Unit 17 Reading: Elements of Video Game Design

Classroom Lecture: Elements of Video Game Design

SCENE: A university classroom in Vancouver, Canada. Students are settling into their seats, and opening up their laptops  when the professor walks in. Someone whispers. “No way, that’s the guy who made Iron Pulse.".

Professor Mercer clears his throat and begins:

All right, people, let’s get started.

Welcome to the best class on campus — Video Games 101. Today’s topic is near and dear to my heart: how to make an engaging first-person shooter.

Now, for those of you too young to remember — and judging by this class, that’s almost everyone — my own game, Iron Pulse, came out fifteen years ago. Back then, reviewers called it innovative because it had physics-based combat and destructible environments. These days, of course, you can’t throw a hand grenade without blowing a hole through a wall — but back then, we were pioneers.

So, how do you make a shooter that feels alive? A game that keeps players coming back even after they’ve seen every map, unlocked every weapon, and defeated every boss? That’s what we’re going to talk about.

Let’s start with something simple — the player experience loop. A good FPS keeps players in a constant rhythm of challenge and reward. Players need to feel that every headshot, every completed mission, every 1up actually means something. A 1up might seem old-school, but the psychology behind it still matters: it’s a quick dopamine hit that tells the player, you did something right.

Next, think about progression systems. Modern shooters often include RPG-style mechanics: character classes, experience points, and loot boxes. When done well, these create a sense of ownership. When done poorly, they feel like cheap monetization.

In Iron Pulse, we didn’t have loot boxes — thank heavens — but we did have customizable loadouts. Players could grind through missions to unlock experimental weapons. That grinding, if balanced carefully, gives players a sense of mastery. But if it takes too long, it becomes tedious.

Student Emma asks a question:

Professor, can you talk about the role of autosave and checkpoints in player engagement?

Professor Mercer responds:

Excellent question. Autosave and checkpoint systems are like the safety nets in a circus act. Players need to feel challenged, but not punished. If they lose half an hour of progress because they forgot to quick save, they’ll rage-quit and uninstall. The trick is to create tension — will I even survive this encounter? — without breaking immersion when they fail.

In competitive multiplayer, things get trickier. You can’t just reload a checkpoint. So, balance comes from the spawn system. Where players reappear after death affects pacing and fairness. A bad spawn system can lead to spawn camping — where one team sits near the enemy’s spawn point and picks them off as soon as they reappear. Nothing kills the fun faster than that. 

Student Liam asks a question:

What about boss battles in shooters? Some people say they don’t fit the genre.

Professor Mercer responds:

Ah, the eternal debate. Personally, I think a well-designed boss battle can anchor the narrative. But it needs to feel consistent with the core gameplay. A tanky bullet sponge that ignores the game’s normal physics just to be “epic” breaks immersion.

For instance, you would never want to change the genre of a game, between normal action, and boss fights. That's the mark of a true amateur. I know two kids in Australia who did that once. It totally ruined what was otherwise a pretty good game.

Boss fights should always test the skills the player has learned during that level— their aiming, their movement, their understanding of cooldowns and power-ups. If your boss requires some cheap trick or forces players to turtle behind cover for ten minutes — that’s poor design. Don’t make your players feel like they have to turtle to survive. 

Speaking of movement — let’s talk mechanics. Good movement makes an FPS feel like an extension of your body. Strafing, for example, is one of the oldest and most essential techniques. Players use strafing to dodge bullets and maintain control. Add jump mechanics, sliding, maybe even wall-running, and suddenly the game feels fluid.

But movement isn’t just mechanics — it’s identity. Players express themselves through how they move, shoot, and interact with the environment. That’s where avatars come in. Even in first-person games, the avatar defines the player’s identity. Maybe they’re a soldier, a hacker, or even a mercenary — the choice affects immersion.

Now, let’s talk about side quests and bonus stages. Not every FPS needs them, but they do add a certain degree of depth. Think of a sniper mission hidden in a jungle map, or a secret Easter egg level you unlock after finding a hidden symbol. These extras make players feel like explorers. You can reward curiosity with power-ups, rare weapons, or cosmetic items.

Of course, you’ll need to manage content ratings carefully. Too much violence, and you risk an 18+ classification. That really limits your audience — especially in countries with strict laws. When Iron Pulse released, we had to tone down one cutscene because the ratings board thought the explosion effects were “too realistic.” That’s Canada for you — polite, but firm.

Student Mina asks a question:

How about fast travel systems in shooters? Do they break immersion?

Professor Mercer responds:

Good point. Fast travel is a double-edged sword. On one hand, it saves time and keeps players from backtracking endlessly. On the other, it can destroy pacing. You have to decide what kind of experience you want to craft. If your world is dense and full of action, let players fast travel between key checkpoints. But if exploration is part of the fun, make them earn it. Maybe make fast travel cost the player XP. Or even better, make them complete the single player game story at least once. 

Student Butch asks a question:

FIrst off, I'm a huge fan. But do you really think achievements still matter?

Professor Mercer responds:

Absolutely. Achievements are the breadcrumbs of player motivation. They turn ordinary moments into milestones: “You completed the campaign on hard mode,” or “You defeated the boss without taking damage.” They’re also great marketing. People share them online. I’ve even seen players speedrun games just to unlock rare achievements.

Now, more about speedruns. Designing for speedrunning is like giving players a sandbox. Some devs hate it — they think it exposes flaws. I say embrace it. If players find creative ways to break your level design, you’ve made something worth mastering. Just… maybe patch out the wallhacks.

Student Liam asks another question:

What about button spamming? Good or bad?

Professor Mercer responds:

Ah yes, the ancient art of button mashing.  A good shooter should reward precision, timing, and resource management. Cooldowns prevent players from spamming grenades or abilities. They force strategy. If every action is equally effective when spammed, your game loses depth.

Student Emma asks a question:

What about inventory systems? Aren’t they more of an RPG thing?

Professor Mercer responds:

Good observation. A limited inventory can create tension — do I carry a rocket launcher or more health kits? That’s design gold. Decisions create emotion.

Finally, let’s talk about balance. Nothing kills community faster than an OP weapon or ability. Balance is an art form — part math, part intuition. If one gun dominates the gameplay, your players will eventually quit in boredom or frustration. Yes, overpowered equipment and abilities are a bug, not a feature!

And remember — sometimes the most engaging feature isn’t about realism or tech. It’s about storytelling. Every level, every checkpoint, every side quest tells a part of your narrative. Your players should feel like they’re living an adventure — not just clearing rooms full of NPCs.

So, what makes an engaging FPS? It’s not just graphics, or gun physics, or loot drops. It’s respect for the player’s time, intelligence, and curiosity. Give them good reasons to keep pressing continue, even after the credits roll.

And if you’re lucky, fifteen years later, maybe some university students in Vancouver will still remember your name.

The students applaud. Someone mutters, “Guess he’s still living on that Iron Pulse glory.”

Professor Mercer responds, smiling:

That's all for today class. And just remember, glory doesn’t expire — it just respawns.

End of Lecture. Thanks for listening!