Dota 2 is a multiplayer online battle arena video game created by Valve, and is the sequel to Defence of the Ancients (DotA) from Warcraft III. It is played between two teams of five players, each controlling a “hero” character with unique abilities. Set in a fantasy world, players on each team communicate, itemize, and strategize in order to outmaneuver their opponents to destroy the opponent’s “Ancient”.

Aesthetics
Dota 2 boasts beautiful and detailed graphics that immerse players in the game’s fantasy world. The game’s art style is inspired by traditional fantasy and steampunk, with a variety of characters, each with their own unique designs and abilities. The map is well-designed, with a variety of different environments and landscapes that players can make strategic use of. Players can also change items in the loadout for global items such as the map, or for the heroes themselves, to equip a more visually pleasing set they fancy.

Story
The game features a rich and immersive story that immerses players in the game’s world. The story is built around the ancient struggle between the Radiant and Dire factions, with players taking on the role of heroes fighting for one of these factions. The game’s heroes are also well-developed and have their own unique personalities and motivations. While this aspect is largely overlooked due to it not being directly integrated into the gamplay, it provides a sense of history and continuity to the game, which can greatly boost the game’s immersive experience.

Technology
Dota 2’s technology is noteworthy. The game is powered by the Source 2 engine, which provides detailed graphics and smooth gameplay. Additionally, the game’s servers are robust and well-maintained, which ensures that players can play with minimal lag and interruption. The game’s matchmaking system is also well-designed, which ensures that players are matched with opponents of similar skill levels. These factors go hand in hand to ensure players get the best experience possible while playing.

Mechanics
The main focus of Dota 2 is its competitive gameplay, and hence mastering the mechanics and strategies of the game is often prioritized. Dota 2’s mechanics are intricate and nuanced, with a wide variety of heroes and abilities that players must master to be successful. The dynamics of the game are also well-designed, with a constantly changing map and objectives that keep players engaged. The game’s hook is undeniable – it is relatively simple to understand and play; yet impossible to master.

Lens of Essential Experience
Dota 2’s gameplay revolves around the essential experience of mastery. The game has a wide variety of heroes, each with their own unique abilities and playstyles, and players must master these heroes to be successful in the game. While it is simple to carry out actions such as attacking and casting of basic skills, nuances such as cancelling attack backswings, or knowing the maximum cast range of spells, to ultimately increase one’s efficiency, require much finesse. The optimization and min-maxing of such techniques set apart good players from the best ones. This sense of mastery creates a sense of accomplishment for players as they improve their skills and become better at the game.

Lens of Surprise
While hero skill builds and their items builds are predictable, the element of surprise is not lacking in Dota 2 at all. Examples such as picking up your items in fog, or barely hitting the next level such that you learn your ultimate skill before your opponent does can be unpredictable and put you in a favourable position. Unorthodox plays or builds can also flabbergast oponents and turn the tides of the battle.

Lens of Curiousity
With the frequent updates and patches the game receives, Dota 2’s meta is constantly evolving. The best players are often able to explore and discover new techniques to utilize and make the most of, ultimately creating new strategies and shaping up the meta. A notable case in point at this time would be the “right-click Lina”, a hero traditionally played as an offensive spell caster instead. Players discovered this hero’s potential to not only lane well, but to also farm quickly in the mid-game to scale strongly into a scary late game power house. Lina’s pick and win rate have recently both seen surges, and this is all due to players’ explorations and ingenious ideas to keep them ahead of others.

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Lens of Problem Solving
As the meta shifts, players are faced with new challenges and obstacles throughout the game. The best strategies at each point in time are strong because they seem overpowered without having answers. Players must be able to adapt to the enemy team’s strategy and playstyle. They must be able to identify the enemy’s strengths and weaknesses and come up with a plan to counter them. A remarkable example would be The International’s “The Play”, where team Na`Vi was able to counter the oppressive teamfight set up by team IG through LightoOfHeaven’s item prioritization of the item BKB, which allowed them to turn the tides of the teamfight instantly. “The Play” is often used by commentators and analysts to describe a moment of exceptional strategy, and is often replayed and discussed despite its age. Such memorable moments are only possible do to this problem-solving abilities of the players and will forever be highly valued by players and fans-alike.

Conclusion
In conclusion, Dota 2 is a remarkable game that stands out due to its unique and immersive gameplay experience. The game’s aesthetics, mechanics, story and technology all contribute to its success and make it one of the most popular games in the world. The game’s complexity, competitive nature, sense of community and regular updates keep players engaged and invested in the game. These elements combined make for an unparalleled gaming experience that keeps players coming back for more.

