[Dr. CKeymaster Rupees: 1,000 RupeesRank: Magic Sword]

This week, you read Chapter 6 (“The Elements Support a Theme”) of Schell’s The Art of Game Design.

Discuss, analyze, and reflect on this chapter in this discussion forum.

You must post at least once by 11:59 pm on Friday, September 16th… and you must respond to at least three of your classmates’ posts by 11:59 pm on Monday, September 19th.

As was the case last week, this is NOT a prescriptive post. The point is to have a conversation and to learn more about game design together. (You did this wonderfully last week — so, keep it up!)

To that end, here are some things you might discuss in your post:

– Quotes that you found to be especially insightful, along with explanations of why you selected these quotes.
– Questions that the readings raised for you — about your own experiences playing games, or about the way you previously thought about game design.
– Any “AHA!” moments you might have experienced, if the readings prompted you to suddenly see or understand something in a different light.
– Connections to your experience playing a game as part of last week’s quest.
– Questions you might have for your classmates (“Did anyone else think ___ about the part where Schell says ___…?”)
– Anything else, really, that’s notable, interesting, and discussion-worthy.

Have fun!

• This topic was modified 3 years, 1 month ago by Dr. C.

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This chapter was very interesting for the fact that I knew what a theme was in an English essay, but I never thought about what it would be in a game. Not only does it have to be the basic idea of the story in a game, it is also a perspective and position that the main character will play. It is about the beliefs of the characters and also about the history between the characters and their connection to the setting of the story. When he goes on to talk about the eyes of Bluebeard, it kind of expanded my mind on what can be included in a theme, and how important it is for the game to not break character.

My favorite part of this chapter is on page 62, when Schell says that “theme is more important than tradition.” Thoughts on this?

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Hi Vallika!
The quote you chose at the end of your response was definitely very thought provoking. I feel like tradition and theme don’t necessarily outweigh each other. I agree with Schell that sticking to the theme to enhance the user experience makes the game experience holistically better. This was evident in the small details that were changed in the Pirates of the Caribbean example, from air conditioning to the controls on the game itself. However, tradition and the comfort of the standard game experience might draw players into a game. For example, there are countless versions of fighter-style arcade games like street fighter, and while they might not stick to the theme exactly, the use of this “standard” game style creates nostalgia and familiarity that makes it easier to play the game. Once a game gets too confusing, players might be discouraged from playing.

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When Schell says that theme is more important than tradition, I think he means that you should abandon tradition if it conflicts with your theme. For example, he says that the pirate tradition is that when you die, there’s a penalty. This conflicted with his theme of living the pirate fantasy. Sometimes designing a video game based on tradition spoils the game. Instead, game designers should focus more on the theme and add/remove elements according to the theme. The theme is what helps deliver the experience to the players, not tradition.

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Hi Vallika,

Like you, before I read this chapter, the only time I really used the word “theme” was back in English when I was writing an analytical essay of a book or article. However, Schell explained very well the meaning of theme in games and game design, and it is really interesting to look back on games that I have played in the past, and recognize the themes that I didn’t before. As for your question, I would have to agree with Schell that the theme is more important than tradition. I have learned since the beginning of this book that many aspects of game design are subjective, from game design definitions to elements of the game, including the themes of each game. When a person comes up with their own theme or a theme that they connect more to the game and gain a better experience after playing, compared to tradition.

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Hi Vallika!
I also mentioned how Schell’s idea of theme was eye-opening as I am only used to seeing it in an English-writing format. However, after hearing him explain theme, it makes sense that you would want all of the little elements for your game to flow in one consistent manner (aka theme).
As far as your question goes, I certainly agree with Schell. I think people are so afraid to go against the grain in terms of trying something new, that it’s actually refreshing when people go against tradition to make their game more interesting and theme based. Great question!

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Hi!
I totally agree with your point on how the only time I ever thought of a theme was in english class. Schell really expanded on that point in a way that shows how themes are applicable to a host of different subjects, or in this case, story games. For your question, I agree with Schell. Theme is the central point of the story so if you want to make an original story, sometimes traditional elements must be abandoned.

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Theme allows for innovation, while tradition is kind of the opposite of that. I think in this way, theme does outweigh tradition. While there is a feeling of safety with taking traditional routes, sometimes the traditional way of doing things doesn’t suit a certain game. For example, while the trio of “healer,” “tank,” “dps” is good traditionally, it would have probably overcomplicated Super Mario. Sometimes people might follow tradition too much and not realize that what’s traditional isn’t working.

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Hi Vallika,
I also love the idea of implicating themes into video games, it’s something that I’ve never thought of really doing, but doing so will make games so much more enjoyable. The amount of dedication that these game developers put into these games to have some of the most creative themes is just amazing to me, and definitely should not be taken for granted. In regards to theme being more important than tradition, I feel like it depends on what the game is to be honest. If you have a game that’s a series, I feel like tradition would be more important than a theme in that sense.

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A super interesting concept that was shared at the beginning of this chapter was that “at their technological limit, games
will subsume all other media”. I always thought that film would be the all-encompassing form of media, as it can include music, art, animation, design, cinematography, and other types of media within it. However, Schell’s analysis revealed that today’s games are so technologically complex that they can incorporate so many more components than their previous counterparts — text, video, and expression of different parts of human life.

