Design Your Game to Pop-Off & Go Crazy

00:38:49
https://www.youtube.com/watch?v=RLJgfyGzte8

Ringkasan

TLDRO vídeo aborda a criação de jogos interessantes, destacando a importância de engajar o público através de técnicas específicas. O criador discute como a relevância, o desejo e a necessidade afetam a probabilidade de engajamento, enfatizando que tudo pode ser interessante dependendo da situação. Apresenta ideias como mudança de contexto e a criação de personagens atraentes, além de explorar os pilares da compulsão, como polaridade, prazer e a realização de fantasias dos jogadores. Conclui com um plano simples de cinco passos para desenvolver ideias de jogos.

Takeaways

  • 🎮 A criação de jogos interessantes é essencial para o sucesso.
  • 🔑 A relevância é fundamental para engajar a audiência.
  • 💡 Técnicas como desejo e necessidade aumentam o interesse.
  • 📈 A curiosidade pode atrair jogadores para o jogo.
  • 🎨 O design de personagens atraentes aumenta a atração.
  • ⚖️ Polaridade cria contrastes interessantes entre conceitos.
  • ✨ A simplicidade ajuda os jogadores a entenderem rapidamente o jogo.
  • 🌟 A combinação de gêneros pode resultar em mecânicas inovadoras.
  • 👌 A realização de fantasias proporciona experiências únicas aos jogadores.
  • 📝 Um plano em cinco etapas pode guiar o processo de desenvolvimento.

Garis waktu

  • 00:00:00 - 00:05:00

    O vídeo começa com um desenvolvedor de jogos independente compartilhando a importância de criar jogos interessantes. Ele menciona que a avaliação da atratividade de um jogo é vital para prever seu desempenho no mercado. Ele introduz a ideia de que 'interessante' está relacionado à probabilidade de engajamento do público, ressaltando que um altíssimo interesse não garante que todos vão comprar o jogo por razões externas, como a plataforma disponível.

  • 00:05:00 - 00:10:00

    O apresentador discute a relevância e a necessidade de engajamento do público e apresenta três métodos principais para tornar um jogo mais relevante: desejo, necessidade e influência. Ele argumenta que, ao alinhar o jogo com os interesses e necessidades do público, aumenta-se a probabilidade de engajamento com o produto.

  • 00:10:00 - 00:15:00

    Ele detalha o conceito de desejo, explicando que se deve investigar o que o público já gosta e como isso pode ser incorporado ao jogo. O exemplo dado é sobre o conceito de capturar insetos em Pokémon, que conta com a adição de monstros para aumentar o desejo. O ponto importante é que a relevância deve sempre ser alinhada ao que o público já deseja.

  • 00:15:00 - 00:20:00

    Em seguida, ele fala sobre a necessidade, que é a falta de algo que o público deseja. Um exemplo é o jogo Undertale, que oferece um modo pacifista, algo que muitos jogos não fazem. A ideia é criar um jogo que satisfaça uma necessidade não atendida no mercado. O apresentador também menciona a influência, ou seja, o impacto que outras pessoas e tendências têm sobre o interesse em um jogo.

  • 00:20:00 - 00:25:00

    O vídeo aborda também o conceito de compulsion, que é o desejo forte de participar do jogo. Ele identifica três pilares para despertar compulsion em um jogo: polaridade, prazer e satisfação. A polaridade sugere que ao comparar conceitos diferentes, cria-se um novo nível de atração. O prazer cuida de tornar os personagens e mecânicas mais atraentes; enquanto a satisfação relaciona-se com a entrega de uma experiência única e exitosa aos jogadores.

  • 00:25:00 - 00:30:00

    A execução, ou a forma como algo é apresentado, é reforçada como essencial. Se um jogador perceber que o desenvolvedor investiu tempo e esforço, isso aumenta a interação e o apego ao jogo. A imprevisibilidade é discutida como uma maneira de manter o interesse, gerando um fator surpresa, mantendo a experiência dinâmica e atrativa ao jogador.

  • 00:30:00 - 00:38:49

    Por fim, o vídeo oferece um plano em cinco etapas para criar jogos interessantes. Isso inclui fazer uma ideia, torná-la relevante para o público-alvo, recontextualizar e adicionar técnicas que aumentem a compulsão, como polaridade e simplicidade. Conclui com um apelo para fazer jogos interessantes, encorajando a experimentação e a inovação.

Tampilkan lebih banyak

Peta Pikiran

Video Tanya Jawab

  • O que significa criar um jogo interessante?

    Criar um jogo interessante envolve aumentar a probabilidade de engajamento dos jogadores por meio de relevância, desejo, necessidade e influência.

  • Quais são os pilares da compulsão em jogos?

    Os pilares da compulsão incluem polaridade, prazer e realização de fantasia.

  • Como posso tornar meu jogo mais relevante para o público?

    Torne seu jogo relevante ao apelar para os desejos, necessidades e influências do público-alvo.

  • Por que a curiosidade é importante no desenvolvimento de jogos?

    A curiosidade atrai os jogadores, incentivando-os a interagir e se envolver com o jogo para resolver perguntas ou desafios.

  • O que é a resistência no contexto de um jogo?

    Resistência refere-se à falta de desejo de se engajar com algo, que pode ser superada tornando o jogo mais relevante e atraente.

