5 Things Pitbull's Fireball can Teach us About Designing an RTS

Pitbull's hit single "Fireball" is a high energy party anthem from 2014. In it we find what appears to be a song about drinking, dancing, and passions of the night. But what can this song tell us about designing a real time strategy game? It turns out, quite a lot. 

1. The Importance of Immediacy
In a cheeky announcement of design wisdom Pitbull sings "I saw, I came, I conquered, or should I say I saw, I conquered, I came." This lyric is a mashup of the phrase Julias Caesar himself popularized with Veni, Vidi, Vici. However, Pitbull reorganizes the words to show the importance of conquest in a real time strategy game. Players should see their opponents, conquer them, then feel the joys that go with that victory without wasting time on the logistics of real warfare. To do this the units under a player's command should move with a sense of urgency and immediacy. Long delays between action delivery and unit response make the player feel less powerful, especially when accompanied with slow moving units.

2. Rewarding Skill and Focus
One hallmark of a good strategy game is the ability of a player to pounce on the mistakes of an opponent to gain an advantage. Pitbull knows this. When he sings "They say the Chico on fire and he no liar. While y'all slippin’ he runnin’ the game." He literally means that Chico is taking over the game when he catches an opponent slippin'. When designing a competitive RTS, this is extremely important. Look for any opportunity to let players take risks and capitalize on successfully countering these risks. 

3. Fire and the Aesthetics of Destruction
Real time strategy games done well make the player feel powerful and strong. In a competitive battle setting this often translates to defeating opposing units and destroying their buildings. But just as Pitbull's classic punctuates his chorus with a loud "FIREBALL" so too should your game emphasize destruction with fire, explosions, and other visual effects. These provide powerful reinforcement for the player's successes and reward them for their progress. As a player progresses through the game and creates more advanced units, you can build this sense of power by having even more powerful explosions and yes fireballs.

4. Usability and Pathfinding Through Fog of War
In his own way Pitbull has a lot to say about prompting units and letting them lead the way forward when the path is unknown. He belts out "I gave Suzie a little pat up on the booty, And she turned around and said, Walk this way". Likewise the units in your game should respond to orders from the player with intelligent movement through the map. If a player directs their troops into the fog of war of a map, make sure your pathfinding system makes the units appear to find intelligent paths through. If they get stuck on walls or in a group of trees, it will destroy the player's confidence in their units. This detracts from the player fantasy of being a strong commander or general.

5. Don't be Afraid of Sequels!
Towards the end of his dance-floor scorcher, Pitbull chants "we're bringing it, we're bringing it, we're bringing it back" because he's not afraid to bring back what's great. Many of the best real time strategy games built on the successes or earlier titles in their franchise. Command and Conquer: Red Alert 2, Age of Empires 2: The Conquorer's Expansion, Starcraft: Brood War, and Warcraft 3: Frozen Throne were all expansions, sequels, or both and are widely acclaimed. Each of these perfected the gameplay that came before to create widely popular and beloved titles. So when working on your next project don't be afraid to expand on past works.

Thanks for reading! Hopefully I was able to pass some of Pittbull's wisdom onto you for your next big RTS project, good luck out there!

Dynamic Faction-Specific Asymmetrical Contingent Intersecting Objectives: How to Create Immersive Win Conditions in AR Board Games

This idea came to me in part while developing my ETC pitch project: Space Pirates. We are making an augmented reality board game featuring - you guessed - pirates in space. When thinking about how the game should play, I defaulted to assuming we would have some kind of victory point scheme like many board games these days. The player with the most points at the end of the game wins! But I hate that. I hate victory points. You spend all this time immersed in a world, then you are ripped out of it when everyone tallies scores to find out the winner. That's the great part about Ameritrash. You win Monopoly or Risk when you're the last one standing, not when you get the most "points". Player elimination sucks too though. You don't want your friends just sitting by themselves while you and another player fight over Asia. That's the great part about Eurogames; everyone gets to play and has a shot at winning through to the end! But in many cases Eurogames have to resort to victory point scoring to determine a winner.

