Research: Real-world Simulations in System Design
Intro
Simulating real-world scenarios and systems has long been a crucial strategy in game design. This study focuses on integrating real-life systems with game content and mechanics, aiming to establish a comprehensive design process. This process is intended to serve as a reference for game designers, enabling them to create their own games by simulating real-world systems. The effectiveness of this design process was evaluated through testing models constructed from it. The findings indicate that the proposed design process successfully translates real-world systems into game models, thereby allowing players to grasp and accept the gameplay and settings quickly.
Theoretical Exploration of Realistic Simulation
Part 1: Why are games willing to simulate reality?
Chinese Chess, a symmetric two-player chess game
Twilight Struggle, 1945 - 1989, A sandbox strategy game that simulates the Cold War
For instance, in games, we do not see a red "gold coin," nor is Alexander the Great portrayed as an Asian. Although the reality is somewhat distorted in games, such as in the game, Hearts of Iron IV, where players can control different countries at different historical points to alter history, the logic of the game cannot completely escape the shackles of reality. Thus, all games inevitably simulate the real world to some extent.
Games have long existed as a cultural phenomenon within human society. As eras have evolved, so too have the mediums of games, but at their core is an interpretation of the cultural phenomena and mediums present at the time of their creation. Games themselves, as manifestations of cultural phenomena, mimic and extend the cultures found in reality. According to Marshall McLuhan's theory, the medium of games is an extension of human perception of society and culture.
By simulating reality, such as through sandboxes, people turn abstract realities that are otherwise intangible into a medium that can be touched and controlled. In the ancient Chinese chess game, players assume the roles of two generals who actually existed in Chinese history and must defeat their opponent through the game's rules to win.
In another board game, Twilight Struggle: The Cold War, 1945 - 1989, players take on the roles of the Soviet Union and the United States during the Cold War. Through the simplification of reality, games transform complex social, cultural, and technological issues into systems that are tangible, deducible, and easily recognizable. Thus, from the moment of their inception, games have engaged in the mimicry of human society and history.
Part 2: Why do games have to simulate reality?
If we consider the gameplay and mechanics of a game (i.e., the game system) as the grammar of a language and the content of the game as what this grammar seeks to express, then the language formed by games is indeed a product of humanity as a whole. Ludwig Wittgenstein believed that the logic and emergence of language are not proactive, spontaneous acts but rather emerge through the use of concepts in reality, which varies with context, culture, and other factors. Therefore, a game is not merely the subjective creation of its designers; it is an inevitable result formed and evolved through cultural, historical, and social practices. Just like real language, this specialized language of games (note: here, understanding games as a form of language, not Wittgenstein's concept of "language games") also needs to be established on the basis of social consensus and cognition.
This is also reflected in the creation of games, such as in the Unreal game engine, where the basic interface of a 3D game level consists of an endless plain, a distant mountain, and a blue sky. Through such simulations of reality, game designers can form a basic understanding of the game engine and proceed to rebuild and design levels.
Unreal Engine 5, the initial interface for each level
Part 3: How games distorting and absence reality?
Hearts of Iron IV, a video game simulates World War II
In game design, the simulation of reality does not strictly adhere to real-world rules. Instead, it establishes a layer of "hyperreality" above real life. According to Jean Baudrillard's theory, a game often encompasses all four stages of simulation development, progressively moving players from real reality to a hyperreal state. Baudrillard's stages of simulation are:
1, Basic reflection of reality,
2, Masking and distorting reality,
3, Masking the absence of reality,
4, Pure simulation, unrelated to any reality, is the hyperreality stage.
Here is an example of the gun system in the game Counter-Strike: Global Offensive (CS: Go), a first-person shooter where players act as cops or criminals fighting on a confined map. Players can buy various firearms to gain advantages in firepower, mobility, or range and can also purchase skins for these weapons in the digital market. According to Baudrillard's theory, players will be exposed to all four stages simultaneously:
1, All firearms in the game are designed and categorized based on real-world guns, such as shotguns, submachine guns, and sniper rifles, reflecting the basic imitation of reality.
2, Then, due to gameplay and mechanics, some aspects of these firearms are altered, such as changing their power and features, which distorts players' perceptions of real-life firearms. For instance, players may believe that shotguns have a very short effective range.
Desert Eagle, A large caliber pistol that exists in real life, was redesigned in the CS: GO.
Screenshot of Counter-Strike: Global Offensive (CS: Go). In the image, the player uses Desert Eagle in a match
3, By incorporating the skin system into the firearms, players focus on the game and skins and lose interest in the weapons' essential and original meanings, such as their associations with violence and warfare.
Some skins of Desert Eagle in the CS: GO, although those skins will never exist in real life.
4, Finally, the various skins assigned different rarities and prices for sale completely detach from reality. This virtual value and status symbol are purely based on simulated design.
Skin market in CS: GO, a pure simulation system, does not have any reflection model in real life
By integrating these four stages of simulation into the game, designers provide players with a gradual, immersive experience. This allows players to quickly adapt to the game by learning new, distorted rules while interacting with familiar elements. Additionally, this approach can shield players from some negative real-world concepts, reducing their moral and cognitive burdens.
