Here is a proposed cut scene and ultra powerful event for telling a story's complication and climax on the LMS:
Cut Scene: After completing a difficult dungeon, the players witness a cut scene where the villain unleashes a powerful spell, destroying the nearby city and killing its inhabitants. This raises the stakes by showing the villain's power cannot be stopped.
Ultra Powerful Event: Deep in the final dungeon, the players enter a large chamber to face the villain. However, once inside they have no control as the room starts collapsing around them. Large chunks of debris fall that cannot be avoided, narrowly missing the characters. After much damage, the floor gives out, plunging the characters into an abyss. They regain
Game Design Document - Step by Step GuideDevBatch Inc.
A well documented game design is your absolute asset to build a successful game. It doesn't only allow you picture the final shape of it but keeps you precise about the resources, expertise and team needed. For game development phase, you might want to consider pro services at hello@devbatch.com
Good Luck!
Game Design Document - Step by Step GuideDevBatch Inc.
A well documented game design is your absolute asset to build a successful game. It doesn't only allow you picture the final shape of it but keeps you precise about the resources, expertise and team needed. For game development phase, you might want to consider pro services at hello@devbatch.com
Good Luck!
This booklet outlines important aspects of game design including; controls, mechanics, gameplay (achievements, competition and challenge), learning, immersion, storyline (characters, plot, location), graphics and sound.
PlayFab runs a LiveOps backend services platform that handles more than 35 million monthly active players, on more than 450 live games, from studios and publishers that include Miniclip, Rovio, Hyper Hippo, Capcom, Bandai-Namco, and Atari. Getting to that level of scalability hasn’t been easy, and this talk describes the times when PlayFab nearly went down – and what architecture changes we needed to make each time to reach the next level of growth. This talk also shares some of the unique challenges of operating a shared platform, where problems are often not PlayFab’s fault, but always PlayFab’s responsibility, including game bugs that look like DDoS attacks, platform partners who break their APIs, and the joys of cascading server failures.
Using Game Mechanics to Design Serious GamesTara Aiken
A presentation I gave at FocusOn Learning in San Diego, CA in 2017 to simplify the game design process for instructional designers.
All resources and links to videos played as examples are included at the end.
"I don't fit into a single type": A Trait Model and Scale of Game Playing Pre...Gustavo Tondello
Player typology models classify different player motivations and behaviours. These models are necessary to design personalized games or to target specific audiences. However, many models lack validation and standard measurement instruments. Additionally, they rely on type theories, which split players into separate categories. Yet, personality research has lately favoured trait theories, which recognize that people's preferences are composed of a sum of different characteristics. Given these shortcomings of existing models, we developed a player traits model built on a detailed review and synthesis of the extant literature, which introduces five player traits: aesthetic orientation, narrative orientation, goal orientation, social orientation, and challenge orientation. Furthermore, we created and validated a 25-item measurement scale for the five player traits. This scale outputs a player profile, which describes participants' preferences for different game elements and game playing styles. Finally, we demonstrate that this is the first validated player preferences model and how it serves as an actionable tool for personalized game design.
Learn how to design a game with Seth Sivak, CEO of Proletariat. This deck covers Basic game design skills, how to analyze an entertainment experience, and tips on how to leverage common user behaviors.
In this course concepts and requirements of the video game development will be taught. Students will get familiar to the fundamentals of the game industry and finally put all the learned stuff together to work on a small game project.
This booklet outlines important aspects of game design including; controls, mechanics, gameplay (achievements, competition and challenge), learning, immersion, storyline (characters, plot, location), graphics and sound.
PlayFab runs a LiveOps backend services platform that handles more than 35 million monthly active players, on more than 450 live games, from studios and publishers that include Miniclip, Rovio, Hyper Hippo, Capcom, Bandai-Namco, and Atari. Getting to that level of scalability hasn’t been easy, and this talk describes the times when PlayFab nearly went down – and what architecture changes we needed to make each time to reach the next level of growth. This talk also shares some of the unique challenges of operating a shared platform, where problems are often not PlayFab’s fault, but always PlayFab’s responsibility, including game bugs that look like DDoS attacks, platform partners who break their APIs, and the joys of cascading server failures.
