Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

Opportunities for Fiction and Fantasy in Videogames

610 views

Published on

Presentation at the Faculdade de Letras of Lisbon University discussing the definition of videogames and the role of fiction and fantasy in the player experience.

Published in: Education
  • Be the first to comment

Opportunities for Fiction and Fantasy in Videogames

  1. 1. Rui Prada
  2. 2. Image by Mikko Kinnunen
  3. 3. ¡ An artifact that promotes an activity § To play ¡ Is interactive § Players are proactive § Flow of events in the game relates to players actions ¡ Has constraints § Rules § Boundaries
  4. 4. ¡ Separates the game world from the real world ¡ Supports the creation of fiction
  5. 5. ¡ The fiction supports the attribution of meaning to the players’ actions § Consists of a framework for interpretation § Translates real world actions into game world (fictional) actions / consequences § Transforms the player (in the real world) ▪ Emotional impact ▪ Conveys a message
  6. 6. ¡ Players pursuit goals ¡ Players make meaningful choices § To achieve the goals ¡ Players care for the results § They want to win
  7. 7. ¡ The game is a conceptual artifact in the mind of the player § Supported by physical and digital assets ¡ Any activity can be turned into a game § If the player defines goals within the Magic Circle
  8. 8. ¡ A conceptual artifact that § Defines constraints and choices ▪ What can be done § Supports the definition of goals ▪ What should be achieved § Supports the evaluation of states ▪ What is preferable § Supports the definition of the Magic Circle ▪ Detachment from the real world
  9. 9. ¡ Science Fiction and Fantasy are often adopted in the fiction of videogames § Players live in worlds with magic and dragons § Learn and cast spells § Explore and discover the universe § Build spaceships § Discover new technology § Meet/fight aliens and mythical creatures
  10. 10. ¡ If the Magic Circle fades… …the game is about real life
  11. 11. ¡ The game is a means for the player to live an experience § Impersonate a character § To live a dream ¡ The experience is § Doing § Feeling § Remembering
  12. 12. ¡ Provides satisfaction of needs § Achievement. Achieve milestones, finish tasks. § Power. Have an impact on the world, improve skill. § Affiliation. Maintain positive interactions with others. § Avoidance. Self-­‐preservation, seeking certainty. ¡ Balance Novelty and Control
  13. 13. ¡ Has emotional impact § Internal sensations linked to assessment of situations § People have needs of emotional regulation (to relax or get excited) § Regulate engagement (attention and motivation)
  14. 14. Anger& a. Fear& b. Disgust& c. Surprise& d. Happiness& e. Sadness& f.
  15. 15. ¡ Supports learning ¡ The experience is ruined if § There is nothing to learn § It is impossible to learn (noise, sensory overload) § There is no interest in the things learnt (are not applied in the game) ¡ Balance guidance and self-­‐exploration
  16. 16. ¡ Provides pleasure § Sensation: game as sensory pleasure § Fantasy: game as make believe § Narrative: game as drama § Challenge: game as obstacle course § Fellowship: game as social framework § Discovery: game as uncharted territory § Expression: game as self-­‐discovery § Submission: game as pastime
  17. 17. ¡ The experience changes over time § The player changes ¡ Need to maintain the engagement § Attention / concentration § Motivation / interest ¡ Playing is a voluntary activity
  18. 18. Skill Challenge The Flow channel Tension point
  19. 19. ¡ A game is a communication artifact § Theme / subject ▪ ex: Football § Message / perspective ▪ Ex: the perspective of a football player ▪ Ex: teamwork is important ¡ The goal of the game is to provide the means for the experience
  20. 20. ¡ Narrative is part of the progression of the experience ¡ A game can be a good way to convey a story § The player must make an effort to advance in the story ▪ The player needs the feeling of agency § This enhances the feeling of participation
  21. 21. “I want to tell my story… …but I want players to feel in control and live their own story!” ¡ Games and Interactive Storytelling
  22. 22. The Sims 3
  23. 23. ¡ The game world is often populated with characters § Player characters § Non-­‐player characters ▪ Scripted ▪ Autonomous ¡ Challenge and opportunity for Artificial Intelligence
  24. 24. ¡ Characters are part of the fiction § Create the social dimension of the game world § Support the progression of the experience ▪ Narrative ¡ Need autonomy to support the players’ agency
  25. 25. ¡ The autonomous synthetic characters must be believable § To present a good experience § To avoid breaking the fiction ¡ Believability § Coherent behaviour § Meet the expectations of players ▪ Present surprises in a believable way
  26. 26. ¡ “The Illusion of Life” ¡ “Leading the audience to a suspension of disbelief” ¡ Is a balance of the qualities of the character § With the context
  27. 27. ¡ Visual Qualities
  28. 28. ¡ Behaviour Qualities
  29. 29. ¡ People assign “human-­‐like” characteristics to synthetic characters ¡ “Human-­‐like” characters must present human qualities § Intentionality § Emotional behaviour § Personality § Ability to adapt to the social context § Engage in long term relations
  30. 30. ¡ Believable group dynamics ¡ Personality § Five Factor Model: OCEAN ¡ Position in the group ¡ Balanced dynamics of attraction
  31. 31. ¡ Potential force towards change § beliefs, behaviour ¡ Influence and resistance ¡ Different sources § Reward § Coercion § Legitimate § Referent § Expert
  32. 32. ¡ Identity Model § Layered: personal, social (group memberships) § Dynamic: salience = accessibility x fit ▪ Others (out-­‐group), theme ¡ Influence on behaviour § Moral references § Intergroup relationships § Filter perception and atributions ▪ Emotional appraisal § Bias on decision making ▪ Social dilemmas: prisoner’s dilemma
  33. 33. ¡ Social Interaction Dynamics § Social Importance ▪ Claim ▪ Confer ¡ Cultural traits § Individualism/collectivism § Power distance § Uncertainty avoidance § Masculinity/femininity § Long term/short term orientation § Indulgence/restraint
  34. 34. ¡ Physical embodiment and face to face interaction ¡ Verbal and non-­‐verbal behaviour § Gaze, attention ¡ Emotional Appraisal § Luck, social relations, state of the game ¡ Recognizes and remembers players and past experiences ¡ Plays different social roles § Helper, dominator
  35. 35. ¡ Videogames are part of our culture § MoMA acquired 14 videogames for their collection ¡ Videogames support (and rely on) the creation of fiction ¡ Synthetic characters are often part of the experience § Should be autonomous to support the agency of the player ¡ Autonomous characters must be believable § Show human-­‐like (balanced) qualities
  36. 36. rui.prada@tecnico.ulisboa.pt http://gaips.inesc-­‐id.pt/rprada http://spcvideojogos.org http://ajist.tecnico.ulisboa.pt/

×