1 00:00:00,090 --> 00:00:02,490 The following content is provided under a Creative 2 00:00:02,490 --> 00:00:04,030 Commons license. 3 00:00:04,030 --> 00:00:06,330 Your support will help MIT OpenCourseWare 4 00:00:06,330 --> 00:00:10,690 continue to offer high-quality educational resources for free. 5 00:00:10,690 --> 00:00:13,320 To make a donation, or view additional materials 6 00:00:13,320 --> 00:00:17,280 from hundreds of MIT courses, visit MIT OpenCourseWare 7 00:00:17,280 --> 00:00:20,089 at ocw.mit.edu. 8 00:00:20,089 --> 00:00:21,630 PHILIP TAN: Again, some of this might 9 00:00:21,630 --> 00:00:25,110 be familiar to folks that have taken CMS 611, 10 00:00:25,110 --> 00:00:30,780 but I revised this stuff so that I can give you more board game 11 00:00:30,780 --> 00:00:31,710 examples. 12 00:00:31,710 --> 00:00:34,960 I just want to go a little bit on the kind of aesthetic thing 13 00:00:34,960 --> 00:00:37,980 that we're talking about in Assignment 2. 14 00:00:37,980 --> 00:00:41,150 We'll go more into things about user experience 15 00:00:41,150 --> 00:00:43,440 over the next couple of weeks. 16 00:00:43,440 --> 00:00:47,150 But so far, we've been talking about this kind of aesthetic. 17 00:00:47,150 --> 00:00:49,710 It came up in the NDA paper, where 18 00:00:49,710 --> 00:00:51,280 we've been talking about mechanics, 19 00:00:51,280 --> 00:00:53,820 we've been talking about strategies that come up 20 00:00:53,820 --> 00:00:56,920 and the dynamics of the game, coming up. 21 00:00:56,920 --> 00:01:00,210 The way your rules play out to be able to give you a sense 22 00:01:00,210 --> 00:01:02,700 that some games are about subterfuge, 23 00:01:02,700 --> 00:01:07,140 and some games are about pressing your luck. 24 00:01:07,140 --> 00:01:10,650 There are some games about just dealing 25 00:01:10,650 --> 00:01:12,720 with random things that happen to you, 26 00:01:12,720 --> 00:01:16,110 and some games about dethroning the king. 27 00:01:16,110 --> 00:01:18,330 These are what a lot of your games have been about. 28 00:01:18,330 --> 00:01:20,370 Some games are about feeling smart. 29 00:01:20,370 --> 00:01:22,380 it's like when you make a set, it's like, oh, 30 00:01:22,380 --> 00:01:25,080 I feel really smart about that. 31 00:01:25,080 --> 00:01:27,270 And those come out from your rules. 32 00:01:27,270 --> 00:01:30,900 That's what Assignment 1 was all about. 33 00:01:30,900 --> 00:01:34,114 You've done a great job with that. 34 00:01:34,114 --> 00:01:35,780 But of course, that's not the only thing 35 00:01:35,780 --> 00:01:37,571 that's involved in the aesthetic of a game. 36 00:01:37,571 --> 00:01:39,600 We're talking about these things as well. 37 00:01:39,600 --> 00:01:41,891 All right, we already talked little bit about game bits 38 00:01:41,891 --> 00:01:45,700 with the Donald Norman discussion. 39 00:01:45,700 --> 00:01:50,642 But also things like the tone of the writing in your rules. 40 00:01:50,642 --> 00:01:52,600 In Assignment 1, it was fairly straightforward. 41 00:01:52,600 --> 00:01:55,750 But you could imagine writing everything in Ye Olde English 42 00:01:55,750 --> 00:01:56,760 or-- 43 00:01:56,760 --> 00:02:04,020 I think Space Alert is a game where the rules are written 44 00:02:04,020 --> 00:02:07,020 as if it was a cadet manual, only 45 00:02:07,020 --> 00:02:10,050 a cadet manual that is setting you up for a mission that 46 00:02:10,050 --> 00:02:12,696 is doomed to failure. 47 00:02:12,696 --> 00:02:15,320 Space Alert is actually a really good example of sound as well, 48 00:02:15,320 --> 00:02:19,440 and I'll play some tracks from it. 49 00:02:19,440 --> 00:02:23,130 It's a game that has an accompanying CD. 50 00:02:23,130 --> 00:02:27,270 But what other games have really distinctive sounds, 51 00:02:27,270 --> 00:02:29,809 like board games, card games, casino games? 52 00:02:29,809 --> 00:02:31,600 Like what are the sort of things that you-- 53 00:02:31,600 --> 00:02:31,980 AUDIENCE: Operation. 54 00:02:31,980 --> 00:02:32,813 AUDIENCE: Operation. 55 00:02:32,813 --> 00:02:33,780 PHILIP TAN: Operation? 56 00:02:33,780 --> 00:02:34,600 Yes Bzzt. 57 00:02:34,600 --> 00:02:35,100 Yeah. 58 00:02:35,100 --> 00:02:35,766 AUDIENCE: Sorry. 59 00:02:35,766 --> 00:02:37,530 PHILIP TAN: Sorry? 60 00:02:37,530 --> 00:02:38,720 Because you say sorry? 61 00:02:38,720 --> 00:02:42,490 AUDIENCE: No, I think the whole thing is-- 62 00:02:42,490 --> 00:02:43,370 AUDIENCE: Yahtzee? 63 00:02:43,370 --> 00:02:56,360 [INTERPOSING VOICES] 64 00:02:56,360 --> 00:02:57,290 AUDIENCE: Yahtzee? 65 00:02:57,290 --> 00:02:58,000 AUDIENCE: Taboo? 66 00:02:58,000 --> 00:03:00,530 PHILIP TAN: Taboo has a buzzer. 67 00:03:00,530 --> 00:03:01,995 But also a lot of-- 68 00:03:01,995 --> 00:03:04,200 It's a dialogue game, so that's also 69 00:03:04,200 --> 00:03:06,840 an accompanying sound that's coming out 70 00:03:06,840 --> 00:03:08,478 of everybody's mouths. 71 00:03:08,478 --> 00:03:09,258 AUDIENCE: Gestures 72 00:03:09,258 --> 00:03:10,133 PHILIP TAN: Gestures? 73 00:03:10,133 --> 00:03:10,960 AUDIENCE: Gestures. 74 00:03:10,960 --> 00:03:12,710 PHILIP TAN: Oh, I haven't played that one. 75 00:03:12,710 --> 00:03:17,739 AUDIENCE: It's like charades, only that you've got a timer. 76 00:03:17,739 --> 00:03:19,530 And the timer has a really loud tick to it. 77 00:03:19,530 --> 00:03:21,321 PHILIP TAN: Oh, so it ticks down so you can 78 00:03:21,321 --> 00:03:22,865 hear it running out of time. 79 00:03:22,865 --> 00:03:23,657 AUDIENCE: Jeopardy. 80 00:03:23,657 --> 00:03:24,532 PHILIP TAN: Jeopardy. 