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Toh Weimin 
Department of English Language and Literature 
National University of Singapore, Singapore
 Propose a methodological framework for 
analysis of PvP in online games. 
 Case study of PvMP in The Lord of The Rings 
Online (LOTRO). 
 Investigate some of the core systems of PvP 
gameplay in open world sandbox PvP.
 MMORPG released by Turbine, Inc. on 24 Apr 
2007. 
 Set in fantasy world based on J.R.R Tolkien’s 
Middle-earth writings. 
 Two main game portions 
◦ Player versus Environment (PvE) 
◦ Player versus Monster Player (PvMP) 
 Ettenmoors.
 Emergent gameplay. 
 PvMP map largely unchanged.
 Learn how diverse forms of gameplay and 
strategies attract players. 
 Study how simple rules contribute to 
emergent behaviour. 
 Design better gameworlds to facilitate instead 
of restrict gameplay.
 Support for emergent gameplay. 
 Community attitudes towards players’ 
behaviour. 
 Gameplay examples based on own gameplay 
experience. 
 Propose basic questions to analyse other 
online games.
 Open-ended gameplay. 
 Gameplay locations. 
◦ Keep. 
◦ Outpost. 
◦ Non-Player Character (NPC) camps. 
 Dynamic gameplay. 
 Gameplay adapts to player population.
 Free play versus negotiated fair play. 
 Points of interest. 
 Sustained group fights. 
 Divide and conquer. 
 Changing dynamics of the open ended 
gameplay.
 Free play or paidia dominates in group play. 
◦ More unpredictable gameplay. 
◦ Ludus is also present. 
 Ludus dominates in “planned” one-versus-ones. 
◦ One-versus-one PvMP focuses more on fair play. 
◦ “Designated” one-versus-one zones. 
◦ Negotiations between players about rules.
 Specific strategic locations where players 
engage in PvE quests. 
 Provide setting for emergent PvMP gameplay. 
 Examples: 
◦ Keeps and outposts 
◦ PvE escort quests 
◦ Special gameplay objects and bosses 
 Relics in enemy bases 
 Elite underground dungeon bosses
 Originate from any location. 
 Spatial location extends to very wide range 
and large group of players. 
 Duration of fights few hours. 
 Promotes social coordination. 
 Prolong gameplay experience.
 Ability to organise large networks of like-minded 
players in group play. 
 Requires tactical leader to coordinate 
gameplay efforts of raid group. 
 Group leader draws upon previous game 
experience.
 Understand how simple rules interact with 
gameplay mechanic to create emergent 
gameplay. 
 Creep maps. 
 Outpost locations and resurrection points. 
 Class specific strategies.
 How to design the game space to encourage 
development of emergent gameplay? 
 How to design the game world to create 
sustained group fights? 
 How to design game world to facilitate 
multiple strategies in group coordination? 
 How open-ended dynamics of world PvP 
create diverse emergent gameplay? 
 How free play and negotiated players' rules 
occur in different types of online games?
 Proposal of methodological approach for 
analysis of online games. 
 Focuses on core features of LOTRO’s PvMP. 
 Contribute to understanding formation of 
emergent gameplay behaviour. 
 Enable game designers to understand how to 
analyse other online game worlds. 
 Improve core features of other online games. 
 Facilitate emergent gameplay behaviour.
 Ackermann, Judith. 2012. Playing Computer Games as Social Interaction: 
An Analysis of LAN Parties. In Johannes Frome and Alexander Unger 
(Eds.). Computer Games and New Media Cultures - A Handbook of 
Digital Game Studies. New York London: Springer. 
 Adams, Ernest. 2010. Fundamentals of Game Design. Berkeley: New 
Riders. 
 Caillios, Roger. 1961. Man, Play, and Games. Librairie Gallimard, Paris: 
The Free Press of Glencoe, Inc. 
