Game thinking from Adam Clare

Category: Video GamesPage 26 of 78

EVE’s Exquisite Economic Equilibrium

Not too long ago a single item almost brought economic havoc to the MMORPG EVE Online and the makers of the game, CCP, did what they had to do to ensure economic stability. A player found a brilliant way to game the trading algorithms used in the game and got himself a ton of in-game cash (ISK). The PA Report explains what happened.

The ship contained that “useless” item, but the game thought it was worth half a billion ISK. “You get loads of loyalty points, and you cash those in for something good. He completely manipulated the market, and it started having this massive effect on our economy,” Lander said.

This got me thinking more about how the economy of EVE allows for perfect monitoring of transactions and great statistical analysis. Working on a digital economy must be every economists dream as the irregularities and lack of tracking makes real-world economic data hard to capture (and trust).

Dr. Eyjólfur Guðmundsson is the economist in charge at CCP and he sat down with RPS to talk about the general economic policies of EVE Online. They talk about game design issues and how the economy is interconnected with the game play experience; particularly how they’ve learned from prior games.

Dr Eyjó: So with ‘mudflation’, [the term] relates to the old MUD games – multi-user dungeons – that were just text-based games. If you were coming into the game as a new player after other people had played it for a long while, you would never catch up to them. It was just ridiculous because it just kept growing and growing and it was difficult to get there. In EVE we are very much aware that new players need a path in order for them to participate – they don’t need to be the best right away – but they need to participate in the game. So we designed the game in such a way so that it’s beneficial for old players to get new players with them because they can use them as scouts or they can use them as foot soldiers in bigger battles. And that’s really why we don’t think we would have ‘mudflation’ in EVE.

The interview also goes into how how things in game are inspired from the physical world, particularly the economy of Iceland (just look at ISK and ISK), and the economic hilarity that occurred in the past decade:

Dr Eyjó: So, in 2004 to 2007 Iceland was able to acquire a lot of international loans from foreign countries. A lot of money. Lehman Brothers, Deutsche Bank, they were all willing to lend Icelanders Euros or Dollars and different kinds of currencies, because everybody believed that Iceland would just flourish forever. And the money supply in Iceland – because that’s money from the outside pumped into Iceland – just sky-rocketed. And having a sky-rocketing money supply means there’s more money in the system but there’s still the same economic value. So the joke that I was making was very simple: That system blew up. And they should have known it was going to blow up. EVE has a lot of ISK in it because of ten years of history. A lot of ISK in EVE can mean a hell of a lot coming to Dust. And we don’t want that money to move too fast into the [new] game because it will ruin the economy of ‘slow growth’, so we have to know the balance before we completely open it up.

Two Approaches to Making Large Lands: Procedural and Modular

Creating large game environments takes a large amount of time no matter how one goes about creating it. I’m quite interested in procedural generation to decrease production time and provide an easy way to add variety to environments. The upcoming game Sir, You Are Being Hunted is being designed using procedural generation of the English countryside.

Despite the fact that you get landscapes by pressing a button it’s such a large undertaking to make procedural generated spaces. The effort is direct more to code and bug fixies instead of other aspects of design. To get an idea of this, the Sir team wrote about procedurally generating the countryside.

One of the more complex regions are the village cells. These have detailed scripts to generate the layout of houses, roads and gardens. First, roads are drawn into the terrain splatmap extending out at different angles from the village centre. Then a series of functions line the roads with houses and other buildings. Finally there is a chance for houses to have a range of garden types behind them, these gardens are themselves populated by various scenery elements and other features. Villages provide a much more complex environment for exploration and combat, and may include lootable containers with valuable resources. They are also more likely to harbour enemies.

being hunted

At BLDBLOG there is a piece on how their procedural countryside design is made with the added bonus of comparing it to an ongoing project in reality (at the end of the article). The countryside is being created digitally and physically.

There is another approach though, and that is modular design using kits.

Bethesda makes games set in expansive places like Fallout 3 and Skyrim. In fact, Skyrim is so large that I felt the need to make a post about it. The use of in-house art kits allow designers to create such vast lands to explore.

In a very in-dpeth post about modular design two designers from Bethesda (based off their GDC 2013 presentation) discuss their approach. I really appreciate how they connect what they are doing digitally with a physical comparison:

Kits aren’t a new idea. They aren’t unique to Bethesda or to the types of games we make. Consider the board game Carcassone. Unlike Monopoly or Scrabble, the board changes every time you play Carcassone. The tiles are arranged so that roads meet roads, rivers meet rivers, and so on, creating an effectively randomized yet visually cohesive whole. It’s easy to see the grid when looking at a Carcassone table, and how this system of art works together to make a unique play field.

Their post outlines how to rethink some aspects of the design process to better use time and other resources. They have stages of designing, testing, and iterating that are all worth looking into if you want to use modular design.

Level design

Throughout their post they mention the pros and cons of modular design from multiple perspectives. Some artists may find it scary (or just wrong) as an approach and level designers may find it to be limiting. I think that the most important take is the following:

Looking again towards the benefits of working modular, one of the big bonuses (especially from a production viewpoint) is that a modular approach helps if your team has a low ratio of artists to designers. Remember the ten people responsible for the dungeon content in Skyrim? Eight of them are the level designers, and only two represent the entirety of our full-time kit art team. They generated seven kits, which the level design team used to create well over 400 cells, or unique loaded interiors, of dungeon content. And those dungeons were built in about two and a half years, from start to finish.

At the end of the day is it better to use modular or procedural? There is no clear answer and in many cases they can be related to one another (just think that procedural needs modular pieces). It comes down to the skills on your team and what kind of game you’re building.

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