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Game Design - Lecture 4

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Lecture 4 of 4 in the Game Design Class, Fall 2012 - Dramatic elements and player embodiment.

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Game Design - Lecture 4

  1. 1. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT LD4. DRAMATIC ELEMENTS AND PLAYER EMBODIMENTAndrea ResminiGame DesignHT12 / HÖGSKOLAN I BORÅS, NOV 9 2012 ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  2. 2. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTTODAYS CLASS A brief recap from LD3 Dramatic elements Player embodiment Break WorkshopANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  3. 3. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND OF GAMES LECTURE 3 – FORMAL ELEMENTS PLAYER EMBODIMENTRECAP: FORMAL ELEMENTSANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS For example, resources. But also rules etc
  4. 4. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTDRAMATIC ELEMENTS challenge play character premise storyANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  5. 5. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTROLE OF DRAMATIC ELEMENTS they variously connect a game to its player, emotionallyANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  6. 6. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT#1. CHALLENGE in games it means tasks that are satisfying to complete and require just the right amount of workANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  7. 7. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTCHALLENGE IS PERSONAL challenge is individualized and determined by the ability of the player in relationship to the game itselfANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  8. 8. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTCHALLENGE IS DYNAMIC it is also dynamic and requires that a game adapts constantly to hold the interest of learning or differently skilled playersANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  9. 9. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTCHALLENGE IS SUBJECTIVE? is there then a way to look at challenge that is not defined by individual experience?ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  10. 10. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTTHEORY OF FLOWANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Gingerbreadhouse.co.uk
  11. 11. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTSIMILARITIES BETWEEN EXPERIENCES people describe enjoyable activities in similar waysANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  12. 12. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT ION USTAT FR OW CHALLENGE FL OM RE D BO ABILITYANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  13. 13. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTWHAT IS FLOW? in flow experiences, action and self-awareness merge and effortless concentration on the task at hand happensANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  14. 14. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTWHEN DO WE HAVE FLOW? flow happens in goal-directed activities, bounded by rules, which require skillsANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  15. 15. GAME DESIGN :: LD4 -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT –AND THAT INCLUDES TUG OF WAR ...ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  16. 16. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND OF GAMES LECTURE 3 – FORMAL ELEMENTS PLAYER EMBODIMENT… AND VIDEO GAMESANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  17. 17. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTLOSS OF SELF-CONSCIOUSNESSANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS The Ceej: Singing In The Shower
  18. 18. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTTRANSFORMATION OF TIMEANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Bullet time in in Max Payne 3, PS3
  19. 19. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTEXPERIENCE BECOMES AN ENDANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Clement Lefert, tumblr.com
  20. 20. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTTHE PARADOX OF CONTROL exercising or experiencing a feeling of control largely means that the outcome is unsure, which means a person is not in complete controlANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  21. 21. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC PLAYER EMBODIMENTGAMES WRESTLE CONTROL AWAY FROM USANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  22. 22. GAME DESIGN :: LD4 -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT – EMBODIMENT#2. PLAYANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  23. 23. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTPLAY REQUIRES ENGAGEMENT but gameplay can engage players in many different waysANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  24. 24. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTCOMPETITIVE PLAYANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  25. 25. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTCHANCE-BASED PLAYANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Game of Bingo, http://blog.enclaveatwoodbridgecamapts.com/
  26. 26. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTMAKE-BELIEVE PLAYANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Nottingham.ac.co.uk
  27. 27. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTVERTIGO PLAYANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  28. 28. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT#4. CHARACTERANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Lara Croft, Tomb Raider
  29. 29. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTWHY ARE CHARACTERS USED IN GAMES? characters are used for embodiment and storytelling reasons, psychological reasons and symbolic reasonsANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  30. 30. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTEMBODIMENTANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Player embodiment in Dead Space
  31. 31. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTSTORYTELLINGANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Aragorn as a non-player character, War in the North
  32. 32. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTPSYCHOLOGICAL REASONSANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Mirrors Edge
