fall of the Original Game Idea?
The Development Environment
436
437
441
The Present Day
Reusability
452
453
Chapter 17 Initial Design
The Beginning
Case Study 17.1
457
Abstraction in Quake II
459
461
Hardware Abstraction
Graphics Hardware Abstraction
Sound Hardware Abstraction
Other Hardware Considerations
“Not Built Here” Can Be Better
The Twilight Zone
462
463
468
470
476
478
The Problem Domain
What Is a Game? (Revisited)
479
480
Thinking in Tokens
Tokenization of Pong
Tokenization of Pac-Man
State Transitions and Properties
Case Study 17.2 The Inflexibility Trap
482
483
493
500
502
Chapter 18 Use of Technology
511
The State of the Art
The Rise and Fall of the 3D Engine
The Perception of Technology
Case Study 18.1 A First Impression
515
516
522
523
Blue-Sky Research
Research Types
Case Study 18.2 Losing Sight of the Ball
Case Study 18.3 Tetris: A Caveat
Case Study 18.4 Outcast: Good Use of Technology
Keeping a Journal
528
531
533
538
539
541
Reinventing the Wheel
542
Use of Object Technology
The Pros and Cons of Abstraction
543
549
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Game Architecture and Design: A New Edition
Chapter 19 Building Blocks
Reusability in Software
Code Reuse
Case Study 19.1 Reuse of Engines
Design Reuse: Patterns
Game-Specific Patterns
Chapter 20 Initial Architecture Design
553
555
555
556
558
606
607
The Birth of an Architecture
Architectural Concepts
608
610
The Tier System
Tier Zero: The Prototype
Case Study 20.1 A Database-Driven Approach
Tier One and Beyond
617
617
623
623
Architecture Design
Applying the Tier-Based Approach to Architecture Design
Case Study 20.2 Discussing the Architecture of Warbots
Architecture Orthogonality
628
631
633
635
Chapter 21 Development
637
The Development Process
638
Code Quality
Coding Standards
641
642
Coding Priorities
Speed
Size
Flexibility
Portability
Maintainability
668
669
670
671
671
671
Debugging and Module Completion
Types of Bugs
Case Study 21.1 Class A Bugs or Not?
672
674
675
The Seven Golden Gambits
Reuse
Case Study 21.2 Reusable Architecture
Documentation
Design First
Schedule
Catch Mistakes as You Go Along
681
681
682
682
683
684
684
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Table of Contents
Limit R&D
Know When to Draw the Line
The Three Lead Balloons
Bad Management
Feature Creep
Coder Insularity
Chapter 22 The Run-Up to Release
684
685
685
685
686
686
687
Late Evaluation
Final Analysis
Is the Game Pp to Scratch?
Case Study 22.1 A Self-Inflicted Disaster
Case Study 22.2 A Recovery Plan
Case Study 22.3 Licensing Hell
Case Study 22.4 Last-Minute Madness
688
689
691
692
694
700
701
Late Localization
Licenses
Languages
Demos
Case Study 22.5
Case Study 22.6
Giving the Game Away
Keep Something Back
703
703
704
706
707
708
Playtesting
Case Study 22.7
How Did They Miss These!?
708
710
Focus Groups
712
The Web Site
713
Getting Ready for the Gold Master
714
Patches
715
Chapter 23 Postmortem
Case Study 23.1
Team Dynamics
Case Study 23.2
Concept
Climate
Case Study 23.3
Accessibility
719
A Tale of Two Projects
722
It’s All Gone Horribly Wrong!
725
726
Misjudging the Climate
Development
Software Planning
Case Study 23.4 Oubliette
730
730
731
734
737
738
739
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Game Architecture and Design: A New Edition
Coding
Testing
Business Aspects
Case Study 23.5
741
742
Secure Your Revenue Stream
The Postmortem Postmortem
Chapter 24 The Future of Game Development
Part IV
742
743
745
747
Development in Context
748
Future Development
Marketing
Case Study 24.1 Marketing Means Targeting
Content
Case Study 24.2 Development Without Strategy
Planning
Developers
752
752
754
756
757
760
762
Small Is Beautiful Too
763
Building the Team of the Future
Character
Motivation
Morale
764
764
767
769
New Directions in Development
The Holistic Approach
“Jurassic Park” Software
Immanent and Transcendent Worlds
771
771
773
775
The Shape of Things to Come?
