Games can be thought of as a language of communication by which the player communicates their intent through the use of nouns (Objects) and adverb-verb pairs (Actions) and the game responds by changing the adjectives (Properties) describing the nouns.
The grammar of the game defines the type of sentences that have meaning within the current context; which nouns are valid with which adverb-pairs. This grammar is flexible to the extent that the rules governing interactions are able to change over the course of a game. However as I’ve discussed previously too much deviation from the core grammar can lead to multi-modal gameplay requiring players to learn an entirely new set of interactions for specific sections of the game.
Even if the rules of grammar remain generally inflexible within each game this doesn’t mean that all games have the same basic grammatical structure. Some games are rich with objects which can be interact with, or feature a deeper vocabulary with a greater range of valid interactions. Others might have a limited range of nouns and adverb-verb pairs but what they lack in depth their make up for in clarity, an action that is valid between two objects will always be valid, the outcomes predictable.
Consider Deus Ex, this is a game with both a rich and deep vocabulary. There are dozens of objects within the world that can be interacted with, interactions that are rarely limited to single use actions. An example of this is the “Fire Extinguisher”, in addition to the obvious use of putting out objects that are “On Fire” it can also be used on “Characters” within the world to “Stun” them. If “Shot” the “Fire Extinguishers” can even “Stun” the player themselves. Games with a rich and deep vocabulary present players with a variety of methods for overcoming challenges as there is often redundancy and overlap in which objects can perform what actions or provoke which property changes in other objects. With such a deep vocabulary players can explore and exploit this to achieve their goals using different tactics.
Prince Of Persia on the other hand is a noun poor game with a limited vocabulary. Each object has a specific and unique verb attached to it, “Pillars” exist only to be “Climbed”, “Light Seeds” exist solely to be “Collected”. Though this specification of purpose means there is little room for the player to explore the possibility space of the game, it does eliminate redundancy and ambiguity. When objects only have single uses players can be sure that, provided they understand the interactions available, they will be met with few unexpected situations. They can be confidant in the validity of any plans they make, the challenge coming from their ability to execute them.
Languages can also be direct or indirect. Direct languages are ones where the actions directly affect objects and change their properties. Indirect languages are ones where the actions affect the world itself, or lead to the creation of new objects, which in turn affect changes in the properties of other objects. The world itself can be thought of as a specific object in indirect languages.
In the previous example of the “Fire Extinguisher” it would be more accurate to say that the “Fire Extinguisher Creates a Gas Cloud” and that the “Gas Cloud Stuns the Character”. Games that are object rich tend to be indirect and feature a heavy degree of simulation as otherwise each individual action would need to be hard-coded into the system.
Games based on a direct language can feel more focused, all the interactions between objects are directly and specifically implemented. This provides the designer much tighter control over what the player is able to do, where and when. When all interactions are specifically designed it means that any events that occur within the game are ones initiated directly by the player or by the game in response to the player; usually through the actions of opposing characters. This is in contrast to an indirect language where interactions can occur outside the player’s control. A “Fire” object can ignite another object which can in turn ignite others leading to a chain reaction of actions and reactions.
Games with deep, indirect and noun rich vocabularies offer a wide range of options to the player, a number of ways in which they can communicate their intent. This leads to lots of possibilities self expression and emergent gameplay at the expense of robustness and authorial control
Shallow, direct and noun poor vocabularies lead to more tightly authored games, where all possible player actions are accounted for. Such games are often highly crafted experiences, even though there are a limited number of options available each one has been given specific attention. This leads to a more focused game with less freedom but also less unpredictable or unexpected behaviour.
4 replies on “Different Vocabularies.”
Whenever someone starts applying grammar literally to video games, I have to bring up Inform. (http://www.inform-fiction.org/)
“Writing” an interactive fiction is wonderful, because it’s an entirely different angle on creating games that have both authorial power, and player control. However, as a medium it generally starts out highly skewed in the former direction – to the point where the game is more or less ‘sculpted’ out of vague mechanics.
This was a refreshing piece to read, and it was also well written. I like when people take different approaches to a subject that we’ve all talked about before. You did an excellent job of explaining the two kinds of games, so I’m curious – which kind do you prefer?
By the way, I found your blog in your signature over at the brainy gamer forum….
Having grown up playing games from the dearly departed Looking Glass Studios, I’m generally partial to games like Deus Ex, which present opportunities for player expression and emergent gameplay.
That said some of my favourite games of all times are ones with a much tighter focus on a small number of objects and actions, like Beyond Good & Evil. I think these type of games can feel more solid that something like Deus Ex because almost every interaction has been touched and tuned by a designers hands to be exactly the right way, whereas simulation heavy titles can sometimes feel fragile and prone to obscure and unpredictable behaviour.
yea, right now I’m playing through Tales of Vesperia. It’s pretty linear in its approach, but the story is great so far, and I’m having a blast with it. I’m also going through Beyond Good & Evil as well, it’s great.