 Carr, Diane. 2012. Interpretation, Conflict and Instruction in Online 
Multiplayer Games: Lessons from Warsong Gulch. In Johannes Frome and 
Alexander Unger (Eds.). Computer Games and New Media Cultures - A 
Handbook of Digital Game Studies. New York London: Springer. 
 Cole, Helena and Griffiths, Mark D. 2007. Social Interactions in Massively 
Multipayer Online Role-Playing Gamers. CyberPsychology & Behavior. 
Vol. 10, No.4. Available from 
http://ocw.metu.edu.tr/pluginfile.php/2372/mod_resource/content/1/ 
ColeGriffiths.PDF (Accessed: 26 Oct 2013). 
 Drachen, Anders. 2011. Analysing player communication in multi-player 
games. In Garry Crawford, Victoria K. Gosling and Ben Light (Eds). Online 
Gaming in Context. London and New York: Routledge. 
 Duke of O. 2013. The Quest for Meaningful World PvP, Part I - Eve Online 
and Wow. Available from http://nullsignifier.blogspot.sg/2013/07/the-quest- 
for-meaningful-world-pvp-part. 
html?q=The+Quest+for+Meaningful+World+PvP (Accessed: 19 Oct 
2013).
 Duke of O. 2013. The Quest for Meaningful World PvP, Part II - 
Asymmetry and Fairness in Persistent Worlds. Available from 
http://nullsignifier.blogspot.sg/2013/09/the-quest-for-meaningful-world- 
pvp-part.html (Accessed: 19 Oct 2013). 
 Falcão, Thiago and Ribeiro, José Carlos. 2011. The whereabouts of play, 
or how the magic circle helps create social identities in virtual worlds. In 
Garry Crawford, Victoria K. Gosling and Ben Light (Eds). Online Gaming 
in Context. London and New York: Routledge. 
 Frasca, G. 2003. Simulation versus narrative: Introduction to ludology. In 
M. J. P. Wolf & B. Perron (Eds.), The video game theory reader. New York: 
Routledge. 
 Frasca, Gonzalo. 2007. Play the Message: Play, Game and Videogame 
Rhetoric. IT University of Copenhagen. Unpublished manuscript. 
 Garfield, Richard. 2000. Metagames. In Horsemen of the Apocalypse: 
Essays on Roleplaying. London: Jolly Roger Games. 
 Gergen, K.J. 1990. The Saturated Self: Dilemmas of Identity in 
Contemporary Life. New York, Basic Books. 
 Giang, M.T., Kafai, Y.B., Fields, Deborah A., and Searle, Kristin A. 2012. 
Social Interactions in Virtual Worlds: Patterns and Profiles of Tween 
Relationship Play. In Johannes Frome and Alexander Unger (Eds.). 
Computer Games and New Media Cultures - A Handbook of Digital 
Game Studies. New York London: Springer.
 Goffman, E. 1990 [1969]. The presentation of Self in Everyday Life. New York: 
Harper and Row. 
 Hemminger, Elke and Schott, Gareth. 2012. Mergence of Spaces: MMORPG User- 
Practice and Everyday Life. In Johannes Frome and Alexander Unger (Eds.). 
Computer Games and New Media Cultures - A Handbook of Digital Game Studies. 
New York London: Springer. 
 Hutchison, David. 2008. From Gamer to Game Designer: The Official Far Cry 2 
Map Editing Guide. Cengage Learning. 
 Jørgensen, Kristine. 2008. Audio and Gameplay: An Analysis of PvP Battlegrounds 
in World of Warcraft. Game Studies - the international journal of computer game 
research. Available from http://gamestudies.org/0802/articles/jorgensen 
(Accessed: 15 Oct 2013). 
 Kahn, A.S., Shen, C., Lu, L., Ratan, R.A., Coary, S., Hou, J., Meng, J., Osborn, J.C. & 
Williams, D. 2013. The Trojan Typology: A Cross-Genre, Cross-Cultural, 
Behaviorally Validated Scale of Video Game Play Motivations. Paper presented at 
the 63rd Annual Conference of the International Communication Association (ICA), 
London, UK. 