Game Summary

Tom Clancy’s Splinter Cell Double Agent (SCDA) is a 2006 stealth action-adventure game. Players play as Sam Fisher, an elite special operations soldier working for the Third Echelon organisation, a black-ops division of the National Security Agency (NSA). In this edition of Splinter Cell, Fisher infiltrates a terrorist organisation known as the John Brown’s Army (JBA) and is sent on various missions for both the NSA and JBA. During each mission, in addition to the main objectives, players have to strike a balance in appeasing both sides, which is influenced by the choices of difficult decisions, how players choose to complete missions, and even whether the player uses lethal or non-lethal means. Where players lie in the balance between the NSA and JBA will result in slight variations in the story, some even affecting gameplay, such as by determining what equipment the player gets for different missions.

The Elemental Tetrad

Aesthetics

The game has realistic and dark visual aesthetics, with a focus on light and shadows. This is not just a cosmetic choice, as the use of darkness plays a pivotal role in Splinter Cell’s stealth gameplay. Such practicality applies to the game’s sound design as well; sounds give players an additional stealth tool and, coupled with the use of music, create tension very effectively.

Technology

At the time (2006), the game had state-of-the-art realism, including physics, lighting, and character animation. SCDA also used (at the time) advanced artificial intelligence for the enemies, allowing them to react realistically to the player’s movements and actions. The AI was powered by SpirOps through the Drive Oriented engine, allowing nondeterministic and ‘clever’ AI enemies.

Mechanics

The Splinter Cell games utilise stealth and action-based game mechanics. Players must navigate through levels (missions) taking whatever approach they see fit, be it a stealth approach, a loud and violent approach, or a mix of the two. Players are also equipped with a variety of gadgets such as snake cameras, various grenades (smoke, EMP, stun, etc…), drones, and the iconic multi-vision goggles.

The mechanic that sets SCDA apart from other games in the Splinter Cell series is the balancing players have to do in order to remain in the good graces of both the NSA and JBA.

Story

Sam Fisher’s story was heavily influenced by social and political events of the time, namely the War on terror, which was officially declared on the 15th of September, 2001, and is ongoing today. Additionally, the story focuses on morality and the consequences of one’s actions, asking the player: “How far will you go to keep your identity secret?”

The Lenses of Game Design

The Lens of Essential Experience

SCDA provides a realistic and challenging experience for players. To complete levels, players must use a mix of skill and puzzle-solving. At the same time, players have full control over how they wish to complete levels, loudly or quietly, or which routes they wish to take to their objective, etc. Such control creates a deeply immersive experience for players.

The Lens of Meaningful Choices

Throughout the game the player is posed with decisions which they will quickly learn has consequences in the future. Kill the guards or knock them out? Give your only weapon to an ‘ally’ or hold onto it for yourself? Share information with the NSA and risk your cover being blown or keep quiet? Many decisions directly affect the player in the near or far future; how much the JBA or NSA trusts you determines what sort of equipment you get, what allies you make and eventually the outcome of the entire story.

“Jamie hates this guy. If I kill him. I’m Jamie’s best buddy for life, which is good for the mission.” -FISHER

The Lens of Fun

Players derive fun from the game by progressing through and completing missions. Each mission presents unique challenges to the player, sometimes calling for a specific approach, presenting a time constraint, or even introducing secondary mechanics like lockpicking or hacking. The keeps the player engaged and having fun throughout the game, allowing them to feel satisfaction whenever they managed to make progress.

The Lens of Curiosity

This lens is primarily driven by the riveting story of SCDA. With each mission, the player unveils more and more of JBA’s terrorist plan, feeding their curiosity while making players eager to learn more. The lens of meaningful choices is also relevant here as players will be curious about what the implications of their actions and decisions might be. These features co-constructively create and indulge the players’ curiosity.

The Lens of Problem Solving

Every section of every mission presents the player with a new problem to solve. Players have to come up with creative solutions using gadgets, exploring different approaches, and learning how different enemies behave, all while being careful yet decisive. Every time a player successfully advances by solving the problem presented to them, they gain the fulfilment of knowing that they figured it out for themselves.

Conclusion

In addition to the game development principles outlined in this article, SCDA employs an assortment of relevant concepts including the lenses of the player, flow, and skill vs chance, just to name a few. While there is no formula for success in game design, there is no doubt that these principles contributed to the largely positive reception the game received from players and critics alike.