I also had the question of what these Factions should look and feel like. I'm designing a new universe for this game to take place in, so I need to decide what the world is like, what kind of people are in it, how magical or technically advanced it is, and who the players get to be. I know that these factions should all feel different, and ideally play differently to expand the appeal of the game. This Asymmetry in playable factions is difficult to design, but allows for more novelty in playing the game. "Next time I want to try playing as the Florbians instead of the Humans!"  Furthermore, I think it would be really cool to incorporate story into the game. Most board games don't get the opportunity to show a lot of lore or backstory. Background information is mainly used to inform design choices behind the scenes and serve as the basis for some flavor text. But I'm not just making a board game, I'm making an AR board game. So what if we could add some compelling story on top of our fun gameplay?

And so what does that mean? I want to keep everyone involved throughout the game like a Eurogame, but I also want a pure, absolute victory devoid of victory points like an Ameritrash game. I want asymmetric power balance between factions, and there should be an intricate story. Let’s dive in!

Each player gets a different faction, but each of these factions needs to be doing more than just getting gold or blowing up an enemy spaceship. Each faction needs an Objective. These objectives could be anything we see factions doing in Sci-Fi movies or hear about in pirate stories. Find the Fountain of Youth, develop a vaccine for a space flu, destroy a Death Star, meet your god/maker, invent a new technology, get accepted into a galactic organization, find El Dorado, earn your freedom from space prison, colonize a planet, or even save a princess! But we also get access to all the objectives of the villainous factions! We can build a Death Star ourselves to blow up a planet, create a portal to the demon realm, awaken an ancient Space Monster, freeze a planet, terraform a planet for your own population, or cleanse a solar system of alien life forms. The selection of factions along with specific overarching objectives will fill the universe with life and help define the types of stories that take place there.

It’s no fun if we can all just separate and do our own thing, so there needs to be conflict between the players. Since everyone is trying to accomplish their own objectives, they need to Intersect. For example, if my space pirates are trying to find the galactic Fountain of Youth, and another player is trying to break someone out of a space prison, we need two things. Incremental actions we can each take over the course of the game to advance our specific goals at the expense of the other player, and a reason why the achievement of our ultimate objectives are exclusive to one another. That is to say, why is it that finding the Fountain of Youth would make me win and you lose? Couldn’t you just break the character out of prison later? Well, not if the prisoner is a naturalist who was locked up for trying to destroy the Fountain of Youth, and will ultimately succeed if he was to escape! This is a rather silly example, but ideally, the objectives would change to match the factions playing, so that there is always a story for the ensuing conflict. In this way, the objectives need to be Dynamic. Since the game will take place in part over phones or tablets, we can dynamically generate the objectives based on the factions playing such that there is always an interesting mix of conflicts between the players. Maybe the space criminals are always trying to break their pal out of prison, but we change who this character is based on the opposing player’s choice of faction.

When we think about the actual gameplay and how the players progress, they can’t just ‘build a Death Star’ or ‘end galactic hunger.’ We also need to dynamically generate incremental mini objectives that offer each player an opportunity to advance their long term objectives in interesting ways. Taking the above example, say we present the players one of these incremental objectives on their phones. There’s a mapmaker on Phobos, and the first captain to bring him 100 Galactic Doubloons will get a piece of the map they seek. For the Fountain of Youth player, maybe this shows up as a map to the right system containing the fountain. For the space prison escape player it might be a layout of the prison itself. Each of these players then competes to get the map from the mapmaker. The first person to win this objective then advances towards completing their main objective.