Lihat lebih banyak ringkasan video

Dapatkan akses instan ke ringkasan video YouTube gratis yang didukung oleh AI!
Teks
en
Gulir Otomatis:
  • 00:00:01
    hey so I'm an independent game developer
  • 00:00:02
    with a game out and I actually used to
  • 00:00:04
    work at a game studio and before we even
  • 00:00:06
    work on any singular game we always ask
  • 00:00:08
    each other is my game interesting and
  • 00:00:10
    the reason why this is so important is
  • 00:00:12
    because it's a direct correlation to
  • 00:00:13
    know if your game is going to sell if
  • 00:00:15
    it's gonna have discussion exposure per
  • 00:00:17
    market performance Etc so here's the
  • 00:00:19
    greatest piece of advice I can give you
  • 00:00:21
    just make an interesting game all right
  • 00:00:24
    thank you so much I very much appreciate
  • 00:00:25
    it okay just kidding but like what does
  • 00:00:27
    that actually mean when somebody says
  • 00:00:29
    hey just make your game interesting bro
  • 00:00:30
    and so I do think that there is a
  • 00:00:32
    structure and that there's a series of
  • 00:00:34
    techniques you can use to actually
  • 00:00:36
    objectively make anything way more
  • 00:00:37
    compelling and just a very brief example
  • 00:00:39
    you clicked on this video probably
  • 00:00:41
    because of the thumbnail and the title
  • 00:00:42
    and such and there were a series of
  • 00:00:44
    techniques that I was able to use there
  • 00:00:46
    are definitions for this and in this
  • 00:00:47
    video we're going to talk about all of
  • 00:00:49
    these with a lot of like extra examples
  • 00:00:51
    and such right but I'm primarily going
  • 00:00:53
    to talk about what interest really is
  • 00:00:55
    then we can talk about how to create and
  • 00:00:56
    raise interest levels and finally at the
  • 00:00:58
    end of the video I'm going to present to
  • 00:01:00
    a blueprint where you can take any
  • 00:01:01
    concept and idea and just make it way
  • 00:01:02
    more compelling so let's go ahead and
  • 00:01:04
    start off with the most important part
  • 00:01:06
    what is interesting what does that mean
  • 00:01:08
    you see in the context of game
  • 00:01:10
    development we've actually been looking
  • 00:01:11
    at it at a different lens the secret is
  • 00:01:13
    it's actually the probability of
  • 00:01:16
    Engagement and the key word that I want
  • 00:01:18
    to highlight here is the word
  • 00:01:19
    probability the reason why this is so
  • 00:01:21
    important is because technically
  • 00:01:22
    everything is interesting it's not about
  • 00:01:24
    yes or no it's about okay but how much
  • 00:01:27
    and the reason why we have to frame it
  • 00:01:28
    like this is because if we know know
  • 00:01:30
    that it's cellular we know that there's
  • 00:01:32
    going to be levels Associated to it and
  • 00:01:34
    I want to bring attention to this uh
  • 00:01:36
    chart here real quick but I will get
  • 00:01:38
    into this more into detail in a bit but
  • 00:01:39
    the long story short is that you can
  • 00:01:41
    have the most interested person in your
  • 00:01:42
    game and there's a probability that they
  • 00:01:44
    simply just won't get the game it could
  • 00:01:46
    be simply because hey they only have a
  • 00:01:47
    switch and you never you know made a
  • 00:01:48
    port for switch for example so there are
  • 00:01:50
    just external circumstances out of your
  • 00:01:52
    control so don't feel bad if you
  • 00:01:54
    maximized everything and you know still
  • 00:01:55
    didn't get every single bit of results
  • 00:01:57
    right but the keyword that I actually
  • 00:01:58
    want to show off here is the word
  • 00:01:59
    resistance because that basically means
  • 00:02:01
    it's the lack of desire and the opposite
  • 00:02:04
    of that is the strong desire to actually
  • 00:02:07
    like engage and participate in you know
  • 00:02:09
    the idea topic concept game whatever
  • 00:02:11
    we're whatever product we're talking
  • 00:02:12
    about here right and so let me just
  • 00:02:14
    break this down for a second because you
  • 00:02:16
    know makeup for example is something
  • 00:02:18
    that is inherently interesting in fact I
  • 00:02:20
    would tell you that hey like um if you
  • 00:02:22
    are a makeup artist a model someone that
  • 00:02:25
    actually uses it pretty often you would
  • 00:02:26
    probably be super compelled to use it
  • 00:02:28
    now if you're not in that category
  • 00:02:30
    probably doesn't matter to you right now
  • 00:02:32
    what if I told you I have this super
  • 00:02:33
    cool trading card it's going to give you
  • 00:02:34
    super powers it's going to do all these
  • 00:02:35
    great things and everything um but most
  • 00:02:38
    likely if you're not a collector an
  • 00:02:39
    investor or if you're just not
  • 00:02:40
    interested in superpowers you probably
  • 00:02:41
    don't want it either you see the reason
  • 00:02:43
    why we mentioned this is because there
  • 00:02:44
    are reasons why we resist there are
  • 00:02:46
    reasons why we don't really care about
  • 00:02:47
    these things and it comes down to the
  • 00:02:49
    keyword that I just used category you
  • 00:02:51
    see if it's not important to us we're
  • 00:02:54
    not going to go ahead and engage what we
  • 00:02:56
    need to do is create the reasons to
  • 00:02:58
    engage into the product and such and so
  • 00:03:00
    one thing that you can do is kind of
  • 00:03:02
    change the context or the goalpost of
  • 00:03:03
    what the product is offering so for
  • 00:03:05
    example instead of using makeup because
  • 00:03:07
    you probably don't want it or you don't
  • 00:03:08
    care about it what if you had a friend
  • 00:03:10
    that you wanted to gift makeup to what
  • 00:03:12
    if you had a friend that was collecting
  • 00:03:14
    you know trading cards and maybe it
  • 00:03:15
    would be a good idea that you know hey
  • 00:03:17
    you want to get into trading cards and
  • 00:03:18
    you know share their cards and such
  • 00:03:20
    maybe you want the superpowers right but
  • 00:03:21
    the idea of all of this is that you
  • 00:03:24
    cannot have anything interesting if you
  • 00:03:26
    don't have relevancy that being said
  • 00:03:29
    your core idea your game your concept
  • 00:03:32
    your product whatever it is it doesn't
  • 00:03:33
    matter how many techniques we apply to
  • 00:03:34
    make it more compelling if your audience
  • 00:03:37
    is not in reach it just doesn't matter
  • 00:03:39
    there's a slight chance that you know
  • 00:03:40
    maybe you have like really good
  • 00:03:41
    techniques and then it kind of catches
  • 00:03:42
    somebody's eye and such which that is a
  • 00:03:44
    fair you know level of interest that you
  • 00:03:46
    can go ahead and bring up but the idea
  • 00:03:48
    is that you want to push your audience
  • 00:03:49
    into your concept and you do this by
  • 00:03:51
    being relevant and so this is basically
  • 00:03:54
    giving a reason to why they should care
  • 00:03:56
    why they like it uh think about politics
  • 00:03:58
    for example right it doesn't necessarily
  • 00:03:59
    have be exciting but there might be
  • 00:04:00
    something that says hey like this kind
  • 00:04:02
    of affects me and therefore I am going
  • 00:04:03
    to pay attention to this or it could
  • 00:04:05
    simply be like your favorite video game
  • 00:04:06
    where you're like hey like it's not
  • 00:04:08
    everyone's favorite cup of tea but I I
  • 00:04:09
    care about it a lot so I want to be you
  • 00:04:11
    know I'm interested in this and this is
  • 00:04:12
    something that I relate to right and so
  • 00:04:14
    if you're able to align your Audience by
  • 00:04:17
    being relevant to the topic or you know
  • 00:04:18
    giving them the interest to you know see
  • 00:04:21
    why they're engaging with this and then
  • 00:04:22
    if you're able to maximize the
  • 00:04:24
    compellingness of the topic by improving
  • 00:04:26
    the techniques you basically have a very
  • 00:04:28
    highle probability of Engagement and so
  • 00:04:31
    before we even talk about how to create
  • 00:04:33
    and raise these levels we need to recap
  • 00:04:35
    this very fundamental part which is
  • 00:04:37
    interest is the probability of
  • 00:04:39
    Engagement compulsion is the strong
  • 00:04:41
    desire or urge to participate with
  • 00:04:43
    something and all this is tied together
  • 00:04:45
    when it's relevant to the direct
  • 00:04:47
    audience you're aiming to once you
  • 00:04:49
    understand that and recognize that all
  • 00:04:51
    this is going to be done in a scal
  • 00:04:53
    format congratulations we can now go
  • 00:04:55
    ahead and create and then raise interest
  • 00:04:57
    levels
  • 00:04:59
    okay so we know what relevance and
  • 00:05:01
    compulsion are and more importantly we
  • 00:05:03
    know why it's so important but how do we
  • 00:05:05
    actually effectively use them to
  • 00:05:07
    leverage interest and so we're going to
  • 00:05:09
    start off with relevance and it's very
  • 00:05:11
    simple all we have to do is find a way
