Creativity techniques in game design

Creativity teChniques
in game design AnnAkAisA kultimA

GDC Mobile 08: February 18-22, 2008; Moscone Center, San Francisco
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“Creativity Techniques in Game Design“ by Annakaisa Kultima, University of Tampere, Annakaisa.Kultima@uta.fi

Finland, tampere
research, university of tampere
Laboratory of hypermedia, game research Lab
gamespace project
study of design and evaluation methods
for casual multiplayer mobile games

Frans mäyrä, Janne Paavilainen,
annakaisa Kultima, Johannes niemelä,
Jussi Kuittinen hannamari saarenpää

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Finnish innovation and technology Funding agency
industry partners:
nokia
veikkaus (Finnish national Lottery)
teliasonera
sumea/digital Chocolate
sulake

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W e a L L K n o W W h at beyond your reguLar
C r e at i v i t y i s ? b r a i n s to r m i n g

What We Learned From
WorKshoPs? g n e r at i o ni dtea
ge
am e s u d y

W e a L L K n o W W h at
C r e at i v i t y i s ?
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C r
Can e a t

it Ju
not
b e ei v i t
xPLa
in y

st
ed
haP
Pen
s
6/60

C r e at i v i t y
Cannot be exPLained

it P P e n s
ha
Just
Creativity is a complex phenomenon involving the
operation of multiple influences as we move from initial
generation of an idea to delivery of an innovative product.
(Mumford and Gustafson 1988)

Idea generation is not a random process, but a relatively
structured process that can be explained (Perttula 2006)

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r
e
i t
h e
v
t
e
i
t
o
i s
a
n
e
n e
o r
C
o r
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o n e i s e i t h e r
C r e a t i v e

or not
Creativity is born from insight and lateral thinking skills,
lateral thinking is a process that can be learned (deBono 1970)

In the past, creativity tended to be viewed as a fixed
inborn trait. Currently, experts generally conceptualize
creativity as a multifaceted construct that is affected by
both nature and nurturing processes. (Clapham 2003)

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s
i
r
e
h o dy
t
h
e
m e tt i v i t
n or C r ea
Fo

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t h e r e i s

no method
F o r C r e at i v i t y

Creativity training had the greatest impact on originality
(Rose Lin 1984, Kabanoff Bottger 1991)

There is strong relationship between the number of idea
generation techniques and the number of successful products
(Sowrey 1989, Parnes 1961)

Procedures and methods for idea generation are often based
on intuitive belief systems rather than empirically validated
theory (Perttula 2006)

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W
e
to
aL
r ea
o
id

dy
m
ha
an
ea

ve
y
s

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We aLready have
too many
ideas
Quantity of ideas will ultimately yield to quality
(Osborn 1957)

Idea generation as a critical means for achieving
competitive advantage (Gordan et al. 1997, Clapham 2003)

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h o W d o e s
the mind WorK?
4/60

Join the dots with only four
straight lines without lifting the
pen.

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hoW does
the mind
WorK?
thoughts of edward debono
- Mind is efficient in creating patterns
- Extremely difficult to restructure
- Lateral thinking vs. vertical thinking

6/60

LateraL vs.
vertiCaL
thinKing
vertical thinking Lateral thinking
selective generative
rightness matters richness matters
seeks pathway, seeks to open up other pathways
excluding other pathways
best way alternate ways
stops when finds promising one goes on even after promising one
moving usefully playing around
experiment to show some effect experiment in order to provide an
opportunity to change ones ideas

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hoW does
the mind
WorK?
thoughts of edward debono
- Mind is efficient in creating patterns
- Extremely difficult to restructure
- Lateral thinking vs. vertical thinking
- Vertical thinking develops the ideas
generated by lateral thinking.

Idea generation should be regarded
as a separate activity from idea evaluation (Osborn 1963)

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Join the dots with only four
straight lines without lifting the
pen.

A simple puzzle that we
usually make more difficult than
necessary by assuming the lines
cannot go outside the “box”.

