1/ A masterclass in game design + human behavior
@MarkRosewater shares 20 lessons he’s learned designing for one of the world’s most popular card games, @wizards_magic
These lessons apply not only to game design but are principles that can apply to any creative process
@MarkRosewater shares 20 lessons he’s learned designing for one of the world’s most popular card games, @wizards_magic
These lessons apply not only to game design but are principles that can apply to any creative process
2/ LESSON #1: Fighting against human nature is a losing battle
Understand that humans are stubborn.
In game design, keep in mind that it’s much easier to change the game to match the players vs changing the players to match the game.
Understand that humans are stubborn.
In game design, keep in mind that it’s much easier to change the game to match the players vs changing the players to match the game.
3/ LESSON #2: Aesthetics matter
People like to perceive things in a certain way.
People expect game components to have a certain “feel." Failing to provide the right aesthetic makes players feel ill at ease and draws attention to what the game is not instead of what it is
People like to perceive things in a certain way.
People expect game components to have a certain “feel." Failing to provide the right aesthetic makes players feel ill at ease and draws attention to what the game is not instead of what it is
4/ IN PRACTICE:
Griselbrand is a card that uses 7's everywhere (power, toughness, attributes) yet it costs 8 to play.
The introduction of "8" broke the overall 7-ness conveyed throughout which, unsurprisingly, caused Magic to receive the most complaints about this card
Griselbrand is a card that uses 7's everywhere (power, toughness, attributes) yet it costs 8 to play.
The introduction of "8" broke the overall 7-ness conveyed throughout which, unsurprisingly, caused Magic to receive the most complaints about this card
5/ LESSON #3: Resonance is important
Humans come preloaded with a life's worth of experiences.
As a game designer, you should take advantage of those pre-built life experiences and translate/build upon them to unlock richer and more emotional game experiences.
Humans come preloaded with a life's worth of experiences.
As a game designer, you should take advantage of those pre-built life experiences and translate/build upon them to unlock richer and more emotional game experiences.
6/ IN PRACTICE:
Magic didn’t invent zombies
Players came to Magic with an existing pre-conceived notion/emotion to zombies (emotion borrowed from pop culture)
Magic was then able to build upon that emotion and bring into card design to create deeper connection w/ their players
Magic didn’t invent zombies
Players came to Magic with an existing pre-conceived notion/emotion to zombies (emotion borrowed from pop culture)
Magic was then able to build upon that emotion and bring into card design to create deeper connection w/ their players
7/ LESSON #4: Make use of piggybacking
Leverage the use of pre-existing knowledge to make learning easier and faster.
By matching expectations to what one already knows, you can make teaching much simpler.
Leverage the use of pre-existing knowledge to make learning easier and faster.
By matching expectations to what one already knows, you can make teaching much simpler.
8/ IN PRACTICE:
In the release of their new Greek mythology set, Magic had the idea to change one of their characters from a horse (modeled off the "Trojan Horse") to a lion
All of a sudden during playtesting, players felt confused + disconnected as if the card was made random
In the release of their new Greek mythology set, Magic had the idea to change one of their characters from a horse (modeled off the "Trojan Horse") to a lion
All of a sudden during playtesting, players felt confused + disconnected as if the card was made random
9/ IN PRACTICE:
Similarly, in the game Plants vs Zombies, the choice of characters (plants+zombies) was intentional.
Plants were chosen to convey the idea that once placed, they couldn't move (i.e. they're planted) and Zombies were chosen to convey slowness that came in waves.
Similarly, in the game Plants vs Zombies, the choice of characters (plants+zombies) was intentional.
Plants were chosen to convey the idea that once placed, they couldn't move (i.e. they're planted) and Zombies were chosen to convey slowness that came in waves.
10/ LESSON #5: Don't confuse "interesting" with "fun"
Humans are much more motivated in their decision-making via emotions rather than thoughts/facts.
When you speak to a player on an emotional level, you’re more likely to create player satisfaction.
Humans are much more motivated in their decision-making via emotions rather than thoughts/facts.
When you speak to a player on an emotional level, you’re more likely to create player satisfaction.