One question I had about this chapter was regarding the definition of a theme. In the Pirates of the Caribbean example given By Schell, he suggests some original possibilities of themes he brainstormed, such as “Pirates are villains and must be destroyed” or “A search for hidden pirate treasure”. I am having a hard time distinguishing these as themes as opposed to objectives/goals, especially as the final theme he chose sounded much more generic: “the fantasy of being a pirate”.

On the same topic of the Pirates of the Caribbean excerpt, I found some of the listed examples of components he had to consider very thought-provoking. For example, Schell mentions that rather than creating a shelf for players to place their stuff, they created a bag that looked like fishing net. This was really a “wow” moment for me, as I realized that the user experience doesn’t start when a user starts playing a game, but rather upon their first interaction with simply walking up to the game. Even the ambient conditions, such as placing air conditioning vents at the front of the ship, were considered to most effectively mirror the pirate experience. This made me wonder how companies in the game industry strategically enhance the gaming experience. For example, do board game manufacturers use specific colors, textures, materials, and other tactile characteristics to entice players and promote a more real-life experience?

One quote that stook out to me at the end of the chapter was the following: “We bury important things deep inside our-
selves, and when something causes them to resonate, it shakes us to our very core”. I found it very moving that Schell was able to connect the idea of resonant themes to human experience and lessons that apply to our individual lives. A week ago, before doin any reading on game designs, I would have been shocked to hear that games can provide meaning and purpose. However, with examples from Titanic to Toontown being broken down into these hidden themes, I understand how nearly every game requires us to analyze deeper than the surface.

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To answer your question about themes, Maria, first we should talk about what a theme is. My interpretation of theme is any central idea that explains the beliefs of the characters in a game, the connection/history between the characters and their environment, what the goals of the characters are, what the message of the game is, etc. For example, as you said, the difference between “Pirates are villains and must be destroyed,” “a search for hidden pirate treasure,” and “the fantasy of being a pirate” seems unclear until looked at through this lens. The first one would be a game where the player’s job is to take out pirates; the pirates in this game would be evil-looking and cruel (like they show Black Bear and Davy Jones in Pirates of the Caribbean), worthy of the objective. The second theme would create a game like Uncharted, where the player would feel the true adventure of treasure-hunting. The third theme would show piracy as a beautiful experience (funny, romantic, and freeing) like the Pirates of the Caribbean movies do.

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Hi, I really enjoyed reading your take on this chapter. I love how Schell shows that movies and other recorded forms of media aren’t the only things that can properly convey human experiences. As technology has advanced, the graphical factors of videogames have improved drastically, one of my favorite examples being Detroit: Become Human. The game does a great job of mixing a large number of independent stories towards a common conclusion. Within these stories, the theme carries a large factor of the intenseness of the plot and it truly conveys human struggle and robot struggle seamlessly.

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When writing essays, short stories, or any sort of exposition, it is imperative to have a central theme. Similarly, we, as game designers, must also have a theme according to Schell’s Lens #11: The Lens of Unification. This lens is very interesting to me as it takes a more analytical approach to game designing where we almost have to look at the game from a zoomed-in perspective to ensure that all the little parts of the game can contribute to one central theme. When discussing the various ways to contribute to the theme, Schell mentioned a few key aspects that really stuck out to me. One of them is motion platform which makes the place feel like they are standing on whatever object the game prompts. For example, in Fornite, when you slide down mountains, the game shakes and rumbles to emulate your feet gliding along the rough mountain edge. Schell also talks about audio which is crucial to nearly any game. Once again, Fornite also has audio features such as approaching footsteps and gun shooting that add to the overall theme of survival mode. In Schell’s example of a pirate ship he also talks about things like lighting, bags that looked like fishing nets for people to carry their stuff, and even air conditioning which all contribute to his theme. Having a well-developed theme that uses all of these different key elements can further enhance a player’s experience, which is what all game designers want.

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Hi Gabrielle!
I really liked your connection to Fortnite and going down a hill. It made me think about the rise of popularity in Virtual Reality gaming platforms (like the Oculus), which can do an even better job of simulating motion experiences through VR. I wonder if VR technology will become the gaming standard in the future, and how we’ll even be able to distinguish games from reality. I also liked lens 11 (unification), but for different reasons. For me, this lens really seemed more holistic as opposed to analytical. The previous lenses took a deep dive on the complexity of game design, whereas this lens really used a few key examples to showcase the entire game experience from before a player even interacts with the game to the time the game was over. It really highlighted how the game experience is one continuous experience, and how every single second and possible interaction with the game must be considered.

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I agree with a lot of the points you made. Having a theme that incorporates the elemental tetrad is important, as that is what is explained in Lens #11. The ultimate goal of a game designer is to deliver an experience. When people play video games, they experience different feelings; they attain different goals by facing challenges. They overcome conflicts in order to solve the problems posed by the game. In doing so, they can defeat their opponents or be defeated. Of course, this happens in an artificial world, but when comparing the type of experiences shaped by video games, I find that some of them can faithfully emulate real-life situations and that is what can make these alternative realities so powerful.

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Hi Gabby!

I really enjoyed reading your response to this chapter, I liked how you were able to connect the major points that Schell made this chapter back to Fortnite. I absolutely agree with everything that you said, and all of the comparisons you made between the chapter and Fortnite. Specifically, I would like to comment on how you pointed out that all four elements are always included to make sure the player has the best experience, and how the elements are used to reinforce a well-developed theme.