81 00:03:24,532 --> 00:03:26,752 [HUMS THEME] OK. 82 00:03:26,752 --> 00:03:29,210 AUDIENCE: Poker, where they shuffle the chips all the time. 83 00:03:29,210 --> 00:03:30,490 PHILIP TAN: Oh, yeah, yeah. 84 00:03:30,490 --> 00:03:32,291 That's the little tinkle of the chips and-- 85 00:03:32,291 --> 00:03:33,290 AUDIENCE: Slot machines. 86 00:03:33,290 --> 00:03:34,831 PHILIP TAN: Slot machines, of course. 87 00:03:34,831 --> 00:03:38,370 Yeah Or rather, a whole bank of slot machines. 88 00:03:38,370 --> 00:03:41,130 You very rarely hear a single slot machine operating 89 00:03:41,130 --> 00:03:42,450 by itself. 90 00:03:42,450 --> 00:03:43,950 Electronic slot machines, obviously, 91 00:03:43,950 --> 00:03:46,320 have a slightly different tone to it 92 00:03:46,320 --> 00:03:48,570 than mechanical slot machines. 93 00:03:48,570 --> 00:03:51,300 Roulette, I find, has a very, very distinctive sound. 94 00:03:51,300 --> 00:03:58,280 Just that gold ball bouncing all over the pumps. 95 00:03:58,280 --> 00:04:02,080 So definitely think a little bit about that, 96 00:04:02,080 --> 00:04:03,570 about the sound of a game. 97 00:04:03,570 --> 00:04:06,120 Especially if you're making a game that is about conversation 98 00:04:06,120 --> 00:04:07,830 or about over-the-table. 99 00:04:07,830 --> 00:04:08,550 exchange. 100 00:04:08,550 --> 00:04:10,570 Taboo is a game that is punctuated 101 00:04:10,570 --> 00:04:14,550 with a lot of ums and ahs, whereas something 102 00:04:14,550 --> 00:04:18,000 like charades, the sound of that is a lot of shouting, usually. 103 00:04:18,000 --> 00:04:20,279 Everyone just saying random things, the first thing 104 00:04:20,279 --> 00:04:21,320 that comes to their mind. 105 00:04:21,320 --> 00:04:23,400 It's a free association game. 106 00:04:23,400 --> 00:04:25,550 And, of course, the look of your game. 107 00:04:25,550 --> 00:04:27,030 That should be taken for granted, 108 00:04:27,030 --> 00:04:29,630 and we've got a couple of examples of various boxes 109 00:04:29,630 --> 00:04:33,130 that you take a look at. 110 00:04:33,130 --> 00:04:36,840 And of course, that's what people normally associate 111 00:04:36,840 --> 00:04:38,550 with storytelling and games. 112 00:04:38,550 --> 00:04:41,280 But, it could also be thought of as world building in games. 113 00:04:41,280 --> 00:04:42,840 What's the theme of your game? 114 00:04:42,840 --> 00:04:45,540 What's the plot and the characters in the game? 115 00:04:45,540 --> 00:04:48,960 Are you making instead of the Trivial Pursuit 116 00:04:48,960 --> 00:04:51,291 game, the Twilight Trivial Pursuit game, or something 117 00:04:51,291 --> 00:04:51,790 like that. 118 00:04:51,790 --> 00:04:53,873 And you've got the setting, you've got characters, 119 00:04:53,873 --> 00:04:57,260 even though the game mechanics are all the same. 120 00:04:57,260 --> 00:04:59,490 But the games that integrate better 121 00:04:59,490 --> 00:05:02,910 with the game mechanics and rules and art direction, 122 00:05:02,910 --> 00:05:05,325 and games that do a poorer job, we've 123 00:05:05,325 --> 00:05:07,660 got some examples of that. 124 00:05:07,660 --> 00:05:09,330 So, let me see. 125 00:05:09,330 --> 00:05:12,540 Let me talk about a few of these games. 126 00:05:12,540 --> 00:05:15,290 How many of you play Forbidden Island? 127 00:05:15,290 --> 00:05:17,460 How many of you play Pandemic? 128 00:05:17,460 --> 00:05:20,540 OK, so Forbidden Island is by the same designer, 129 00:05:20,540 --> 00:05:23,070 and it still has a lot of the same cooperative feel. 130 00:05:26,599 --> 00:05:28,140 First of all, you have this metal tin 131 00:05:28,140 --> 00:05:31,486 that makes you think that this game is worth more, 132 00:05:31,486 --> 00:05:34,320 and you could be paying more for it. 133 00:05:34,320 --> 00:05:38,280 But you've got this nice little art, 134 00:05:38,280 --> 00:05:41,140 and because you have to open up this metal tin, 135 00:05:41,140 --> 00:05:43,960 makes think a little bit about an opening up a treasure chest. 136 00:05:43,960 --> 00:05:46,700 Inside, you've actually got these nice treasure pieces. 137 00:05:46,700 --> 00:05:47,860 A goblet. 138 00:05:47,860 --> 00:05:50,070 This kind of translucent crystal. 139 00:05:50,070 --> 00:05:52,410 They're all plastic, kind of rubberized plastic 140 00:05:52,410 --> 00:05:54,240 so that they will last a little bit longer. 141 00:05:54,240 --> 00:05:59,690 But you can see that this has got [INAUDIBLE] 142 00:05:59,690 --> 00:06:01,920 lion, griffin, or something. 143 00:06:01,920 --> 00:06:04,190 You know, its got some of that old world, here's 144 00:06:04,190 --> 00:06:06,270 some sort of mystic civilization. 145 00:06:06,270 --> 00:06:08,670 And when you look at the cards, you've 146 00:06:08,670 --> 00:06:10,200 got the choice of the fonts. 147 00:06:10,200 --> 00:06:14,340 You've got these kinds of very serifed and a little bit 148 00:06:14,340 --> 00:06:21,150 broken-up text that looks like an old letter press. 149 00:06:21,150 --> 00:06:23,830 And, of course, all the art that's on every single card. 150 00:06:27,030 --> 00:06:29,310 The game mechanics of this game are 151 00:06:29,310 --> 00:06:33,900 about various parts of an island turning into water. 152 00:06:33,900 --> 00:06:36,240 And they don't actually have different illustrations 153 00:06:36,240 --> 00:06:37,890 when they get flooded. 154 00:06:37,890 --> 00:06:41,730 They just have the same picture, only bluish. 155 00:06:41,730 --> 00:06:44,130 It's cheap to print this because its monochromatic. 156 00:06:44,130 --> 00:06:46,680 I guess it's not really monochromatic because they have 157 00:06:46,680 --> 00:06:49,590 a color token at the bottom. 