Using Game Mechanics to Design Serious GamesTara Aiken
A presentation I gave at FocusOn Learning in San Diego, CA in 2017 to simplify the game design process for instructional designers.
All resources and links to videos played as examples are included at the end.
"I don't fit into a single type": A Trait Model and Scale of Game Playing Pre...Gustavo Tondello
Player typology models classify different player motivations and behaviours. These models are necessary to design personalized games or to target specific audiences. However, many models lack validation and standard measurement instruments. Additionally, they rely on type theories, which split players into separate categories. Yet, personality research has lately favoured trait theories, which recognize that people's preferences are composed of a sum of different characteristics. Given these shortcomings of existing models, we developed a player traits model built on a detailed review and synthesis of the extant literature, which introduces five player traits: aesthetic orientation, narrative orientation, goal orientation, social orientation, and challenge orientation. Furthermore, we created and validated a 25-item measurement scale for the five player traits. This scale outputs a player profile, which describes participants' preferences for different game elements and game playing styles. Finally, we demonstrate that this is the first validated player preferences model and how it serves as an actionable tool for personalized game design.
Learn how to design a game with Seth Sivak, CEO of Proletariat. This deck covers Basic game design skills, how to analyze an entertainment experience, and tips on how to leverage common user behaviors.
In this course concepts and requirements of the video game development will be taught. Students will get familiar to the fundamentals of the game industry and finally put all the learned stuff together to work on a small game project.
Ever wonder what it takes to put together a blockbuster 3D game? Wonder no more. In this talk, we’ll discuss game theory as it relates to today’s gaming industry, examine the essential components of a 3D game, and survey the roles and specialties involved in making a AAA title.
Beyond the HUD - User Interfaces for Increased Player Immersion in FPS GamesElectronic Arts / DICE
Master thesis from Chalmers University of Technology done at DICE in 2009.
Full thesis available on: http://publications.dice.se and http://publications.lib.chalmers.se/cpl/record/index.xsql?pubid=111921
The concept of immersion has been adapted by game developers and game critics to describe a deep and positive game experience. While the definition of this concept varies, the user interface of the game is often said to affect the degree to which players can immerse themselves in a game experience. In cooperation with game developer DICE, this master thesis aims to investigate how the notion of immersion affects, and is affected by, the user interface (UI) of first-person shooter games, with the ultimate purpose of delivering user interface guidelines for increased immersion. By conducting a study of contemporary first-person shooter (FPS) games, the current state of user interfaces in FPS games is documented. With the addition of a subjective study of FPS games as well as games of other genres, a design space for UI designers is mapped out in order to provide a structure upon which the guidelines can be built. A literature study of various resources within the fields of ludology, cognitive science and media studies is conducted in order to gain increased understanding of what immersion is and its relation to the game experience. The knowledge acquired is used to formulate various hypotheses of how player immersion is connected to the user interfaces of FPS games. These hypotheses are evaluated by user studies and user tests. Looking at the results of the user tests and the literature study, a final definition of immersion is proposed, upon which the guidelines are based. The first guideline, Know Your Design Space, explains the user interface design space of FPS games and encourages UI designers to look at it as a set of tools. Know Your Game discusses how the competitive focus of the game and the game fiction affects the user interface from an immersion point of view. The guideline Establish Player Agency focuses on how the player can be transferred into the game world by acting within it as an agent rather than simply a player of the game. Finally, Strengthen the Player-Avatar Perceptual Link suggests how the user interface can link the player closer to his in-game character on a perceptual level.
Iistec 2013 game_design for id_m_broyles_id13333Marie Broyles
Game simulation design and development require instructional designers and game/simulation developers to collaborate. Instructional designers are not typically trained in game or simulation design and development. Designing and developing a simulation or game is not the same as designing and developing for an elearning course. Although there are similar concepts, there is one glaring difference – simulations are three-dimensional environments. It is this element that instructional designers do not have any experience. Creating a Flash animation in an elearning course is not the same as creating a three-dimensional world, where characters must interact, objects manipulated and how the player moves through and interacts with this environment. The result of not understanding 3D simulation design/development is cost overruns, staffing issues, and production delays that result in missing critical milestones.
