As pop culture, games are as important as film or television--but game design has yet to develop a theoretical framework or critical vocabulary. In Rules of Play Katie Salen and Eric Zimmerman present a much-needed primer for this emerging field. They offer a unified model for looking at all kinds of games, from board games and sports to computer and video games. As active participants in game culture, the authors have written Rules of Play as a catalyst for innovation, filled with new concepts, strategies, and methodologies for creating and understanding games..Building an aesthetics of interactive systems, Salen and Zimmerman define core concepts like "play," "design," and "interactivity." They look at games through a series of eighteen "game design schemas," or conceptual frameworks, including games as systems of emergence and information, as contexts for social play, as a storytelling medium, and as sites of cultural resistance.Written for game scholars, game developers, and interactive designers, Rules of Play is a textbook, reference book, and theoretical guide. It is the first comprehensive attempt to establish a solid theoretical framework for the emerging discipline of game design.
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" Rules of Play is an exhaustive, clear, cogent, and complete resource for understanding games and game design. Salen and Zimmerman describe an encyclopedia of game design issues, techniques, and attributes. In particular, they analyze the elements that can make a game experience richer, more interesting, more emotional, more meaningful, and, ultimately, more successful. It should be the first stop you make when learning about game design." Nathan Shedroff , author of Experience Design
" Rules of Play makes a monumental contribution to the development of game theory, criticism, and design. It will instantly become a standard textbook in the field on the basis of its rigor and scope—yet it is written in such an engaging style that many will read it for pleasure. Salen and Zimmerman do for games what Sergei Eisenstein did for cinema—offer an expert practitioner"sperspective on central aspects of the aesthetics and cultural importance of an emerging medium." Henry Jenkins , Director of Comparative Media Studies, MIT
"This is the most impressive book on game design I've ever seen. Broad in scope yet rich in detail, Rules of Play sets a new standard for game analysis." Will Wright , Game Designer of Sim City and The Sims
"*Rules of Play* is an exhaustive, clear, cogent, and complete resource for understanding games and game design. Though successful, the game world is in dire need of innovation -- from the endless repetition of themes and structures, celebrity characters, and movie and television tie-ins -- and this book points the way forward. Salen and Zimmerman describe an encyclopedia of game design issues, techniques, and attributes. In particular, they analyze the elements that can make a game experience richer, more interesting, more emotional, more meaningful, and, ultimately, more successful. It should be the first stop you make when learning about game design."--Nathan Shedroff, author of *Experience Design 1*Please note: Endorser gives permission to excerpt from quote.
"This is the most impressive book on game design I've ever seen. Broad in scope yet rich in detail, *Rules of Play* sets a new standard for game analysis."--Wil Wright, Game Designer of *Sim City* and *The Sims*
"The future is created at the intersection of business, technology, design, and culture. *In the Bubble* is an insightful and delightful explanation of this nexus and of how each force affects the others. Designers often miss a great deal in their educations about the real people who will use and inhabit their work. Thackara astutely illuminates a lot of what designers don't know they're missing."--Nathan Shedroff, author of *Experience Design 1*
About the Author
Katie Salen is Professor of Design and Technology at Parsons the New School for Design. She is the coauthor of Rules of Play: Game Design Fundamentals and coeditor of The Game Design Reader: A Rules of Play Anthology and The Ecology of Games: Connecting Youth, Media and Learning, all published by the MIT Press. She is also Executive Director of Institute of Play, a design-led games and learning nonprofit.
Eric Zimmerman is a game designer, game design theorist, and co-founder and CEO of gameLab. He has taught at universities including MIT, the University of Texas, Parsons School of Design, New York University, Rhode Island School of Design, and the School of Visual Arts.
Eric Zimmerman is a game designer, game design theorist, and co-founder and CEO of gameLab. He has taught at universities including MIT, the University of Texas, Parsons School of Design, New York University, Rhode Island School of Design, and the School of Visual Arts.
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88 of 98 people found the following review helpful
Format:Hardcover|Amazon Verified Purchase
There are very few books about the theory of game design. Most of the books which purport to be about game design theory have titles like _Game Design: Theory and Practice_ [Richard Rouse III: 2001], and focus much more on the latter than the former, usually in the context of commercial computer games. The exceptions to this rule generally approach the subject of game design theory from a particular perspective, e.g., as a communication method or "future's language." [Duke: 1974] So when _Rules of Play: Game Design Fundamentals_ (by Katie Salen and Eric Zimmerman) was published by MIT Press in 2004, I took immediate interest.