158 00:06:49,590 --> 00:06:52,140 But it gives you the idea that, when you play this game, 159 00:06:52,140 --> 00:06:54,150 everything looks nice and colorful. 160 00:06:54,150 --> 00:06:55,650 And then as the game goes on, things 161 00:06:55,650 --> 00:06:57,960 start turning bluer and bluer. 162 00:06:57,960 --> 00:07:00,170 So it gives you the sense that there's 163 00:07:00,170 --> 00:07:02,235 more and more water surrounding this island 164 00:07:02,235 --> 00:07:03,110 as it keeps flooding. 165 00:07:05,740 --> 00:07:09,680 And all these pieces, which represents-- 166 00:07:09,680 --> 00:07:12,890 each one is different players' token, 167 00:07:12,890 --> 00:07:15,640 doesn't necessarily need to be shaped human. 168 00:07:15,640 --> 00:07:17,360 But it makes you think that there 169 00:07:17,360 --> 00:07:20,120 is a human head on the piece. 170 00:07:20,120 --> 00:07:22,680 All this adds cost to the production of this. 171 00:07:22,680 --> 00:07:24,650 Of course, the metal tin also adds a cost 172 00:07:24,650 --> 00:07:27,130 to the production of a game like this. 173 00:07:27,130 --> 00:07:30,380 But it goes a long way to making you feel like, I'm not just 174 00:07:30,380 --> 00:07:31,790 moving pieces on the board. 175 00:07:31,790 --> 00:07:34,630 I'm actually exploring an island and robbing it 176 00:07:34,630 --> 00:07:35,750 of its treasures. 177 00:07:35,750 --> 00:07:38,972 But it's trying to get that. 178 00:07:38,972 --> 00:07:45,020 This is actually a counter of the flood levels. 179 00:07:45,020 --> 00:07:48,530 And the game mechanics stuff, says 180 00:07:48,530 --> 00:07:50,280 novice, normal, elite, and legendary. 181 00:07:50,280 --> 00:07:52,970 So it sets you up with a difficulty level 182 00:07:52,970 --> 00:07:54,390 when the game starts. 183 00:07:54,390 --> 00:07:58,194 But you have a water level that goes from bottom to top, 184 00:07:58,194 --> 00:07:59,360 as opposed to top to bottom. 185 00:07:59,360 --> 00:08:00,860 You can imagine this counter working just as well 186 00:08:00,860 --> 00:08:02,190 going downwards or upwards. 187 00:08:02,190 --> 00:08:05,500 But since it's about flooding, it goes from bottom, 188 00:08:05,500 --> 00:08:08,690 and then the water level rises and rises and rises. 189 00:08:08,690 --> 00:08:11,100 And of course, on top, they have a skull. 190 00:08:11,100 --> 00:08:13,730 It's not just that the game ends. 191 00:08:13,730 --> 00:08:16,550 It's the game ends and everyone dies. 192 00:08:16,550 --> 00:08:18,900 Let's just be clear about that. 193 00:08:18,900 --> 00:08:23,710 So it does a nice job of getting that across. 194 00:08:23,710 --> 00:08:25,500 It actually is a cooperative game 195 00:08:25,500 --> 00:08:28,130 and does a pretty good job of taking 196 00:08:28,130 --> 00:08:32,360 all of these ideas, the setting of the waterlogged island, 197 00:08:32,360 --> 00:08:35,120 the art direction of what happens to the pieces 198 00:08:35,120 --> 00:08:37,622 as you flip them over. 199 00:08:37,622 --> 00:08:39,080 And then, of course, the rules that 200 00:08:39,080 --> 00:08:41,272 determine when the water level rises 201 00:08:41,272 --> 00:08:42,980 and how much space you've got to navigate 202 00:08:42,980 --> 00:08:44,521 and how you deal with those problems. 203 00:08:48,650 --> 00:08:50,660 I'd like to describe all of the stuff 204 00:08:50,660 --> 00:08:53,670 that we've been talking so far as systemic aesthetics. 205 00:08:53,670 --> 00:08:57,760 So these are the aesthetics that the system is creating. 206 00:08:57,760 --> 00:09:00,650 All the things that have to do with art style, 207 00:09:00,650 --> 00:09:05,030 writing tone, the sound, the pieces that you're holding, 208 00:09:05,030 --> 00:09:08,210 more or less stylistic aesthetics. 209 00:09:08,210 --> 00:09:10,600 And then there's the fiction. 210 00:09:10,600 --> 00:09:13,640 The fiction will be the story, will be the characters, 211 00:09:13,640 --> 00:09:16,430 will be the setting of the game. 212 00:09:16,430 --> 00:09:20,720 But of course, it's a blurry Venn diagram, 213 00:09:20,720 --> 00:09:23,100 because there's a lot of things that come in-between. 214 00:09:23,100 --> 00:09:26,550 So, for instance, the way your board looks. 215 00:09:26,550 --> 00:09:30,830 It's, obviously, a combination of the mechanics that 216 00:09:30,830 --> 00:09:32,659 specify the information that you need 217 00:09:32,659 --> 00:09:33,950 to be able to put on the board. 218 00:09:33,950 --> 00:09:38,450 But also the style of how do you display that information 219 00:09:38,450 --> 00:09:42,980 and how that reinforces the setting that you 220 00:09:42,980 --> 00:09:45,205 want your players to be in. 221 00:09:45,205 --> 00:09:47,580 The kind of feedback that you give people, like the Taboo 222 00:09:47,580 --> 00:09:49,460 buzz, for instance. 223 00:09:49,460 --> 00:09:52,880 The sound of that buzz is in here. 224 00:09:52,880 --> 00:09:57,147 But obviously, the rules are set up so that, the moment you 225 00:09:57,147 --> 00:09:58,730 hear that buzz, it's kind of like it's 226 00:09:58,730 --> 00:10:00,860 as jarring and nerve-wracking as possible, 227 00:10:00,860 --> 00:10:02,360 because you're trying to concentrate 228 00:10:02,360 --> 00:10:05,190 on not saying the wrong thing. 229 00:10:05,190 --> 00:10:11,015 And the moment you slip up, another player will buzz it, 230 00:10:11,015 --> 00:10:12,860 and then you get the shock of your life. 231 00:10:12,860 --> 00:10:15,950 That's all intentional. 232 00:10:15,950 --> 00:10:19,820 For art direction, and for style and fiction, 233 00:10:19,820 --> 00:10:24,140 those tend to be things that people have 234 00:10:24,140 --> 00:10:25,580 less trouble thinking about. 