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I think it’s such an obvious thing to think about that I often overlook. Sometime when writing or creating things, I think of ideas and mash them together without thinking about what supports my main point. If something can be seen as excess it should be cut out. No matter how cool something is, or how much I may love that details, if it doesn’t support the final vision, it shouldn’t be there.

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Even though it is a simple topic to discuss, it is so simple that it is easy to mess up and fumble. The main problem with designers today is creating a topic that is so complex that the story line becomes redundant and slow. With games that pace out the simple plot, they can effectively ensure a superior product to a complex fast game.

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One particular quote that stood out to me was when Schell explained, “When this experience is one that resonates with the fantasies and desires of your players, it will be an experience that quickly becomes important to them. But there is another kind of theme that can be just as resonant as an experience-based theme, sometimes more so. This is the truth-based theme” (page 63). I understand Schell’s explanation, but it makes me think about how so many people play games or watch movies for the feeling of escape and living in a different world, so isn’t truth-based themes the complete opposite of achieving that feeling? Is it just because the truth can be so forceful or eye-opening that it attracts attention?

The biggest “AHA” moment for me was the realization that every game really does have one or more underlying themes, even if the player themselves are self-aware about these themes. For instance, I also that that when I played the card game War, it was just a game of luck and something to play while killing time. I never realized that the theme of the game could be connected back to fate, and the concept of not being able to single-handedly control your own fate.

Also, back to when Schell was talking about the game-haters, or the people that think that games are meaningless, if they gain a memorable experience from the game, doesn’t that make the game meaningful? Without the game, there would be no experience for them to look back on, what do you guys think about that?

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Hi Jazz! I like your analysis of the underlying themes of the game War. One thing I’ll add is that the game can also have a theme of accepting defeat. Because players don’t know the outcome of the game until it’s already being played, they have no choice to accept defeat when it comes– there is simply no time to prepare or avoid it. As for the question you posed, I feel like truth based games can also be an escape from reality. When playing a truth-based games, you are teleported to a world so similar to your own, yet such a cookie-cutter version that eliminates many of the complexities and hardships of real life. This picture-perfect image might be more comforting and more of an escape than a completely fantastical world with dragons and wizards. It can be a taste of ‘what could’ve been’.

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Wow your question really got me thinking, Jaz! And while I do agree with what you said Maria, it’s also possible that truth-games are the opposite of what you said. Maybe instead of an escape it is clarity and support for the feelings of the player. These games may serve as some type of therapy. Through the eyes of the character, the player can see themselves, can empathize, and can maybe understand themselves/their own struggles a little bit better. It could offer a feeling of support. Often characters in games are strong, hero-types that people aspire to be like. To see a little bit of yourself in someone you think is cool may offer some feeling of not being alone in a situation. I believe that just as escapes can be comforting, so can embracing oneself and facing internal problems head-on.

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Hi Jasmine!!
You pose a really interesting question about the truth-based theme. I think truth-based themes take things that we know to be true or common and elevate them into a gaming experience rather than taking something completely unreal and turning those into a gaming experience. I think truth-based gaming can actually be really cool as it could give a playful attitude to life-like situations. However, I always have enjoyed more fantasy/unrealistic gameplay, myself.

Your relation of the game, War, to fate was really great. It’s almost similar to Go Fish in which you test your luck guessing, almost like your actually going fishing and have to find the best spot, but you have to test the waters first. This post made me think about many hidden messages or themes within the simplest of games!

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Chapter 6 discusses the importance of themes in games. One thing I thought was interesting is the idea that games are the only story-telling medium that can deliver its theme through the “experience”. Books, movies, poems, etc. all carry their themes through various writing and storytelling techniques. While these can certainly be used to carry the theme in a game, games have a unique ability to express a theme using only experience. For instance, a competitive sports match does not contain words but still has meaning/significance through drama, camaraderie, rivalry, etc. This sports match may then have the theme of “the empowerment and thrill of unity in teams”.
This is expressed in Lens #11: The Lens of Unification, meaning that the game must have a unified theme reinforced as must as possible. Schell maintains that the best themes are ones that resonate widely, and I agree. Games should be first based on simple yet widely resonant themes but can then have a deeper message. For instance, a core theme of the game “Night in the Woods” is simply having fun with old friends, but the deeper message is about the detrimental effects of capitalism on small towns in the US. The core theme excites players and makes them want to play, while the deeper message creates a meaningful story.

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I agree. I think the only way to understand a game’s theme is through experiencing it firsthand. One has to fully immerse themselves in the game to understand what it is that the game is trying to deliver. Being able to incorporate resonance within your theme is crucial because you want the players to be able to connect the game to different aspects of their life.

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Hi Julia!

I completely agree, there is a difference between establishing a theme by reading or watching something, and then actually going through a personal experience to recognize the theme. I think it establishes a much stronger connection between player and game, since the player is using their freedom and the game’s spontaneity to connect back to the theme. I also like your comparison of one theme versus the overall theme of “Night in the Woods”, because it is absolutely correct. While people may think this game is just to have fun, there is an underlying theme that is being reinforced, although not always recognized.

