L.B. Jeffries continues the Zarathustran Analytics series, putting together his pillars of game design and calling for sense in classification.
The establishment of a critical language eventually calls for laying out a couple of basic terms for describing experiences in games. At the moment, people mostly define a game by what kind of game design it is. ‘real-time strategy’, ‘first-person shooter’, or ‘role playing game’ dominate the lexicon of video games. The first problem is that these game designs have all borrowed from each other so much that now all games contain elements of them. Mass Effect
has strategy and first-person shooting elements, the FPS gimmick of silent protagonists who never talk clearly flirts with role-play, etc. Second, they’re discussed as if they were exclusive activities. All aspects of a game involve strategy, a player operating in the first person (in varying ways), and the game’s camera changing location all the time. Finally, it tends to be reductive of the games themselves to group them by one feature alone should they excel in other ways. As video games start moving away from these initial identities the question arises…how do we start identifying the experience of a game?
Eric Wolpaw (the writer of Portal) has described a game as consisting of a delta of player input, plot, and game design that comes together to form the game experience. It’s a good analogy because just as when a triangle that has one large side forces the other two to conform, so too do games twist their attributes in response to one another. So in order to divide these different definitions, it’s best to just identify which part of the delta of narrative, player, or game is the foundation while the other two rest upon it. As far as the terminology goes, rather than re-invent the wheel it’s best to just rip it off something else: books. Out of all cultural forms of art, the act of imagining what people look, sound, and act like while reading somewhat resembles player input in video games. Besides, the narrative terms for how a book engages you (first-person, third, etc.) are already used in video games to describe their own methods of engagement anyways. FPS, remember?