235 00:10:25,580 --> 00:10:28,380 How realistic do you want your setting to be? 236 00:10:28,380 --> 00:10:31,140 There's a game called King of Tokyo, 237 00:10:31,140 --> 00:10:34,640 which is really, mechanically, it's 238 00:10:34,640 --> 00:10:36,610 everyone ganging up on the leader. 239 00:10:36,610 --> 00:10:41,690 And this is a game where you're trying to be 240 00:10:41,690 --> 00:10:43,454 a monster taking over Tokyo. 241 00:10:43,454 --> 00:10:45,745 And there's a lot of other monsters who want your spot. 242 00:10:45,745 --> 00:10:50,330 And once you are on top of the mountain, 243 00:10:50,330 --> 00:10:52,010 everyone's trying to take you down. 244 00:10:52,010 --> 00:10:53,600 That's what this game is about. 245 00:10:53,600 --> 00:10:58,830 But you can see, it's got this goofy, not quite anime style. 246 00:10:58,830 --> 00:11:02,460 But still evocative of old Japanese movies. 247 00:11:02,460 --> 00:11:06,040 You've got a little picture of Tokyo being on fire here. 248 00:11:06,040 --> 00:11:07,790 You can actually see the monsters in here, 249 00:11:07,790 --> 00:11:09,623 you see a lot of helicopters and everything, 250 00:11:09,623 --> 00:11:11,900 see all the collateral damage you're doing. 251 00:11:11,900 --> 00:11:14,140 I believe it's mostly a dice-rolling game. 252 00:11:14,140 --> 00:11:15,490 AUDIENCE: Yahtzee, basically. 253 00:11:15,490 --> 00:11:17,480 PHILIP TAN: Yeah, it's Yahtzee. 254 00:11:17,480 --> 00:11:22,790 So the mechanics are all about, you roll the dice 255 00:11:22,790 --> 00:11:25,620 and you try to roll well. 256 00:11:25,620 --> 00:11:28,970 So they put in a lot of effort to try 257 00:11:28,970 --> 00:11:34,580 to piece that mechanic inside this aesthetic and fictional 258 00:11:34,580 --> 00:11:37,310 elements to make it a little bit more engaging and, frankly, 259 00:11:37,310 --> 00:11:39,950 a lot more saleable. 260 00:11:39,950 --> 00:11:42,425 This is Richard Garfield, who's also the designer of Magic: 261 00:11:42,425 --> 00:11:44,300 The Gathering the original designer of Magic: 262 00:11:44,300 --> 00:11:44,883 The Gathering. 263 00:11:44,883 --> 00:11:47,228 So it's got a good pedigree. 264 00:11:50,810 --> 00:11:54,700 In between the systemic and the fictional elements, 265 00:11:54,700 --> 00:11:57,420 you can do things like events. 266 00:11:57,420 --> 00:11:59,920 Twilight Struggle, another excellent game, 267 00:11:59,920 --> 00:12:02,800 is about the Cold War, basically. 268 00:12:02,800 --> 00:12:06,070 And you've got cards in here that 269 00:12:06,070 --> 00:12:09,760 remind people of real things that actually happened. 270 00:12:09,760 --> 00:12:11,930 They don't necessarily happen in the order 271 00:12:11,930 --> 00:12:15,910 that they happened in real life. 272 00:12:15,910 --> 00:12:18,855 There are things like the Space Race. 273 00:12:18,855 --> 00:12:21,580 There's things like various precedents, 274 00:12:21,580 --> 00:12:28,090 and various Soviet and US leaders from the Cold War. 275 00:12:28,090 --> 00:12:32,080 This one specifically says 1945 to 1989. 276 00:12:32,080 --> 00:12:34,670 And so while you're playing this game, 277 00:12:34,670 --> 00:12:37,186 there are mechanical results for all those cards 278 00:12:37,186 --> 00:12:38,560 that you're flipping over, right? 279 00:12:38,560 --> 00:12:43,120 Because they also have pictures and names of the actual events 280 00:12:43,120 --> 00:12:47,320 that, hopefully, this is largely targeted 281 00:12:47,320 --> 00:12:50,470 at people who have lived through this era, 282 00:12:50,470 --> 00:12:54,310 or at least remember things that happened from that era. 283 00:12:54,310 --> 00:12:57,180 And it's trying to be evocative of that. 284 00:12:57,180 --> 00:13:00,880 Whereas it's a fairly mechanical-- 285 00:13:00,880 --> 00:13:03,210 I guess it's not quite a war game. 286 00:13:03,210 --> 00:13:05,260 It's more like a politics game. 287 00:13:05,260 --> 00:13:07,450 Balance of power game. 288 00:13:07,450 --> 00:13:10,090 But they use events to remind you 289 00:13:10,090 --> 00:13:11,780 of what the setting of this game is. 290 00:13:11,780 --> 00:13:12,742 I call it fiction. 291 00:13:12,742 --> 00:13:14,200 But of course, this is not fiction. 292 00:13:14,200 --> 00:13:17,160 This is based on what actually happened. 293 00:13:17,160 --> 00:13:19,780 It's still a setting. 294 00:13:19,780 --> 00:13:21,010 Roles and abilities. 295 00:13:21,010 --> 00:13:27,430 Back to Forbidden Island, every single character 296 00:13:27,430 --> 00:13:28,849 that you play in Forbidden Island 297 00:13:28,849 --> 00:13:30,890 has a different set of abilities that you've got. 298 00:13:30,890 --> 00:13:32,306 You're taking on a different role, 299 00:13:32,306 --> 00:13:35,725 like an explorer or a diver. 300 00:13:35,725 --> 00:13:37,391 I can't remember what all the roles are. 301 00:13:40,190 --> 00:13:43,720 There's no indication on the box on what you can be. 302 00:13:43,720 --> 00:13:47,370 But since everybody has different abilities, 303 00:13:47,370 --> 00:13:52,957 that hearkens back to the unique defining 304 00:13:52,957 --> 00:13:54,790 things of the character that you're playing. 305 00:13:54,790 --> 00:13:57,830 And you try to think in that role. 306 00:13:57,830 --> 00:13:59,670 If you are a pilot or something, and then 307 00:13:59,670 --> 00:14:01,390 you try to think about rescuing people. 308 00:14:01,390 --> 00:14:05,720 If you're a diver, you are trying to forge ahead and going 309 00:14:05,720 --> 00:14:09,940 and you can stay close to the water mechanically. 