  • 00:05:13
    to get our audience involved with the
  • 00:05:15
    idea the product the game the idea Etc
  • 00:05:18
    you do this by making it about them so
  • 00:05:20
    how do we make it about them there's
  • 00:05:22
    actually three ways to do this the first
  • 00:05:23
    one is desire basically you're saying
  • 00:05:26
    hey they my audience likes this concept
  • 00:05:28
    already therefore I'm doing is just
  • 00:05:30
    appealing them with that concept right
  • 00:05:32
    so this could be a character a genre
  • 00:05:34
    certain themes Concepts Etc but to
  • 00:05:36
    actually know if they want to be
  • 00:05:38
    involved with this in the desire aspect
  • 00:05:40
    ask yourself the following question are
  • 00:05:42
    they this and if so how much right and
  • 00:05:45
    other words are they attracted are they
  • 00:05:47
    intrigued are they related to are they
  • 00:05:49
    invested are they challenged by are they
  • 00:05:50
    empowered are they involved in the sense
  • 00:05:53
    that it's something that makes them say
  • 00:05:55
    hey like I already like this I just want
  • 00:05:56
    to know a little bit more about it right
  • 00:05:58
    that's how you know when you have desire
  • 00:05:59
    so here's like a really cool example
  • 00:06:01
    butt catching little weird unsettling
  • 00:06:04
    maybe not everyone's cup of tee but you
  • 00:06:06
    know there's something about it that
  • 00:06:08
    could be pretty hype right and so what
  • 00:06:10
    if I did something where I don't know I
  • 00:06:11
    made the bug like a monster and then I
  • 00:06:13
    made it capturable and then we can use
  • 00:06:15
    it to fight other monsters and before
  • 00:06:17
    you know it boom we have Pokemon right
  • 00:06:19
    so the reason why this is desirable is
  • 00:06:21
    because even though bug catching has it
  • 00:06:23
    as its own concept is you know
  • 00:06:25
    questionable right uh the idea is you're
  • 00:06:27
    lowering the resistance of what your
  • 00:06:29
    audience likes and dislikes and by
  • 00:06:31
    saying hey like let's just add monster
  • 00:06:32
    designs uh let's make it about you know
  • 00:06:34
    Team collections and we can start
  • 00:06:36
    trading these monsters and such you get
  • 00:06:38
    something that's more important or
  • 00:06:39
    something that makes the player say hey
  • 00:06:41
    like I would like to continue like
  • 00:06:42
    learning more about this or I want to be
  • 00:06:44
    more involved in it and this is
  • 00:06:46
    basically the concept of Pokemon as a
  • 00:06:47
    whole the next part is actually going to
  • 00:06:49
    be about necessity and I want you to
  • 00:06:51
    view necessity as the deprivation of
  • 00:06:53
    something meaning let's say you have a
  • 00:06:55
    problem and you have a friend that knows
  • 00:06:56
    how to solve your problem it would kind
  • 00:06:58
    of be required of you to talk to your
  • 00:07:00
    friend so that you know how to like get
  • 00:07:01
    that solution and then you know move on
  • 00:07:03
    with your life right so in this case
  • 00:07:05
    it's a little bit weird because for game
  • 00:07:06
    design we don't need to play games right
  • 00:07:09
    there's no like high urgency to do so
  • 00:07:11
    unless we can you know build those
  • 00:07:12
    reasons that we'll talk about but what I
  • 00:07:14
    want you to pay attention to is
  • 00:07:16
    necessity is going to be something that
  • 00:07:18
    allows you to kind of just see hey this
  • 00:07:21
    is giving me value because I'm deprived
  • 00:07:23
    of this particular combination or a
  • 00:07:26
    gameplay style right so for example um
  • 00:07:29
    let's say we take a normal game right
  • 00:07:32
    and it's super easy to expect that hey
  • 00:07:33
    in this game you have to fight and kill
  • 00:07:34
    monsters whatever okay but what if I
  • 00:07:36
    told you we don't have to kill the
  • 00:07:37
    monsters in fact what if I told you we
  • 00:07:39
    can spare them you see this is what
  • 00:07:40
    undertale did and it's easy to say oh
  • 00:07:43
    but that's just an inversion of
  • 00:07:45
    expectations right like okay you kill
  • 00:07:47
    monsters so the opposite of that would
  • 00:07:48
    be like saving them right the thing is
  • 00:07:51
    even though this is inversion the key
  • 00:07:53
    point of why it's a necessity or why
  • 00:07:55
    this would be something that would be
  • 00:07:57
    important to you is because it actually
  • 00:07:59
    gives you the option to play the game in
  • 00:08:01
    a peaceful mode and so then you have to
  • 00:08:03
    ask yourself how many games are
  • 00:08:06
    available where you go about making
  • 00:08:08
    progress while being peaceful and so in
  • 00:08:10
    this context it's like hey undertale
  • 00:08:13
    basically served that area that was like
  • 00:08:15
    very underserved about you know playing
  • 00:08:16
    a game peacefully and such and so that's
  • 00:08:18
    why it would be a necessity for others
  • 00:08:20
    that want to play games in a more
  • 00:08:22
    passive way right um another example is
  • 00:08:25
    like hey and this is very Niche but
  • 00:08:27
    there might be a card battling game such
  • 00:08:29
    as Battle Network where you're always
  • 00:08:30
    pausing and going back into action back
  • 00:08:32
    and forth and maybe you don't like that
  • 00:08:34
    flow right so there's a prototype that I
  • 00:08:35
    was making where you know instead of
  • 00:08:37
    pausing the game and then picking your
  • 00:08:38
    weapon you just kind of slow down Swap
  • 00:08:40
    and move on without interrupting the
  • 00:08:41
    flow and so if you had the necessity of
  • 00:08:44
    hey I wish I could play a battle
  • 00:08:45
    networking where I don't pause and
  • 00:08:46
    unpause super often you now have this
  • 00:08:49
    mechanic that would probably be
  • 00:08:50
    appealing to you and the third one is
  • 00:08:52
    going to be influence at first you might
  • 00:08:54
    think this is something that's out of
  • 00:08:55
    your control but you can design for this
  • 00:08:57
    and I want you to look at influence as a
  • 00:08:59
    CH of context to why it would matter to
  • 00:09:01
    you earlier in this video I gave you an
  • 00:09:03
    example of makeup of maybe you don't
  • 00:09:04
    apply it maybe you don't use it Etc but
  • 00:09:06
    if I told you hey this is important for
  • 00:09:08
    you because you should give it as a gift
  • 00:09:10
    to your friend well now it's going to be
  • 00:09:11
    relevant to you because you have to kind
  • 00:09:12
    of pay attention about you know what is
  • 00:09:14
    the correct color tone Etc okay that
  • 00:09:16
    being said it could be uh something that
  • 00:09:18
    you see online it could be Clips it
  • 00:09:20
    could be a bunch of examples of like
  • 00:09:22
    okay I just know that this is going to
  • 00:09:24
    affect me one way or another so an
  • 00:09:26
    example would be lethal company right
  • 00:09:27
    let's say you had a friend that was
  • 00:09:28
    playing the game
  • 00:09:29
    and they're like hey I need you to help
  • 00:09:31
    me out you know like the game's kind of
  • 00:09:32
    hard in Solo mode I kind of want to play
  • 00:09:33
    multiplayer and you say sure why not or
  • 00:09:35
    maybe you just kind of look into the
  • 00:09:37
    game you're now involved or maybe you
  • 00:09:39
    saw a funny clip of you know some dude
  • 00:09:41
    dying in a hallway that's really dark
  • 00:09:43
    but it sounded funny and you're like
  • 00:09:44
    what's what's going on then you search a
  • 00:09:45
    little bit more you're now involved
  • 00:09:47
    that's the power of influence and so in
  • 00:09:49
    the context of you know hey what is
  • 00:09:51
    relevant this and that it's optimal and
  • 00:09:54
    ideal to try to like get all of the
  • 00:09:57
    triangle Parts like if you have high
  • 00:09:59
    desire High necessity and high influence
  • 00:10:01
    you're going to have a higher
  • 00:10:02
    probability of the entire thing being
  • 00:10:03
    relevant to you now this doesn't mean
  • 00:10:05
    you have to maximize everything you can
  • 00:10:06
    just focus on one and that's totally
  • 00:10:08
    fine but here's some examples right
  • 00:10:10
    Marvel Rivals has the desire of you
  • 00:10:13
    playing with Marvel characters right
  • 00:10:14
    maybe you're a Marvel fan and you're
  • 00:10:15
    like I I love Marvel characters I just
  • 00:10:17
    wish there were more games that I could
  • 00:10:18
    play with them and such and so when
  • 00:10:19
    Marvel Rivals dropped it's like oh yeah
  • 00:10:21
    this is really cool and I want to play
  • 00:10:22
    with that because I am a Marvel fan now
  • 00:10:25
    I would also argue Marvel Rivals kind of
  • 00:10:27
    hits a necessity where every every hero
  • 00:10:29
    shooter that comes out always has new IP
  • 00:10:32
    OverWatch had new characters when it
  • 00:10:33
    launched deadlock also had new
  • 00:10:35
    characters when it launched but there
  • 00:10:36
    wasn't a hero shooter that came out
  • 00:10:37
