Product Description

Authored by Raph Koster, Chief Creative Officer of Sony Online Entertainment, this brilliantly illustrated book is a storyboard filled with inspirational ideas for all designers. As Will Wright (co-creator of SimCity 2000 and SimCopter) states in his foreword, "Raph forages across wide intellectual landscapes and then returns to share what he’s discovered with the rest of us…. He has filtered out a treasure trove of useful and relevant nuggets from a career’s worth of his own research."

A Theory of Fun for Game Design features a novel way of showing interactive designers how to improve their designs to incorporate the highest degree of fun. This book will truly inspire and challenge game designers, as well as artists and designers from all segments of the industry. The unique format of A Theory of Fun, with engaging text and thought-provoking illustrations, will ensure that this book becomes a classic text for designers. Already endorsed by major players in the gaming world – such as BoingBoing, Noah Falstein, and Henry Jenkins of MIT – A Theory of Fun covers such essential topics as:

• Why some games are fun and others boring • Why making a game too hard—or too easy—is a mistake • Why games have to balance deprivation and overload, order and chaos, silence and noise • The difference between designing content and creating an experience • Why both adults and children like to play games • How playing a game and learning are connected • The ethics of entertainment

Product Details

• Amazon Sales Rank: #19173 in Books
• Published on: 2004-11-06
• Original language: English
• Number of items: 1
• Binding: Paperback
• 256 pages

Review
"Does for games what Understanding Comics did for sequential art. You'll never look at fun the same way again." -- Cory Doctorow, Author of Eastern Standard Tribe and Down and Out in the Magic Kingdom; co-editor of Boing Boing

"I expect this book to become an instant classic, fascinating to anyone who has ever made or played a game." -- Noah Falstein, Freelance Game Designer/Writer/Producer

"Raph Koster offers a road map for how to make games an even more expressive medium." -- Henry Jenkins, Director, MIT's Comparative Media Studies Program.

"Raph's focus on finding new ways to communicate complex design issues has been an incredible benefit to game developers" -- David Perry, President Shiny Entertainment (Atari, Inc.)

"You've written a wonderful starting point for research and many future dinner conversations!" -- Cory Ondrejka, VP, Linden Lab

A book about fun which is actually fun to read. It reminds me of Scott McCloud's Understanding Comics. -- Henry Jenkins, Director, MIT's Comparative Media Studies Program

A thoughtful take on how and why games are fun (and important)... chock full of insights, jokes and asides. -- Robin Hunicke, Northwestern University

Does for games what Understanding Comics did for sequential art. -- Cory Doctorow, Author of Eastern Standard Tribe and Down and Out in the Magic Kingdom, co-editor of Boing Boing

Everyone from professional game developers to those who want to understand why we play games will enjoy this book. -- Cory Ondrejka, Vice President, Linden Lab

From the Publisher
A Theory of Fun for Game Design is not your typical how-to book. It features a novel way of teaching interactive designers how to create and improve their designs to incorporate the highest degree of fun. As the book shows, designing for fun is all about making interactive products like games highly entertaining, engaging, and addictive. The book’s unique approach of providing a highly visual storyboard approach combined with a narrative on the art and practice of designing for fun is sure to be a hit with game and interactive designers, At first glance A Theory of Fun for Game Design is a book that will truly inspire and challenge game designers to think in new was; however, its universal message will influence designers from all walks of life. This book captures the real essence of what drives us to seek out products and experiences that are truly fun and entertaining. The author masterfully presents his engaging theory by showing readers how often designs are! lacking because they are predictable and not engaging enough. He then explains how great designers use different types of elements in new ways to make designs more fun and compelling. Anyone who is interested in design will enjoy how the book works on two levels--as a quick inspiration guide to game design or as an informative discussion that details the insightful thinking from a great mind in the game industry.

From the Author
In this book, I decided to tackle the questions of what games are, what fun is, and why games matter. A lot of people are exploring these questions now, and digital games have become big business. The time is ripe for us to dig deeper into the many questions that games raise. In the final analysis, I think that work and play aren’t all that different, and A Theory of Fun explains why I came to that conclusion.

Customer Reviews

A Good Book For Both Gamers and Non-Gamers
Raph Koster's _A Theory of Fun for Game Design_ is certainly a book worthy of a place on any game designer's shelf. For those who attended the original lecture that spawned the book, there isn't a whole lot that is new, but it's great to have it in book form. For those who did not, the book can be quite revealing, particularly for those who have struggled to adequately define just what games and game design is all about.