Credits

Images are screenshots from AFGuidesHD, Splinter Cell Double Agent (PS2) Gameplay Walkthrough Part 1 – Full Game Movie

Introduction
Slay the Spire (StS) is a deck-building roguelike by Mega Crit Games. Players face waves of enemies to progress through several acts, fighting a boss at each act. The art in StS is relatively simple, and card art designs are created by fans. Albeit having a relatively simple story and almost no game progression, StS managed to capture the hearts of its fans via unique deck-building strategies and “ascension” mechanics, garnering Overwhelmingly Positive reviews on Steam.

Story
StS has a relatively simple story: simply climb to the top of the spire. The player uses 1 of 4 characters and climbs up a spire full of enemies. Each enemy requires different forms of strategies to fight, making each fight a unique experience. Player progress through the tower in 3 “acts”, with a boss fight occurring at the end of each act. At the end of Act 3, the player may unlock a hidden Act 4, which contains the true boss of the game: the heart of the spire itself.

Aesthetics
StS a fantasy world with unique-looking characters, and a simple User Interface for users to track their cards and enemy actions. 2D graphics are used throughout the game, with only occasional particle effects from animations. The music gives off a serious feel, immersing the player in a dangerous and intense climb up to the top.

Technology
StS uses the libGDX Engine. The gist of the game is a single-player card game, where different cards have different effects, such as dealing damage, gaining armour, or dealing buffs/debuffs/other effects. While enemies do not have cards, they perform certain actions, either randomly or in a set pattern, depending on the enemy faced. Backgrounds and sprites simply follow a set animation. As it doesn’t render 3D graphics, lighting/shadows etc, the game runs very smoothly on most systems.

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Gameplay

Though the Aesthetics, Technology and Story may be relatively simple compared to other games in the market, StS’s mechanics is where it shines.

Core Gameplay Loop
Players progress through each act by choosing a route towards a boss, either fighting normal opponents or mid-bosses, visiting shops, healing up or encountering random events. Each node has its fair share of risks and rewards, depending on the player’s risk appetite and deck requirements. To unlock the final boss, the player is also required to collect 3 keys scattered across the maps, adding an additional layer of challenge should they want to do so.

As the player completes a run, the player can choose to increase the difficulty, known as Ascensions, up to a maximum of 20 times, each ascension level introducing a new type of challenge. This is the main form of progression the game offers.

Characters, Cards and Relics
Each of the four characters offers widely different strategies for players to scale the spire. For example, The Ironclad focuses on brute force and solid defences, and the Silent focuses on Damage over Time and flurries of attacks. Each battle can reward new cards and relics, which form a strategy over time. Players can also cut/buy cards at shops to better refine their decks.

Over time, if done right, players can possibly create satisfying broken combos which blast through even the hardest of enemies.

The lens of Problem-Solving
Throughout each run, players are given randomly generated maps, relics and cards. As such, players would have to work with what they currently have or may get in the future. They are forced to think about what kind of strategy they want to build, what cards to keep, and what kind of node to travel to next. The randomness of the risks and rewards causes every run to require a different strategy from the previous ones.

Even during each battle, the problem-solving nature of the game is present: As the player’s hand gets redrawn every turn, players would have to work with what they have that turn and think of how best to use their current hand and find a balance between defence and offence.

The lens of Skill vs Chance
Though the randomly generated maps, cards etc may cause StS to seem very dependent on luck and chance, the game has an incredibly high skill ceiling involved. For example, deck sizes and the proportions of cards in the deck can vastly improve your chances of getting good hands every turn. Managing one’s health and gold, as well as strategizing the best path taken to maximise resources is also an instinct that is gradually developed as one plays through the game multiple times.

Given enough skill, players have beaten the game at maximum difficulty (Ascension 20) up to 20 times in a row, as seen below. As a baseline, many are already happy with beating the game at just the base difficulty.

The lens of Simplicity vs Complexity
StS has a fine balance of simplicity and complexity, as each run can be as complex as a player wants it to be. The player can opt to play a simple “ooga booga, me hit enemy” build relatively easily, by just picking the cards that allow them to do so. However, if the player feels up to the challenge, they can instead go for much more complex builds like Silent Grand Finale, Watcher Infinite Mantra, etc…

Both simple and complex decks are capable in clearing the game if built right. Nevertheless, a base level of complexity is still present in the core gameplay; any deck can fail to climb the spire if not built well.

The lens of Pleasure
The game does not make it easy for players to build an optimized deck. Yet, there is an indescribable pleasure when everything finally clicks. Many fans play for the possibility of building up a complete, optimized deck and watching it decimate everything in its path.

Conclusion

Overall, despite not having a story or much game progression, which is usually the core aspect of many roguelikes, Slay the Spire brings deck-building to a whole new level, allowing it to remain the most popular card-based roguelike to date.