    where we were like hey I already know
  • 00:10:39
    these characters I'm excited to like try
  • 00:10:41
    it out it's always new characters right
  • 00:10:43
    so Marvel rival created the solution of
  • 00:10:46
    hey can we play a hero shooter with
  • 00:10:47
    familiar characters that we already know
  • 00:10:49
    about in the context of you're a Marvel
  • 00:10:51
    fan right and so that's what it did and
  • 00:10:53
    then maybe you know you saw your friends
  • 00:10:54
    playing it maybe you saw a lot of Clips
  • 00:10:55
    maybe you saw some cool character
  • 00:10:56
    costumes that you were interested in
  • 00:10:58
    this is how they got you this is how
  • 00:11:00
    they got you involved with the fact that
  • 00:11:02
    this game exists maybe you want to know
  • 00:11:04
    more about it and so undertale you know
  • 00:11:07
    yeah the atmosphere looks really nice
  • 00:11:08
    sure maybe you listen to the music a
  • 00:11:11
    bajillion times because it's pretty good
  • 00:11:12
    right but it's the fact that it's a game
  • 00:11:15
    where you can use peace as an option to
  • 00:11:17
    do what you have to do to you know make
  • 00:11:19
    more progress to beat the game to have
  • 00:11:20
    the pacifist route and so having that
  • 00:11:23
    option that you know is underserved is
  • 00:11:26
    something that makes you say okay I
  • 00:11:28
    might want to actually pay just a little
  • 00:11:29
    bit more attention to this game because
  • 00:11:31
    you know this is something that I find
  • 00:11:33
    appealing um and then power right I mean
  • 00:11:35
    let's be honest everyone says it's
  • 00:11:36
    Pokemon with guns it kind of leans more
  • 00:11:38
    to like Minecraft guns if anything but
  • 00:11:41
    the idea is you know you probably heard
  • 00:11:42
    a bunch of people talking about the
  • 00:11:43
    concept and it's just something that
  • 00:11:45
    kind of made you say well you know maybe
  • 00:11:46
    my friends like it maybe I do want to
  • 00:11:49
    kind of pay more attention to this maybe
  • 00:11:50
    the character designs again were kind of
  • 00:11:51
    like a I see what they're doing you know
  • 00:11:53
    um so let's do a practical example real
  • 00:11:56
    quick let's say you're making a rogue
  • 00:11:58
    Lake and you know that Rog likes are
  • 00:12:00
    going to have weapon diversity
  • 00:12:01
    randomization and powerups right kind of
  • 00:12:03
    common kind of typical for you know what
  • 00:12:05
    to expect in the game so now let's take
  • 00:12:07
    weapon diversity and then we ask
  • 00:12:10
    ourselves the question how do I make
  • 00:12:12
    this relevant to the target audience
  • 00:12:14
    that I'm trying to hit and so this is
  • 00:12:16
    where you kind of have to understand you
  • 00:12:17
    know what your audience is looking for
  • 00:12:18
    what you're particularly trying to aim
  • 00:12:20
    for and so in this case let's say I want
  • 00:12:22
    to appeal to I don't know um people that
  • 00:12:25
    like military themes people that like
  • 00:12:27
    shooting and combat um kind like that
  • 00:12:29
    power experience right and so if I
  • 00:12:32
    looked at that audience and said okay
  • 00:12:34
    what can I do to appeal to them I could
  • 00:12:36
    look at desire I could look at necessity
  • 00:12:38
    I could look at um influence right if it
  • 00:12:40
    was desire it could be pretty easy if
  • 00:12:42
    it's necessity then it's like what is
  • 00:12:44
    underserved what is something that
  • 00:12:45
    they've been deprived of in this case
  • 00:12:47
    let's say I added a tank right now do I
  • 00:12:50
    use the tank as a vehicle to you know
  • 00:12:52
    use and drive and shoot and everything
  • 00:12:54
    like okay that could be that could be a
  • 00:12:55
    good idea for those that like military
  • 00:12:57
    things but underserved would be like
  • 00:12:59
    well have you used the tank as an actual
  • 00:13:02
    weapon that you hold rather than one
  • 00:13:04
    that you ride and so suddenly you made a
  • 00:13:06
    concept that appeals to you know players
  • 00:13:08
    that like military things or you know
  • 00:13:10
    they they might like tanks a lot and so
  • 00:13:12
    this is something that's like really
  • 00:13:13
    cool for them right but the idea here is
  • 00:13:15
    you picked a Target you of your audience
  • 00:13:18
    you kind of like defined what you wanted
  • 00:13:20
    out of them and such and so you're just
  • 00:13:21
    appealing to them whether it's desire
  • 00:13:23
    necessity or just Hey would this idea
  • 00:13:26
    influence them in a way to make them
  • 00:13:27
    kind of like Double Take and say hey
  • 00:13:28
    like I this is going to be important to
  • 00:13:30
    me some way or another right and so
  • 00:13:32
    using this exact same exercise instead
  • 00:13:34
    of military let's say oh I want to
  • 00:13:36
    appeal to players that like Pirates
  • 00:13:38
    right or something like that well what
  • 00:13:40
    if we switch the tank to a pirate ship
  • 00:13:43
    and it doesn't mean I have to wear the
  • 00:13:44
    pirate ship right but let's say we kind
  • 00:13:46
    of like explore a little bit and you
  • 00:13:47
    know hey an anchor would make sense
  • 00:13:49
    right so the desire would be hey people
  • 00:13:52
    that like uh players that like pirate
  • 00:13:53
    themes an anchor would be a pretty cool
  • 00:13:55
    weapon the underserved or the necessity
  • 00:13:57
    is hey I haven't seen that many games
  • 00:13:58
    where where the anchor is used as a
  • 00:14:00
    weapon and the influence could be like
  • 00:14:02
    maybe we're currently trending right
  • 00:14:04
    where there's a bunch of pirate movies
  • 00:14:05
    coming out this year and your friends
  • 00:14:06
    are talking about it and you're like oh
  • 00:14:07
    well you know this this is something
  • 00:14:09
    that my friend might like or something
  • 00:14:10
    right and the cool part about being a
  • 00:14:12
    game designer and developer is that you
  • 00:14:13
    can reiterate to kind of like maximize
  • 00:14:16
    the design uh and this is where we're
  • 00:14:18
    going to talk more about compulsion
  • 00:14:19
    about like how we can continue to make
  • 00:14:20
    things look better and more interesting
  • 00:14:22
    right but the idea is you take your
  • 00:14:24
    audience you want to make it relevant to
  • 00:14:26
    them you want to make sure that it's
  • 00:14:27
    important that it's actually something
  • 00:14:28
    that they're going to care about and
  • 00:14:30
    then from there you know we use the
  • 00:14:32
    techniques to actually build their
  • 00:14:33
    interest so once you understand how
  • 00:14:36
    important involvement is 50% of the
  • 00:14:38
    battle is done we now have the relevance
  • 00:14:40
    part we now know that hey we have your
  • 00:14:42
    attention we have a reason why you care
  • 00:14:44
    now we're going to work on compulsion
  • 00:14:46
    and again this is the desire the strong
  • 00:14:48
    urge this is these are going to be the
  • 00:14:50
    series of techniques you can use to make
  • 00:14:52
    something just way more appealing for
  • 00:14:53
    those that already
  • 00:14:55
    care so how do we actually design for
  • 00:14:57
    compulsion to the point where we make
  • 00:14:59
    our game extremely interesting for a lot
  • 00:15:00
    of people to get into right and there's
  • 00:15:02
    actually going to be three pillars that
  • 00:15:03
    we'll discuss which is polarity
  • 00:15:05
    enjoyment and fulfillment but while
  • 00:15:07
    we're going to provide examples and how
  • 00:15:08
    to elevate them Etc you need to view
  • 00:15:10
    this as a points system the reason why
  • 00:15:13
    this is the case is because they're
  • 00:15:15
    going to be some techniques that simply
  • 00:15:16
    work way better and this is going to be
  • 00:15:18
    completely dependent on what you
  • 00:15:19
    subscribe to when it comes to your game
  • 00:15:21
    design so this is why you have to be
  • 00:15:22
    very careful with the genre with the
  • 00:15:24
    type of Statics with the type of thing
  • 00:15:26
    that you're going to end up making so
  • 00:15:28
    remember that and anyway we know that in
  • 00:15:30
    order to build compulsion we have to
  • 00:15:32
    just you know keep adding these
  • 00:15:33
    techniques make sure that they're well
  • 00:15:34
    executed and such but there's always
  • 00:15:36
    going to be a level of resistance that
  • 00:15:38
    we have to deal with and what happens is
  • 00:15:39
    you can actually create even more
  • 00:15:41
    compulsion by simply removing all
  • 00:15:43
    resistance possible now naturally this
  • 00:15:45
    isn't really the case there's always
  • 00:15:47
    going to be some level of resistance
  • 00:15:48
    that will build but ideally if you're
  • 00:15:49
    able to get rid of it you're able to
  • 00:15:51
    basically increase your probability of
  • 00:15:52
    Engagement by Massive levels so what are
  • 00:15:56
    the four categories that like drag us
  • 00:15:59
    away from maximizing our Rocket Fuel