[ArchiveParticipant Rupees: 0 RupeesRank: Newbie]

Chapter 6 discusses the importance of themes in games. One thing I thought was interesting is the idea that games are the only story-telling medium that can deliver its theme through the “experience”. Books, movies, poems, etc. all carry their themes through various writing and storytelling techniques. While these can certainly be used to carry the theme in a game, games have a unique ability to express a theme using only experience. For instance, a competitive sports match does not contain words but still has meaning/significance through drama, camaraderie, rivalry, etc. This sports match may then have the theme of “the empowerment and thrill of unity in teams”.
This is expressed in Lens #11: The Lens of Unification, meaning that the game must have a unified theme reinforced as must as possible. Schell maintains that the best themes are ones that resonate widely, and I agree. Games should be first based on simple yet widely resonant themes but can then have a deeper message. For instance, a core theme of the game “Night in the Woods” is simply having fun with old friends, but the deeper message is about the detrimental effects of capitalism on small towns in the US. The core theme excites players and makes them want to play, while the deeper message creates a meaningful story.

Hi Julia!
I agree with your statements about the difference in experience between traditional mediums like books or movies compared to games. I think the experience in games is quite special as unlike in movies or books, it’s up to the player to create their story in a game. Players must use their imagination to form their own gaming experience whereas movies or books almost hand you the “experience” on a silver platter.
I also agree with the fact that every game should have messages within themes or even hidden/deeper messages within a larger theme. Great analysis!

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Hi Julia,

Completely agreed, especially on how unique games are as a medium. I really want to touch on how games are able to tell stories “using only experience.” For video games, I’m a big fan of the Mass Effect series. It’s a sci-fi role-playing game where you play as a military commander in a massive world of human and alien species. I remember reading that one of the voice actors for that game, Courtenay Taylor, pointed out that the relationship she has with her fans is so unique compared to any other type of acting. When she acts for TV, she gets recognized as “the actor from that one TV show.” For Mass Effect fans, it’s more of a “Hey, that’s my friend and we fought a war together!” Game designers have an opportunity to be effective storytellers by capitalizing on the unique strengths of games.

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I also think it is really cool how essential a theme is to a player’s experience in games. It is not just dialogue someone says, or a setting, but a combination of all elements of a game that work together to deliver the best experience possible. Even if the theme is not directly stated, what matters is that the player gets the message through all the game’s components working to deliver a fun and memorable experience.

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Hi Julia,

I love how you described games having a unique ability to express a theme using only experience. I also liked the comparison with english literature in the beginning of the chapter, because I never thought that games would have themes that run that deep, but that’s what makes the experience so special and unique to each person that is playing it. Great analysis!

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I really like what you said about the relationship between core themes and deeper messages; they really are what gives a game personality and depth.

I’ve noticed that with games like Assassin’s Creed. At face value, it is a first-person fighting game. But when you look deeper, it is so much more complicated. They talk about using people who are different (the main character can remember things that didn’t happen to him) as science experiments, reincarnation, history, religion, monopolies of thought, justice, the grey areas of right and wrong, loyalty, and so much more. Before I sat down to think about it, I never realized how much that game has taught me, about the past and the future. Core themes and deeper messages do work hand in hand, and without either thing, the ‘fun’ aspect of the game falls apart.

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Schell explores the ideas of theme and resonance and how they can strengthen the essential experience behind any game. The first half of the chapter is devoted to two simple steps: Figuring out a theme and using every means to support that theme. “Every means” includes every element in Schell’s Elemental Tetrad: technology, mechanics, story, and aesthetics. To illustrate how these steps may be implemented, Schell explains the early development of a virtual experience he worked on for Disneyland called “Pirates of the Caribbean: Battle for Buccaneer Gold.” The best themes have what Schell calls “resonance,” ideas that touch players deeply by fulfilling their fantasies (experience based theme) or affirming a powerful idea the player holds to be universally true, like “love conquers all.” In the end, finding a resonant theme that holds meaning for an audience will make any designer’s game more successful and impactful.

As Schell explains, popular conceptualizations of video games often tend to characterize this form of entertainment as a somewhat shallow or superficial diversion filled with adolescent fantasies of gladiator battles and zombie shootouts. However, I think high engagement towards the game causes the game experience to be meaningful. Meaningfulness is a result of the connection between the player and the in-game character compared to the story and moral choices. Players engage in a meaningful experience that shows as self-determinant due to their need for autonomy (free choice), while their competence (mastery) and relatedness (social connection) are fulfilled.

Schell mentioned that Angry Birds has a theme, does anyone have an idea of what the theme could be?

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Hi!
I noticed how in depth you went with the analysis of the “Every Means” line in discovering the theme and what it means. The tetrad you mentioned is such a big factor in determining whatever is happening in the game when it is in your idea box. I also agree with how you said finding the theme truly makes the whole experience for the game seem much more engaging as it results in a connection between the player and the character. Your analysis was very well written!

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I do want to try to figure out what the theme of angry birds might be. I will say that I do think that all the details reinforce the main point of the story. From what I remember, the game starts with a very brief intro that tells you to like the birds and hate the pigs. I can’t quite figure out what the theme might be, but I think the game is so easily digestible that that’s a large reason why it became so popular. It too advantage of the relatively new phone game market. It had very easy to understand controls, and by hinting a large selection of playable birds, they were able to entice audience to continue playing to see more of what the game had to offer. As I said, I can’t quite figure out what the main theme is, but I think they every single aspect of the game was very carefully thoughts out in order for it to achieve the success we know that it did.