Perhaps more importantly, though, is that Raph has written a light, frequently humorous, and sometimes touching book that should make a great gift to those of us who have parents or spouses who DON'T understand why we're wasting all of our time with games. Rather than try to explain it to them, you can simply hand them this book, and they can come to appreciate the scope and depth of the subject without being overwhelmed.

And at times the book is quite poignant on a human level. You can see Raph's genuine pride and love for his children nearly pour off the page when he talks about them, and his mention of his grandfather passing away while he was at GDC is particularly touching to me since my own father died while I was at GDC in 2000.

The book can essentially be read in two ways. The first, simply by reading all the illustrations in sequence, is great fun all by itself. Nearly every drawing does its job in illustrating the point it tries to make, and quite a few have charming little extra details that a gamer will readily appreciate.

The second, and perhaps more proper way, is to read the text and the illustrations together. (I suppose one could also read the text by itself, but where's the fun in that?) To summarize very crudely, the book makes the following assertions:

1. The human mind enjoys processing information from the world around it into patterns, procedures, schema, etc. that it can later apply with less thought in identical or similar situations.

2. Games primarily feature a core pattern(s) and mechanic(s) which players learn via playing the game. This is fun for the mind.

3. If the pattern is too hard to discern, or the mechanic of learning the pattern too difficult, players get frustrated and stop playing. On the other hand, if players understand the pattern and master the mechanic too easily, they'll quickly become bored and stop playing. There are other issues as well (relevancy, matching expectations, presentation, etc.) that come into play.

4. Most games have traditionally taught very basic life skills. As children become adults, they've learned these skills, these patterns, and no longer play games since they are now out in the real world playing "for real".

5. Many of these skills, while useful when we were a primative people, are becoming less relevant, and even dangerous, in a modern society, where change is increasingly more and more rapid.

6. Game designers need to broaden their game designs, not only to encompass a larger range of patterns/skills/mechanics/lessons, but also ones which are relevant and helpful to modern society.

7. Game designers have an ETHICAL DUTY to do so.

(I've skipped over many other points of the book, which although unfair and regrettable, is necessary for the sake of length.)

Now, enough of the praise, on with a few (minor) criticisms.

I found the book paradoxically both too long and too short. The layout of the work is to fill (nearly) every right hand page with an illustration, with the text on the left hand page. This is great, because their are so many illustrations, but it means that the text on the left of many of the pages is often quite limited: 2 - 5 paragraphs, and usually short ones at that. However, I am not saying that there should have been more text; often it conveys just the right depth and meaning for the particular point it is trying to make on that page. But at times it does get a bit distracting; you get the feeling that these pages are only there because there are so many illustrations.

Yet at the same time, I felt the text sometimes got too repetitive, and should have gone deeper. But the problem is you couldn't really dwell on one thing too deeply, because it was on to the next page and on to the next point (and the next illustration). Really, the format constrains the book to a particular level, and I think part of this also comes from the fact that the book was largely original a presentation, where it is quite common for points to be made simply, and repeatedly, without a lot of additional exposition. And I think if you accept the book in that context, you won't be disappointed.

One point that I thought the book did not give enough attention to was the element of chance in games. Nearly every game features the element of random chance, yet the book explores this mechanic very little in relation to other core game mechanics. When it does -- all of 2 paragraphs on page 56 -- it's almost dismissive of it as little more than a way to teach people about odds.

I would contend there's a lot more to it than that. Introducing a random element into a game helps enhance the learning experience by prolonging the appeal of the game. Consider a game mechanic which, if mastered, allows a player to win 100% of the time. If the game is fairly deterministic, then once they've learned this mechanic, they'll quickly become bored with the game. Now, consider what happens when you add the element of chance. The player, even if they've mastered the mechanic, can still lose. This forces them to re-evaluate their mechanic -- do they REALLY have the best one, or were they mistaken? What additional patterns can they learn to help eliminate the effect of chance? Does this teach us that in life, even the best laid plans can fail due to unknown and unpredictable factors? And so on.

I would also add that the addition of chance helps ameliorate the problem of players playing the same game at different skill levels -- the inferior player still has a chance to win, even if it is by luck, but by winning is encouraged to keep playing the game and, perhaps, learning what the superior player already knows.