  • 00:16:02
    when we're talking about compulsion and
  • 00:16:04
    that's going to be frequency Direction
  • 00:16:06
    execution and unpredictability you see
  • 00:16:08
    frequency is crucial if you do something
  • 00:16:12
    for the first time or something that
  • 00:16:13
    just hasn't been discussed or used in a
  • 00:16:15
    very long period of time you have what's
  • 00:16:18
    novel and Novelty basically means you
  • 00:16:20
    know like oh this is like unique this is
  • 00:16:21
    great this is like a cool new idea the
  • 00:16:23
    thing about novelty is that it wears out
  • 00:16:25
    with time the more times you use that
  • 00:16:28
    novelty point the more stale it becomes
  • 00:16:31
    and so naturally if you have something
  • 00:16:33
    that's novel and then you just use it
  • 00:16:34
    over and over and over and over again
  • 00:16:36
    the appeal of It kind of wears off and
  • 00:16:37
    so the best example for this is squid
  • 00:16:39
    game right season one when it came out
  • 00:16:41
    everyone and their moms was talking
  • 00:16:42
    about it and it's like super
  • 00:16:43
    revolutionary but when it continued
  • 00:16:46
    there was a point where there were a lot
  • 00:16:47
    of games based off of it there were a
  • 00:16:48
    lot of like miniseries out of it and
  • 00:16:50
    it's good but the problem was that you
  • 00:16:51
    know it was still it's not really as
  • 00:16:53
    novel as it was you do have the ability
  • 00:16:55
    to resurge this but if you pay very
  • 00:16:57
    close attention once there's a lot of
  • 00:16:59
    time that passes away that's when you're
  • 00:17:01
    able to kind of have the reike or the
  • 00:17:03
    repak of interest in this case and even
  • 00:17:06
    then I would argue that it's never going
  • 00:17:07
    to reach the peak of the first one but
  • 00:17:09
    that just depends on the context of what
  • 00:17:10
    we're looking at so for example season
  • 00:17:12
    two came out and if you notice like oh
  • 00:17:14
    it did get some interest and even though
  • 00:17:15
    it is repeated it has the ability to
  • 00:17:17
    like be mentioned right comparative to
  • 00:17:19
    hey squid game came out and then like a
  • 00:17:22
    year or a couple months later hey squid
  • 00:17:23
    game again but it's already kind of worn
  • 00:17:25
    off its magic right so I'm not trying to
  • 00:17:27
    discourage you from being repetitive if
  • 00:17:28
    anything it's be careful on how you
  • 00:17:31
    repeat your concept as a whole if you do
  • 00:17:34
    it too carelessly the appeal is going to
  • 00:17:35
    drop off if you do it in a very
  • 00:17:37
    meticulous way where you give it enough
  • 00:17:38
    time and you make it like really
  • 00:17:40
    appealing then yeah it's going to work
  • 00:17:41
    out really well to keep talking about
  • 00:17:43
    the same thing over and over again in
  • 00:17:44
    this context the next thing is Direction
  • 00:17:47
    and this basically is how do we get
  • 00:17:49
    someone to pay attention to the most
  • 00:17:50
    important details and so I bet you right
  • 00:17:52
    now you're looking at the slide and
  • 00:17:54
    you're looking at the left side probably
  • 00:17:56
    because there is a literal Spotlight you
  • 00:17:58
    have a character that's right there's a
  • 00:17:59
    little fun fact on the bottom by the way
  • 00:18:01
    humans averagely get to look on things
  • 00:18:04
    on the left more than than they do on
  • 00:18:05
    the right so little fun fact right but
  • 00:18:07
    uh and then also on the right we have a
  • 00:18:08
    character that we already saw kind of
  • 00:18:10
    Blends in with the background is smaller
  • 00:18:12
    transparent like it doesn't really
  • 00:18:13
    matter and so in the context of video
  • 00:18:16
    games when we're making a game cover a
  • 00:18:17
    game capsule art thumbnails um an idea a
  • 00:18:21
    trailer we really want to highlight the
  • 00:18:22
    things that are actually the most
  • 00:18:23
    important parts and not really the other
  • 00:18:25
    like fillers and the more uh Direct
  • 00:18:29
    we're able to lead our players into that
  • 00:18:31
    route the better outcomes we're going to
  • 00:18:32
    have and so we can take advantage of
  • 00:18:34
    this by using contrasting elements
  • 00:18:36
    lighting sound effects uh there's a
  • 00:18:37
    villian ways to do this but the idea is
  • 00:18:40
    make sure that you're always
  • 00:18:40
    highlighting the most important part and
  • 00:18:42
    you're going to get the most effective
  • 00:18:43
    result okay when I say execution is
  • 00:18:48
    arguably one of the most important
  • 00:18:49
    things to take care of it's because
  • 00:18:52
    execution basically means effort and
  • 00:18:56
    effort is just another fancy way of
  • 00:18:58
    saying doing this for you I'm investing
  • 00:19:02
    in you I'm being selfless for you and
  • 00:19:05
    what happens is that the player knows
  • 00:19:07
    this they recognize this you cannot
  • 00:19:09
    dismiss a player's feeling because when
  • 00:19:11
    they know that the game is executed well
  • 00:19:13
    they feel that they're being taken care
  • 00:19:15
    of that they're cared for that they are
  • 00:19:17
    that there's this inspiration or aess of
  • 00:19:20
    like oh the developer really did a great
  • 00:19:22
    job because they put a lot of effort
  • 00:19:24
    into this do not mistake this for
  • 00:19:26
    Quality right because there are games
  • 00:19:27
    that have high quality looks but then
  • 00:19:29
    there's games that purposely use low
  • 00:19:30
    quality art and that's part of the charm
  • 00:19:31
    that's part of the appeal what I just
  • 00:19:33
    want to demonstrate to you is that you
  • 00:19:35
    need to make sure that you see execution
  • 00:19:39
    as how much you care about your players
  • 00:19:41
    and so from developer to developer like
  • 00:19:43
    if you're making a game and you're just
  • 00:19:45
    trying to like shoehorn it and you just
  • 00:19:47
    say oh like you know the player's gonna
  • 00:19:49
    like this anyway no matter what that's
  • 00:19:51
    the wrong mindset the more effort you
  • 00:19:53
    put into something whether it has
  • 00:19:54
    consistently high quality or
  • 00:19:56
    consistently low quality you you just
  • 00:19:58
    need to make sure that your player feels
  • 00:20:00
    like they actually are going through an
  • 00:20:01
    experience that you handcrafted for them
  • 00:20:04
    so that they can have an enjoyable time
  • 00:20:06
    all right and then we have
  • 00:20:08
    unpredictability this is not to be
  • 00:20:10
    mistaken with reversals or opposition um
  • 00:20:13
    it could be that it could be different
  • 00:20:14
    approaches but I think the key word here
  • 00:20:16
    is recontextualization so for example if
  • 00:20:18
    I told you hey what does the word
  • 00:20:20
    interesting mean to you they're probably
  • 00:20:22
    gonna say oh it's something appealing
  • 00:20:23
    right and true right but if we unbundle
  • 00:20:25
    it it's actually what I'm defining here
  • 00:20:27
    as the probability of engag and I'm
  • 00:20:29
    showing you examples and you're watching
  • 00:20:30
    this presentation Etc the idea is that
  • 00:20:33
    you can take a concept and just kind of
  • 00:20:35
    like view it in a different approach or
  • 00:20:38
    use a different approach and that's what
  • 00:20:39
    makes something unpredictable you're
  • 00:20:41
    trailing off of the Assumption of
  • 00:20:42
    something and if you are able to manage
  • 00:20:44
    all of these correctly if you're able to
  • 00:20:46
    work on them well you will have so
  • 00:20:48
    Little Resistance that every technique
  • 00:20:51
    that you use with compulsion will just
  • 00:20:53
    naturally Skyrocket so finally we got to
  • 00:20:55
    the point of the video that we needed to
  • 00:20:57
    get to which is the pill pillars of
  • 00:20:59
    compulsion pillar number one polarity
  • 00:21:02
    and this is not to be mistaken with
  • 00:21:05
    opposition you see it's interesting
  • 00:21:07
    because opposition is just what are the
  • 00:21:09
    things that they have in common and what
  • 00:21:11
    is the distance between the two concepts
  • 00:21:14
    that they have right so for example I
  • 00:21:15
    brought up a knight and a robot and
  • 00:21:17
    believe it or not they have so many
  • 00:21:18
    things in common even though they kind
  • 00:21:20
    of look like you know very odd Concepts
  • 00:21:23
    to compare them to you see both of them
  • 00:21:25
    have armor types right one is uh one has
  • 00:21:28
    armor the other one is made out of metal
  • 00:21:30
    they both share timelines right well one
  • 00:21:32
    it comes from the past one comes from
  • 00:21:33
    the future they both have weapons one is
  • 00:21:36
    a physical melee detachable weapon while
  • 00:21:38
    the other one's body is literally a gun
  • 00:21:41
    and so if you notice these two things
  • 00:21:43
    yeah they might be different and such
  • 00:21:45
    but they're all tied in with the same
  • 00:21:47