310 00:14:09,940 --> 00:14:14,900 But also puts you in a fictional position 311 00:14:14,900 --> 00:14:18,750 in your team to be able to be closer to risk, 312 00:14:18,750 --> 00:14:20,720 because other people will just drown if they're 313 00:14:20,720 --> 00:14:22,000 too close to the water. 314 00:14:22,000 --> 00:14:26,650 I think that's how the game works, if I recall. 315 00:14:26,650 --> 00:14:29,560 So for Assignment 2, we want you to be thinking 316 00:14:29,560 --> 00:14:32,890 about all of these things. 317 00:14:32,890 --> 00:14:34,660 Obviously, it's difficult to do this 318 00:14:34,660 --> 00:14:37,480 on the amount of time and the budget 319 00:14:37,480 --> 00:14:38,860 that you're working with. 320 00:14:38,860 --> 00:14:42,290 But we want you to consider how you game looks, 321 00:14:42,290 --> 00:14:48,760 how your game sounds, the setting that your game is in. 322 00:14:48,760 --> 00:14:52,570 We've already had a couple of things like the spies game, 323 00:14:52,570 --> 00:14:53,530 for instance. 324 00:14:53,530 --> 00:14:56,800 Could this have been a formation of a game 325 00:14:56,800 --> 00:14:59,020 about hidden variables? 326 00:14:59,020 --> 00:15:01,710 But then you have this layer of being 327 00:15:01,710 --> 00:15:04,870 an agent of an unknown country. 328 00:15:04,870 --> 00:15:07,150 And sometimes fiction can actually 329 00:15:07,150 --> 00:15:09,170 help people better understand the underlying 330 00:15:09,170 --> 00:15:10,810 rules that you've got. 331 00:15:10,810 --> 00:15:15,700 I know that this game, the level of the game 332 00:15:15,700 --> 00:15:20,020 started off as a building construction game. 333 00:15:20,020 --> 00:15:24,630 And to a certain extent, some version of those rules 334 00:15:24,630 --> 00:15:27,590 might actually help people understand your rules easier. 335 00:15:27,590 --> 00:15:31,220 But sometimes it gets in the way because your fiction may not 336 00:15:31,220 --> 00:15:33,690 necessarily match up with the way 337 00:15:33,690 --> 00:15:35,970 that your rules are evolving. 338 00:15:35,970 --> 00:15:40,570 I'm not saying that you should let aesthetics necessarily 339 00:15:40,570 --> 00:15:42,912 constrain what you can do with rules. 340 00:15:42,912 --> 00:15:44,620 But if you're going to change your rules, 341 00:15:44,620 --> 00:15:46,330 then you're going to have to iterate on your rules 342 00:15:46,330 --> 00:15:48,705 to make your game playable, and do everything that you've 343 00:15:48,705 --> 00:15:49,720 done with Assignment 1. 344 00:15:49,720 --> 00:15:52,180 You want to make sure that your aesthetic is coherent 345 00:15:52,180 --> 00:15:54,280 with that, so that you don't have things 346 00:15:54,280 --> 00:15:56,560 in your storyline or your character design 347 00:15:56,560 --> 00:15:58,030 or your art style that are outright 348 00:15:58,030 --> 00:16:00,790 contradicting what your rules are trying to tell you. 349 00:16:00,790 --> 00:16:03,070 This is a game about friendly cooperation, 350 00:16:03,070 --> 00:16:07,690 and you're saying all of you are on this island together 351 00:16:07,690 --> 00:16:09,250 and trying to save yourselves. 352 00:16:09,250 --> 00:16:11,130 But really, the way your rules work out 353 00:16:11,130 --> 00:16:13,050 is every man for himself. 354 00:16:13,050 --> 00:16:14,452 That would be a contradiction. 355 00:16:17,284 --> 00:16:18,450 This is an interesting game. 356 00:16:18,450 --> 00:16:20,390 Who's played Ticket to Ride? 357 00:16:20,390 --> 00:16:21,430 OK. 358 00:16:21,430 --> 00:16:27,280 Box design and title can play a very, very large part 359 00:16:27,280 --> 00:16:28,540 in setting that expectation. 360 00:16:28,540 --> 00:16:31,180 So it wouldn't solve something I stressed 361 00:16:31,180 --> 00:16:34,720 so much in the first assignment, what's your title of your game. 362 00:16:34,720 --> 00:16:37,810 But in the second assignment, the title of your game 363 00:16:37,810 --> 00:16:40,393 can sometimes be the first clue of what your game's all about. 364 00:16:40,393 --> 00:16:42,490 It's a rail building game. 365 00:16:42,490 --> 00:16:44,770 You can see from the back a picture of the board, 366 00:16:44,770 --> 00:16:47,140 and you're building these tracks. 367 00:16:47,140 --> 00:16:49,420 But if you actually read the box, 368 00:16:49,420 --> 00:16:54,800 it says, "October 2nd, 1900, 28 years 369 00:16:54,800 --> 00:16:57,650 to the day that north London eccentric Phileas Fogg accepted 370 00:16:57,650 --> 00:17:01,940 and won a $20,000 bet that he could travel around 371 00:17:01,940 --> 00:17:03,230 the world in 80 days. 372 00:17:03,230 --> 00:17:04,670 Now at the dawn of the century, it 373 00:17:04,670 --> 00:17:07,667 is time for a new impossible journey. 374 00:17:07,667 --> 00:17:09,000 Travel across the United States. 375 00:17:09,000 --> 00:17:11,609 The impossible journey. 376 00:17:11,609 --> 00:17:14,930 "So some old friends have gathered 377 00:17:14,930 --> 00:17:18,010 to celebrate Fogg's impetuous and lucrative gamble, 378 00:17:18,010 --> 00:17:19,910 and to propose a new wager of their own. 379 00:17:19,910 --> 00:17:22,690 The stakes: $1 million, and the winner takes all competition. 380 00:17:22,690 --> 00:17:24,349 Your objective: To see which of them 381 00:17:24,349 --> 00:17:27,619 can travel by rail to the most cities in North America in just 382 00:17:27,619 --> 00:17:28,287 seven days." 383 00:17:31,070 --> 00:17:33,830 It's interesting, because, at first glance, 384 00:17:33,830 --> 00:17:35,180 you look at the game mechanics. 