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, by Brian Upton
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Product details
File Size: 2815 KB
Print Length: 335 pages
Publisher: The MIT Press; 1 edition (March 20, 2015)
Publication Date: March 20, 2015
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B00UW7X7DS
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I just now finished reading this, and I really really enjoyed it. I wish I'd had it on hand when I was teaching a game design class a few years ago. I heard about it on "The Big Idea" section of Scalzi's blog (http://whatever.scalzi.com/2015/03/17/the-big-idea-brian-upton/). Neuroscience? Microsemiotics? Applications to literary criticism? I sent off for a copy.I'll leave a review of the technical content to others, and will instead comment on the results of my experience of reading. (Read the book, and you may see why that could be a natural move to make right after reading the book!)* I want to talk about it with my friends. And then talk about it with some people I've never met, for contrast.* I want to go back and replay some games from a couple decades ago and introspect on how I'm engaging with them.* I want to go to a modern art museum and try out some new approaches to looking at what I've traditionally categorized as "trash my 3 year old could make".* I want to run a series of experiments that involve exposing different groups of people to new games.* I want to read up on deconstructionism a bit more, because while I don't think I'm going to start liking it, I think I can see an interesting option for disliking it less.* I want to design a game that synergistically exploits both narrative and gameplay and blows a big fat raspberry at the various authors that say the two are intrinsically opposed.* And then I want to play it.
This is definitely one of the best books on game design that I have read.A frequent complaint I have about game design theory is that it often breaks down when trying to apply it to an actual game. Things like MDA and the lenses of game design sound good on paper but in my opinion, don't work very well when you're in the middle of a game project and there's a million different moving pieces all at once that are constantly evolving.In situations like these, you need simple and flexible design rules that allow you to look at the smaller scale and NOT the bigger picture, because looking at the bigger picture all the time only means you're missing out on the short term effects of your design which exist at the micro level, which is disastrous in the long run for the feel of your game.Upton's idea of "constraints" and "state" and their interplay, constitutes a very adroit and flexible way of thinking about the effect that your design has on the structures of play, and is in my opinion a vital and important part of game design theory that deserves wider recognition.
My thinking on this book has continued to change since reading it. I was initially frustrated with some of the ways it used theory (semiotics and narrative) because it doesn't dive deeply into these topics. But Upton does a great job of tackling these topics and their connections with each other in a way that's fresh, and moves the discussion forward. So while it might not be a lengthy treatment of whatever field you're from, it's a wonderful exploration of how different fields in game studies can come together to understand games and their meanings.
Just got it for Father's Day. Why did I ask for it? Because Jackie Kashien's interview with Brian Upton on her podcast "The Dork Forest" sold me on Brian Upton. Man. Very cool. Here's a link to the podcast: [...]
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