    category they have a spectrum they have
  • 00:21:49
    something that they have in common we're
  • 00:21:51
    just trying to maximize the distance
  • 00:21:52
    between them that's what opposition is
  • 00:21:55
    the greater the distance is the more
  • 00:21:57
    interesting it can be but what I really
  • 00:21:58
    want to mention is polarity and that is
  • 00:22:01
    going to be the sheer differences that
  • 00:22:03
    they have meaning if we know that you
  • 00:22:06
    know they're shared that they're sharing
  • 00:22:07
    a spectrum of categories that we can
  • 00:22:09
    compare them to we have to ask what is
  • 00:22:12
    the reason why we're even putting them
  • 00:22:14
    in a comparison in the first place right
  • 00:22:16
    and so the example that I'm going to
  • 00:22:18
    give you is hey we need to tie these
  • 00:22:19
    Concepts together with something right
  • 00:22:21
    so imagine right let's say theoretically
  • 00:22:23
    I'm making a video game and there is a
  • 00:22:25
    kingdom and whoever rules this Kingdom
  • 00:22:27
    owns the world
  • 00:22:29
    that means that there's going to be
  • 00:22:31
    factions that have to fight and take
  • 00:22:33
    over said Kingdom okay well what are the
  • 00:22:35
    possible factions that can be that can
  • 00:22:37
    exist in this context this is where
  • 00:22:39
    polarity comes in because you can say oh
  • 00:22:41
    what about Knights and um guards right
  • 00:22:44
    okay that works but what if instead of
  • 00:22:47
    guards we have robots oh well that's
  • 00:22:49
    like a very different concept right so
  • 00:22:50
    what if it's oh Knights versus robots
  • 00:22:53
    versus Wizards versus Godzilla you know
  • 00:22:56
    like if we start approaching this as
  • 00:22:58
    like not random but you know like these
  • 00:23:00
    are very different things that they
  • 00:23:01
    shouldn't be tied to together but
  • 00:23:03
    they're all tied because of the concept
  • 00:23:04
    of like oh they're trying to take over
  • 00:23:05
    the kingdom again factions this is what
  • 00:23:08
    causes polarity so view it as what is
  • 00:23:12
    the main concept that you have and then
  • 00:23:14
    what are the quote unquote random
  • 00:23:16
    objects that you can put that kind of
  • 00:23:17
    makes it like very different right what
  • 00:23:19
    are the differences that they have and
  • 00:23:21
    then we have uncommon ality when I say
  • 00:23:24
    Knight you probably think about a knight
  • 00:23:26
    in shining armor a horse a giant Javelin
  • 00:23:29
    and everything you probably don't assume
  • 00:23:31
    a little munchkin that has a sword
  • 00:23:33
    that's twice its body right like that's
  • 00:23:35
    not that's not common right the idea of
  • 00:23:37
    uncommon ality is that it's not that
  • 00:23:39
    you're picking something rare it's just
  • 00:23:40
    you are taking an aspect of something
  • 00:23:42
    that just doesn't get too much uh
  • 00:23:44
    attention or it doesn't get you know
  • 00:23:46
    much uh highlights right so once again
  • 00:23:49
    if I say Knight you probably think about
  • 00:23:50
    a knight serving a king you probably
  • 00:23:53
    don't think about a knight that is
  • 00:23:54
    serving a thief it's kind of uncommon
  • 00:23:56
    right but that exists Knights serve
  • 00:23:58
    things now it's just what are they
  • 00:24:00
    serving right um and then we also have
  • 00:24:02
    exaggeration which is basically hey what
  • 00:24:04
    element can we do that just increases
  • 00:24:06
    the weight of attention you can do this
  • 00:24:08
    with lighting with sizes you can do this
  • 00:24:11
    by making other things smaller or less
  • 00:24:13
    transparent or just you know not there
  • 00:24:15
    the idea of exaggeration is just saying
  • 00:24:17
    hey we're just going to make this like
  • 00:24:18
    way more apparent way more in your face
  • 00:24:19
    okay so let's go for a very quick
  • 00:24:22
    example right what can we do to make
  • 00:24:24
    something more interesting if we were
  • 00:24:25
    able to I don't know combine
  • 00:24:27
    exaggeration and something that's
  • 00:24:28
    uncommon right so here's a quick example
  • 00:24:30
    right I have a character that I made and
  • 00:24:32
    she's basically an underworld Queen and
  • 00:24:34
    this is how she looks like right so one
  • 00:24:36
    you might say immediately like hey the
  • 00:24:38
    thing that pops out the most is the
  • 00:24:39
    color red because it just contrasts with
  • 00:24:40
    everything that's part of the
  • 00:24:42
    exaggeration process sure but let's kind
  • 00:24:44
    of like look into this little deeper
  • 00:24:46
    right what is something uncommon about
  • 00:24:48
    this character design and I would argue
  • 00:24:51
    it's shoulder straps there are
  • 00:24:53
    characters that have shoulder straps
  • 00:24:54
    there's not really you know there's a
  • 00:24:55
    bunch of them maybe there's some that
  • 00:24:56
    are iconic that I simply cannot name at
  • 00:24:58
    the moment but a lot of characters have
  • 00:25:00
    shoulder straps and it's typically
  • 00:25:01
    something that they wear around like
  • 00:25:02
    down here and their arms and it's kind
  • 00:25:04
    of tight on them and such and so that's
  • 00:25:06
    an aspect that I believe is uncommon
  • 00:25:08
    it's not really talked about it's not
  • 00:25:09
    really mentioned too much so what can we
  • 00:25:12
    do to make this more interesting and so
  • 00:25:14
    this is where we're able to combine the
  • 00:25:16
    quote unquote uncommonness with an
  • 00:25:18
    exaggeration in this case I'm going to
  • 00:25:20
    exaggerate the size and before you know
  • 00:25:22
    it we have this weird design where the
  • 00:25:24
    stroller strap is basically like super
  • 00:25:26
    huge right in addition to that I made it
  • 00:25:29
    so that we have the crown or like we
  • 00:25:31
    have a crown like shape in this shoulder
  • 00:25:33
    strap area so that we emulate the fact
  • 00:25:35
    that you know she's like this underworld
  • 00:25:37
    Queen notice crowns are typically worn
  • 00:25:39
    on the top of the head not necessarily
  • 00:25:41
    around the actual body and because of us
  • 00:25:44
    combining all of these ideas together
  • 00:25:46
    and then just redesigning for it we have
  • 00:25:48
    something a character that has a very
  • 00:25:50
    interesting design okay so now we have
  • 00:25:52
    the pillar of polarity which is again
  • 00:25:54
    the opposition and polarity of things
  • 00:25:56
    how we can play around with uncommon
  • 00:25:57
    ality and how we can exaggerate things
  • 00:26:00
    to again appeal and grab more attention
  • 00:26:03
    the next one is going to be the pillar
  • 00:26:04
    of enjoyability and look there's no real
  • 00:26:08
    way to get around this but attraction is
  • 00:26:10
    real you are naturally drawn to things
  • 00:26:13
    that you find attractive and know
  • 00:26:14
    there's multiple types of Attraction
  • 00:26:16
    right like physical intellectual social
  • 00:26:18
    platonic Etc but the idea is that
  • 00:26:20
    characters play a huge role in just like
  • 00:26:23
    what we tend to look into it could be
  • 00:26:25
    character traits it could be physical
  • 00:26:26
    traits it could be all these things
  • 00:26:27
    right but the idea is that if you have a
  • 00:26:29
    game that has large narrative Focus or a
  • 00:26:31
    lot of characters in general if you make
  • 00:26:33
    characters more attractive you're just
  • 00:26:35
    going to have more players drawn to that
  • 00:26:38
    I'm not going to hear imp police you to
  • 00:26:39
    tell you you know to do it Tastefully or
  • 00:26:40
    not but be very careful on how you do
  • 00:26:43
    this because there's a bajillion ways on
  • 00:26:45
    how to do this because at the end they
  • 00:26:46
    attraction is also subjective so be
  • 00:26:48
    aware of how you design it now here's
  • 00:26:50
    the next
  • 00:26:51
    Point what is this if you said corn dog
  • 00:26:55
    you're right simplification is the idea
  • 00:26:58
    where you grab the concept almost
  • 00:27:00
    immediately or you just understand what
  • 00:27:02
    it is without really like being super
  • 00:27:03
    confused the reason why this is
  • 00:27:05
    important is because I'm basically
  • 00:27:06
    inviting you to understand a concept and
  • 00:27:09
    if you can do this with as Little
  • 00:27:11
    Resistance as possible you just get it
  • 00:27:13
    you know what to do with it and now if
  • 00:27:15
    I'm able to consistently show you simple
  • 00:27:17
    things and you're able to grasp it
  • 00:27:19
    quicker you'll have the ability to just
  • 00:27:20
    know what you're looking at the ability
  • 00:27:23
    to be uh legible the ability to be
  • 00:27:26
    understandable the ability to just grasp
  • 00:27:28
    things quickly is more appealing than
  • 00:27:30
    being confused because that kind of
  • 00:27:32
    pushes you to be like turned off about
  • 00:27:33
    the idea of hey this is really complex
  • 00:27:35
    and confus I I don't want to like deal