385 00:17:35,180 --> 00:17:37,010 And the game mechanics actually feel 386 00:17:37,010 --> 00:17:42,410 more like you're building railway connections, 387 00:17:42,410 --> 00:17:44,462 rather than riding the rails. 388 00:17:44,462 --> 00:17:45,920 But if you look a little bit closer 389 00:17:45,920 --> 00:17:49,070 at the strategies of this game, what this game really 390 00:17:49,070 --> 00:17:50,990 comes down to is blocking other people 391 00:17:50,990 --> 00:17:53,900 from completing their routes across America. 392 00:17:53,900 --> 00:17:55,430 Which I think is closer to, I think, 393 00:17:55,430 --> 00:17:58,300 the theme that it's suggesting. 394 00:17:58,300 --> 00:18:02,610 It's not about who can complete. 395 00:18:02,610 --> 00:18:06,410 It's not about, is it possible for you to complete a route 396 00:18:06,410 --> 00:18:08,180 around America in seven days? 397 00:18:08,180 --> 00:18:08,710 No. 398 00:18:08,710 --> 00:18:11,270 It's who can do it fastest, which means how do we slow down 399 00:18:11,270 --> 00:18:12,650 everybody else? 400 00:18:12,650 --> 00:18:14,652 And that's actually what high-level strategy 401 00:18:14,652 --> 00:18:15,860 in this game turns out to be. 402 00:18:15,860 --> 00:18:20,330 So it's about all these tickets that you're picking up, 403 00:18:20,330 --> 00:18:21,979 and you're going from place to place. 404 00:18:21,979 --> 00:18:23,770 You're trying to compete routes, and you're 405 00:18:23,770 --> 00:18:28,360 trying to prevent other people from completing their routes. 406 00:18:28,360 --> 00:18:30,290 One of the interesting things about this game 407 00:18:30,290 --> 00:18:35,291 is that you've got all these people that are on the box. 408 00:18:35,291 --> 00:18:37,040 And, of course, the assumption is that you 409 00:18:37,040 --> 00:18:38,610 are one of these people. 410 00:18:38,610 --> 00:18:40,730 And that's deliberate. 411 00:18:40,730 --> 00:18:45,740 The board game designers wanted you to select someone 412 00:18:45,740 --> 00:18:48,010 on the spot that you could personally identify with 413 00:18:48,010 --> 00:18:52,490 and says, I want to be this person who 414 00:18:52,490 --> 00:18:57,230 looks like [INAUDIBLE], or this person who 415 00:18:57,230 --> 00:19:01,250 looks like Phileas Fogg because I like those folks. 416 00:19:01,250 --> 00:19:03,380 But then, when you actually play the game, 417 00:19:03,380 --> 00:19:07,582 there is no real embodiment of any of these characters. 418 00:19:07,582 --> 00:19:09,790 There's a little piece that you place down that says, 419 00:19:09,790 --> 00:19:10,680 I am this person. 420 00:19:13,640 --> 00:19:19,760 And the only sort of level of fiction 421 00:19:19,760 --> 00:19:27,020 that's represented in the rules are the tickets and the routes 422 00:19:27,020 --> 00:19:28,820 that you're taking, not the people. 423 00:19:28,820 --> 00:19:32,060 So they've gone to this very, very large effort 424 00:19:32,060 --> 00:19:35,899 to make you think that this is a game about people, 425 00:19:35,899 --> 00:19:37,940 just because they thought that games about people 426 00:19:37,940 --> 00:19:40,190 tend to sell better than games about trains. 427 00:19:40,190 --> 00:19:41,990 But the games are really about trains. 428 00:19:41,990 --> 00:19:43,761 So I guess [INAUDIBLE]. 429 00:19:46,470 --> 00:19:47,950 Let's see. 430 00:19:47,950 --> 00:19:50,330 You want to talk about these other games? 431 00:19:50,330 --> 00:19:54,727 RICHARD EBERHARDT: So Alien Frontiers. 432 00:19:54,727 --> 00:19:56,560 Does anybody know the term worker placement? 433 00:19:56,560 --> 00:20:01,360 Worker placement game where you have a limited number 434 00:20:01,360 --> 00:20:03,700 of resources that you're just basically applying 435 00:20:03,700 --> 00:20:06,820 to different sections on the board, which give you 436 00:20:06,820 --> 00:20:09,020 points or do things for you. 437 00:20:09,020 --> 00:20:15,165 It's a great game about colonizing this world. 438 00:20:15,165 --> 00:20:19,480 So a lot of really good, old-style '50s and '60s style 439 00:20:19,480 --> 00:20:21,340 of science fiction art. 440 00:20:21,340 --> 00:20:24,560 Lots of rockets, spaceships, things like that. 441 00:20:24,560 --> 00:20:31,580 And your actual bits, and the reason I'm using this one 442 00:20:31,580 --> 00:20:34,280 is because this is a game that starts off 443 00:20:34,280 --> 00:20:37,820 with a plasticky Euro style. 444 00:20:37,820 --> 00:20:39,830 So cubes and things like that. 445 00:20:39,830 --> 00:20:41,450 They don't really represent anything. 446 00:20:41,450 --> 00:20:45,260 Your bits, your ships are these dice. 447 00:20:45,260 --> 00:20:48,235 You buy a rocket, you roll the rocket, it gives you a number. 448 00:20:48,235 --> 00:20:49,610 And then using those numbers, you 449 00:20:49,610 --> 00:20:52,624 can apply it to various different places on the board. 450 00:20:52,624 --> 00:20:54,290 So [INAUDIBLE] are actually pretty good, 451 00:20:54,290 --> 00:20:56,921 because you can put the piece down, it stays there. 452 00:20:56,921 --> 00:20:58,670 If it gets moved around, it doesn't really 453 00:20:58,670 --> 00:21:00,581 matter if it changes number. 454 00:21:00,581 --> 00:21:03,080 Because if you use that number just when you're placing down 455 00:21:03,080 --> 00:21:06,410 the piece, the number is no longer relevant anymore. 456 00:21:06,410 --> 00:21:09,350 One thing we see in a lot of student games, people 457 00:21:09,350 --> 00:21:11,640 using dice as counters. 458 00:21:11,640 --> 00:21:14,960 A little bit easier with die 6 because its squared. 459 00:21:14,960 --> 00:21:18,640 But once you start using, like, the d20s as a counter, 460 00:21:18,640 --> 00:21:19,980 they've got really small facets. 