0/60

t h at is Why We CaLL it

“thinKing
outside
the box”
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W E a l l k n o W W h at beyond your reguLar
C R E at I V I t Y I s ? b r a i n s to r m i n g

what we learned from
workshops? g n e r at i o ni dtea
ge
am e s u d y

beyond your reguLar
b r a i n s to r m i n g
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tiL ize
t o u
vit y?
h oW
r ea ti
C

4/60

e n h a n C i n g
Creative
WorK
atmosphere, environment
- Creativity is supported and welcomed
- environment with diverse and inspiring stimuli
diverse personnel
- Collision of different opinions and experiences
Creativity training and creativity workshops
- Learning lateral thinking skills
- motivation, inspiration and atmosphere
Creativity techniques
- Creativity on demand
- helping people to break patterns
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the Fa m o u s

brain
storming
has become a general term for any kind of group idea generation

Popularized by an advertising executive alex F. osborn (late 1930s)

basic assumptions:
1. Criticism is ruled out (separation of idea generation and evaluation)
2. Free-wheeling is welcomed (easier to tame down than think-up)
3. quantity is wanted
4. reacting to ideas of others (combining, adding)

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r e s e a r C h e d

brain
storming
Brainstorming don’t necessary produce novel and innovative solutions
(McFadzean 2000)

instructions are critical
- Go for quantity, not quality (Rossiter Lilien 1994)

acknowledged problems of brainstorming
- Social loafing
- Production blocking
- Fear of evaluation

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min g is
to r
br ains
L on e!
no ta

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brainstorming
alternative scenarios, brainsketching,
is not brainstorming, brainwriting, bunches
of bananas, Causal mapping,
a L o n e Collective notebook, do
different techniques for different purposes it,exaggeration,nothing,
delphi, do
Keeping
- Problem Definition, Idea generation, a dream diary, mind
idea selection, idea implementing, mapping, heuristics,
holistic techniques morphological
analysis, random
varying level of complexity stimuli, relaxation,
- bunches of bananas vs. triz six thinking hats,
triz, think tank,
Strong relationship between the number Why Why Why...
of idea generation techniques and the
number of successful products
(Sowrey 1989, Parnes 1961)

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at ion
ag i o
n en er
ide s
t he
e s
s

0/60

the idea generation
s e s s i o n

specifciexpe
i
ri

en
ce
s)

s
a

r(
e
exper
the us

kn
t

user brings ow
le d ge
the insight
pla
yf
ul
se
t t in
gb
ue
s sion he t echniq
x the se t

technique suggest
to think laterally

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user doesn’t know
what to do
the idea generation
s e s s i o n

spwcifciexp
i
er
i

en
ce
s)

s
a

r(
e
exper
the us W
e
ne
user has ed
..
.
certain kn
t

ow
le d ge
needs

Be
c ra
zy
!
b
ue
s sion he t echniq
x the se t

utility of the
technique is difficult
to understand

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the idea generation
s e s s i o n

specifciexpe
i
ri

en
ce
s)

s
a

r(
e
the us
exper technique provides
something to start with
kn

stim
t

ow
le d ge

uli
user follows the
technique pla
yf
ul
se
t t in
gb
ue
s sion he t echniq
the se t
struc

x
uret

technique
systematically forces
to think differently

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C r e at i v i t y i s

domain
sPeCiFiC
Creativity is domain specific. (Clapham 2003, baer 1994,
harkins macrosson 1990)

Creativity performance in any domain requires
domain-relevant skills creativity-relevant skills and
task motivation. (amabile 1990)
Domain specific techniques?

4/60

the idea generation
teChnique going
d o m a i n
sPeCiFiC
specifciexpe
i
ri

en
ce
s)

s
a

r(
e
the us technique quides
e x pe pla
yfu
lm towards specific
user can concentrate kn

spe
rt

ow in d
le areas
on being playful

cial stimuli
dge

b
ue
s sion he t echniq
the se t
speci

x
al

uc
str

tur
e

technique systematically forces
to think certain things differently

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onLy a bout
it is not
ses sion
the

6/60

it is not onLy about
the session

3 g
learnin

tion
inspira
2

1 on
th e sessi

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it is not onLy about
the session

ideas

3 g
learnin

tion
inspira
2

1 on
th e sessi

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W E a l l k n o W W h at beyond your regular

WorKshoPs? g n e r at i o ni dtea
ge
am e s u d y

WorKshoPs?
40/60

g a m e s P a C e

WorK
s h o P s
discussion on casual, multiplayer mobile games
methods for early phase of game production

three 1-2 day workshops in 2006-2007

30 participants from 5 different companies

15+ experimental techniques, tools and methods

200+ new game ideas

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F i r s t

WorK
s h o P
theme: casual concepts
techniques: vna, emo, morF, PlayFirst!
need for idea generation techniques?
- new approaches found useful and welcomed
thematic or mechanic –approaches?
- no difference in the level of completeness.
thoughts about the techniques
- PlayFirst! endorsed clone-like ideas
- amount of ideas differed
techniques were different in many ways
- Difficult to compare