First Seminar about game design and game development: introduction to formal elements of the games, different game genres based on their mechanics and some concepts about gamification
[Pandora 22] Boosting Game Design with Analytics - Nikola VasiljevicDataScienceConferenc1
Making a gameplay experience that players will like is not a trivial task. A lot of decisions need to be made along the way, “How hard should this boss be? Do players visit that corner of the map? Do they find the narrative appealing?“ are just some of the questions. Through playtesting and in-game telemetry we learn about our players – how they play and how they feel about our game as a whole, and its different aspects. The goal of this talk is to share our experience on how we use these insights to steer our game direction towards players’ preferences so we can deliver an enjoyable and thrilling gameplay experience.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
9. Elements Providing Narrative
Structure
Information About Future Events
Characters and their Goals
Changing Character Abilities
Limited Set of Actions
Irreversible Actions
Illusionary Rewards
Cut Scenes
Ultra Powerful Events
And…
12. Why Designers Use Narrative
Structures
Explain
Player Goals
Game Reality Logic
Game World Changes
Balances Level of Complexity
Encourages Emotional Immersion
Warning! May conflict with:
Freedom of Choice
Illusion of Influence
Player-Defined Goals
28. Why Designers Use Character
Development
Advancement through Narrative Structure
Improved Abilities
Varied Gameplay
Player-Defined Goals
Perceived Chance to Succeed
Warning! Can cause:
Disruption of Player Balance
31. Player Controlled Character
Development
Encourages
Player-Defined Goals in Competency Areas
Provides
Freedom of Choice
Creative Control
Emotional Immersion
Encourages
Identification
Strategic Planning
Warning! Can conflict with:
Narrative Structure
32. Player Controlled Character Development
Design Considerations
What options are players given for
developing their characters?
What goals are required to use those
options?
33. Role-Playing
Players having characters with somewhat fleshed-out
personalities. The play is centered on making decisions
on how the characters would react in staged imaginary
situations.
34. Why Designers Use Role-Playing
Encourages:
Social Interaction
Emotional Immersion
Story Telling
Alternative Reality
Affects:
Team Play
Narrative Structures
35. What Makes Us Role-Play?
Extra Credits: Why game worlds feel real
37. Role-Playing Design Considerations
What are the consequences of a player’s
character behaving in certain ways?
How do character’s actions affect the game
world in a permanent way?
40. Why Designers Allow Creative
Control
Emotional Immersion
Empowerment
Investment
Ownership
Social Status
41. Sources of Creative Control
Storytelling and Role-Playing
Construction
Player-Defined Goals
Planned Character Development
Player-Constructed Worlds
42. Illusion of Influence
Players feel that they can influence the outcome
of the game, regardless of whether that is
correct.
43. Requirements For Influence
Smooth Learning Curves
Right Level of Difficulty (or Randomness)
Perceived Chance to Succeed
44. Illusion of Influence Design
Considerations
Can players choose which events should
occur in the game?
Can players create objects or events in the
game?
Can randomness give players a feeling of
luck?
48. Freedom of Choice Design
Considerations
What actions are possible for the players?
What can players do with those actions?
How do those actions affect the the results
in the game?
Can the players choose their own goals?
55. Why Designers Use Capture Goals
Gain Ownership
Transfer of Control
Support Eliminate Goal
Prevent Other Player’s Evade Goals
56. Capture Design Considerations
What game element must be captured?
What game element(s) can do the
capturing?
What action is used to capture the game
element?
Is the aim to eliminate or gain ownership?
57. Guard
The goal to hinder other players or game
elements from accessing a particular area in the
game or a particular game element.
58. Why Designers Use Guard Goals
Promote Ownership
Encourage Strategic Planning
Prevent Other Player’s Rescue Goals
59. Guard Design Considerations
What is the objective to be guarded?
Is the objective guarded actively or
passively (or both)?