The book largely lived up to expectations. Weighing in at a hefty 672 pages of relatively small type, this textbook-format tome is, as the title might suggest, heavy on game design theory but light on practice. This makes it a excellent complement to the established game design literature.
Structurally, the book is fairly straightforward and is divided into four major sections: Core Concepts, Rules, Play, and Culture, each of which is capped by an essay or a game design by an established game designer written especially for this volume.
The first section (together with two brief chapters preceeding it) discusses necessary background ideas, defining important terms and presenting concepts to be built upon later. Besides preparing the reader for the next 500 pages, it's in this section that the authors accomplish one of their primary goals of the book: creating a game design vocabulary. Creating such a critical vocabulary, they argue, is an important step towards treating game design as a discipline, because you need such a tool to education game designers, to pass skills and knowledge from one generation of designers to another, to faciliate audience-building by enabling critical discussion of games, and finally as a buffer against criticism, by giving "us" -- a word which takes on new meaning in the last third of the book, when they discuss the various ways players become de facto game designers -- the vocabulary and understanding to defend gaming as an activity from those who would censor it. These points are borrowed from an essay by Henry Jenkins, a media theorist and game scholar who is also the head of the Comparative Media Studies program at MIT. (As a quick sidebar, this book may be worth buying for the bibliography alone.) Of course, vocabulary is only the start of an effort to establish a "critical discourse for game design." Or, as Salen and Zimmerman explain, "a critical vocabulary lets us talk to each other."
The last three sections of the book form the beginnings of that critical discourse. Each of these sections highlights a specific primary schema ("a conceptual lens we can apply to the analysis or creation of a game"), with most of the chapters in these sections focusing on related lower-level schemas. For example, in the section on the schema "Games as Play," there is a chapter on "Games as Narrative Play," which examines both narrative elements of games and narrative as a result of game play. These schema-based chapters borrow heavily from a wide variety of disciplines, and it is through these schemas that major insights regarding game design can be found. (For instance, the chapter on "Games as the Play of Pleasure" has an interesting discussion of the importance of short-term goals, which serve both to help players make plans in a game, and also provide moments of satisfaction when these goals are reached.) A lot of these insights will not be new to experienced game designers, but what is new is the systematic framework in which the insight is embedded.
Or, more correctly, frameworks. I would argue that this multiple-perspective approach is the book's primary strength. Rather than taking a given theoretical construct and forcing all of "games" into it, it starts with a few core concepts and then generates a plethora of interrelated-but-distinct models with which to examine any game. Any given model may or may not be suited to an individual game -- or, perhaps more accurately, may or may not have the potential to produce new insights -- but as a whole they are a powerful collection of tools. If you have a hammer, the old saying goes, everything looks like a nail. In this case, Salen and Zimmerman have handed the reader a fairly complete toolbox. (Note that I will admit to shoehorning this analogy into place just a little bit. A hammer is construction tool, not an analysis tool; it's job is on the *practical end*, not the theoretical. A better analogy would be a toolbox that contains an MRI machine, a spectrograph, an x-ray machine, a CAT scanner, and a simple camera, but I don't know of any old sayings that use those particular tools.) This comprehensive approach draws on a wide variety of disciplines, from pyschology and literature to software engineering. Within the field of games it casts an equally wide net, drawing examples from computer games, parlor games, Live Action Roleplaying Games, boardgames, professional sports, schoolyard games, and others. It's not unusual for one paragraph to discuss a game like Chutes and Ladders, the next to discuss professional basketball, and a third to discuss Quake. Such a diverse treatment of the subject guarantees that there is always an example available for a type of game the reader is familar with, even if the inevitable result is a little bit of shoehorning of examples. (I remain unconvinced, for example, that Tic Tac Toe is really a "territorial acquisition" game.) There are also plenty of new games to learn about -- for instance, did you know that someone ran a live action PacMan game in New York City? This comprehensiveness extends to the bibliography and footnotes.
Another strength derives directly from one of the goals of the book: the authors are attempting to create a vocabulary. As a result, they are meticulous about defining terms, especially when they are borrowing concepts from other disciplines. This can occasionally be a little tiresome, but in the end it's always worth the effort.
The weaknesses of the book are in many ways mirror images of the strengths -- it's occasionally too theoretical, too comprehensive, and too multi-disciplinary. It tends to wordiness, and occasionally the authors seem to base significant points on what one could argue is a word game, e.g., they draw upon the definition of play as in "loose" ("too much play in the fan belt") when defining the idea of "playing a game" or "game as a form of play." It's a clever little example of creative pseudo-etymology, but I'm not sure that I buy the construct, even if it does seem to offer insight on occasion. (Note that I originally wrote "play on words" rather than "word game.")