 Klastrup, Lisbath. 2008. What makes World of Warcraft a World? A Note on Death 
and Dying. In Hilde G. Corneliussen and Jill Walker Rettberg (Eds.). Digital Culture, 
Play, and Identity: A World of Warcraft Reader. Cambridge: Massachusetts: The MIT 
Press. 
 Myers, David. 2007. Self and selfishness in online social play. Situated Play, 
Proceedings of DiGRA 2007 Conference. Available from http://www.digra.org/wp-content/ 
uploads/digital-library/07312.58121.pdf (Accessed 15 Oct 2013). 
 Recuerto, R. 2005. Comunidades Virtuais Em Redes Sociais Na Internet: Uma 
Proposta De Estudo'. E-Compós, 04. Available from 
http://www.raquelrecuero.com/seminario2005.pdf (Accessed 24 Oct 2013).
 River, CSM. 2013. Rank Farming, Official. Available from 
https://www.lotro.com/forums/showthread.php?521744-Rank- 
Farming-Official (Accessed: 14 Oct 2013). 
 Salen, Katie and Zimmerman. 2004. Rules of Play: Game Design 
Fundamentals. Cambridge, Massachusetts: The MIT Press. 
 Sweetser, Penny. 2008. Emergence in games. Boston, Massachusetts: 
Charles River Media. 
 Thimm, Caja. 2012. Virtual Worlds: Game or Virtual Society? In Johannes 
Frome and Alexander Unger (Eds.). Computer Games and New Media 
Cultures - A Handbook of Digital Game Studies. New York London: 
Springer. 
 Turbine, Inc. 2007. The Lord of The Rings Online. Turbine Inc. & Midway 
Games. 
 Turbine, Inc. 2007. Community Guidelines. Available from 
http://www.lotro.com/en/content/community-guidelines (Accessed: 17 
Oct 2013). 
 Turbine, Inc. 2010. LOTRO Rules of Combat. Available from 
http://support.turbine.com/link/portal/24001/24001/Article/494/LOT 
RO-Rules-of-Combat (Accessed: 17 Oct2013). 
 Turbine, Inc. 2011. LOTRO Official Roleplaying Rules and Policy. 
Available from 
http://support.turbine.com/link/portal/24001/24011/Article/1965/LO 
TRO-Official-Roleplaying-Rules-and-Policy (Accessed: 17 Oct 2013).
 Turbine, Inc. 2012. LOTRO Character Naming Policy. Available from 
http://support.turbine.com/link/portal/24001/24001/Article/37/LOTR 
O-Character-Naming-Policy (Accessed: 17 Oct 2013). 
 Turbine, Inc. 2013. Official Policy on Rank Farming. Available from 
http://support.turbine.com/link/portal/24001/24001/Article/544/Offic 
ial-Policy-on-Rank-Farming (Accessed: 17 Oct 2013). 
 Unknown author. 2011. Open World PvP. Available from 
http://telarapedia.gamepedia.com/Open_World_PvP (Accessed 26 Oct 
2013). 
 Unknown author. 2013. The ten commandments. The Black Appendage 
of Sauron. Available from 
http://www.theblackappendage.com/book/10-commandments 
(Accessed: 14 Oct 2013). 
 Wolf, Karsten D. 2012. The Instructional Design and Motivational 
Mechanisms of World of Warcraft. In Johannes Frome and Alexander 
Unger (Eds.). Computer Games and New Media Cultures - A Handbook of 
Digital Game Studies. New York London: Springer. 
 Wolf, Mark J.P. 2012. Encyclopedia of video games: the culture, 
technology, and art of gaming. Santa Barbara, Calif.: Greenwood.

