Jesper Bylund .com

I’ve had a few comments asking about game design jargon. Namely what feedback and rewards are, in a recent blog I used Assassins Creed to prove a point about how important feedback is (what would Altair be without the accurate climbing animations?).
I only want to have to write this post once so I’m writing it in English.

Feedback is the single most important factor for creating FUN in a game. Really, it is. Don’t believe me? Let me explain:

When a player interacts with the game that interaction much be shown, if the player does not see or hear what they did they wont understand that they did anything at all and stop trying to do it. Simple eh? It means that anything you do must have an effect, and it must be a relevant effect. This applies to everything in a game, from jumping and shooting to solving the puzzles and completing the game. The word feedback is usually applied to mechanical events (rock hits ground, pistol fired, foot placed on floor etc). But this is a form of reward, actually the type of reward that matters most; When you defeat a boss or finish a level you expect there to be some kind of reward, if there is none you might feel cheated and not want to play another one. But if you lack feedback from your actions nothing in the game will feel worthwhile. If you press jump and the avatar does nothing, or something less then what you expect, you’ll most likely think the controller or the game is broken.

There are as many opinions about good design as there are designers, but so far I’ve yet to hear anyone propose that feedback is in any way less then essential. That’s why its called feedback and not reward, though it actually is the same thing.

Rewards do not have to be tangible (gold coins or a wolf pelt), in the real world most rewards are soft values. A smile or a handshake is often more rewarding then winning a few bucks. This applies to games as well, some designers just seem to forget or are unaware (read: incompetent). These soft values are how we create the feeling of the game. Making sure that jumping in Mario games or climbing in Assassins Creed feels right usually means making sure that the feedbacks, or rewards, are logical and in scale with the action (leap of faith must feel more rewarding and therefore give more feedback/reward then jumping).

Now you know how feedback and rewards are linked together I thought I’d end this short text with a real problem for modern games today:

Jumping in a cartonish game, for example Mario or Jak & Daxter, feels exhilarating because the reward, or feedback, is much more then humans anticipate. This is why its fun.
But in a realistic game, such as Assassins Creed or Gear of War, the feedback must be precisely what humans expect or the illusion of realistic human characters is broken.
So how do we make that as fun?…