780
Appendixes
A
Sample Game Design Documents
785
Detailed Design Discussions
1. Balls! Introduction
2. Overview of Gameplay
3. Platforms
4. Time Scales
5. Why Puzzle Games Aren’t as Good as They Used to Be
6. Puzzle Game Appeal
7. Why Balls! Would Be Good
8. Game Design: User Interface Elements
785
785
786
787
788
789
790
791
794
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9. Physics of Balls!
10. Blocks
11. Special Case Block-Block Collisions
12. Playing the Game
13. Further Embellishments
B
799
805
808
810
813
Initial Treatments and Sample Designs
817
Racketeers: Gang Warfare in the Roaring Twenties
1. Overview
2. Game Objectives
3. Graphics
4. Playing a Game
5. Character Types
Gangsters
Non-Gang Members
6. Personality
7. Orders
8. Combat
9. The Game World
10. Joints
11. Messages
12. Tutorial Campaign
13. Target Platform
Postscript
Liberator
1. Introduction
2. Game Elements
3. How Does it Play?
817
818
819
821
824
825
826
829
831
833
834
835
839
843
844
846
846
847
847
849
854
Technical Specifications
Technical Specification: Fully 3D Plug-In Graphics Module
for Balls!
856
Code Review Form
885
Test Scripts
886
Bibliography and References
887
Glossary
893
Index
897
857
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xviii Game Architecture and Design: A New Edition
About the Authors
Andrew Rollings has a B.S. in Physics from Imperial College,
London, and Bristol University. He has worked since 1995 as a
technical and design consultant spanning many industries.
Andrew lives in Auburn, Alabama, and can be contacted at
Dave Morris has worked as a designer and creative consultant on PC
and console games for several major publishers, most notably Eidos.
His strategy game Warrior Kings reached number six in the United
Kingdom PC charts. He has done creative development and scriptwriting on television shows for Endemol, Pearson, TV2 Norway, and the
BBC. He has also written more than a dozen novels, gamebooks, and
movie novelizations, and in 1991 he was the UK’s top-selling author. He is currently
writing the screenplay for the film version of the classic adventure game The Seventh
Guest. Dave lives in London, England, and can be contacted at
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Acknowledgments
Acknowledgments
A work of this kind, drawing on our combined experiences over many years in the
games industry, owes a debt of gratitude to all the people we have worked with. The
impossibility of acknowledging everyone in person does not mean that we fail to value
every contribution, suggestion, or conversation that has helped us to refine these ideas.
So, let us start by thanking all who have been our colleagues on any development
project, great or small.
It is possible to single out a few individuals among the many. Roz Morris, though no
gamer, proofread the manuscript and made many valuable suggestions to improve its
clarity based on her professional expertise as a journalist and writer. As she is married
to one of the authors, it goes without saying that she also contributed a very great deal
of moral support.
Sam Kerbeck, that rare combination of gentleman and genius, gave us the benefit of
his technical advice, and we are indebted to him for ably clarifying many of the more
abstruse issues of architecture and coding. As Co-Founder and CEO of Turn3D, he has
provided us with state-of-the-art realtime graphics, and as a colleague of long standing,
he has also given his valued friendship over many years.
Ian Turnbull, former Development Director at Eidos Interactive, now Commercial
Director of Black Cactus Games, contributed enormously with his wise counsel regarding the economic realities of the industry. Without his guidance, this book would be
merely a theoretical work. It is Ian’s down-to-earth clear-headedness that reminded us
to make it more than that: a practical handbook for developers.
We would also like to thank Steve Foster, who has been extraordinarily patient over
the course of many speculative discussions, often stretching long into the night, concerning the future directions and methodology of game development. His contribution
has been much more than merely academic, however. When problem projects have
weighed us down, it has been Steve’s cheerful encouragement that has given us the
resolve to keep going.
Special thanks are due also to Leo Hartas, Tim Harford, Matt Kelland, Dave Lloyd, Tim
Gummer, Jamie Thomson, and David Bailey.
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Game Architecture and Design: A New Edition
The fact that you are holding this book at all is due to the sterling efforts of the folks at
New Riders—in particular Stephanie Wall, who was also head honcho on the original
edition from Coriolis Press. Despite having had to chivvy us along once before, she
was willing to put herself through it all over again. We would like to thank Kristy Hart,
our editor, who is nothing short of a saint for her patience in tolerating broken promises and overlooked deadlines. And thanks also to our agent Jawahara Saidullah of
Waterside Productions, for making the whole thing happen in the first place.