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An analysis of open world pvp in lotro’s pvmp

  • 1. Toh Weimin Department of English Language and Literature National University of Singapore, Singapore
  • 2.
  • 3.  Propose a methodological framework for analysis of PvP in online games.  Case study of PvMP in The Lord of The Rings Online (LOTRO).  Investigate some of the core systems of PvP gameplay in open world sandbox PvP.
  • 4.  MMORPG released by Turbine, Inc. on 24 Apr 2007.  Set in fantasy world based on J.R.R Tolkien’s Middle-earth writings.  Two main game portions ◦ Player versus Environment (PvE) ◦ Player versus Monster Player (PvMP)  Ettenmoors.
  • 5.  Emergent gameplay.  PvMP map largely unchanged.
  • 6.  Learn how diverse forms of gameplay and strategies attract players.  Study how simple rules contribute to emergent behaviour.  Design better gameworlds to facilitate instead of restrict gameplay.
  • 7.  Support for emergent gameplay.  Community attitudes towards players’ behaviour.  Gameplay examples based on own gameplay experience.  Propose basic questions to analyse other online games.
  • 8.  Open-ended gameplay.  Gameplay locations. ◦ Keep. ◦ Outpost. ◦ Non-Player Character (NPC) camps.  Dynamic gameplay.  Gameplay adapts to player population.
  • 9.  Free play versus negotiated fair play.  Points of interest.  Sustained group fights.  Divide and conquer.  Changing dynamics of the open ended gameplay.
  • 10.  Free play or paidia dominates in group play. ◦ More unpredictable gameplay. ◦ Ludus is also present.  Ludus dominates in “planned” one-versus-ones. ◦ One-versus-one PvMP focuses more on fair play. ◦ “Designated” one-versus-one zones. ◦ Negotiations between players about rules.
  • 11.  Specific strategic locations where players engage in PvE quests.  Provide setting for emergent PvMP gameplay.  Examples: ◦ Keeps and outposts ◦ PvE escort quests ◦ Special gameplay objects and bosses  Relics in enemy bases  Elite underground dungeon bosses
  • 12.  Originate from any location.  Spatial location extends to very wide range and large group of players.  Duration of fights few hours.  Promotes social coordination.  Prolong gameplay experience.
  • 13.  Ability to organise large networks of like-minded players in group play.  Requires tactical leader to coordinate gameplay efforts of raid group.  Group leader draws upon previous game experience.
  • 14.  Understand how simple rules interact with gameplay mechanic to create emergent gameplay.  Creep maps.  Outpost locations and resurrection points.  Class specific strategies.
  • 15.  How to design the game space to encourage development of emergent gameplay?  How to design the game world to create sustained group fights?  How to design game world to facilitate multiple strategies in group coordination?  How open-ended dynamics of world PvP create diverse emergent gameplay?  How free play and negotiated players' rules occur in different types of online games?
  • 16.  Proposal of methodological approach for analysis of online games.  Focuses on core features of LOTRO’s PvMP.  Contribute to understanding formation of emergent gameplay behaviour.  Enable game designers to understand how to analyse other online game worlds.  Improve core features of other online games.  Facilitate emergent gameplay behaviour.