  • 00:27:36
    with this you know where if something is
  • 00:27:38
    more simple you'll say oh I'll I'll look
  • 00:27:41
    more into this because there's a path of
  • 00:27:43
    least resistance that you will have when
  • 00:27:45
    engaging in that and then as a game
  • 00:27:47
    developer we all play this game and we
  • 00:27:49
    should all absolutely continue doing
  • 00:27:50
    this it's the game of combination what
  • 00:27:54
    this basically means is hey what type of
  • 00:27:55
    combos can you add between two genres
  • 00:27:57
    two two mechanics two characters that is
  • 00:28:00
    like interesting and compelling right
  • 00:28:02
    and this is what we famously know as the
  • 00:28:04
    hey what if I did this what if I did
  • 00:28:05
    that right and so combination is really
  • 00:28:07
    cool because if you have a really strong
  • 00:28:09
    combination your rocket of compulsion
  • 00:28:12
    will just like Skyrocket it'll you'll
  • 00:28:14
    have so much fuel that it's going to
  • 00:28:16
    like bu basically carry itself right so
  • 00:28:18
    for example let's say Hey what if I made
  • 00:28:20
    a game where you could only Dodge and by
  • 00:28:22
    the way dodging is how you beat the game
  • 00:28:24
    that that would be pretty insane right I
  • 00:28:25
    mean just saying right but let's say we
  • 00:28:27
    also had a game where where you had to
  • 00:28:29
    collect treasure to save your company
  • 00:28:32
    that would be that would be pretty cool
  • 00:28:33
    right but what if it was a horror game
  • 00:28:35
    boom now we have lethal company you see
  • 00:28:37
    the idea is we're just playing around
  • 00:28:39
    with the ideas until we get a really
  • 00:28:40
    interesting topic that makes us say huh
  • 00:28:42
    maybe I would play in this maybe I would
  • 00:28:44
    kind of like figure it out Oh I thought
  • 00:28:46
    that was a combination I haven't seen
  • 00:28:47
    before again it's just something that we
  • 00:28:49
    do that has the ability to like make
  • 00:28:50
    things more compulsive for our players
  • 00:28:52
    to invest into and so that's the pillar
  • 00:28:54
    of enjoyment attraction things that we
  • 00:28:56
    like Simplicity things that we
  • 00:28:57
    understand and combinations things that
  • 00:28:59
    we're able to enjoy and so the whole
  • 00:29:01
    point of enjoyment is we're just trying
  • 00:29:02
    to make positive feelings things that
  • 00:29:04
    are simple things that are relatable
  • 00:29:05
    things that are just again of enjoyment
  • 00:29:07
    things that are pleasing and finally the
  • 00:29:09
    last pillar is the Fulfillment of
  • 00:29:12
    fantasy this is where video games strive
  • 00:29:15
    this is where you as a game developer
  • 00:29:17
    have the ability to actually do
  • 00:29:18
    something where players aren't able to
  • 00:29:20
    do every day and that is emulating
  • 00:29:23
    experiences you see this is this is like
  • 00:29:26
    super crucial because if you are a
  • 00:29:29
    person that can build an experience that
  • 00:29:31
    people typically can't go for now you
  • 00:29:33
    have something actually valuable and so
  • 00:29:35
    what's interesting is if you look at a
  • 00:29:36
    game like Splinter Cell right you
  • 00:29:38
    basically become a secret agent you're
  • 00:29:40
    on spy mission you're doing stealths
  • 00:29:42
    Heist you're doing unusual executions
  • 00:29:45
    can you do that on a day-to-day basis
  • 00:29:47
    technically you could if you were like a
  • 00:29:49
    spy and if you did that's crazy but the
  • 00:29:51
    the average person would not be engaging
  • 00:29:54
    on these activities on a day-to-day
  • 00:29:56
    basis Spider-Man bro you get to play at
  • 00:29:59
    you get to play around New York like
  • 00:30:01
    that's but okay maybe you live in New
  • 00:30:02
    York whatever but the idea is hey if you
  • 00:30:04
    are Spider-Man you're going on you're
  • 00:30:06
    move you're swinging around the town
  • 00:30:07
    you're you're fast you're flying you're
  • 00:30:09
    doing powerful combat you're emulating
  • 00:30:11
    the experience of being a superhero and
  • 00:30:13
    Guitar Hero is like hey wait a minute um
  • 00:30:15
    I'm a world class rockstar I play music
  • 00:30:17
    like a pro I'm gaining reputation I'm
  • 00:30:19
    being famous maybe you are a world class
  • 00:30:21
    Rockstar that's amazing but again
  • 00:30:23
    typically or the average person would
  • 00:30:25
    not necessarily engage in these
  • 00:30:26
    experiences simply because maybe they
  • 00:30:28
    physically can't or there's just no
  • 00:30:29
    means for them to get around it so it's
  • 00:30:31
    really important to make sure that if
  • 00:30:32
    you are a game developer you have the
  • 00:30:34
    ultimate leverage of creating these
  • 00:30:36
    experiences the more appealing the
  • 00:30:38
    experience is or the more rare or the
  • 00:30:40
    more hey is this something that I can
  • 00:30:41
    even do in the real world the more you
  • 00:30:43
    can fulfill that the better or the more
  • 00:30:46
    compelling something becomes to the
  • 00:30:47
    player then we have standardization
  • 00:30:50
    recognization Association these are
  • 00:30:51
    things of like maybe you made something
  • 00:30:54
    that is so on its own that it became its
  • 00:30:56
    own genre it became its own status it
  • 00:30:59
    has like the ability to say hey like I'm
  • 00:31:00
    going to get compared to this often
  • 00:31:02
    that's not necessarily a bad thing
  • 00:31:03
    because let's say you're making a deck
  • 00:31:05
    likee builder and you basically say oh
  • 00:31:07
    yeah my game is like slay the Spire well
  • 00:31:09
    for slay the Spire you now know that
  • 00:31:11
    this game is like the goat it's like the
  • 00:31:13
    plateau of what deck builders could be
  • 00:31:16
    and that's really good because now
  • 00:31:17
    players can associate with that so there
  • 00:31:18
    are pros and cons to this but the idea
  • 00:31:20
    is hey if the player can subconsciously
  • 00:31:23
    familiarize themselves with the idea
  • 00:31:25
    that oh I know what this is I know what
  • 00:31:26
    that looks like then you kind of have
  • 00:31:28
    that little bonus of like oh this is
  • 00:31:29
    something that I can see what it's for
  • 00:31:32
    therefore I can kind of understand not
  • 00:31:34
    only the familiarity of like I know what
  • 00:31:36
    this is about but more of oh if it's
  • 00:31:38
    like slay the spire and I like slay the
  • 00:31:39
    Spire then I can feel fulfilled by
  • 00:31:41
    playing this game because I I want more
  • 00:31:42
    slay of the Spire right uh think about
  • 00:31:44
    Call of Duty one two three four five
  • 00:31:46
    they're all kind of the same
  • 00:31:47
    mechanically they barely switch they add
  • 00:31:49
    a lot of game different options uh you
  • 00:31:51
    know there's different narratives and
  • 00:31:52
    such but over time they're they know
  • 00:31:55
    what you can expect out of it but at the
  • 00:31:57
    same time it's like well I like the
  • 00:31:58
    first ones therefore I'm going to like
  • 00:31:59
    the second one I'll like the third one
  • 00:32:01
    Etc and lastly and I love this example
  • 00:32:04
    here but Bonaire is a really fun game
  • 00:32:07
    because you don't boot up the game
  • 00:32:09
    expecting that your bank account is
  • 00:32:10
    going to make a lot of money but you
  • 00:32:13
    kind of feel like you do and so attempt
  • 00:32:16
    at attainment is basically saying if the
  • 00:32:18
    game is giving you a goal that you're
  • 00:32:20
    able to achieve by playing the game so
  • 00:32:22
    like I said bionaire doesn't actually
  • 00:32:23
    make you a billionaire but it asks the
  • 00:32:25
    question can you be a billionaire can
  • 00:32:27
    you make a lot money can you make a
  • 00:32:28
    trillion dollars can you can you go
  • 00:32:30
    through this run can you play
  • 00:32:31
    competitively can you play this game to
  • 00:32:33
    the point where you have this like super
  • 00:32:34
    high combo where you're making like a
  • 00:32:35
    bunch of money right and again I'm not
  • 00:32:37
    physically making dollars in my pick
  • 00:32:39
    account by playing this game but by
  • 00:32:40
    playing the game I feel like I am so
  • 00:32:42
    it's like oh I'm making a lot of money
  • 00:32:44
    oh I want to make more money I want to
  • 00:32:45
    do this right and so think about dating
  • 00:32:47
    Sims right dating Sims are basically
  • 00:32:49
    saying hey like we are dating characters
  • 00:32:51
    so that we feel attraction and love and
  • 00:32:53
    all these things and so the idea is that
  • 00:32:55
    the game is inviting you to say hey this
  • 00:32:57
    is a goal that you can potentially
  • 00:32:58
    achieve if you play the game and we're
  • 00:33:00
    going to feed you a lot of gameplay
  • 00:33:02
    Loops to do that and so if you're able
  • 00:33:05
    to set that goal and then let the player
  • 00:33:07
    attempt to attain that or like have that
  • 00:33:10