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Hi Meeteeka! Yeah, there are bits and pieces that come together in a game to make a theme. I don’t know what the theme of Angry Birds is — maybe “knocking things down”? Or “trial and error”? To be honest, I haven’t played Angry Birds before.

I think the concept of resonance is very interesting. There’s resonance when the player feels connected to the game in some way.

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Hi Meeteeka,
I think that the way Schell described how to develop a theme using the Elemental Tetrad of technology, mechanics, story, and aesthetics is so intelligent, yet very easy to grasp and really understand the information. All four of these elements go hand in hand when developing a theme, and thats explained through examples in the text. I think that you’re totally right on how people think too shallowly while playing video games, myself included, but now when I’m playing every game I’m going to be looking into it trying to find every little thing the developers could be hinting at.

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I enjoyed this chapter so much as it led to a call back to my lessons in English classes throughout my life! As big of a fan as I am of a good story in a game, I never thought about what it would truly take to develop a good and entertaining story with a revolving and prevalent theme. After giving this chapter a read, I totally agree with what Schell says about how the theme is one of the biggest strengths in a game which goes hand in hand with what I said about how the story is one of the most important parts of a game. This chapter talks about two more lenses as well, the lens of Unification and the lens of Resonance. The unification lens essentially talks about how you have to consider the possibility behind why you are making this specific story, which I believe to be a great step in making an entertaining story that flows well. Lastly, the lens of Resonance (my favorite of the two) talks about how it is essential to gain criticism in a quiet way. Overall, I loved this chapter and although it took a little longer to get through, it was very informative.

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I completely agree with how the theme is one of the biggest strengths in a game. When you see a physical copy of a game in stores like Gamestop, you can kind of tell what the theme of the game is or when you see the cover for a game in the steam store. That initial cover art showing what theme your game is, is so helpful for driving your targeted audience towards your game. I don’t think I agree that the story is the most important part of a game, but I do agree that a good game usually has a good story. Personally, I feel like some games don’t really need a story. Games like chess or poker probably don’t need an emphasis on story.

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Something I thought was interesting was the medium in which storytelling occurs through gaming. You don’t need long lines of dialogue to explain exposition. It’s easier to show what is happening rather than explicitly telling what is happening. In books, you have to read what action a character is doing, but in video games, you can see them doing this action. Along with that, some games give the option of choice, so you don’t have to go down a linear story, there could be multiple stories within the game. The game Undertale had a 8-bit design that made it look like an old game, but the storytelling within the game made it really unique. There were three different stories that you could find, and the player had the option to explore each of them.

Lens #12 is especially important for games in this timeframe. There was a game that was released called Stray, and that game became special because it was a story-based game with great graphics surrounding the life of a cat in a post-apocalyptic world. That game felt special because the player was able to play as a cat, and most games with that good of graphics didn’t focus on a cat. Plus, the idea of telling people that you can play as a cat would be met with positive response usually.

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Hi Drew,

I love that you mentioned Stray. I haven’t played it yet; I heard it runs a little short, but it seems like a fun game so I’ll have to pick it up soon. But those questions about how a cat would react and navigate a post-apocalyptic world, and how they are answered through the gameplay make the game so marketable and enjoyable to a lot of people (based on the reviews at least). Unique takes on common themes can definitely make any game stand out, and Stray is a perfect example of that.

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What stood out to me the most in this chapter was when the author talked about his time trying to design a game relating to Pirates of the Caribbean. Getting that eureka moment is pretty common for everyone in some sort of creative field, but reading through someone else’s process was interesting to me. I liked being able to see how their thought process started, from trying to figure out what direction they wanted to take the game to trying to figure out what about those directions would make an engaging game. The author is right; in retrospect, the allure of Pirates coming from the fantasy of freedom to be a pirate sounds obvious, but I’ve been stuck in a similar loop of thinking before, where nothing is coming together. But suddenly, one thing, usually the most obvious and overlooked piece, falls into place and suddenly makes everything make so much more sense. There is nothing like the rush of relief you get when you realize you just figured out the one thing that was tripping you up, and now everything else about your process can be easy (until you stumble on something else and get stuck again until the next eureka moment, of course).

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Hello,
What you said about the “allure of Pirates coming from the fantasy of freedom to be a pirate” sounding obvious is very important in a game. It’s much better for the average person to be able to understand what is the theme of your game rather than have it be completely confusing. Like the game Kingdom Hearts has an utterly confusing theme with an even more confusing storyline due to its everchanging direction. However, you can still see what the developer was trying to go for with the theme.

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Hi Drew,

I also really liked reading about the author’s experience with designing the Pirates of the Caribbean game. It was so cool to see how it came together and how the missing theme was discovered practically while they were experiencing the rides themself. Reading about the thought processes of game designers is so interesting.

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Chapter 6 was my favorite one to read this week, and I loved reading about the deep-analysis of the author’s experience with working on Pirates of the Caribbean: Battle for the Buccaneer Gold and the process of searching for the theme. The study of game design is more complex than ever now because of the advancement of technology and how all the factors that are able to go into the game such as texts, pictures, videos, sounds and music. This advancement allows for games to have complex and deep meanings which were not present decades ago. I agree that it is the experience that goes with the game that makes it more special for people than the actions that they do in the game. For example, my brother loves to play Star Wars related games because he has a deep emotional connection with Star Wars, so that makes the story more special.