  • 17.  Ackermann, Judith. 2012. Playing Computer Games as Social Interaction: An Analysis of LAN Parties. In Johannes Frome and Alexander Unger (Eds.). Computer Games and New Media Cultures - A Handbook of Digital Game Studies. New York London: Springer.  Adams, Ernest. 2010. Fundamentals of Game Design. Berkeley: New Riders.  Caillios, Roger. 1961. Man, Play, and Games. Librairie Gallimard, Paris: The Free Press of Glencoe, Inc.  Carr, Diane. 2012. Interpretation, Conflict and Instruction in Online Multiplayer Games: Lessons from Warsong Gulch. In Johannes Frome and Alexander Unger (Eds.). Computer Games and New Media Cultures - A Handbook of Digital Game Studies. New York London: Springer.  Cole, Helena and Griffiths, Mark D. 2007. Social Interactions in Massively Multipayer Online Role-Playing Gamers. CyberPsychology & Behavior. Vol. 10, No.4. Available from http://ocw.metu.edu.tr/pluginfile.php/2372/mod_resource/content/1/ ColeGriffiths.PDF (Accessed: 26 Oct 2013).  Drachen, Anders. 2011. Analysing player communication in multi-player games. In Garry Crawford, Victoria K. Gosling and Ben Light (Eds). Online Gaming in Context. London and New York: Routledge.  Duke of O. 2013. The Quest for Meaningful World PvP, Part I - Eve Online and Wow. Available from http://nullsignifier.blogspot.sg/2013/07/the-quest- for-meaningful-world-pvp-part. html?q=The+Quest+for+Meaningful+World+PvP (Accessed: 19 Oct 2013).
  • 18.  Duke of O. 2013. The Quest for Meaningful World PvP, Part II - Asymmetry and Fairness in Persistent Worlds. Available from http://nullsignifier.blogspot.sg/2013/09/the-quest-for-meaningful-world- pvp-part.html (Accessed: 19 Oct 2013).  Falcão, Thiago and Ribeiro, José Carlos. 2011. The whereabouts of play, or how the magic circle helps create social identities in virtual worlds. In Garry Crawford, Victoria K. Gosling and Ben Light (Eds). Online Gaming in Context. London and New York: Routledge.  Frasca, G. 2003. Simulation versus narrative: Introduction to ludology. In M. J. P. Wolf & B. Perron (Eds.), The video game theory reader. New York: Routledge.  Frasca, Gonzalo. 2007. Play the Message: Play, Game and Videogame Rhetoric. IT University of Copenhagen. Unpublished manuscript.  Garfield, Richard. 2000. Metagames. In Horsemen of the Apocalypse: Essays on Roleplaying. London: Jolly Roger Games.  Gergen, K.J. 1990. The Saturated Self: Dilemmas of Identity in Contemporary Life. New York, Basic Books.  Giang, M.T., Kafai, Y.B., Fields, Deborah A., and Searle, Kristin A. 2012. Social Interactions in Virtual Worlds: Patterns and Profiles of Tween Relationship Play. In Johannes Frome and Alexander Unger (Eds.). Computer Games and New Media Cultures - A Handbook of Digital Game Studies. New York London: Springer.
  • 19.  Goffman, E. 1990 [1969]. The presentation of Self in Everyday Life. New York: Harper and Row.  Hemminger, Elke and Schott, Gareth. 2012. Mergence of Spaces: MMORPG User- Practice and Everyday Life. In Johannes Frome and Alexander Unger (Eds.). Computer Games and New Media Cultures - A Handbook of Digital Game Studies. New York London: Springer.  Hutchison, David. 2008. From Gamer to Game Designer: The Official Far Cry 2 Map Editing Guide. Cengage Learning.  Jørgensen, Kristine. 2008. Audio and Gameplay: An Analysis of PvP Battlegrounds in World of Warcraft. Game Studies - the international journal of computer game research. Available from http://gamestudies.org/0802/articles/jorgensen (Accessed: 15 Oct 2013).  Kahn, A.S., Shen, C., Lu, L., Ratan, R.A., Coary, S., Hou, J., Meng, J., Osborn, J.C. & Williams, D. 2013. The Trojan Typology: A Cross-Genre, Cross-Cultural, Behaviorally Validated Scale of Video Game Play Motivations. Paper presented at the 63rd Annual Conference of the International Communication Association (ICA), London, UK.  Klastrup, Lisbath. 2008. What makes World of Warcraft a World? A Note on Death and Dying. In Hilde G. Corneliussen and Jill Walker Rettberg (Eds.). Digital Culture, Play, and Identity: A World of Warcraft Reader. Cambridge: Massachusetts: The MIT Press.  Myers, David. 2007. Self and selfishness in online social play. Situated Play, Proceedings of DiGRA 2007 Conference. Available from http://www.digra.org/wp-content/ uploads/digital-library/07312.58121.pdf (Accessed 15 Oct 2013).  Recuerto, R. 2005. Comunidades Virtuais Em Redes Sociais Na Internet: Uma Proposta De Estudo'. E-Compós, 04. Available from http://www.raquelrecuero.com/seminario2005.pdf (Accessed 24 Oct 2013).