One glaring void in this comprehensive approach, ironically, is that the book doesn't really focus on games that are played for reasons other than the pleasure of the participants. Professional military games are mentioned only in passing, large seminar games not at all, and it's probably safe to say that when one thinks of DOD gaming, such concepts as "Games as Cultural Resistance" (chapter 32) are probably not the sort of idea that comes to mind. Indeed, much of the sections on "Play" and "Culture" might seem to be inapplicable to the type of gaming sponsored by DOD, because they do not address the unique reasons as to why military organizations participate in the creation and playing of games.
I think that conclusion would be a mistake. The motivation as to why individuals play DOD games is certainly different than the motivation of your average _Vampire: The Masqerade_ player, but the mechanisms by which a player finds the experience meaningful probably isn't. A bored or alienated player is bored or alienated, regardless of whether he's playing in the latest first-person shooter on his own initiative or Millenium Challenge because he was told to be there. If anything, these issues might be more important in a military games context: Joe Civilian Gamer can simply stop playing DOOM if he gets bored, but gamers that are forced into situations they don't want to be in have a tendency to cease their willing suspension of disbelief ("step outside the magic circle," as Salen and Zimmerman would say) and cause problems for others as well.
So, in short, I think the book is worth the time and the price tag ($50 list), both for game designers in general and professional military game designers in particular.
The book largely lived up to expectations. Weighing in at a hefty 672 pages of relatively small type, this textbook-format tome is, as the title might suggest, heavy on game design theory but light on practice. This makes it a excellent complement to the established game design literature.
Structurally, the book is fairly straightforward and is divided into four major sections: Core Concepts, Rules, Play, and Culture, each of which is capped by an essay or a game design by an established game designer written especially for this volume.
The first section (together with two brief chapters preceeding it) discusses necessary background ideas, defining important terms and presenting concepts to be built upon later. Besides preparing the reader for the next 500 pages, it's in this section that the authors accomplish one of their primary goals of the book: creating a game design vocabulary. Creating such a critical vocabulary, they argue, is an important step towards treating game design as a discipline, because you need such a tool to education game designers, to pass skills and knowledge from one generation of designers to another, to faciliate audience-building by enabling critical discussion of games, and finally as a buffer against criticism, by giving "us" -- a word which takes on new meaning in the last third of the book, when they discuss the various ways players become de facto game designers -- the vocabulary and understanding to defend gaming as an activity from those who would censor it. These points are borrowed from an essay by Henry Jenkins, a media theorist and game scholar who is also the head of the Comparative Media Studies program at MIT. (As a quick sidebar, this book may be worth buying for the bibliography alone.) Of course, vocabulary is only the start of an effort to establish a "critical discourse for game design." Or, as Salen and Zimmerman explain, "a critical vocabulary lets us talk to each other."
The last three sections of the book form the beginnings of that critical discourse. Each of these sections highlights a specific primary schema ("a conceptual lens we can apply to the analysis or creation of a game"), with most of the chapters in these sections focusing on related lower-level schemas. For example, in the section on the schema "Games as Play," there is a chapter on "Games as Narrative Play," which examines both narrative elements of games and narrative as a result of game play. These schema-based chapters borrow heavily from a wide variety of disciplines, and it is through these schemas that major insights regarding game design can be found. (For instance, the chapter on "Games as the Play of Pleasure" has an interesting discussion of the importance of short-term goals, which serve both to help players make plans in a game, and also provide moments of satisfaction when these goals are reached.) A lot of these insights will not be new to experienced game designers, but what is new is the systematic framework in which the insight is embedded.
