Recently, I delved into Chapter 6 of Ge Wang’s “Artful Design,” and I couldn’t help but draw parallels with my own experiences in “CS 377G: Designing Serious Games,” a course I took last Spring under Christina Wodtke. This course remains one of my most memorable educational experiences, chiefly for its engaging content and the insightful principles it introduced.
A particularly striking principle from Ge Wang’s book is:
Principle 6.16: Games are perceived to be more accessible than instruments.
This principle resonated with me because it directly relates to games like Rock Band and Guitar Hero, which simplify music playing into an accessible gaming format. However, it’s intriguing to see how other platforms, such as RockSmith and Yousician, attempt to blend gaming with realistic instrument learning. Despite the popularity of Guitar Hero and Rock Band in their heyday, their decline in mainstream gaming culture poses an interesting question about the evolving tastes and preferences of the gaming community.
Another principle that caught my attention was:
Principle 6.5: Games as a mirror of our humanness.
This concept is beautifully exemplified in games like “Breath of the Wild,” which encourage creativity and exploration, allowing players to approach challenges in unique ways. This flexibility not only enhances the gaming experience but also subtly reflects our innate human desire for exploration and innovation.
During my course, one aspect of game design that stood out was the context of play and its educational potential. Games are exceptionally effective at simplifying and teaching complex systems. For instance, in a game I developed titled “Clout Chasers,” players navigate the intricacies of the social media industry, making strategic decisions about collaboration and competition to maximize engagement. This experience highlighted the potential of games as educational tools, capable of demystifying complex systems in an engaging and interactive manner.
Building on these reflections, I find myself pondering the potential of a musical game designed to educate players about a complex system. Imagine a game where learning about musical theories or the intricacies of sound engineering is as engaging as playing a fantasy adventure. What would such a game look like? Would it use realistic instruments or abstract them into game mechanics? The possibilities for such an educational and artful game are endless and truly exciting to consider.
In conclusion, Ge Wang’s principles offer a unique lens to view and design games. They remind us that games are not just about entertainment; they are powerful tools for education, creativity, and understanding human nature. As we continue to explore the boundaries of game design, it’s exhilarating to think about the innovative ways we can blend art, technology, and education to create experiences that are both enlightening and enjoyable.