  • 20.  River, CSM. 2013. Rank Farming, Official. Available from https://www.lotro.com/forums/showthread.php?521744-Rank- Farming-Official (Accessed: 14 Oct 2013).  Salen, Katie and Zimmerman. 2004. Rules of Play: Game Design Fundamentals. Cambridge, Massachusetts: The MIT Press.  Sweetser, Penny. 2008. Emergence in games. Boston, Massachusetts: Charles River Media.  Thimm, Caja. 2012. Virtual Worlds: Game or Virtual Society? In Johannes Frome and Alexander Unger (Eds.). Computer Games and New Media Cultures - A Handbook of Digital Game Studies. New York London: Springer.  Turbine, Inc. 2007. The Lord of The Rings Online. Turbine Inc. & Midway Games.  Turbine, Inc. 2007. Community Guidelines. Available from http://www.lotro.com/en/content/community-guidelines (Accessed: 17 Oct 2013).  Turbine, Inc. 2010. LOTRO Rules of Combat. Available from http://support.turbine.com/link/portal/24001/24001/Article/494/LOT RO-Rules-of-Combat (Accessed: 17 Oct2013).  Turbine, Inc. 2011. LOTRO Official Roleplaying Rules and Policy. Available from http://support.turbine.com/link/portal/24001/24011/Article/1965/LO TRO-Official-Roleplaying-Rules-and-Policy (Accessed: 17 Oct 2013).
  • 21.  Turbine, Inc. 2012. LOTRO Character Naming Policy. Available from http://support.turbine.com/link/portal/24001/24001/Article/37/LOTR O-Character-Naming-Policy (Accessed: 17 Oct 2013).  Turbine, Inc. 2013. Official Policy on Rank Farming. Available from http://support.turbine.com/link/portal/24001/24001/Article/544/Offic ial-Policy-on-Rank-Farming (Accessed: 17 Oct 2013).  Unknown author. 2011. Open World PvP. Available from http://telarapedia.gamepedia.com/Open_World_PvP (Accessed 26 Oct 2013).  Unknown author. 2013. The ten commandments. The Black Appendage of Sauron. Available from http://www.theblackappendage.com/book/10-commandments (Accessed: 14 Oct 2013).  Wolf, Karsten D. 2012. The Instructional Design and Motivational Mechanisms of World of Warcraft. In Johannes Frome and Alexander Unger (Eds.). Computer Games and New Media Cultures - A Handbook of Digital Game Studies. New York London: Springer.  Wolf, Mark J.P. 2012. Encyclopedia of video games: the culture, technology, and art of gaming. Santa Barbara, Calif.: Greenwood.

Editor's Notes

  1. I started playing LOTRO when it went free-to-play in 2009. My main toons are on Elendilmir and I have played all the 9 characters. This server has become less active recently as many players have migrated to Brandywine due to some social issues on the server such as a player trying to dictate what other players can do in PvP, e.g. designating the one-versus-one zones. I started playing PvE first then proceeded to PvMP sometime in 2011/2012. During that time, I was trying to play in PvMP to get the PvP armour for my Captain which has good set bonuses to be used in PvE such as the 6 seconds countdown on rally cry that restores the group’s morale when used. Later, I got hooked in PvMP and my favourite character is the warg stalker which is rank 11. I also played a rank7 weaver and rank 7 defiler on Creepside and rank 8 champion, rank 8 loremaster, rank 8 burglar and rank 9 Captain. Recently, I have become less active playing LOTRO due to getting tired of the game and my research work in PhD.