Player Behavior Analysis under Realistic Simulation
Analyzing player behavior from a psychological perspective
When players encounter an element within a game, it often triggers associated memories related to that element. In a survey of several dozen players, an image of a "firearm" evoked memories and associations related to "shooting" and "war." Similarly, a simple gameplay mechanic involving "collecting and selling items" prompted thoughts related to "economics," "survival," and "resource gathering." This phenomenon falls within the realm of semantic memory, encompassing both psycholinguistics and cognitive psychology. According to D.A. Balota and J.H. Coane, semantic memory serves as an enormous storehouse of information that humans have readily accessible, akin to hyperlinks in the brain that can summon deep-seated information on demand.
However, this associative mechanism is not universally effective; based on each individual’s unique life and historical context, the same word can evoke different meanings. For instance, in my survey, the understanding of "sword" was nearly uniform, with 87% of participants associating it with "attack" and "close weapon." In contrast, perceptions of "equipment" varied more widely: only 45% associated it with "armor," while 38% of "tools" and 17% of "collection."
Pie chart: semantic associations for word “Sword”
Pie chart: semantic associations for word “Equipment”
This variability underscores the necessity for designers to consider their target audience carefully when using real-world elements to convey complex information. According to Murray Grossman and Phyllis L. Koenig, semantic memory requires two key elements: 1) high plasticity in behavior, logical thinking, or emotions, and 2) the invocation of knowledge in thought and action. For example, in "Stardew Valley," players engage in activities like plowing, sowing, and watering without direct guidance. From the moment players receive "seeds," they use their semantic memory to apply real-life farming skills to the game. A similar instance occurs in "CS: GO," where players form initial perceptions of different firearms, such as shotguns being effective close-range weapons and sniper rifles being powerful long-range tools.
Stardew Valley, a farm-life sim video game.
These bits of information connect as nodes in a complex web of concepts. B. Bucur and D.J. Madden illustrate using a bird as an example, where activating one node leads to adjacent nodes: bird → wings → feathers. Nodes used frequently in everyday life are more easily activated. Conversely, the connection from bird to bones, which is less commonly used, may not be as suitable for in-game utilization.
A word node example about “bird”
Therefore, if a game design aims to invoke real-world associations through its elements quickly, it should employ the most universally recognizable and commonly understood elements or schemas. For example, Chun-Li's use of the QiPao in "Street Fighter" quickly informs players of her cultural background. In "Magic: The Gathering," the "Miracle" effect only activates if the card is drawn as the first card of the turn, creating an intuitive connection to the game mechanics. Conversely, in "Little Nightmares," where the game is played from a nearly 2D perspective, requiring players to move items three-dimensional contradicts traditional 2D gameplay logic, leading to player discomfort.
In Magic: The Gathering, the "Miracle" effect effectively associates game rules with the low probability occurrence of "miracles" in reality, stimulating players' imagination and associations.
From this analysis, it is clear that for game elements to evoke real-world associations and facilitate player familiarity effectively, they must be generalizable, widely understood, and serve the majority of players. Improper use of this tactic can lead to player discomfort and confusion about gameplay or the narrative.
How to create game content that simulates reality
1, Why should this game have to take advantage of simulated reality?
Not all games need to be easy to pick up. For example, the Dark Souls series deliberately features a high difficulty level and a complex learning curve to enhance player exploration and sense of achievement. However, in business models that aim to quickly onboard new players, such as free-to-play or widely promoted MMOs, using real-world elements to reduce the learning barriers for beginners is crucial. This design not only helps new players quickly understand the rules but also allows them to enjoy the game in a short time, thus increasing player retention and satisfaction.
Dark Souls 3, is a highly challenging game where players need to refine their skills through failures.
2, What aspects of the game do I want players to understand quickly? (Gameplay, storyline, etc.)
In game design, not all elements need to be mastered immediately. Designers must carefully decide which aspects of the game should be accessible from the start and which should be left for gradual exploration by the players. For instance, basic controls and interfaces should be intuitive to avoid initial technical barriers, while complex strategies, deep narratives, and character development can be designed to require gradual learning and adaptation throughout the game, providing ongoing challenges and exploration value.
3, What elements in the game will I use to simulate reality? (Graphics, systems, etc.)
A game consists of multiple parts and elements, and designers need to decide which are best used to facilitate quick understanding by players. Visual elements like icons and interface design are often the preferred method for guiding new players because they can intuitively convey information. Similarly, the choice of game systems and mechanics should support this goal, for example, using commonly understood symbolic elements from everyday life to design tasks or enemies can help players quickly grasp corresponding concepts in the game.
4, Can a connection be established between 2 and 3?
Through brainstorming and divergent thinking, we can explore the interplay between gameplay and visual design. For example, if the goal is for players to quickly understand the game’s economic system, designers could use common financial symbols, such as coins and ledger icons, to design the interface. This combination of visual and system design not only enhances information transparency but also increases the intuitiveness of the gameplay.
5, If possible, list potential methods
Integrating the results of the brainstorming from question 4, we can summarize and identify one or two most effective design strategies. For instance, designing game tasks using widely recognized elements from everyday life, or creating an intuitive tutorial system, are effective ways to facilitate quick game adoption by players. Specifically, a tutorial level could be designed to let players complete tasks that mimic everyday activities.
6, Will players approve of this simulation?
Player testing is a key step to verify if the game design is successful. Through focus groups or public tests, designers can gather feedback from players, observing their acceptance and understanding of game elements. If test results show that players generally struggle to understand or accept certain designs, then these elements may need to be reconsidered or modified. Regular player testing and adjustments based on feedback are effective strategies to ensure that the game design is both innovative and widely accepted by players.