461 00:21:19,980 --> 00:21:21,003 And they're going to roll and you're 462 00:21:21,003 --> 00:21:22,050 going to lose your place. 463 00:21:22,050 --> 00:21:24,530 Also, the amount of time it takes to go from one number 464 00:21:24,530 --> 00:21:27,900 to the other number really increases the times 465 00:21:27,900 --> 00:21:31,670 it takes to play the game. 466 00:21:31,670 --> 00:21:34,220 But one thing they've done, it started off 467 00:21:34,220 --> 00:21:35,450 with these little chips. 468 00:21:35,450 --> 00:21:39,320 Now they've added more plastic bits. 469 00:21:39,320 --> 00:21:44,982 Special powers you can get to move around that look zany. 470 00:21:44,982 --> 00:21:48,740 Little alien pieces of technology. 471 00:21:48,740 --> 00:21:52,520 And colonies, you can play, they kind of look like colonies now. 472 00:21:52,520 --> 00:21:55,080 I don't have it here, it's not released yet. 473 00:21:55,080 --> 00:21:56,050 But it's on order. 474 00:21:56,050 --> 00:21:59,260 They actually made the rockets dice, so the dice 475 00:21:59,260 --> 00:22:00,980 in the shape rockets. 476 00:22:00,980 --> 00:22:03,860 So imagine this as an oblong shape 477 00:22:03,860 --> 00:22:07,162 that's kind of curved with cut faces on it. 478 00:22:07,162 --> 00:22:08,620 One thing I'm curious is, how is it 479 00:22:08,620 --> 00:22:12,320 going to roll They've made it so that it 480 00:22:12,320 --> 00:22:13,750 feels more representational. 481 00:22:13,750 --> 00:22:16,175 Like it feels more like part of the theme, 482 00:22:16,175 --> 00:22:18,800 but it might actually take away from the actual feel of rolling 483 00:22:18,800 --> 00:22:19,770 dice. 484 00:22:19,770 --> 00:22:21,950 It'll be interesting seeing how that plays out 485 00:22:21,950 --> 00:22:23,737 when I play that comes out. 486 00:22:23,737 --> 00:22:25,570 PHILIP TAN: When you actually role the dice, 487 00:22:25,570 --> 00:22:28,990 it has its own distinctive sound that 488 00:22:28,990 --> 00:22:31,602 is shared among people have positive associations 489 00:22:31,602 --> 00:22:32,610 with that sound. 490 00:22:36,480 --> 00:22:43,815 RICHARD EBERHARDT: And then the other one, 491 00:22:43,815 --> 00:22:45,300 a game about trucking. 492 00:22:45,300 --> 00:22:46,360 AUDIENCE: Heartland. 493 00:22:46,360 --> 00:22:48,960 RICHARD EBERHARDT: The Great Heartland Hauling Company. 494 00:22:48,960 --> 00:22:53,600 So on the box, you see a semi truck carrying little squares. 495 00:22:53,600 --> 00:22:57,140 On the back, you see semi trucks and squares. 496 00:22:57,140 --> 00:22:59,570 But the squares are in a map. 497 00:22:59,570 --> 00:23:02,600 But the squares don't really fit on the trucks. 498 00:23:02,600 --> 00:23:04,370 So, actually, I brought this out thinking, 499 00:23:04,370 --> 00:23:07,922 that's a great way of saying it's not-- 500 00:23:07,922 --> 00:23:09,380 Kind of like the other one, they're 501 00:23:09,380 --> 00:23:10,730 showing something on the box that doesn't actually 502 00:23:10,730 --> 00:23:11,780 exist in the game. 503 00:23:11,780 --> 00:23:15,056 But I found out, and I actually took it out and opened it, 504 00:23:15,056 --> 00:23:23,780 they have cards where you put your bits on. 505 00:23:23,780 --> 00:23:25,950 So you are kind of carrying things around. 506 00:23:25,950 --> 00:23:30,580 But there's a disconnect between where things are on a map 507 00:23:30,580 --> 00:23:33,680 and where things are on your truck. 508 00:23:33,680 --> 00:23:36,530 And then where your truck is actually placed on the map. 509 00:23:36,530 --> 00:23:39,560 So your eyes are going to different places 510 00:23:39,560 --> 00:23:42,140 when you're actually playing out the game. 511 00:23:42,140 --> 00:23:46,100 Largely done because of the commercial manufacturing 512 00:23:46,100 --> 00:23:47,242 constraints of it. 513 00:23:47,242 --> 00:23:52,460 As you can see, it's basically just two decks in a small box. 514 00:23:52,460 --> 00:23:54,590 You'll see a lot of these games, they want-- 515 00:23:54,590 --> 00:23:57,124 If it's a game I want you to play in a short period of time, 516 00:23:57,124 --> 00:23:59,540 it's likely going to have a smaller box than a game that's 517 00:23:59,540 --> 00:24:00,415 going to play longer. 518 00:24:00,415 --> 00:24:03,800 It's a code for how complicated the game is, 519 00:24:03,800 --> 00:24:09,935 or how much of your time the game is going to take. 520 00:24:09,935 --> 00:24:11,560 PHILIP TAN: So definitely pay attention 521 00:24:11,560 --> 00:24:13,455 to how your pieces feel. 522 00:24:13,455 --> 00:24:15,200 Again, we're not asking you to go 523 00:24:15,200 --> 00:24:18,770 completely to town, like laser-cutting pieces 524 00:24:18,770 --> 00:24:20,040 or anything like that. 525 00:24:20,040 --> 00:24:21,050 That's not necessary. 526 00:24:21,050 --> 00:24:26,360 Just that every time you think of the pieces in our box, 527 00:24:26,360 --> 00:24:29,360 or we decide to glue two pieces together or to build, 528 00:24:29,360 --> 00:24:31,010 make it a different shape or something, 529 00:24:31,010 --> 00:24:32,540 think about what that's communicating over 530 00:24:32,540 --> 00:24:33,200 to the player. 531 00:24:33,200 --> 00:24:39,020 Think about what the box may be, or what the art in the rules is 532 00:24:39,020 --> 00:24:43,520 conveying about how the game is supposed to be played, 533 00:24:43,520 --> 00:24:47,229 and try not to mislead your players into thinking that this 534 00:24:47,229 --> 00:24:49,770 game is really about stacking things on little plastic trucks 535 00:24:49,770 --> 00:24:50,645 when it really isn't. 536 00:24:50,645 --> 00:24:52,720 It's about stacking things on cards. 