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Hi Tehreem! I also loved reading about the author’s experience working on Pirates of the Caribbean. It reminded me that a game must resonate with the audience at its core. These resonant themes could be something as simple as “the fantasy of being a pirate”. As technology becomes more advanced, themes can also become more complex/deep. However, it is good to remember that sometimes the most resonant themes are the simplest.

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Hey Tehreem!
I totally agree that game designers have much more to consider nowadays than they used to. For example, aesthetics have always been important to game design, but I know now people are much harsher on graphics than they used to be; people are used to a certain level of quality from the media they consume and can be pretty critical when their ideas of “good graphics” do not match what they see on the screen. This advancement isn’t bad, though, because it allows game designers to use a whole new batch of variables to make a worthwhile game exactly the way they pictured it.

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I would just like to add a very brief point to the whole resonance point. I remember during the height of that pirates game’s time, Disney world was doing this major marketing thing where all the girls would dress up as princesses and all the boys would dress up as pirates. I remember my sister and I both getting out respective makeovers done with our parents. After I had my whole pirate outfit on, I started to embody that vibe. We rode the pirate of the Caribbean ride, and I thought that the game was so much fun. I couldn’t explain why, but I think that creating a pirates game during this time period was an absolutely great idea to capitalize on the resonance going on regarding pirates.

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Hi Tehreeem,
I agree it’s definitely impressing how far we’ve come with video games; For them to have their own complex themes within a game would never had been imaginable when they were first developing the first video game, which I believe is Pong. However, with this new age of technology there is most definitely a higher standard for a quality game. The fact that they can make anything into a game nowadays makes it very easy to target a lot of different audiences too, which is something that really impresses me looking at it from a different perspective.

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Making games has become a venture of the unknown. Today’s games are all new realities that these studios created, with advanced technology the focus on maintaining a good relationship with its customers has disappeared. Often companies must provide incentives and cover up for the trash gameplay. For example, Minecraft was a relatively simple game compared to EA’s Battlefield 2042, however Minecraft had a plot, a perfect setting and the perfect amount of surprise. Battlefield bragged of having infinite options and turned out to be very buggy and not as advertised. Lacking maps and a real dedicated update team the game quickly died. Minecraft has thrived and updated itself and created a sense of infinity in its realm. I think that most corporations focus too much on the pay to play system while they should be constantly revitalizing and updating a game.

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Hi Rameet! What a great comparison. To add to your point, you reminded me of Cyberpunk!! They took soooo long to create and design that game; you could argue the designers got caught up in the “skeleton” part because by the time the game came out, the game was riddled with bugs. If they had taken the time to switch back and forth between skin and skeleton, as Schell suggests, they would have realized the game experience was beginning to get lost. I know they have since continued working on it, but the truth is the theme got lost. They could neither pull off the skin or the skeleton. A game that was highly anticipated and invested in ended up being a source of disappointment.

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To add on to your point, I noticed another game like this was No Man’s Sky. The game was extremely hyped up due to its concept and its beautiful aesthetics. But once you get past the surface level, and look at the skeleton of the game there was nothing more to it. It was a game that was constantly repetitive, and didn’t have all the features promised. I know this isn’t apart of the same chapter, but something that Cyberpunk, Battlefield 2042, and No Man’s Sky promised was their innovation in technology. Their sole focus on the technology behind the game made the mechanics of the game buggy and unfinished.

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Hey Rameet,
I completely agree that companies have stirred away from the core values of a game and have focused on the financial aspects of a game. You make a great comparison between two games that had completely different trajectories. At some point, one seemed to be more interesting than the other. Due to the lack of emphasis on the skeleton, Battlefiled did not have the outcome it was forecasted to have. While Minecraft has gone global by becoming a very popular game among players of different ages.

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In chapter 6, there is a lot of discussion on the topic of themes being a massive part in a video game. The theme in a game defines the game to be what it is, whether it be a free roam game, an RPG, a first person shooter, a story game, it all stems off the idea of the original theme of the game. I personally loved the part where Schell wrote, “There are two simple steps to using a theme to strengthen the power of your game’s experience: Step 1: Figure out what your theme is. Step 2: Use every means possible to reinforce that theme.” I loved this quote because it really reiterates the idea that the theme of a game is pretty much what the entire game is based on. Once you find your theme of your game, you can begin to do so much more in the development stages of the game.

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Hi Jared!
I also really liked this quote because it eased some of my worries about game design. Yes, this two-step process oversimplifies how difficult it can be to find a theme that fits the idea you have of your game, but it also reiterates that once you find your theme, the rest of the pieces quickly fall into place. While it might be difficult to get the right theme, once you do, the next steps are easy and clear: reinforce that theme for your players by whatever means necessary.

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This chapter was the most interesting for me. The fun part was the fact that I remember as a child playing the Pirates game that the author played a part in developing. I originally only saw the “skin” of this game, but after reading the chapter, I see the “skeleton” of it now. I think it was a great example to emphasize the importance of resonance. A central idea that every element ties back to and enhances. A sense of structure a unity will ensure that the development aligns with the final vision. I also love the point that having.a theme that resonates with people is a big deal. This is a potential reason why some people may not be able to explain why they like something so much. They feel a subconscious emotional connection with their experience, and they acknowledge their feelings, but they just can’t pinpoint the source.

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Hey Christopher,

This was the most interesting chapter to me too, and I like that you pointed out that these connections between the player and the game are often subconscious. I believe a story is great when you don’t immediately understand why you are drawn to that story until you break down its themes and storytelling elements, and dissect what made the story so effective.