  2. The main portion of LOTRO is Player versus Environment (PvE), which means the player controlled character fights against the computer controlled characters. Player versus Monster Player (PvMP) is another portion of the game. LOTRO's PvMP is open world and occurs in a large open map situated in a region known as the Ettenmoors. In this region, players can either play as their regular PvE player characters, known as Freeps or as Monster Player characters, known as Creeps. Freep is an abbreviation of the Free People of Middle Earth, while Creeps are the enemies of the Free Peoples of Middle Earth, who are bound to the service of the Eye, the Dark Lord Sauron.
  3. Emergent gameplay refers “to the ways in which players make a video game their own by experimenting with (or even inventing) new forms of gameplay or in-game experiences that, in some cases, may not have been anticipated by the game’s developers” (Hutchison, 2008). The emergent gameplay includes players' strategies as a result of players' skill and creativity to overcome the imbalance between the Creep and Freep classes. Since the players can devise novel strategies, they can overcome class disadvantages and exploit class advantages. The same PvMP map has been used since LOTRO's first expansion pack, Shadows of Angmar. What is so engaging about the gameplay? Why do players still want to play the PvMP given that the map is largely unchanged?
  4. Open-ended gameplay - The objectives that each player must strive to attain are defeating the players from the opposite side in combat, completing PvE-and PvP-driven quests, and maintaining control of several Keeps and Outposts. In attaining these objectives, players will be rewarded with points in the form of rank experience and commendation currency. But players do not have to adhere to these objectives. The gameplay encourages players to formulate their own objectives to have fun in the game such as stealing an enemy held artefact from under the enemy’s noses. Gameplay locations - The areas of the PvMP zone provide adequate support for both attacking and defending players in order to encourage the stronger side to attack enemy locations. These locations can vary from a Keep, Outpost, or Non-Player Character (NPC) camps. Each location can be fought over for control and is a common meeting place for both sides. Keeps and Outposts do not remain permanently controlled by the players. When they are Freepside owned, they appear blue on the map, and when Creepside owned, they appear red on the map. Dynamic gameplay - The players are not restricted from using the rules of the game to create their own gameplay rules. This constitutes emergent gameplay, in which players create conflict and tension between the opposite sides for PvMP gameplay. Emergent game systems empower players by providing them greater game control, the freedom to experiment which contributes to a sense of agency, and a less of a feeling of uncovering a path set for them by the designers. Gameplay adapts to player population - The most popular areas depend on importance and player strength at the time. For example, Outposts are used more often when fewer players are online since they are easy to attack. But if more players are online, Keeps are attacked more often. In this way, the game world's action can be based on what the player population can manage at the time, instead of forcing them into a specific structure. This is one way in which emergent gameplay is supported in open game worlds.
  5. Purpose – understand how players interact with simple rules in open game worlds to create emergent gameplay.
  6. The group-based open warfare in LOTRO's PvMP is very unpredictable, and sometimes one group dominates in the killing, but at other times is hunted. Players devise many different gameplay strategies. Players can defeat all the players in the opposition among their own NPCs, take them to the open field fights and defeat all of them in the open field, or can resort to a divide-and-conquer strategy. In large raid groups, players can split up into smaller groups to defend or take Outposts or Keeps or defeat new Creep or Freep players who are engaged in the PvE gameplay. Ludus refers to a structured form of play and is present in group play when group leaders implement rules that players have to adhere to such as kinship (for Freeps) or tribal (for Creeps) rules. Ludus also present when group leader coordinates group effort in defeating the opposition. Negotiations between players during one-versus-ones about which rules to follow, such as which skill(s) to use during combat, contribute to more balanced gameplay. Since Freep and Creep players cannot communicate directly in-game, some of them who know each other can communicate out-of-game via external devices such as Ventrilo to negotiate the types of gameplay they prefer for a fair fight. This creates a more "structured" form of ludus in one-versus-ones. Paidia is also present in one-versus-ones especially when the encounter between 2 players is unplanned. During unplanned encounters, players can use any form of strategies and skills which may contribute to more unpredictable and unbalanced gameplay.