11/ IN PRACTICE:
A player is strategically at an advantage with more cards in hand
Mark wanted to mess around w/ this concept by introducing characters that would get power upgrades from discarding cards (i.e Krosan Beast gets more powerful as Patrol Hound forces discards)
A player is strategically at an advantage with more cards in hand
Mark wanted to mess around w/ this concept by introducing characters that would get power upgrades from discarding cards (i.e Krosan Beast gets more powerful as Patrol Hound forces discards)
12/ IN PRACTICE:
Although interesting in theory, players didn't like this game mechanic because having to discard cards from one's hand is exactly what players didn't want to do - they wanted to play their cards
What was seemingly "interesting" was not exactly "fun"
Although interesting in theory, players didn't like this game mechanic because having to discard cards from one's hand is exactly what players didn't want to do - they wanted to play their cards
What was seemingly "interesting" was not exactly "fun"
13/ LESSON #6: Understand what emotion your game is trying to evoke
Humans are emotional creatures.
Understand what you want your audience to experience and design your game in such a way so as to contribute to the emotional response you're trying to create.
Humans are emotional creatures.
Understand what you want your audience to experience and design your game in such a way so as to contribute to the emotional response you're trying to create.
14/ IN PRACTICE:
Mark wanted to design a set for which he could extract the emotion of fear
He introduced double-faced cards where a character could transform (i.e. from human into a werewolf)
The intent was to create suspense+make players feel wary for which he accomplished
Mark wanted to design a set for which he could extract the emotion of fear
He introduced double-faced cards where a character could transform (i.e. from human into a werewolf)
The intent was to create suspense+make players feel wary for which he accomplished
15/ LESSON #7: Allow the players the ability to make the game personal
People often associate quality with familiarity (your brain prioritizes things it knows)
In game design, give players the ability to choose (and not choose) things so as to make their own
People often associate quality with familiarity (your brain prioritizes things it knows)
In game design, give players the ability to choose (and not choose) things so as to make their own
16/ IN PRACTICE:
Land cards are the building blocks of Magic.
Chris Rush, an illustrator, had the idea to turn a basic land card into a full piece of art (these cards had no associated powers and everyone knows what they do so why not).
Land cards are the building blocks of Magic.
Chris Rush, an illustrator, had the idea to turn a basic land card into a full piece of art (these cards had no associated powers and everyone knows what they do so why not).
17/ IN PRACTICE:
The art was drawn to represent real places on Earth.
As it turns out, these full-art land cards were a huge hit among the players as it gave players choices - it allowed players to feel that what they chose was theirs and belonged to them
The art was drawn to represent real places on Earth.
As it turns out, these full-art land cards were a huge hit among the players as it gave players choices - it allowed players to feel that what they chose was theirs and belonged to them
18/ LESSON #8: The details are where the players fall in love with your game
Details matter. It’s the details that allow individuals to bond with your game.
That small detail might only matter to a tiny percentage of people, but to that percentage, it could mean everything
Details matter. It’s the details that allow individuals to bond with your game.
That small detail might only matter to a tiny percentage of people, but to that percentage, it could mean everything
19/ IN PRACTICE:
In Magic, players bond over cards and characters, sometimes over a single image
Take the lion from LESSON #4, people's connection to the horse character was so strong that when it was changed to a lion, the response was negative
In Magic, players bond over cards and characters, sometimes over a single image
Take the lion from LESSON #4, people's connection to the horse character was so strong that when it was changed to a lion, the response was negative
20/ LESSON #9: Allow your players to have a sense of ownership
Give players the ability to create something uniquely their own.
Give players the ability to create something uniquely their own.
21/ IN PRACTICE:
In Magic, this customization can happen through things like gameplay or more importantly, deck building
Players choose from over 15k cards to create THEIR deck -a deck that comes to represent themselves such that when their deck wins, they win
In Magic, this customization can happen through things like gameplay or more importantly, deck building
Players choose from over 15k cards to create THEIR deck -a deck that comes to represent themselves such that when their deck wins, they win
22/ LESSON #10: Leave room for the player to explore
People are more invested in things they initiate
In game design, don’t always show the players the things you want them to see, let your players do their own discovery - they'll be more invested
People are more invested in things they initiate
In game design, don’t always show the players the things you want them to see, let your players do their own discovery - they'll be more invested
23/ LESSON #11: If everyone likes your game, but no one loves it, it will fail
People don’t need to love EVERYTHING about your game, but they need to love something.