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I agree that this chapter was the most interesting. After realizing there are so many important elements that connect together to deliver a pleasurable experience to the player, what is most important about these elements is that they enforce the game’s theme. A good theme will leave a lasting impact on the player that they may not necessarily be able to explain, but will definitely be able to feel.

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Hey Chris,

The emotional connection that exists between a consumer and a game is sometimes hard to explain but it can be connected to the theme of the game and how it resonates to the player.

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Schell spends a lot of time talking about the idea of “theme,” and what makes one game stand out from another game, or even something from an other medium (film/TV/books). The biggest thing about choosing themes is that a player may never be explicitly aware the theme is there, but it creates some sort of subconscious connection with them. One example I have is The Last of Us, a post-apocalyptic game that follows a smuggler escorting a teenage girl across the country, fighting rival people as well as the Infected, a hostile zombie species. There are so many post-apocalyptic stories out there, and for some reason, I’m a huge fan of them. I’ve read many post-apocalyptic books, watched shows like The Walking Dead and films like Snowpiercer, but none of them resonated with me as much as The Last of Us. And I think that’s because the themes presented in that game connected with me more than any other post-apocalyptic media I consumed. Through the characters’ interactions with each other as well as environmental cues, there are themes of survival and the idea of living under martial law, as we’ve seen in so many apocalyptic media. But beyond that, there are also themes of love, family, coming of age, and humanity that stuck with me long after playing the game. Themes are important, not just in game design, but in any method of storytelling.

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Hi Evan! I totally agree that themes are important in all forms of storytelling. The Last of Us was a great game that delivered on its themes very well. I think that the Last of Us has two core themes. The first theme is “living in the fantasy of a post-(zombie)apocalyptic world”. Although most wouldn’t want to live through a zombie apocalypse in real life, many would love to live the fantasy. This is why shows such as the Walking Dead are so popular. The second theme is “discovering and protecting family”. This theme resonates because everyone in the audience will relate to having someone close to them — someone close enough to be considered “family” — and wanting to protect them. All players will feel for Joel trying to protect Ellie. Although these are the core themes, there are definitely many more that are discussed throughout the game. This makes the story have a lot of depth.

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It seems that the hardest thing about enforcing a theme is not explicitly stating it. The creator must instead utilize every tool to completely immerse the player within the game and deliver the message or intention of the game. I agree that themes are very crucial in the art of storytelling.

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Hi Evan,

It’s so true that sometimes the user doesn’t even know what the theme of the game is and honestly, sometimes it is hard to discover, but you still resonate and find certain game experiences more special than ever. That’s the power of game designers and their design planning, the ability to execute that vision not only visually but functionally as well is so incredible.

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Schell’s emphasis on theme and consistency when designing games is interesting in that it’s reminiscent of the earlier chapters in which the discussion of psychology was more prominent: part of the purpose of keeping a consistent theme is maintaining synthesis with the audience, and Schell specifically cites the aforementioned Elemental Triad of Aesthetics, Technology, Story & Mechanics to corroborate his claim of maintaining consistency via “any means possible.” For new game designers, I imagine it would be very easy to lose track of the game’s original overall vision when brainstorming on the go, or when hitting a mechanical roadblock that makes the original vision difficult to carry out. Thinking of the game’s vision as something that must be maintained with all means possible is probably useful for developing Plan B methods of developing in the event of said obstacles arising in game development. If vision cannot be carried out with game mechanics, then soundtrack can then carry the torch in a greater capacity, for instance. The idea of thematic balance and equilibrium is similar to last chapter’s idea of the Elemental Triad.

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Hi Kwabena, what a great analysis! In terms of being given a “toolbox” for game design, I feel this is exactly what Schell has done. You are totally right, if the game isn’t reaching the vision- then yes, by all means, let us reach into the toolbox. Can we reinforce the theme through sound effects, setting, etc! For these reasons, I found the bit when Schell was discussing the Pirates of the Caribbean theme interesting. They placed life-sized canons instead of controls, a moving platform to give the impression of a rocking boat, and even installed fans to mimic the ocean breeze. Creativity can go a long way! Although, you must know the basic elements before getting there.

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Hi Kwabena,
I totally agree with Kattie; you hit the nail right on the head! Maintaining the theme above all else gives game designers a lot of clarity when everything else about the process seems confusing or muddled; we have to prioritize reinforcing the theme for the audience, and in doing so, everything else should come easy. We can use those four basic elements, but we can also use some of the lenses Schell presents to reinforce specific ideas/components of our theme, too.

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The theme of a video game must be consistent on all angles, even the soundtrack of the game must play accordingly to it. How would the player base feel if a medieval game had edm festival music and light work. It would be an insane setting but terribly not accurate.

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The theme plays a key role in making a game. I watched some dev videos on Youtube that highly encourage developers to pick one aspect and perfect it, but I guess this is different than theme?

For one of my games, I don’t really have one mechanic that is refined (yet), but I do have an overarching theme of letting the player “have” things. I’ve been trying to give to the player a safety spot where they do not have to worry about loss, with the exception of a few cases: 1) when they want to get rid of something, 2) when they are willing to trade/sacrifice something else for it, and 3) when they understand and accept the risk involved in gambling that item. I’ve been trying to increase the times the player experiences “having” and reducing the number of times they experience “loss.” I think reducing surprise/unknown loss is key to ensuring the player doesn’t restart the whole game or give up on the game altogether. Am I correct in thinking of this state of “having” as a theme?