The other point of the book that I take issue with is at the end, where there is a rather sudden appeal to a variation Pascal's Wager. This forms the basis of an appeal to ethical game design. I find the whole insertion rather jarring, partly because I feel Pascal's Wager is thoroughly debunked (particular when you consider the wager fails to mention any costs relating to belief), and partly because it doesn't seem to make much of a difference. If game's don't matter, than it doesn't matter if a game explores a particular behavior that is "bad". On the other hand, if game's do matter, then surely it is important to have games that explore such mechanics as a way of learning about ourselves, just as more "ethical" games may explore other mechanics. As Sister Wendy admitted, Serrano's _Christ in Urine_ was still valid art; it just wasn't particularly good (in the non-moral sense) art.

I also think it is difficult to expect games to illuminate the human condition and teach lessons at the same level as other forms as art for precisely the reasons cited earlier in the book. Games are about a core mechanic/pattern that is learned, and the very nature of gaming compells one to look past the story and other contextual trappings to focus on the central gameplay. Consider the moral of _Moby Dick_, which is about the dangers of letting one's obsession overtake them, or the destructiveness of the desire for revenge to others around you, or perhaps, according to some interpretations, the futility and hubris of denying God and trying to confront evil itself on one's own. But a game _Moby Dick_, even if it contained such themes, would ultimately teach you instead about optimal strategies for hunting whales, or perhaps a formula for determing the true costs of obsession in lives lost. And neither of which may be models that realistically describe reality, which calls into question their ultimate utility beyond the scope of the game itself.

But despite these lengthy criticisms, I can certainly recommend this book. As I said before, I think it's particularly useful as a gift to non-gamers who want to know more about what we do and why we do it.

Bruce

An excellent book with a misleading title
While there is plenty of valuable content to be found in this book, the title is a bit misleading as it relates to the nature of the content.

Early on, the adjective "fun" is defined to basically mean "educational". This definition makes sense in the context in which it's presented, but it vastly changes the meaning of the title of the book. The reader who takes the title to mean "theory regarding the design of games to be generally more entertaining" will most likely be disappointed to find that the author's apparent intended meaning was, "theory regarding the basic cultural value of games and their potential for greater social/educational achievement".

The primary focus of the book is on examining and understanding the social and cultural role that games play, and the intrinsic value that they hold in that role. There is also commentary on the nature of art (in the sense of "high art" or "fine art"), and how games could be refined to further ascend to the levels of sophistication found in other media.

All of the material is very insightful, uniquely assembled, and both fun and informative to read. Unfortunately, in all the theory it covers, it doesn't touch on the topic of actually designing games that are fun to play in the traditional sense of the word "fun".

Ostensibly, the concept behind this is that understanding the underlying social and educational aspects of games will lead to the creation of games that are fun in the more traditional sense of the word (based on the notion that the two definitions are just different descriptions of the same idea). Regardless of its worth, the approach is significantly different from what one might expect from reading the title and the back of the book.

A Philosophy for Game Design
I purchased the book mainly as a learning tool for designing boardgames.

The author's journey starts by trying to convince his get-a-real-job grandfather (and perhaps himself) that a career in game design is of significance. In doing so the author winds down a *philosophical* road describing how game design can mature into an artform just as other mediums have. His arguments are well thought, intriguing, and convincing. Raph will enlighten novice game designers and deeply plant some ideas that will surely influence the growing field of game design.

Among his most influential ideas, the author suggests that games should seek to allow people to explore game mechanics that reflect tiny aspects life as to allow real-world lessons to be learned. He suggests that game designs should *not* have preconceived destinations aimed at supporting the designer's personal truths, but that the game should allow its participants to openly experiment and discover their own truths. Very powerful stuff!

My harshest criticism is that the book seemed "puffed up" like a term paper where a procrastinator (in attempt to fill the required number of pages) quadrupled the line spacing, fatten the margins, and increased the fonts. The author provided hand-drawn pictures on every odd-numbered page. Some pictures were useful, but many seem forced and in trying to properly pair the text with the related pictures, lots of content pages are predominantly white space.

My preference would have been to reduce the size of the book by favoring the content much more heavily than the pictures and by doing away with the excessive white space; the book could easily have been half its size.

Despite the criticism the book offered good insight and was a fair value having purchased it on modest discount.