Or, more correctly, frameworks. I would argue that this multiple-perspective approach is the book's primary strength. Rather than taking a given theoretical construct and forcing all of "games" into it, it starts with a few core concepts and then generates a plethora of interrelated-but-distinct models with which to examine any game. Any given model may or may not be suited to an individual game -- or, perhaps more accurately, may or may not have the potential to produce new insights -- but as a whole they are a powerful collection of tools. If you have a hammer, the old saying goes, everything looks like a nail. In this case, Salen and Zimmerman have handed the reader a fairly complete toolbox. (Note that I will admit to shoehorning this analogy into place just a little bit. A hammer is construction tool, not an analysis tool; it's job is on the *practical end*, not the theoretical. A better analogy would be a toolbox that contains an MRI machine, a spectrograph, an x-ray machine, a CAT scanner, and a simple camera, but I don't know of any old sayings that use those particular tools.) This comprehensive approach draws on a wide variety of disciplines, from pyschology and literature to software engineering. Within the field of games it casts an equally wide net, drawing examples from computer games, parlor games, Live Action Roleplaying Games, boardgames, professional sports, schoolyard games, and others. It's not unusual for one paragraph to discuss a game like Chutes and Ladders, the next to discuss professional basketball, and a third to discuss Quake. Such a diverse treatment of the subject guarantees that there is always an example available for a type of game the reader is familar with, even if the inevitable result is a little bit of shoehorning of examples. (I remain unconvinced, for example, that Tic Tac Toe is really a "territorial acquisition" game.) There are also plenty of new games to learn about -- for instance, did you know that someone ran a live action PacMan game in New York City? This comprehensiveness extends to the bibliography and footnotes.
Another strength derives directly from one of the goals of the book: the authors are attempting to create a vocabulary. As a result, they are meticulous about defining terms, especially when they are borrowing concepts from other disciplines. This can occasionally be a little tiresome, but in the end it's always worth the effort.
The weaknesses of the book are in many ways mirror images of the strengths -- it's occasionally too theoretical, too comprehensive, and too multi-disciplinary. It tends to wordiness, and occasionally the authors seem to base significant points on what one could argue is a word game, e.g., they draw upon the definition of play as in "loose" ("too much play in the fan belt") when defining the idea of "playing a game" or "game as a form of play." It's a clever little example of creative pseudo-etymology, but I'm not sure that I buy the construct, even if it does seem to offer insight on occasion. (Note that I originally wrote "play on words" rather than "word game.")
One glaring void in this comprehensive approach, ironically, is that the book doesn't really focus on games that are played for reasons other than the pleasure of the participants. Professional military games are mentioned only in passing, large seminar games not at all, and it's probably safe to say that when one thinks of DOD gaming, such concepts as "Games as Cultural Resistance" (chapter 32) are probably not the sort of idea that comes to mind. Indeed, much of the sections on "Play" and "Culture" might seem to be inapplicable to the type of gaming sponsored by DOD, because they do not address the unique reasons as to why military organizations participate in the creation and playing of games.
I think that conclusion would be a mistake. The motivation as to why individuals play DOD games is certainly different than the motivation of your average _Vampire: The Masqerade_ player, but the mechanisms by which a player finds the experience meaningful probably isn't. A bored or alienated player is bored or alienated, regardless of whether he's playing in the latest first-person shooter on his own initiative or Millenium Challenge because he was told to be there. If anything, these issues might be more important in a military games context: Joe Civilian Gamer can simply stop playing DOOM if he gets bored, but gamers that are forced into situations they don't want to be in have a tendency to cease their willing suspension of disbelief ("step outside the magic circle," as Salen and Zimmerman would say) and cause problems for others as well.
So, in short, I think the book is worth the time and the price tag ($50 list), both for game designers in general and professional military game designers in particular.
30 of 31 people found the following review helpful
Format:Hardcover
First, let me say that if you want to learn to use a technology like DirectX, OpenGL, C++, or Your Favorite Game Engine to build a computer game, this is absolutely not the book for you. Most of its examples don't even come from computer games, although the authors are fully aware of games like Warcraft and Unreal Tournament.
This is a book about *fundamentals of gameplay*, independent of any particular physical realization. It addresses the deep, underlying elements of designing an engaging, effective game, drawing on a variety of social and technical fields. The first unit focuses on defining the properties of effective games and the different "frames" or viewpoints from which they focus on gameplay. The rest of the book focuses on describing games from these viewpoints in a variety of ways by tying them into concepts used in other fields such as probability and semiotics. While one might expect such a drawing together of disparate elements to result in an wandering mishmash, the authors' continuous focus on the application of game design keeps this from occurring.
As for audience, this book does not require a background in mathematics, computer science, sociology, or any of the other areas it draws from; except for an assumed knowledge of various well-known games, it is self-contained. In fact, those with background in these areas may wish to skip a few sections that cover their basics. Just about anyone can read this book and get a lot out of it, although it is a deep treatment and requires careful thought to get the most out of it. Not a quick pleasure read.
It also evidently had a large budget, because it includes a variety of fitting photographs, commissioned games for the book to use, and a commissioned essay.