    Pursuit they will feel the Fulfillment
  • 00:33:12
    of like oh you know what I like this
  • 00:33:13
    this is peing I want to feel like that I
  • 00:33:14
    want to attain this money I want to
  • 00:33:16
    attain this love I want to attain all
  • 00:33:17
    these things that's what the attempt of
  • 00:33:18
    attainment is trying to imbu and finally
  • 00:33:22
    that's it that's our uh last pillar
  • 00:33:24
    which is fulfillment which is hey how do
  • 00:33:26
    we emulate experiences how do we
  • 00:33:27
    associate with something so that we kind
  • 00:33:29
    of recognize what it is and what can we
  • 00:33:31
    do to feel like we are currently
  • 00:33:33
    attaining or pursuing a goal that is
  • 00:33:35
    important to us and so of every single
  • 00:33:37
    method that we just talked about which
  • 00:33:40
    one is the most
  • 00:33:42
    broken and the thing is I kind of
  • 00:33:43
    tricked you because it's the one I've
  • 00:33:45
    been using this entire time see at the
  • 00:33:47
    very beginning of the video I asked you
  • 00:33:49
    hey guys is my game interesting and if
  • 00:33:51
    you are here that means you were curious
  • 00:33:54
    enough to find the payoff to that
  • 00:33:56
    question curi
  • 00:33:58
    is the ability to hook invest or lur the
  • 00:34:01
    player the audience the the consumer on
  • 00:34:04
    a question so that they can find the
  • 00:34:06
    solution and the thing is that if
  • 00:34:08
    they're on the pursuit of finding the
  • 00:34:10
    solution they're looking for a form of
  • 00:34:12
    relief the longer you hold them in that
  • 00:34:15
    Pursuit the more naturally curious
  • 00:34:17
    they're going to be or more importantly
  • 00:34:18
    the more time they start investing in
  • 00:34:19
    that and by the way it's called question
  • 00:34:22
    because to resolve the question you need
  • 00:34:23
    to go on a quest so this is important
  • 00:34:26
    because in this video I'm teaching knew
  • 00:34:28
    oh how to you know be more interesting
  • 00:34:29
    in everything and so if you felt like
  • 00:34:31
    you haven't been uh relieved of that yet
  • 00:34:33
    then you're probably here or you know
  • 00:34:35
    maybe you are in the quest of doing so
  • 00:34:37
    and that's why you're at this point in
  • 00:34:38
    the video so for example in this other
  • 00:34:39
    video that I made hey make any game
  • 00:34:40
    mechanic goated if you're asking
  • 00:34:42
    yourself how do I make it go to gamean
  • 00:34:45
    like how do I actually do that well let
  • 00:34:47
    me click on the video to see Boom the
  • 00:34:49
    Curiosity fed into you the Curiosity
  • 00:34:51
    actually just made you engage with the
  • 00:34:53
    actual video again for the conexs of
  • 00:34:54
    video games it's you downloading it's
  • 00:34:56
    you wishlisting it's you doing these
  • 00:34:57
    things to actually interact and engage
  • 00:34:59
    with the game as a whole so last tidbits
  • 00:35:02
    just a little like last minute thing
  • 00:35:03
    right um You can always design for a
  • 00:35:05
    general audience right there's going to
  • 00:35:06
    be more risks and uh more rewards for
  • 00:35:09
    doing this right but the idea is that
  • 00:35:11
    you are able to scale more based again
  • 00:35:14
    on the concept or the genre or the
  • 00:35:16
    actual attack of how you're going to re
  • 00:35:18
    the game so for example I love me Man
  • 00:35:20
    Star Force I think it's one of the
  • 00:35:21
    greatest games out there whatever but
  • 00:35:23
    it's limited to Mega Man fans card
  • 00:35:25
    Battlers people that play games on the s
  • 00:35:28
    um and you know as much as I love
  • 00:35:30
    destroying viruses and aliens and
  • 00:35:31
    everything how it's executed is not
  • 00:35:34
    going to be at a massive scale in
  • 00:35:36
    comparison to Wukong where Wukong is hey
  • 00:35:38
    you can fight legendary mythical Chinese
  • 00:35:40
    uh monsters that can just like
  • 00:35:42
    absolutely destroy you it looks gorgeous
  • 00:35:44
    um it has like an open combat system
  • 00:35:46
    where a lot of players from many genres
  • 00:35:47
    can fulfill and feel so you know you
  • 00:35:49
    might be a fighting game fan you might
  • 00:35:51
    be a beat him up fan a hackin slash fan
  • 00:35:53
    a shooter fan and it kind of appeals to
  • 00:35:55
    those players as well so you know just
  • 00:35:57
    be aware that how you design your game
  • 00:35:59
    ultimately can make a larger or smaller
  • 00:36:03
    audience right and then can you
  • 00:36:05
    theoretically minmax all these stats
  • 00:36:07
    right and this is like a weird chart
  • 00:36:09
    it's like maybe you can right like maybe
  • 00:36:11
    there are some things that again appeal
  • 00:36:13
    more than the others but again don't
  • 00:36:15
    worry about this chart too much the idea
  • 00:36:16
    is like there are just things you can do
  • 00:36:18
    to continue optimizing and again you
  • 00:36:20
    have to view it as a multiplier as an
  • 00:36:22
    addition as in can I continuously do
  • 00:36:24
    this to make my game more interesting
  • 00:36:26
    and yeah you can but again is there a
  • 00:36:27
    minmax way to do this that comes down to
  • 00:36:29
    how you execute so are there any other
  • 00:36:32
    methods there probably are but for the
  • 00:36:35
    context of game development the ones
  • 00:36:36
    that I just covered are basically the
  • 00:36:37
    most important ones which again is this
  • 00:36:39
    the pillars and again curiosity which is
  • 00:36:42
    the ability to potentially pay off
  • 00:36:44
    something resolve their issue make them
  • 00:36:45
    invest make them spend a lot of time on
  • 00:36:47
    the area and as a result you have
  • 00:36:49
    something that allows them to be
  • 00:36:50
    compulsive when they want to interact
  • 00:36:52
    and engage with your
  • 00:36:55
    game and finally we're at the blueprint
  • 00:36:57
    this is super simple and I'll keep it as
  • 00:37:00
    brief as possible because once you
  • 00:37:01
    fundamentally understand what we've been
  • 00:37:03
    talking about between interest
  • 00:37:04
    compulsion and relevance you can follow
  • 00:37:06
    this five-step plan to take your game
  • 00:37:08
    idea make it very interesting and move
  • 00:37:11
    on step number one is just make an idea
  • 00:37:14
    right all you have to do is grab a
  • 00:37:15
    concept make one and say hey I want to
  • 00:37:17
    make a game out of this okay step two
  • 00:37:19
    make it relevant to your target audience
  • 00:37:21
    you do this by playing with the desire
  • 00:37:23
    necessity and slor influence of what you
  • 00:37:25
    can do to make it relevant towards the
  • 00:37:27
    audience a step three is a bit optional
  • 00:37:29
    but you get more leverage in the long
  • 00:37:30
    run and what that is is you have to
  • 00:37:32
    recontextualize your new combination in
  • 00:37:35
    order to make it more novel The more
  • 00:37:37
    novel it is the higher leverage you have
  • 00:37:39
    because if something is really novel and
  • 00:37:40
    then you can maximize uh The Next Step
  • 00:37:43
    here then you just get more bang for
  • 00:37:44
    your book which Step number four add the
  • 00:37:47
    compulsion techniques that we discussed
  • 00:37:49
    this is basically playing with the
  • 00:37:50
    polarity the enjoyment the Fulfillment
  • 00:37:52
    and slor adding curiosity to your idea
  • 00:37:55
    so that you're more going to get more
  • 00:37:56
    points so that it becomes more
  • 00:37:58
    interesting and then finally you're
  • 00:38:00
    going to just reiterate over and over
  • 00:38:02
    until you're ready to Showcase it that's
  • 00:38:04
    the blueprint super simple super easy
  • 00:38:07
    but it requires you to understand you
  • 00:38:09
    know everything that we just discussed
  • 00:38:10
    in this video and you know because it's
  • 00:38:13
    easier said and done what I did is I
  • 00:38:15
    added a free downloadable worksheet that
  • 00:38:17
    you can download at the link of the
  • 00:38:18
    description of this video and it kind of
  • 00:38:20
    just has these instructions that can
  • 00:38:22
    help you organize and well better
  • 00:38:23
    structure how to go about these steps so
  • 00:38:25
    you can take a current idea or an that
  • 00:38:27
    you want to make and just allows you to
  • 00:38:29
    say okay how can I make this more
  • 00:38:31
    interesting let's go ahead and follow
  • 00:38:32
    the worksheet right so if you found this
  • 00:38:34
    useful I also have other content on this
  • 00:38:37
    channel that talks about particular
  • 00:38:38
    aspects of game development that you are
  • 00:38:40
    probably looking for help for and at the
  • 00:38:42
    end of the day the only thing I'm going
  • 00:38:43
    to ask you to do is to go make an
  • 00:38:45
    interesting game because I am counting
  • 00:38:46
    on you have a wonderful day
Tags
  • jogos
  • interessante
  • engajamento
  • design de jogos
  • audiência
  • curiosidade
  • polaridade
  • desejo
  • necessidade
  • compulsão