  7. Keeps and outposts – Players from opposite side fight for control. Grant specific bonuses, such as an increase in offensive abilities, to whichever side that controls them. One of the central PvE locations which support the development of emergent PvMP activities. PvE escort quests – fixed linear path of NPC who needs escort. Easy location to set up ambush. Special gameplay objects and bosses - By defeating the NPC bosses guarding the relics found in the two non-conquerable bases, players can access the two relics. These relics have to be carried by the players to their own base to earn a positive effect for all Creeps or Freeps. Relics create emergent gameplay by giving direct instructions about a goal for players to prevent the relic from reaching the enemy's base. Another point of interest is found in the huge underground dungeons in which players defeat certain elite bosses to obtain other positive effects to the Freep or Creep players. Killing the elite bosses grants the player's side a 30-40% boost to infamy/renown gameplay point gain. Underground dungeon elite bosses help to create emergent goals for the players to prevent the enemy from taking buffs which are positive player effects granted to the side which lands the killing blow.
  8. Different from resurrection point campers where players just wait near the spot where the killed players respawn and kill them over and over again. Social aspect is absent from resurrection point campers. Rewarding for several reasons – longer fights provide larger gameplay rewards in the form of more points in the form of renown (Freeps) and infamy (Creeps) which is the currency system used to increase the players' rank. larger scale fights promote the social activities as more players become attracted to participate as they are more fun compared to one-versus ones which usually last less than a minute. large scale fights require intense concentration as players have to collaborate with one another to act as a single entity. Players who become involved in the experience come out from it feeling a deep sense of satisfaction as they feel a sense of achievement at having able to focus on a group task.
  9. Previous experience of reading game guide strategies or the knowledge of play patterns from the previous gameplay experience. In a group raid I was involved in, the leader formulated a strategy which involved feint attacking a Keep, which is not the actual objective. The feint attack served as a distraction while the main Creep group utilized the maps to teleport to another enemy-held Keep to attack. This strategy required careful coordination using either an external or internal audio communication device and also required quick and decisive action in which the main group quickly took the Keep while the opposition’s attention is distracted.
  10. The implementation of simple rules, such as the dynamic property of Keeps, Outposts and resurrection points to change sides, interact with the gameplay mechanic of Creep maps to create emergent gameplay. Creep maps is a unique gameplay object possessed by Creep players that enables them to teleport quickly to fixed locations on the map. Creep maps play a major part in creating Creepside identity and also change the entire range of tactics in the Moors. Since Creep maps allow Creep players to travel fast and have direct access to various locations, Freep players must be careful not to fight near these locations if they cannot win the fight. Certain Outpost locations are dangerous to fight near when the player plays on one side. This is because of the gameplay mechanic where the resurrection point will be possessed by players who have captured the Keeps. Due to the open-ended gameplay in the Ettenmoors, some strategies that specific player classes adhere to will not work when other classes adopt them. For instance, Freep classes which cannot go into stealth or are unable to track other Creep players, such as the Champion class, generally adhere to the strategy of not fighting near a Creep teleport location if a Keep is red (Creepside owned), and when the Freeps do not have enough people. This is because the teleport location is a hotspot of traffic for Creeps to gather. On the other hand, Freep classes like hunters can track other Creep players, using their tracking skills as a tactic. They can remain in stealth in specific teleport locations to ambush a greater foe or remain around an area of importance, such as the Creep's teleport point to pick off ungrouped soloers, and quickly use their specific class skills to escape when the action escalates.