Something has to draw them into your game, something they feel strongly about (could be positive or negative)!
People don’t need to love EVERYTHING about your game, but they need to love something.
Something has to draw them into your game, something they feel strongly about (could be positive or negative)!
24/ IN PRACTICE:
Magic conducts a poll whereby ppl at Wizard are asked to rate a card from 1 - 10 (10 being a card you would be excited to play)
What consistently made for a better card was one that evoked a strong response (few 1s/2s + 9s/10s) vs an average card (all 7s)
Magic conducts a poll whereby ppl at Wizard are asked to rate a card from 1 - 10 (10 being a card you would be excited to play)
What consistently made for a better card was one that evoked a strong response (few 1s/2s + 9s/10s) vs an average card (all 7s)
25/ LESSON #12: Don't design to prove you can do something
People who create tend to have large egos. Don’t let your ego drive your motivations.
Your goal is to deliver an optimal experience for your game and for your players, not you.
People who create tend to have large egos. Don’t let your ego drive your motivations.
Your goal is to deliver an optimal experience for your game and for your players, not you.
26/ LESSON #13: Make the fun part also the correct strategy to win
Make having fun be at the core of the game experience.
It’s not the player’s job to find the fun. It’s your job as a game designer to put the fun where the player can’t help but find it.
Make having fun be at the core of the game experience.
It’s not the player’s job to find the fun. It’s your job as a game designer to put the fun where the player can’t help but find it.
27/ IN PRACTICE:
Silver bordered cards were intended to be funny.
These cards had a game mechanic called "gotcha" where in this example, if your opponent laughs, you can say “gotcha” and get the card back. Another card had an effect when your opponent said a specific number.
Silver bordered cards were intended to be funny.
These cards had a game mechanic called "gotcha" where in this example, if your opponent laughs, you can say “gotcha” and get the card back. Another card had an effect when your opponent said a specific number.
28/ IN PRACTICE:
The problem was that in playing with these cards, people stopped doing things altogether (laughing, talking, etc)
What was intended to be funny unintentionally made the game less fun
The problem was that in playing with these cards, people stopped doing things altogether (laughing, talking, etc)
What was intended to be funny unintentionally made the game less fun
29/ LESSON #14: Don't be afraid to be blunt
Subtlety doesn’t always work, people can miss the obvious.
Sometimes in order to get your audience to understand, you have to embrace bluntness.
Subtlety doesn’t always work, people can miss the obvious.
Sometimes in order to get your audience to understand, you have to embrace bluntness.
30/ IN PRACTICE:
Magic introduced a card called Ulamog’s Crusher that was powerful but no one was attacking with it.
Players didn’t want anything bad to happen to this creature because they were afraid to lose it in battle.
Magic introduced a card called Ulamog’s Crusher that was powerful but no one was attacking with it.
Players didn’t want anything bad to happen to this creature because they were afraid to lose it in battle.
31/ IN PRACTICE:
In order to get people to attack, Mark added a line of text that forced players to do so which allowed players to truly see how powerful the card was.
The byproduct of forcing players' hands was educating them that it was okay to attack.
In order to get people to attack, Mark added a line of text that forced players to do so which allowed players to truly see how powerful the card was.
The byproduct of forcing players' hands was educating them that it was okay to attack.
32/ LESSON #15: Design the component for its intended audience
When you aim to please everyone, you often please no one.
Understand what audience segments your game has and make components that speak to each of those segments
When you aim to please everyone, you often please no one.
Understand what audience segments your game has and make components that speak to each of those segments
33/ IN PRACTICE:
Mark created 3 different player psychographics to explain why people play Magic.
With each card he designed, he made sure to design components with a specific audience in mind.
Mark created 3 different player psychographics to explain why people play Magic.
With each card he designed, he made sure to design components with a specific audience in mind.