4/60

s e C o n d

WorK
s h o P
theme: multiplayer concepts
techniques: brainstorming, gamebrain,
gameseekers it’s a game!
- similar procedure, different stimuli
same amount of ideas
stimuli matters:
- Coffee-mug effect
- Complete games are too strong
random words, pictures and sentences
- endorses stories
random abstracted game structures
- empty and mechanical additions

4/60

t h i r d

WorK
s h o P
theme: (casual, multiplayer) mobile concepts
techniques:
- more appraoches:
- mybook, swopbook, gameboard solo,
GameBoard co-op, Mecano, Out-of-the-Office,
Call your mama!,
- Old approaches refined:
- Piecebox, it’s a gameseeker!, morF 2.0
Choosing promising ones for further development
- gameboard, mecano, Piecebox, it’s a
gameseeker! morF 2.0

44/60

s o W h at d i d W e

Learn?
stimuli directs ideation

Game specific techniques seem to work

differences between techniques,
ideas and groups were difficult to make
- more data needed

how about the real needs and contexts?
- outside workshop situations

4/60

W E a l l k n o W W h at beyond your regular

what we learned from
workshops? g n e r at i o ni dtea
ge
am e s u d y

g n e m ei o ni dteda
ge
a r at s u y
4/60

r e a L n e e d s
reaL Contexts
What happens in authentic settings?
- independent use
- daily practices
execution
- Product-like package
- 3 months use period
- our industry partners contributing to pilot study
data collection
- Pre-interviews, feedback cards,
online survey, interviews after the use period

4/60

g a m e s P a C e
ideating methods
research prototype
Polished, product-like
Game-specific (casual, mobile, multiplayer)
Physical objects, pictoral instructions
modular, combinable

4/60

g a m e s Pa C e m e t h o d s
verbs, nouns
adJeCtives (vna)
simple, easy to use
Collaborative, shared idea
Casual game word-set

0/60

gamesPaCe methods
gameseeKers
Collaborative game
Forcing combinations
Pictures for associations
social aspects of games
Casual games genres

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gamesPaCe methods
gameboard
Competetive (not on ideas)
shared idea / parallel ideas
structure for the game idea
game components
mobile games features
random words

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gamesPaCe methods
P i e C e b o x
game and play pieces
drawing inspiration from the pieces
Communicating through pieces
experimenting with ideas

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gamesPaCe methods
m e C a n o
everyday objects
analysing, putting to other uses
mechanical aspect for game ideas

4/60

gamesPaCe methods
m o r F
Computer aided
usb-key, database
analysing existing game
Coming up with variations
Forced combinations

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some tentative resuLts oF

the study
6/60

n idea is
ind oF a
W h at K
ga me i dea?
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o u
y

W i t h
d o
W
u P
h o

C o m e
eW g ame i deas?
n
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93%
13%
.”
ue the use
“i w ould contin 60%

as may
100% “some o f t h e id e
duct.”
le a d t o a new pro

d.”
recommen
“i would

a L L
e r
o
xP
v
erien Ces?
e GDC Mobile 08: February 18-22, 2008; Moscone Center, San Francisco
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od sP eCiFiC
meth
ienCe s?
e xPer GDC Mobile 08: February 18-22, 2008; Moscone Center, San Francisco
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udy?
of t he st
ns
Limitatio

udy?
of t he st
ns
Limitatio es of ga
me
erienc
Posit ive exp techniques!
idea
specific

udy?
of t he st
ns
Limitatio es of ga
me
erienc
idea
specific don
’t forget
other ap
proaches!

udy?
t he st
tions of
imita me
l
erienc es of ga
idea
specific don
’t forget
other ap
proache
http://gameslices.wordpress.com
s!

udy?
t he st
tions of
imita me
l
erienc es of ga
idea
specific don
’t forget
other ap
proache
s!

ien ces?
you r exper

udy?
t he st
tions of
imita me
l
erienc es of ga
idea
specific don
thanK you!
’t forget
other ap
proache
s!
Annakaisa.Kultima@uta.fi

ien ces?
you r exper

Creativity techniques in game design

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