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Postmortem: Intelligence Engine Design Systems' City Conquest
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Postmortem: Intelligence Engine Design Systems' City Conquest

February 6, 2013 Article Start Page 1 of 4 Next
 

Intelligence Engine Design Systems and our first game, City Conquest, came about as a result of a surprising personal journey.

My career began at Brøderbund in 1994, working as the lead designer on a real-time strategy title. After it shipped, I conceived a design concept for a new game -- a huge, epic, insanely ambitious dream game that I am still working toward even to this day. I knew that it would be possible to make it a reality someday, but I also recognized that I wasn't yet qualified to design it. My dream game required a huge amount of artificial intelligence, and I needed a much deeper understanding of AI to have any chance to design it properly.

I spent well over a decade learning everything I could about game AI, helping to develop the AI in games like Metroid Prime 2 and 3, MechWarrior 4, and some others, writing articles on game AI, evangelizing the use of navigation meshes for pathfinding, speaking at AIIDE conferences, and generally pretending to be a programmer while picking up everything I needed to know to design that game. Along the way, I got a golden opportunity to learn from a few of the industry's most acclaimed designers.

At the end of that process, I finally did learn what I needed to know to design the dream game. Intelligence Engine Design Systems is still working toward that game and growing toward the funding level and company size that can make its development possible.

But there was an unexpected revelation along the way. I had not expected that AI would change everything I thought I knew about game design.

The more I learned about AI and game design, the more I began to understand that they are two sides of the same coin. Game design is the creation of possibility spaces in which players can act; game AI is about developing systems to explore those possibility spaces and act within them -- usually on the part of game characters or entities, but sometimes by separate tools. When used wisely, AI can give us an incredible number of tools and techniques for improving our designs and helping us explore the ramifications of our design decisions more quickly.

The more I looked at the kinds of problems we encounter in game design, the more I realized just how many of them are fundamentally either decision optimization problems that are eerily similar to the problems we solve in artificial intelligence, or combinatorial optimization problems that we can optimize with the kinds of decision modeling processes already used in many other engineering fields. As a result, there are some fairly remarkable unexplored possibilities for different kinds of tools we can create to optimize the design process.

Game design is a process of learning and exploration. All game designs evolve, and even the most focused and well-planned projects spend a considerable amount of design iteration to get the design just right. Well-run projects are able to manage their exploration of the design space in a way that balances design evolution and its impact on product quality against all of the costs of that design iteration and experimentation. Less well-run projects get lost in creative thrashing, unfocused design exploration, or perpetual preproduction.

When we design, we are struggling in the dark. We have endless options and ideas for design changes that can make our games more fun, engaging, immersive, or addictive. But we have very little ability to accurately predict all of the countless ramifications of these changes and additions to a game's design, or to truly understand how the game's character will change without actually implementing the changes we're considering.

We have precious few tools to explore that space beyond our own imaginations and our ability to actually go ahead and experiment, prototype, and test our ideas.

Professional aircraft designers have powerful engineering tools at their disposal to simulate "virtual wind tunnels" that can estimate the performance characteristics of their aircraft. Long before they ever need to actually build a prototype and place it in a physical wind tunnel, aircraft designers can quickly and cheaply model an aircraft using CAD-like tools and instantly see how its design influences its performance characteristics.

There is no equivalent for game design. We have no tools to show us all of the ramifications of our core design decisions. I believe we need to grow beyond the current, purely anthropocentric approach to design and accept the need for a process that involves some level cooperation with machine intelligence as so many other industries have done. Our industry doesn't need a "Photoshop of AI": it needs a virtual wind tunnel for game design.

So I decided to make one.

City Conquest began in August 2011, while I was earning an MSE degree from a University of Pennsylvania technology management program co-sponsored by the Wharton School. As the result of a market analysis in a Wharton marketing class, I identified a market opportunity for games that combined elements of tower defense games like Kingdom Rush with the depth of real-time strategy games like StarCraft.

I designed City Conquest as a hybrid TD/RTS to combine the simplicity, accessibility, addictiveness, and feel of tower defense with some of the depth and strategic elements of an RTS. It needed to feel like a head-to-head TD game, with each player given a Capitol building to defend and special "dropship pads" that produce new units every turn.

The goal was to limit the scope to a one-year development cycle while ensuring that it was a serious game development effort with genuine potential to grow into a franchise, rather than a quickie game for the sake of "learning." In today's saturated mobile market, there's no point wasting time on any development effort that isn't at least making an honest attempt to be ambitious, polished, and unique.

Our goal with City Conquest was to optimize the "cost-to-quality ratio": the best possible product at the lowest possible cost. Our years at Retro Studios / Nintendo imbued us with an obsessive focus on product quality and polish and a conviction that this diligence pays serious long-term dividends.

At the same time, we were determined to reduce our risks by minimizing our overhead -- we would avoid growing the team any more than absolutely necessary, and we would outsource all of our art and audio needs while handling the design and production and the majority of the engineering ourselves. In large part because of this risk-centric attitude, IEDS maintained a very small team throughout development of City Conquest.

We had a basic playable prototype running within a month. The concept worked better than we had any right to expect. Our decision to use a fundamental gameplay to drive the game's development, rather than any particular narrative arc or artistic "high concept," went a very long way toward ensuring that the game would be fun and playable.

Production has gone amazingly smoothly compared to even the most well-run triple-A projects we've worked on. There were a few missteps along the way, and some clear failures of due diligence, but nothing that negatively impacted the final quality of the product. The fun began to shine through in the first few months of development, and I increasingly found that I was so genuinely addicted to the game that playing it became a dangerous distraction from actually working on it.

We took it as an encouraging sign, and this more than anything pushed us to see City Conquest through all the way to the end.

I have worked with some teams that spent months to years trying to "find the fun" during development. This is confusing. If you haven't found it yet, why are you in development at all? How did the project get greenlit in the first place? Why are you even calling it development when you're really still in preproduction?

City Conquest was completed several months later than expected, but most of this delay was for the right reason: because we were determined to optimize for quality and had the time to make the game better. Although we were careful to limit the scope of the project by adding new features only when truly necessary, we spent a great deal of time and effort on polishing existing features and addressing our playtesters' feedback. We were consistently unwilling to pass up changes that would improve quality, schedule be damned.


Article Start Page 1 of 4 Next

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