537 00:24:52,720 --> 00:24:54,860 That sort of thing. 538 00:24:54,860 --> 00:24:57,800 So, yeah. 539 00:24:57,800 --> 00:25:00,512 Any questions about Assignment 2? 540 00:25:00,512 --> 00:25:02,390 AUDIENCE: And then on the assignment, 541 00:25:02,390 --> 00:25:04,510 it's not asking for polished art? 542 00:25:04,510 --> 00:25:05,370 PHILIP TAN: Yep. 543 00:25:05,370 --> 00:25:07,370 RICHARD EBERHARDT: So think about the materials, 544 00:25:07,370 --> 00:25:08,946 think about the textures. 545 00:25:08,946 --> 00:25:11,684 It's still a short assignment, so don't 546 00:25:11,684 --> 00:25:13,300 think about that kind of art. 547 00:25:13,300 --> 00:25:14,009 PHILIP TAN: Yeah. 548 00:25:14,009 --> 00:25:15,841 RICHARD EBERHARDT: More which kind of pieces 549 00:25:15,841 --> 00:25:16,670 you decide to use. 550 00:25:16,670 --> 00:25:18,940 Really think about the title. 551 00:25:18,940 --> 00:25:20,550 It's really, really important. 552 00:25:20,550 --> 00:25:21,400 PHILIP TAN: Yep. 553 00:25:21,400 --> 00:25:24,340 The title is something, writing, it's 554 00:25:24,340 --> 00:25:27,470 something that you can spend-- 555 00:25:27,470 --> 00:25:30,080 you can get a lot out of a little bit more time 556 00:25:30,080 --> 00:25:32,330 investment. 557 00:25:32,330 --> 00:25:36,702 The tone of your writing and your rules can go a long way. 558 00:25:36,702 --> 00:25:40,190 But still, looking for rules that are easy to read. 559 00:25:40,190 --> 00:25:44,339 So don't use Shakespearean styling or something like that. 560 00:25:44,339 --> 00:25:46,130 That might make things a little bit tricky, 561 00:25:46,130 --> 00:25:48,100 unless you're very, very consistent with it throughout, 562 00:25:48,100 --> 00:25:50,420 and you're only using it for nouns or something, which 563 00:25:50,420 --> 00:25:52,850 could work pretty well. 564 00:25:52,850 --> 00:25:55,130 Sketchy art is fine. 565 00:25:55,130 --> 00:25:57,740 Just like a hint of what you are trying 566 00:25:57,740 --> 00:26:00,290 to get across with your art. 567 00:26:00,290 --> 00:26:03,260 We're not judging anybody on your ability to draw. 568 00:26:03,260 --> 00:26:07,410 But we are interested in your thought process 569 00:26:07,410 --> 00:26:11,330 and how you consider, how you represent your game. 570 00:26:11,330 --> 00:26:13,618 All right. 571 00:26:13,618 --> 00:26:18,920 AUDIENCE: So the first line of the assignment [INAUDIBLE]. 572 00:26:18,920 --> 00:26:21,812 Do we get to choose the experience that we want to-- 573 00:26:21,812 --> 00:26:23,010 PHILIP TAN: Yep. 574 00:26:23,010 --> 00:26:26,490 And that comes down back to the overall aesthetic. 575 00:26:26,490 --> 00:26:28,410 All of these things are working together 576 00:26:28,410 --> 00:26:29,819 to generate a player experience. 577 00:26:29,819 --> 00:26:32,110 And we'll be going through some examples of other games 578 00:26:32,110 --> 00:26:34,920 that generate the user experience of panic. 579 00:26:34,920 --> 00:26:40,290 The experience of close shave cooperation. 580 00:26:40,290 --> 00:26:43,920 Again, remember, mechanics and aesthetics. 581 00:26:43,920 --> 00:26:46,430 The aesthetic thing is the player actually experiences. 582 00:26:46,430 --> 00:26:51,800 And that's true for any definition of aesthetic. 583 00:26:51,800 --> 00:26:53,580 The question is, what are all the things 584 00:26:53,580 --> 00:26:56,114 that you can do to hopefully generate that. 585 00:26:56,114 --> 00:26:57,780 Of course, you only know whether they're 586 00:26:57,780 --> 00:26:59,260 hitting that [INAUDIBLE]. 587 00:26:59,260 --> 00:27:02,711 AUDIENCE: Is it supposed to be a quick game? 588 00:27:02,711 --> 00:27:05,339 PHILIP TAN: Do we have a time limit in the-- 589 00:27:05,339 --> 00:27:07,380 RICHARD EBERHARDT: I think I just copied it over. 590 00:27:07,380 --> 00:27:07,880 20 Minutes. 591 00:27:07,880 --> 00:27:11,580 PHILIP TAN: 20 Minutes So aim for that. 592 00:27:11,580 --> 00:27:13,650 It's a little longer than the last one. 593 00:27:13,650 --> 00:27:15,590 But yeah. 594 00:27:15,590 --> 00:27:16,682 So, yeah. 595 00:27:16,682 --> 00:27:18,140 And the reason for that is largely, 596 00:27:18,140 --> 00:27:19,931 we want it to be able to grade these things 597 00:27:19,931 --> 00:27:22,160 and get your grades back to you. 598 00:27:22,160 --> 00:27:23,730 So if you made a two-hour long game, 599 00:27:23,730 --> 00:27:25,438 and everybody makes a two-hour long game, 600 00:27:25,438 --> 00:27:28,040 we're never going to finish grading this. 601 00:27:28,040 --> 00:27:29,060 So short games help. 602 00:27:29,060 --> 00:27:30,890 And short games are easier to test. 603 00:27:30,890 --> 00:27:32,880 RICHARD EBERHARDT: And for the first question, 604 00:27:32,880 --> 00:27:35,210 on Monday, we'll be talking about how to choose 605 00:27:35,210 --> 00:27:36,990 an experience [INAUDIBLE]. 606 00:27:36,990 --> 00:27:40,041 We'll do that right before we get into brainstorming and team 607 00:27:40,041 --> 00:27:42,496 forming. 608 00:27:42,496 --> 00:27:44,460 PHILIP TAN: Cool. 609 00:27:44,460 --> 00:27:45,920 All right. 610 00:27:45,920 --> 00:27:49,418 I guess we're ending a little early today. 611 00:27:49,418 --> 00:27:50,096 All right. 612 00:27:50,096 --> 00:27:50,804 Thanks, everyone. 613 00:27:50,804 --> 00:27:53,390 Don't forget to sign in if you haven't already. 614 00:27:56,320 --> 00:27:59,720 RICHARD EBERHARDT: Just about everybody did. 615 00:27:59,720 --> 00:28:00,820 PHILIP TAN: Thank you. 616 00:28:00,820 --> 00:28:01,410 Oh yeah. 617 00:28:01,410 --> 00:28:03,360 Please hand in your