Andrew would also like to thank his wife, Stephanie Park, for her continued encouragement and tolerance for his budding writing career.
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Tell Us What You Think
Tell Us What You Think
As the reader of this book, you are the most important critic and commentator. We
value your opinion and want to know what we’re doing right, what we could do better,
what areas you’d like to see us publish in, and any other words of wisdom you’re willing to pass our way.
As the Publisher for New Riders Publishing, I welcome your comments. You can fax,
email, or write me directly to let me know what you did or didn’t like about this
book—as well as what we can do to make our books stronger. When you write, please
be sure to include this book’s title, ISBN, and author, as well as your name and phone
or fax number. I will carefully review your comments and share them with the author
and editors who worked on the book.
Please note that I cannot help you with technical problems related to the topic of this book,
and that due to the high volume of email I receive, I might not be able to reply to every
message.
Fax:
317-428-3382
Email:
Mail:
Stephanie Wall
Publisher
New Riders Publishing
800 East 96th Street, 3rd Floor
Indianapolis, IN 46240 USA
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Introduction
Andrew Rollings’s Introduction to this New Edition
I must confess to being more than a little surprised at the success of Game Architecture
and Design. When we originally pitched the idea, back in 1999, we sent off proposals to
about ten different publishers. Only Coriolis, and more specifically, Stephanie Wall at
New Riders Publishing, got back to us. I bet those others are kicking themselves now.
I am especially pleased that, despite the implosion of Coriolis and the subsequent legal
adventures involved in ensuring the rights of this book reverting to us, Stephanie Wall
is still handling the book, but this time at New Riders. I’m very sure that after five
years of having to deal with me as a reluctant author, she’s more than fed up with me
by now.
So here we are with the second edition of Game Architecture & Design. Things have
changed in the four intervening years, though not as much as we’d like. We’ve come a
long way since 1999, but there’s still a long way to go. I’m sure we’ll get there…eventually.
I hope that this new edition of the book continues to serve as a useful reference for the
aspiring and professional game developer in the same way as the first.
Enjoy.
—Andrew Rollings
Auburn, Alabama, July 2003
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xxiv Game Architecture and Design: A New Edition
Dave Morris’s Introduction to this New Edition
The temptation when revising one’s work of several years past is often to rewrite
history a little. There are always those embarrassing predictions that come back to
haunt you. And yet with a few keystrokes, it’s possible to seem to a new generation of
readers as if we were always infallible. What an enticing position to be in.
In fact we have left most of our forecasts from the twentieth century intact. That’s
because in many cases—for example, the rise of middleware—we turned out to be correct. Frankly, like everyone else we enjoy being able to say, “We told you so!”
In cases where we were wrong, we move on and try to learn from the mistakes. In a
way, that’s at the heart of our design philosophy. Having a methodology can’t always
prevent you making a mistake, but it makes darned sure you don’t make the same
mistake twice.
The case studies are culled from our mutual experiences and those of colleagues.
People ask if these case studies could really be true. No, in fact not. The real truth in
almost every case was much worse!
But the encouraging thing is that the games industry is changing. Four years ago, our
rallying cry for a formal development methodology rang like a lone voice in the wilderness. Nowadays games development is becoming a much more structured process. And
publishers have a better understanding of what the process entails. In another four
years, a developer coming across the first edition of Game Architecture & Design will be
astounded that development could ever have been so ramshackle. We are happy to
think that, in however small a part, we helped contribute to this evolution of the
industry.
Even better, as the production process becomes better understood and more streamlined, it consumes less of the developers’ time. The extra creative energy this frees up
can now be devoted to the game content itself. We are starting to see the first signs
that games really are moving from being the equivalent of silent movie one-reelers.
They are acquiring depth, beauty, and emotion.
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Introduction
Tolstoy wrote, “Art is not a handicraft, it is the transmission of feeling the artist has
experienced.” Great art doesn’t simply entertain you—it does that, granted, but it does
more. Art changes your life. In the next decade, we will see videogaming’s Birth of a
Nation and the Citizen Kane of the console generation.
Bliss it is in this dawn to be alive!
—Dave Morris
London, England, July 2003
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