  33. 33. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTPSYCHOLOGICAL REASONS a character helps mirror the audiences fears and desiresANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  34. 34. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTSYMBOLIC REASONSANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Shadow of the Colossus
  35. 35. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTSYMBOLIC REASONS a character helps represent larger ideas, metaphors, and allegoriesANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  36. 36. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTPROTAGONIST VS ANTAGONISTANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS The Avatar and the Guardian, Ultima VII-IX
  37. 37. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTBOUNDING CHARACTER AND PLAYER what does a character want or need? what does the player hope or fear?ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  38. 38. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTBALANCING AGENCY AND EMPATHY a pre-written character the player should simply watch from the outside vs an avatarANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  39. 39. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTEMPATHYANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Little Big Planet
  40. 40. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTAGENCYANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Ultima IX, character creation
  41. 41. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTFREE WILL vs PLAYER CONTROL ? THE SIMS MARIO DASTAN AVATARANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  42. 42. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTTYPES OF PLAYERS we also have different types of players, as we mentioned in LD3. Competitors, explorers, storytellers, achievers, jokersANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  43. 43. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC PLAYER EMBODIMENTREMEMBER ACHIEVERS?ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Increasing character statistics in Oblivion
  44. 44. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT#4. PREMISEANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Worlds of Ultima, Origin Systems
  45. 45. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTROLE OF PREMISES a well-executed premise bounds the formal and dramatic elements in a game and heightens the players experience of the game itselfANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  46. 46. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC PLAYER EMBODIMENTPREMISES PREVENT ABSTRACTNESSANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  47. 47. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC PLAYER EMBODIMENTPACMAN HAS A PREMISEANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  48. 48. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT#5. STORY in most simpler games, story is just a souped-up premise and nothing moreANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  49. 49. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTSUPER MARIOANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  50. 50. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTTENSION IS UNAVOIDABLE even with well-written story-driven games there is a constant tension between storyline progress and free developmentANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  51. 51. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTGAME EVENTS AND THE PLAYER how can a player shape in-game events or modify their course when a story unfolds?ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  52. 52. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTSHOULD A PLAYER BE ALLOWED TO?ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Mark Hamill in Wing Commander III
  53. 53. GAME DESIGN :: LD4 -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT – EMBODIMENT SKYRIMaph.org ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  54. 54. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTASSASSINS CREEDANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  55. 55. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTPRINCE OF PERSIAANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  56. 56. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENTHOW DO BOARD AND VIDEO GAMES DIFFER?ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  57. 57. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTUSE OF THE STORYLINE one answer is in the way video games handle conflict and weave it into the storylineANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  58. 58. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTPREMISE AND STORY: JAWSANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  59. 59. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTPREMISE AND STORY: DONKEY KONGANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  60. 60. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTONE KEY DIFFERENCE ... Marios success in freeing his belle from Kong is in the hands of the player, unlike BrodysANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  61. 61. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT… BUT A GENERAL PATTERN stories follow a general pattern of exposition, climax and resolution called the dramatic arcANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  62. 62. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT CLIMAX NARRATIVE TENSION EXPOSITION NARRATIVE RESOLUTION TIMEANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  63. 63. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTDRAMATIC ARC AND 1H MINI-ARCS all forms of storytelling make use of the dramatic arc for engagement. Games also deploy shorter, session-based, 1h mini-arcs to keep players going.ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  64. 64. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTPREMISE AND STORY: LORD OF THE RINGSANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS
  65. 65. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTPREMISE AND STORY: PRINCE OF PERSIAANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Prince of Persia, Sands of Time
  66. 66. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTBREAKANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Back in 15, right? Thanks.
  67. 67. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTWORKSHOPANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Lets get going
  68. 68. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENTTHATS ALL FOLKS This is it for this class. Thanks for following!ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

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