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Having a risk and reward in a video game is one of the most gut-wrenching aspects where you live and die by the sword. I think the opportunity to allow for a hard reset is interesting but I agree that people may actually give up on the game after a sudden random failure.

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Chapter 6 dives deep into how a theme can transform a game into a piece of art. I love this because he is very right, this has always occurred for me at a subconscious level. Perhaps my inability to play too complex of games has gotten in my way here, but it is true that when a game’s theme is resonant… I am forever impacted by it. In fact, this is going to sound silly, but before he even mentioned Toontown I had thought about it myself! It was my first memory of a game where I felt I understood the concept. Still, hard for me to play but I remember feeling very connected to the Toons. It goes to show how much thought goes into game design and how memorable one can be if it can shake you to your core. As a kid, the theme felt important! My right to play had to be protected and the evil Cogs were in my way. Of course I didn’t know that I liked the game so much because of Schell’s ability to adopt the Lens of Resonance, nonetheless, it almost makes the experience that much more magical. Game designers don’t get half as much as credit as they deserve.

I loved the quote, “When you manage to tap into one of these resonant themes, you have something deep and powerful that has a true ability to move people and to give them an experience that is both transcendent and transforming.” To add to this, Schell also talks about how sometimes resonant themes just happen. This, to me, embodies how art is made!

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Hi Kattie! I also loved Toontown when I was little. The themes were extremely resonant, both back then and looking back now. I think it is important to have a resonant core theme, especially when the game audience is younger. Back then, I wasn’t looking for a game with a convoluted or deep message. I simply wanted a fun game with a whimsical feel. Toontown definitely fulfilled this for me. When I look back at the game, it did take a stance against the monotony of large capitalist organizations. But, this wasn’t important to me when I was little.

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Hi Kattie,

Toontown is a perfect case study for what Schell describes in his chapter, and I’m very happy he brought it up because it retrieved a bunch of memories from the back of my head. Part of what makes establishing a consistent theme a great idea is being able to subvert said theme to the surprise of the players — for example, reaching Cog Headquarters in Toontown is a fascinating experience for the first time precisely because the areas present so differently from the rest of the game.

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I find it very interesting how Schell notes that eventually, games will overtake all other forms of media. Over time, the improvement in games has matched the growth of technology, and games have become an increasingly complex art form that holds some kind of special meaning in everyones lives. I learned that every game needs a theme, and the game creator must do everything possible to enforce this theme by utilizing visuals, audio, and interface.

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Hi Altay! Hope you had a nice weekend. Schell’s stance on games overtaking other forms of media startled me a bit, I am glad you called it out. To be honest with you, it hard to wrap my head around that. I can see why and how games become such an integral part of connecting to other worlds/concepts, but it is hard for me to see a world where people don’t read books or watch movies?
For example, the “game-type” Netflix movie called Bandersnatch! It was an interactive movie where you could choose your own story. I thought I was going to love it, but truly, I was left unimpressed. Definitely an interesting concept so I’d hate to take away from that, but Schell also speaks to the ease that goes along with watching a movie or reading a book. For some people, like myself, it would be hard to give this up! Wondering what your thoughts are?

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Hey Altay,

Games are a form of art due to the complexity that their creation brings. Over time, even in the last decade, gaming has increased exponentially in every aspect of the industry but especially in the creation and development of such. hence, it is not surprising that these might overtake other forms of media due to their rapid growth during the past years.

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It might be true that games will overtake other types of media. I think other forms of media will still exist, but it makes sense that games are the next step in advancement after videos. I feel like it’s been going something like: books and music players -> videos and movies -> virtual reality and games. Each step adds more to the step before it. Games add that element of interaction and fun.

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Hi Altay,

I think that is a great contention made by Schell, considering the evidence he provides. Games relying on technology exterior to the game itself essentially grants the medium limitless potential for growth technologically, particularly due to the growing potential and already incredible power of AI and computer algorithims. When compared to the potential growth of films, shows, or literature, Schell’s logic certainly seems to check out. Most other mediums of entertainment have already reached the apex of their growth.

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In chapter 6 the part that most caught my attention was unifying the theme specifically when the Disney creators of the Pirates of the Caribbean game struggled finding their theme. The theme is very important as it is essential for the storyline and development of a game. However, as the Disney creators mentioned, finding a theme can be very difficult as it must be deeper than what is on the surface level. Players must be able to connect to this theme for the game to have a greater impact on the customer. Hence a quote that really resonated with me “The Pirates of the Caribbean ride is not about pirates; it is about being a pirate!” (60). We play games because we enjoy the experience that that specific game brings. For example, in Call of Duty, being a soldier in war. Need for Speed, being a driver speeding through the city at night time. All these experiences give us somewhat of a genuine experience of what it is to take part in a fictional reality.

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Hi Jose,

Knowing that you must undertake a big project and having to subsequently decide on a comprehensive, unitary theme is indeed a mighty task — partly because as you say, the theme will eventually nudge development in certain ways that whomever is directing the project might eventually find to be too far in one direction. However, this open-endedness also has the potential to breed creativity past one’s original vision, which Schell would probably agree is a consolation of deciding on a theme in the prototypical phase.

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