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The Art of Computer Game Design
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to be (but need not always be) accentuated to its most direct and intense form violence. Violence is not essential or fundamental to games. It is common in games because it is the most obvious and natural expression for conflict.
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Conflict is an intrinsic element of all games. It can be direct or indirect, violent or nonviolent, but it is always present in every game.
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Conflict implies danger; danger means risk of harm; harm is undesirable. Therefore, a game is an artifice for providing the psychological experiences of conflict and danger while excluding their physical realizations. In short, a game is a safe way to experience reality. More accurately, the results of a game are always less harsh than the situations the game models. A player can blast the monsters all day long and risk only her quarter. She can amass huge financial empires and lose them in an hour without risking her piggy bank. She can lead great armies into desperate battles on which hang the fate of nations, all without shedding a drop of blood. In a world of relentless cause and effect, of tragic linkages and inevitable consequences, the disassociation of actions from consequences is a compelling feature of games. This is not to imply that games are devoid of consequences. The penalties for losing a game can sometimes be a significant deterrent to game play. Losing to another person always entails some loss of dignity. This may be an attraction of computer games there is less shame in losing to a computer. The loser can keep coming back for more defeats without losing face. Moreover, true victory the total destruction of the computer s forces, is acknowledged to be impossible in most such games; this further lessens the shame of defeat. A second penalty for losing is the less of any reward that might have been gained by winning. In almost all games the reward penalty structure is positive. That is, the loser is not punished for losing, the winner is rewarded for winning. The loser s only loss is any investment that he made to enter the game, such as a bet or entry fee. This investment is usually very small, and may rightly be regarded as a recreational fee for the services associated with the administration of the game rather than a penalty for all potential losers. Gambling presents us with some difficult problems related to the issue of the safety of games. Gamblers risk money or goods on the outcome of a random or near random process. Losers forfeit their bets and winners reap a large reward. Hence, gambling presents a real financial risk to the player. However, two extenuating circumstances intervene: first, the recreational gambler risks very little money; second, some gamblers deny to themselves the laws of chance. They indulge in the fantasy of control. The proper intonation in the shake of the dice, the correct twist on the handle of the slot machine these things make the difference, or so they tell themselves. Thus, recreational gambling, while somewhat deviant from the mainline of game playing, probably deserves
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The Art of Computer Game Design
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inclusion in the fold of games. Serious gambling, however, involving large sums of money expended more for anticipated financial gain than for recreation, lies on the far side of the gray zone. A special form of gambling, deserving special consideration here, is poker. Poker is a game of bluffing; the key to success in the game lies in convincing your opponent that you have better or worse cards than you really have. Because money is at stake, the player experiences stresses that strain his ability to deceive his opponents. Thus, the risk of gambling, a mere outcome of other games, is an intrinsic part of the structure of poker. This unique aspect of poker merits special consideration. I would not hesitate to classify poker as a game.
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