Then what happens to the player who failed their first mini objective? If I never got the map to the Fountain of Youth from the mapmaker, does that mean I can’t win? No, that wouldn’t  be any fun, and that’s not what we do here. Under the hood, we can just require the players to complete at least 3 mini objectives to accomplish their main objective, so the specific mini objectives achieved wouldn’t necessarily matter. “But Alan, wouldn’t that compromise the story? I mean, if you don’t have the map how would you ever find the Fountain of Youth?” That’s a great question! It looks like we also need these objectives to be Contingent, that is, for every failed mini objective, there must exist an alternative mini objective that also intersects with the next opposing mini objective that can plausibly start your quest. Let us again take the previous example. Say you were able to get your Galactic Doubloons to the mapmaker first and received the prison schematics! The next objective might go something like this: there’s a space freighter passing through the Epsilon 3 quadrant, and on board is a master slicer who the player needs to get through the prison security system. Rendezvous with that vessel and get him on your crew! For me, again looking for the Fountain of Youth, perhaps I get a prompt that points me to the same freighter, but the master slicer can hack into any map and would be able to guide us to the right system. This way, the second objective in one one player’s progression intersects with the first objective in another.

The next big step is to apply these principles to a group of four players. With four players, you can have two primary stakeholders, then provide opportunities for the other players to take sides. You can also have a four-way mini objective that directly advance each player’s main objective simultaneously. The principles are all still valid, they just become much more complex. Thanks for sticking with me through this all! I’ll keep you posted!

Damage Control Circuit Design

Background: I wanted to go into more detail on Damage Control (aka Spaceship Frenzy), my round 3 BVW world. My team wanted to make cooperative alien spaceship bridge game using a large Makey Makey interface. The players would see two symbols displayed on the screen along with their spaceship and needed to connect those symbols together using their hands to progress through an asteroid field. Eventually we wanted players to have to touch hands to connect distant buttons. Due to our platform being restricted to Makey Makey I needed to get creative to mitigate the platform's electrical limitations. I'll also talk about some of the design work I did on the game.

Electrical Limitations: The Makey Makey platform is designed to turn anything into a button. Connect banana clips from the space bar, mouse click, or arrow key leads to everyday (conductive) objects, hold the banana clip connected to the negative lead, and presto! When you touch the object, it completes the circuit and functions as a key press.

However, If we want the players to complete circuits by touching hands, then some buttons must be positive, and others negative. This means that for any set of buttons, half of the two button combinations (positive and positive, negative and negative) will not create any signal, and consequently provide no feedback. Furthermore, since the Makey Makey only has one negative terminal, a positive button combined with any of the negative buttons (regardless of matching symbol) would yield a button press.

I decided on the configuration below, alternating positive button inputs (P-A for A button, and so on for space, click, and the arrow keys) and the negative lead (all 8 connect to the same negative terminal). I also pushed for constant negative feed back in the way of sound and lights so the players would know they haven't hit the correct buttons yet. Since we can only provide feedback on a positive button combination the only different feedback we give is the symbols going green when correctly matched and a bling sound.

Damage Control Button Layout

This configuration meant that for players to get a false positive, they would need to have one hand on the correct positive terminal, and their other hand on any negative terminal. Since each displayed negative symbol's button will be surrounded with positive terminals, it is unlikely that the guest would accidentally touch the wrong negative button. In practice the game flowed quite well and we didn't observe any false positives from wrong negative terminals.

That doesn't mean we didn't see false positives though...

Conductive Enough for Makey Makey: For our buttons we used a conductive clay, painted with a silver foil. I drilled holes in the front of the interface and brought the wire leads for the Makey Makey through, suck them into the buttons, then attached the buttons over the holes. I quickly realized that the silver foil would not hold up well due to the malleability of the clay, so I covered each button in metal conductive tape. We then attached the symbols above each button. You can see the result below.

Damage Control Interface

This worked out great in the beginning, but we started seeing mysterious false positives, sometimes with no buttons being pressed, and other times with just a single button press. After isolating which buttons  were causing the issue I discovered that the glue used for the metallic foil was spilled onto the surface near a button and was conductive enough to cause button presses when touched. I also discovered that some of the conductive clay had oozed through the hole drilled for the wire and made contact with the wood glue. This connection between two buttons (wire to clay to wood glue to clay to wire) was just conductive enough to cause electrical shorts with Makey Makey. To solve this I removed the buttons then reattached them, but this time isolated from the holes by placing a piece of cardboard underneath. You can see this on this up close below.