In short, if you want to learn how to write a game, given a design, this really isn't the book for you. If you want to learn to design your own games and understand gameplay and game design at a much deeper level, there is no substitute for this book.
This is a book about *fundamentals of gameplay*, independent of any particular physical realization. It addresses the deep, underlying elements of designing an engaging, effective game, drawing on a variety of social and technical fields. The first unit focuses on defining the properties of effective games and the different "frames" or viewpoints from which they focus on gameplay. The rest of the book focuses on describing games from these viewpoints in a variety of ways by tying them into concepts used in other fields such as probability and semiotics. While one might expect such a drawing together of disparate elements to result in an wandering mishmash, the authors' continuous focus on the application of game design keeps this from occurring.
As for audience, this book does not require a background in mathematics, computer science, sociology, or any of the other areas it draws from; except for an assumed knowledge of various well-known games, it is self-contained. In fact, those with background in these areas may wish to skip a few sections that cover their basics. Just about anyone can read this book and get a lot out of it, although it is a deep treatment and requires careful thought to get the most out of it. Not a quick pleasure read.
It also evidently had a large budget, because it includes a variety of fitting photographs, commissioned games for the book to use, and a commissioned essay.
In short, if you want to learn how to write a game, given a design, this really isn't the book for you. If you want to learn to design your own games and understand gameplay and game design at a much deeper level, there is no substitute for this book.
42 of 46 people found the following review helpful
By A Customer
Format:Hardcover
If you're looking for a "how to" book on game design, don't buy Rules of Play. It won't tell you how to write a design doc, or how to reward players with powerups, or how to write puzzles, or how to work with technology. There's plenty of books that cover those aspects already (Richard Rouse, Ernest Adams, etc.)
Instead, Rules of Play is all about fundamental game concepts. What are games, really? What are the different models to look at games? Rules of Play gives you an enormous understanding of the actual mechanics of gameplay that no other book has offered to date.
Other reviewers are upset by the fact that this book uses both digital and board games as examples. A lot of them discredit the authors because they haven't designed any games they've heard about. That's pretty shortsighted, and unappreciative of the valuable high-level concepts presented in this book.
A game played with dice might not have Isomorphic Real-Time X-Treme Bloomed Shadowing Effects, but it does have a pureness that will allow you to look at the game undistracted by its superficial elements.
Is John Carmack more qualified to talk about games? If that's what you think, you're probably a programmer at heart -- not a game designer.
Most Recent Customer Reviews
5.0 out of 5 stars
Amazing book!
This is the first time I have ever gotten into game design and I have to say I am blown away by how easy yet deep this book can be.
Published 1 month ago by Kevin Flint
5.0 out of 5 stars
Great book one of the must-read in game design
There is nothing that can be said about this book. It is quite long but every word is worth reading. Everybody who want to work in game design must read this.
Published 2 months ago by mboaj
3.0 out of 5 stars
I still don't know why this book was required for school
I read through it and pretty much has some common sense stuff about games. Things that are easy to figure out on your own. Read more
Published 3 months ago by Andrew
5.0 out of 5 stars
Rules of Play:Used
Very good condition, ordered during holiday time came in a timely fashion. It was a gift for my brother and he really loves it. Thank you!
Published 4 months ago by Blaire Langston
5.0 out of 5 stars
If you design board games, you'll want to read this book
In addition to being a professional programmer, my husband designs (and plays) board games as a hobby. Read more
Published 4 months ago by E. Taylor
5.0 out of 5 stars
This book is amazing!
This book was the textbook for a game design class I recently completed and it is the best textbook I have ever had the privilege of reading. Read more
Published 4 months ago by Austin Schiff
5.0 out of 5 stars
Game (as in games of play) Theory Condensed
This book is great, it takes essays written by various members of the gaming industry, sociology, psychology and further; written about games (be they board games, card games,... Read more
Published 5 months ago by Eric Wilson
3.0 out of 5 stars
Great but limited
Rules of Play is an important and great book, but not one that I recommend to most people. If you're looking to get into the games industry, there are better books. Read more
Published on May 28, 2009 by Tom
5.0 out of 5 stars
Good Analysis
Rules of Play does a great job of looking at videogames as an art form, rather than a hobby, through its analysis' of what constitutes a game, why rules are necessary, the... Read more
Published on February 18, 2009 by Matthew B. Becker
1.0 out of 5 stars
Does this book help you to create good/fun games?
Simple No. Making games should be fun, playing games should be fun. Why this book makes telling how to create games so academic? Read more
Published on October 20, 2008 by Ilvessuo Antti
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