60. Choose one of the following games to play:
CAPTURE
Arabian Knights (2-6p, 120m)
Cosmic Encounter (3-5p, 60-120m)
GUARD
Ghost Stories (1-4p, 60m)
Shadows of Camelot (3-7p, 60-90m)
Star Trek: Expeditions (1-4p, 60m)
61. Group Quest
Design an analog game prototype using
mechanics supporting one of the following goals:
Capture
Guard
66. How To Use Cut Scenes Appropriately
Reinforce the powerlessness of the player.
Contextualize gameplay
Warning! Can cause:
Downtime
Disruption of:
Focused Attention
Illusion of Influence
67. Cut Scene Design Considerations
Where do the cut scenes appear?
What information do they convey to the
player?
Is their sequence pre-determined, or can
the order vary based on the game state?
69. Forms of Ultra Powerful Events
Cut Scenes
Deadly Traps
Controllers
Moving Platforms
Shrinking Game Worlds
70. Why Designers Use Ultra-Powerful
Events
Enforce Narrative Structure
Provide Anticipation
Turn Actions into Irreversible Actions
Ensure Player Balance in Turn-Based Games
Warning! Can cause:
Downtime
Diminished Freedom of Choice
Diminished Perception of Chance to Succeed
Diminished Illusion of Influence
71. Ultra-Powerful Events Design
Considerations
What is the event that the player cannot
affect once it unfolds?
Can the player affect why and when the
event starts?
What are the consequences of the event?
Are those consequences predictable for
the player?
72. Describe a Cut Scene
and Ultra Powerful
Event for telling a
story’s complication
and climax on the
LMS.
Editor's Notes
RANDOMNESS: Effects or events in the game that cannot be easily predicted.
LUCK: The feeling that random events are not random, but favorable for the player
SURPRISES: Events and consequences that are unexpected by players and disturb their actions.
EASTER EGGS: Surprises in the game that are not related to the game.
PREDICTABLE CONSEQUENCES: Players can predict how the game state will change if they perform actions.
PERCEIVED CHANCE TO SUCCEED: Player’s believe, whether correctly or not, that they do have a chance to succeed with actions in a game.
TRADE-OFFS: The player must choose between several different options and compare them against each other.
REWARD: The players receive something perceived as positive, or is relieved of a negative effect, for completing the game’s goals.
ILLUSIONARY REWARD: The player receives something is perceived as a reward but does not quantifiably help in completing a formalized goal in the game.
PENALTY: Players are inflicted with something perceived as negative or stripped of an advantage due to failure to meet a requirement of the game.
RISK-REWARD DECISION: The chance for receiving a reward in a game is linked to some risk of receiving a penalty if the player fails to acquire the reward.
Provides context for the existence of challenges and goals in the game, and rewards for completing those goals by weaving the player’s actions into the unfolding story.
EXAMPLE: FINAL FANTASY has a complex story.
EXAMPLE: In THE SIMS, players create their own stories through the actions of their characters.
But not Player-Defined Goals
KNOWLEDGE: Can be limited with IMPERFECT KNOWLEDGE (LEVELS or no GAME STATE OVERVIEW) or NO PREDICTABLE CONSQUENCES (RANDOMNESS, LEAPS OF FAITH, INCOMPATIBLE GOAL choices). UNKNOWN GOALS are essential for ILLUSIONARY REWARDS: EXTRA-GAME CONSEQUENCES.
CHANGING PLAYER ABILITIES: PRIVILEGED MOVEMENT may allow more areas to explore.
SURPRISES, leading to BETRAYAL.
A game can tell a story and convey ideas through their core mechanic alone.
Game mechanics can be used to tell narravie.
Frames all actions and events in the Game World within the CONSISTENT REALITY LOGIC of the GAME WORLD and its history.
Explain Player Goals (especially with a Hierarchy of Goals or Dynamic Goal Characteristics). Aided by CLUES about ACHILLES HEALS.
Explain Changes in Game World for Varied Gameplay (Rewards and Penalties)
Supports Traverse, Collection, Rescue and Delivery Goals
Increase Tension/Anticipation through High-Level Closures as Gameplay Progresses
.
Immersion is of many types: cognitive, spatial, sensory-motor, and emotional.
EXAMPLE:
.