Isolated Buttons

For a look at a test run of our game click here!

Difficulty Mapping: To make it easier to tune our gameplay, I mapped out the relative difficulty for each two button combination. For difficulty I assumed that the further apart two buttons were, the more difficult it would be to make the combination. All that is important is the magnitude, not the direction, so negative numbers and positive are the same for this matrix (see below). Using this I was able to input each of the 64 button combinations into Unity and sort them into categories by difficulty. For our gameplay script we could call a random combination from each difficulty category, that way the game was different each time while still keeping the same difficulty level overall.

Damage Control Difficulty Matrix

Damage Control Symbol Design

Background: Damage Control is a two player cooperative symbol matching game where players must connect different buttons together to fix an alien spaceship traversing an asteroid field. The game was made for BVW by my round three team in a week with the theme of "fun" and Makey-Makey platform. We build a physical prop for the game with 8 large panels to hold the 16 buttons.

Symbol Design: This game required a unique set of 16 symbols to represent each button. I wanted the group of symbols to feel alien and cohesive, but different enough so players could distinguish between them. I put together concept art of 40 different symbols. Then we narrowed it down to a final group of 16 which the other artist on the team made in illustrator.

Here is the concept art along with the finished symbols:

Symbol Concept Art
Final Symbols

Board Game Jam Character Design

Background: In September 2017 the Pittsburgh chapter of the International Game Developer's Association hosted a one day board game jam which I attended with Ketul, Iris, Justin, and Vasant. The theme owas "Relationships" so we decided to make a board game about the relationship between super heroes and the cities they save. The game was played with four cooperative players each controlling an individual hero playing against a single "monster controller" who played the monsters and villains attacking the city. The Hero players win if they defeated a supervillian monster, and the monster controller wins if the cities health reaches 0. Monsters will damage the city if they survive the round of hero play.

Character Design: For this project I was tasked with designing the heroes available for play. Each hero has two attributes that are modified based on the action card selected for their turn. The base movement and strength values are listed on the character card along with the hero name. Each character's 6 ability cards may add a special ability, and attribute modifications for the turn. To decide on these values as well as the different abilities I kept the following principles in mind. I wanted the to make sure each character was balanced so that none overshadows the others, but all feel unique and distinct from each other. Each player should also have a variety of choices for ability cards on their turn that feel different, and each player should have options for teamwork.

In many superhero movies you see the hero's inadvertently destroy parts of the city they are trying to protect. To represent this in game, as well as balance more powerful abilities against weaker ones, many abilities cause city damage in addition to monster damage. This means that with a relatively simple system I could balance a range of power levels for abilities across the characters. To reinforce the superhero theme, I used the names of the abilities to add character to each of the heroes.

Here are the final versions of each of the four characters along with their named abilities:

Iteration: To improve our game I made changes to each of the characters after each play session by asking players the following questions:

  • Were there any abilities you never used, and if so why?
  • Which ability did you use the most and why?
  • How did you feel about your character?

If a player never used an ability then I would improve it's statistics or change the structure to make it more useful. If a player used a single ability for most of the game, then I changed it to be less powerful, or useful in less situations. And if a player felt like their character was in general too powerful or weak compared to the others then I adjusted their main stat card. For example Metal Steve's base Strength was originally 4, but most players felt that due to his lack of mobility with only 2 speed and no range that he was too weak. This led to an adjustment to 7 strength, as well as the inclusion of teamwork based movement abilities for each character (helicopter extraction, teleport, hero heave, and sonic swap) to help give options to move him around. Originally Lady of Death's "Parkour with Knives" ability added 2 six sided dice worth of strength, so one player used it every round of the game.