34/ LESSON #16: Be more afraid of boring your players than challenging them
The greatest risk is not taking risks
When you take risks and fail, ppl will respect the attempt and stick around to see what you'll do next
But when you do boring things, there’s no such forgiveness
The greatest risk is not taking risks
When you take risks and fail, ppl will respect the attempt and stick around to see what you'll do next
But when you do boring things, there’s no such forgiveness
35/ IN PRACTICE:
One of the most popular cards was B.F.M. (Big Furry Monster), a card that was so powerful (99 power/99 toughness) and so big that it had to fit two cards.
Mark challenged himself in the opposite direction - to make a single card that could fit two cards.
One of the most popular cards was B.F.M. (Big Furry Monster), a card that was so powerful (99 power/99 toughness) and so big that it had to fit two cards.
Mark challenged himself in the opposite direction - to make a single card that could fit two cards.
36/ IN PRACTICE:
He ended up coming up with idea of "split cards" which were hugely unpopular at first as it strayed too far from how a Magic card was supposed to look
Little by little, they won people over to the point that these cards were later reintroduced into future sets
He ended up coming up with idea of "split cards" which were hugely unpopular at first as it strayed too far from how a Magic card was supposed to look
Little by little, they won people over to the point that these cards were later reintroduced into future sets
37/ LESSON #17: You don't have to change much to change everything
Unrequired additions add complexity, muddy the message, and wastes resources
In game design, look for ways to synergize off what you have rather than introduce something new
Unrequired additions add complexity, muddy the message, and wastes resources
In game design, look for ways to synergize off what you have rather than introduce something new
38/ IN PRACTICE:
Mark introduced the concept of guilds to which players would belong by forcing two-color pairings (white/blue, green/white) of Magic's five colors.
By changing one tiny element of the gameplay, he was able to introduce a world of new and different experiences.
Mark introduced the concept of guilds to which players would belong by forcing two-color pairings (white/blue, green/white) of Magic's five colors.
By changing one tiny element of the gameplay, he was able to introduce a world of new and different experiences.
39/ LESSON #18: Restrictions breed creativity
People tend to solve the same problem the exact same way every time
Introduce restrictions to help players be more creative - it forces ppl to think in different ways+create new problems to solve, resulting in new ideas+solutions
People tend to solve the same problem the exact same way every time
Introduce restrictions to help players be more creative - it forces ppl to think in different ways+create new problems to solve, resulting in new ideas+solutions
40/ IN PRACTICE:
Mark writes a weekly design column called "Making Magic"
One of the articles he wrote was from asking his audience for 2 topics: a magic topic and a non-magic one.
The magic-related topic was "the biggest design mistakes" + the non-magic topic was "dating"
Mark writes a weekly design column called "Making Magic"
One of the articles he wrote was from asking his audience for 2 topics: a magic topic and a non-magic one.
The magic-related topic was "the biggest design mistakes" + the non-magic topic was "dating"
41/ IN PRACTICE:
By asking his audience for suggestions, Mark was forced to write from a new vantage point that he never explored
As a result, the article that came to be his most favorite article he's ever written to date:
magic.wizards.com/en/articles/ar…
By asking his audience for suggestions, Mark was forced to write from a new vantage point that he never explored
As a result, the article that came to be his most favorite article he's ever written to date:
magic.wizards.com/en/articles/ar…
42/ LESSON #19: Your audience is good at recognizing problems and bad at solving them
Use your audience as a resource for determining if a problem exists (they have a better feel of the game and can easily identify problems)
But take their solutions with a grain of salt
Use your audience as a resource for determining if a problem exists (they have a better feel of the game and can easily identify problems)
But take their solutions with a grain of salt
43/ LESSON #20: All the lessons connect
Learning is a holistic process.
What you learn in one area can apply to other things, and can be leveraged off each other to great effect.
"Everything I've learned all clicks together" - @MarkRosewater
Learning is a holistic process.
What you learn in one area can apply to other things, and can be leveraged off each other to great effect.
"Everything I've learned all clicks together" - @MarkRosewater
44/
Highly encourage you to watch the full video here:
Highly encourage you to watch the full video here:
