Inclusive Games Design

1. Inclusive Games Design By Kaye Elling & Simon Smith

2. Blitz Games • Independent Game Developer • Console titles on PS2, PSP, GameCube, Xbox • PS3 & Xbox 360 • 150 staff and expanding • Owned & run by the Oliver twins

3. Blitz History

4. Blitz Branding

5. Blitz Branding

6. Blitz Branding

7. Introductions • Kaye Elling, Creative Manager • Simon Smith, Business Development Associate

8. Abstract • Inclusive game design • Gender and age • Our experiences: Bratz Rock Angelz • Core game functionalities • Design Dynamics • Comparing “young male” orientated titles

9. Why make inclusive games?

10. Idealism • Games are here to be enjoyed by everyone • Play is part of human nature • It’s good for you! • Technology for recreation expands horizons

11. Market forces • Market is reaching saturation • 103 million consoles sold worldwide • 73m PS2s, 16m Xboxes, 14m GameCubes (USA today, year end 2004). • Hardcore & mainstream gamers

12. Future-proofing • To continue growth, market must diversify • Hobby- and casual gamers • Children (ages 6-15) • Older demographic (age 35+) • Women (all ages)

13. Circle of life • Inclusive games = mass market appeal • Mass market appeal = more sales • More sales = more money • More money = bigger market • Bigger market = more games for everyone

14. The Stats

15. What makes a game inclusive? What makes a game exclusive?

16. Gendered Spaces • In game environments; the core of most games • Player must want to be in those spaces • Context can exclude potential players Gamer Chicks: How a Generation of Young Women Inhabit Virtual Worlds Online White paper by Constance Steinkuehler, University of Wisconsin, USA.

17. Definitions • Male gendered spaces • Perceived as highly threatening • Frequented predominantly by males • Openly hostile to women • Female gendered spaces • Perceived as visually over-feminised • Frequented predominantly by women • Openly hostile to men

18. ♂ Gendered spaces IRL • Lan Café • Building site • Football Stadium • DIY Superstore • Houses of Parlaiment

19. ♀ Gendered spaces IRL • Hairdressers • Health Spa • Department Store • Lingerie shops

20. Gender neutral spaces IRL • Cinema • Supermarket • Gym* • *Recent market expansion through diversification - while retaining its core clientele.

21. OPEN QUESTION: • Give examples of male gendered spaces in computer games.

22. (M) Examples: • Any area in HalfLife 2 • Strip Joint in GTA Vice City • Wrestling ring in WWE Smackdown

23. OPEN QUESTION: • Give examples of neutral gendered spaces in computer games.

24. (N) Examples: • Anywhere in Tak2: The Staff of Dreams • Mansion in Bratz: Rock Anglez • Race circuits in MarioCart

25. Random video: Bratz Rock Angelz

26. Control & Gendered Play • Males and females respond differently • Gender differentiates play • One size does not fit all • Most gameplay mechanics are male gendered

27. Risk & Reward • The bigger the risk to the player, the bigger the potential reward to that player • Most popular game play mechanic ever • Females do not like taking risks… • …they prefer Action & Reaction • To remain in control at all times

28. Examples: • Risk & reward: • Run through the super-heated mining tunnels, risking character health loss and eventual death, to access the footlocker containing a weapon upgrade. • Knights of the Old Republic II • Action & Reaction • Run a paid errand for an NPC, to finance the purchase of a weapon upgrade from a trader. • Knights of the Old Republic II

29. Punitive Systems • Punish the player for “failure” • Heavy handed & generates frustration • Most popular: Sudden permanent death… • …versus an instant re-spawn • Example: Rainbow 6 • Further Examples: The Molyneaux principle

30. Violence vs. brutality • When is violence not exclusive? • Defensive or provoked • Comedic or without suffering • Stylised (cartoony, non-realistic) • When does violence exclude players? • Offensive or casual • Sadistic or causes suffering • Hyper-real (excessively gory) • Example:Manhunt

31. OPEN QUESTION: • Give examples of games with inclusive game play dynamics. • i.e… with action & reaction • i.e … without punitive systems • i.e … with violence as opposed to brutality

32. Examples: • Ratchet & Clank • Lego Star Wars • Prince of Persia: Sands of Time • Nancy Drew series • The Sims series

33. Characterisation • Player character buy-in is more important to women than it is to men. • Men see characters as controllable • Women see them as representational

34. Lara Croft • Why she works for girls: • Tough • Capable • Beautiful • Cool • Intelligent • She can do everything a man can do.

35. Lara Croft • Why she works for guys: • Tough • Capable • Beautiful • Cool • Intelligent • Boobs • Boobs • Boobs • “She can do everything a man can do. In fact, she might as well be a man in drag.” • Earnest Adams, Designersnotebook

36. Lara Croft • Until Lara came along, most female characters in games were: • Waiting to be rescued. (Pauline, Donkey Kong) • Eye-candy (Princess, Donkey Kong) • Statistically inferior (Ling XiaoYu, Tekken) • First “equal” heroine • Paved the way for others Nikki (Pandemonium) • She works despite of her appearance, not because of it.

37. Bratz • Why they work for girls: • Fun • Intelligent • Creative • Stylish • Friendly • Individuals • Friendship • Cooperation

38. What women want • Personality as well as appearance • Equality in terms of stats and abilities • Women demand characters with more depth • Role models to aspire to • Failure to include a viable female character immediately makes the game exclusive.

39. Characters as Avatars • Representational vs. controllable • Gender bending in MMORPGs • Other reasons: • Social - how players are treated among themselves • Variety - players have multiple characters • Subterfuge – denying true identity for a reason

40. Customisation • Creates unique user experiences • True cross –gender, cross-demographic tool • Seen in all kinds of consumer products • Cars: Mini Cooper • Clothing: Nike Trainers • Electronics: Mobile phone fascias, I-pods

41. Customisation • Seen in a huge variety of games • Motors: Need for Speed Underground • Motors: Juiced • Clothing: Tony Hawks Pro Skater • Appearance: WWE series (Create a Wrestler) • Avatars: any RPG

42. Customisation in Bratz • Customisation stats in the game • 224 make-up colours & decals • 135 jewellery items • 40 Mobile phone add-ons • 221 clothes & accessories • 66 pairs of shoes • Totalling 686 items!

43. Random video! PacMan World 3

44. Communication • Vital tool in reaching alternative audiences • Split into 2 categories • Functional communication (Direct, necessary etc) • Responsive communication (Intuitive feedback etc)

45. Communication • Older players and female players require more communication than male players do. • This is for 2 reasons: • Women have a more social approach to gaming and expect more interaction between the NPCs and the player. • Casual or novice gamers require more instruction and feedback than hardcore gamers do.

46. Mobile phones • Direct communication • Characters • Vocal, phones • Indirect communication • Impersonal • Computers, anonymous • Emotional & intuitive communication means the player is more likely to respond.

47. Creativity • Creativity spans all demographics • Gives the player freedom • A big hit in all kinds of gaming genres • UCC in The Sims • Halo 2 multiplayer clan badges • Tags in Counterstrike • Tags in Jet Set Radio • Bratz make-up editor and T-shirt/Poster Editors

48. Make-up editor

49. Choice is freedom • Player choice = player freedom • Player freedom is addictive • Choice is best achieved through Sandbox play • Sandbox isn’t always an option if: • There is a strong narrative • Level progression is set • The game is essentially linear

50. Choice in linear designs • Linear games benefit from anytime activities • Intersperse these with larger goals • Break up linear play • Examples • Sub games • Skirmish areas • Bonus levels/tasks