Minecraft. That’s probably all the introduction this game needs. You do 2 things. Mine to gather resources, and then you craft your resources together to progress further. The limits set by the developers: your imagination.

The first thing that strikes you as soon as you load into a Minecraft world is how seemingly endless the world feels. While lacking in story perhaps, the game is a blank slate. A place where you can create your own, and the way the game doesn’t put any restrictions on you is simply unmatched. The game that got me into programming, but that’s a story for another day.

First up: aesthetics. The game uses, by modern standards, extremely low-quality textures. Simple 16×16 pixel art makes up every voxel (called block) in the world you see. Yet, making such simple textures look good is far from easy. There is a fine balance between making sure that each block looks detailed, but not simplistic. While clearer, sharper lines may look like the texture is more detailed, it also lacks depth, making each block look flatter than their cube shape already make them do. Yet, blurring the textures too much makes them look, well, blurry. This fine balance was, and continues to be struck by Lead Pixel Artist at Mojang, Jasper Boerstra.

Of course, the aesthetics are not the only simple part. The mechanics of this game, are also deceptively simple. You use left click to break blocks or attack monsters, and right click to use or place items. However, that is before you factor in the vast number of items in the game. The game lures you in with simple, intuitive controls that are shared among any first person game. WASD for movement, space for jumping. Yet, as you progress further into the game, you find items like the water bucket, that add so much more depth to the mechanics to the game such as being able to nullify all falling damage by simply timing your right click and placing the water below you at the exact right time. This combination of simple inputs and items that change how your character interacts with the world are perfect for a game that really champions player regency and choice — the ideal sandbox game.

Story is something that Minecraft leaves (mostly) to the player. You are as free as you can be in the world, and all the goals for “completing” the game are optional. In fact, you are even allowed to skip all the progression and simply build yourself a town that has a story you yourself want to tell. In this vein, it is hard to find another game that gives you as much freedom, that lets you rebuild the world itself as you see fit.

Finally, technology. The reason that Minecraft is so popular is not simply because of the other 3 points, but that it fulfils all that without needing incredibly powerful hardware. Optimisations like only rendering faces of voxels that can be seen and the lower quality textures means that the game can be run on extremely old hardware, and can support a huge number of modifications if you have the proper hardware to run them. Each world is also run as a server, even single player ones, meaning that you can easily host a local game for friends when inviting them over in the game itself, without having to learn about how to setup game servers at all.

In Minecraft, the experience of the game really starts with surprise. The different sounds made and items dropped from breaking blocks. The recipes they unlock. The items you can derive from those objects. All these contribute to a sense of wonder, with each new block you find filling you with surprise as you wonder what comes next. The sheer amount of blocks in the game, along with yearly updates, means that even after years of playing the game, each time you boot up the game, there is a chance you discover something new, a different feature that maybe you never interacted with in your countless playthroughs of the game. This feeling of surprise is unmatched, and is incredibly simple to recreate for yourself. Just start a new world, and immerse yourself in an entirely new world, right from the beginning.

Where does the fun come in then? Well, the human brain loves rewards for completing tasks, and I feel like nothing else rewards you more than the sounds in the world you hear when you simply play the game. In Minecraft, each action immediately provides you with a satisfying audio feedback. The satisfying pop as a block breaks. The plop when you pick up an item. The cheerful, musical ding that plays when you pick up a bit of experience from killing a monster. The most genius part of the sounds in the game is that they never really repeat themselves. Each sound played is varied in pitch by a little, letting you feel the results of your actions, and rewarding you for each small action, making a normally tedious task like gathering resources seem like a fun activity.

Curiosity as well is something that the game encourages. Throughout most of its lifespan, the game has not had guides for most of its content. Information such as whether you can break a certain block is actively hidden from the player, forcing them to try different things and inadvertently steering them towards the infinite world as they break different items and put them together in different combinations in the crafting table to see what sticks (haha get it). A simple 3×3 crafting grid that lets you place items however you want lets players figure out how items are made on their own, with recipes for items to be crafted arranged in a manner that makes sense, while also rewarding you for experimentation and curiosity.

Of course, the game is not without its flaws. The problem solving required to “complete” the game by the developers’ standards has never really been made clear to the player. The surprise of finding something new is great, but only when it makes sense for the player to find out about that on their own. When the player is required to stumble into things that are not easily deduced from what we know about the real world that Minecraft is trying to emulate, we cannot force the player to use the same method of trial and error to simply find out recipes that make sense. It is in this aspect that Minecraft is lacking, but steps such as a recipe book that lets you know all the items you can craft with items that you have found before have made steps towards making this less of an issue.