COGNITIVE: PROBLEM SOLVING. (e.g. PUZZLE GAMES)
SPATIAL: MOVEMENT and especially MANEUVERING (e.g. FIRST-PERSON SHOOTERS)
SENSORY-MOTOR: Feedback loops between the player’s use of the control (input) mechanism and the game system’s audio and visual (output).
EMOTIONAL: CHARACTERS INNARRATIVE STRUCTURE.
SURPRISES that ruin COGNITIVE IMMERSION.
EXAMPLE:
First-Person Shooters where there are signs that player is entering a combat zone.
Role-Playing Games where player is close to leveling up.
1. EMOTIONAL IMMERSION
WARNINGS:
1. May negatively impact IMMERSION as players figure out what to anticipate and get into ANALYSIS PARALYSIS.
.
Occurs in games with UNCERTAIN OUTCOMES, where players have an EMOTIONAL INVESTMENT in the outcome without full control over them.
EXAMPLE: Placing most of one’s markers in POKER.
EXAMPLE: Dark and claustrophobic environments in DOOM games.
PROMOTED BY: COMPETITION, questions of OWNERSHIP
PROMOTES: EMOTIONAL IMMERSION
.
PENALTIES/DAMAGE: DEADLY TRAPS, ENEMIES with OVERCOME GOALS, PLAYER KILLING, PLAYER ELIMNATION. Increased by NEAR MISS INDICATORS, BOSS MONSTERS, NO TIEBREAKERS, EARLY ELIMINATION, ROCK-PAPER-SCISSORS (and making wrong choice), CONSUMERS with no positive effects.
NARRATIVE: Lessened by CLUES, RED HERRINGS, DOWNTIME.
TIME LIMITS: Increased by ATTENTION SWAPPING.
RESTRICTED POWERS: LIMITED SETS OF ACTIONS, MOVEMENT LIMITATIONS, SHRINKING GAME WORLDS
COMMITMENTS: BETTING, STEALTH, NO-OPS combined with RISK/REWARD, TRADE-OFFS, RANDOMNESS, LUCK. Lessened by PERCEIVED CHANCE TO SUCCEEDS, LEAPS OF FAITH, TURN-TAKING, DOWNTIME
SOCIAL INTERACITONS: Especially with UNCERTAINTY OF INFORMATION, BETRAYAL or BLUFFING, PLAYER DISTRIBUTION OF REWARDS, SHARED RESOURCES.
Are players forced to make commitments without being able to affect outcome?
Is there social interaction where players rely on the others’ actions?
EXAMPLE: Role-playing games let each Player control a Character.
GOALS: Some First-person Shooters have Characters that Players can develop between levels.
.
Widens Penalties available within game, especially with PERSISTENT GAME WORLDS.
Allows more varied ENEMIES and richer NARRATIVE STRUCTURE with SOCIAL RELATIONSHIPS and CHARACTER DEVELOPMENT, especially with ROLE-PLAYING and STORY-TELLING.
Form links between abstract and concrete game state values through AVATARS
n Multi-Player Games, allows players to specialize in different Competence Areas.
More Varied Enemies
More Varied Competence Areas
Target of Penalties
PRE-CREATED: Needs to be thoroughly playtested to ensure BALANCE, but works well with NARRATIVE STRUCTURE.
PLAYER-CREATED: Usually done with BUDGETED ACTION POINTS or RANDOMNESS to determine SKILLS, PRIVILEDGE ABILITIES, IMPROVED ABILITIES, RESOURCES, TOOLS, etc. Allows for IDENTIFICATION and IMMERSION, as well as ILLUSION OF INFLUENCE over how the NARRATIVE STRUCTURE will develop.
This can be either in the form of becoming more likely to succeed with actions, or make actions that were previously unavailable possible.
EXAMPLE: Players can influence their Tamagotchi pets.
EXAMPLE: Adventure games may allow players to take story branches where their skills have improved.
.
CAUSE:
Rewards: More likely the effect of a NARRATIVE STRUCTURE.
Investments: Usually through COLLECTING to complete GAIN COMPETENCY goals.
EFFECT: Usually takes the form of NEW ABILITIES or IMPROVED ABILITIES that expands LIMITED SET OF ACTIONS or increases SKILL LEVELS.
NEW/IMPROVED: Can produce ROCK-PAPER-SCISSORS to give VARIED GAMEPLAY between playing different characters.
ABILITY LOSSES
EXTRA-GAME CONSEQUENCES: May be evident only in NARRATIVE STRUCTURE or how AVATAR is represented.
This can be either in the form of becoming more likely to succeed with actions, or make actions that were previously unavailable possible.
EXAMPLE: In BLACK & WHITE, players can influence creatures behavior through positive and negative feedback.
EXAMPLE: RPGs, like SKYRIM, allows players to adjust a variety of skills.
.
Promotes STIMULATED PLANNING, often as EXTRA-GAME ACTIONS, as part of an INVESTEMNT in the PLANNEC CHARACTER DEVELOPMENT.
In TEAM PLAY, allows for TEAM DEVELOPMENT.
WARNING: Without GAME MASTERS, it may be difficult to work PLANNED CHARACTER DEVELOPMENT into NARRATIVE STRUCTURE except on a General Level.
OPTIONS: Usually combinations of PRIVILEGED/NEW/IMPROVED ABILITIES and SKILLS that define a number of COMPETENCE AREAS.
GOALS:
PRE-DEFINED
DYNAMIC GOALS that change as the NARRATIVE STRUCTURE unfolds.
INCOMPATIBLE GOALS: that force the player to make TRADE-OFFS.
BALANCED BY:
1. Lessened by: DIMINISHING RETURNS, UNKNOWN GOALS
Based on IDENTIFICATION between PLAYERS and their CHARACTERS in terms of SOCIAL INTERACTION.
Usually centered on Science Fiction, Fantasy, or Horror themes.
EXAMPLES: DUNGEONS & DRAGONS.
EXAMPLE: LARPs
Single-Player RPGS are more about RESOURCE MANAGEMENT of their CHARACTERS than about ROLE-PLAYING
REQUIRES: COOPERATION between Players to create an ALERTNATE REALITY.
What can games do to make us want to role-play.
Demonstration of consequences.
Actions with a permanent effect.
CHARACTERS: EMOITIONAL IMMERSION is more vivid if Players have some control over their CHARACTERS and CHARACTER DEVELOPMENT
GAME WORLD: Often a PLAYER-CONSTRUCTED WORLD (due to influence of player’s actions) and a PERSISTANT GAME WORLD.
Player actions that qualify as expressions of creativity. Makes it possible for players to define their own goals as well as show off their creations to others.
EXAMPLES:
MUDS allow so much creative control that players can even SUBMIT THEIR OWN CODE.
RPG’s allow players to create their own AVATAR.
Freedom of Choice
Illusion of Influence
Identification
Some games allow actions that do not actually make the player come closer to achieving the game’s goals or even changing the game state. When they appear to be meaningful, that players have an illusion of influence over the game.
EXAMPLES:
Games with well-developed stories, like FINAL FANTASY, do not let players experience the story unless they have met certain goals.
Branching adventure game choices make players feel like they can affect the story, even though these have been pre-scripted.
REQUIRES:
USES:
Promotes EMOTIONAL IMMERSION
Encourages STIMULATED PLANNING
RIGHT LEVEL OF COMPLEXITY, so as not to give players LIMITED PLANNING ABILITIES
CHOOSE EVENTS:
Depends on player’s FREEDOM OF CHOICE
Created through NEW/IMPROVED ABILITIES, most easily done with TOOLS
Can also be done by SOCIAL INTERACTION with GAME MASTERS.
CREATE OBJECTS/EVENTS:
Depends on CREATIVE CONTROL, such as by CHARACTER CREATION and PLANNED CHARACTER DEVELOPMENT
RANDOMNESS:
Breaks down for players with STRATEGIC KNOWLEDGE who know they cannot really affect Randomness.
Players need to feel that they are able to make interesting choices. This means that the choices must have seemingly different effects and have effects that are meaningful.
EXAMPLES:
Open world games like THE SIMS provides many different game elements to interact with and many types of actions for each game element.
Menu-based adventure games provide players with only few choices throughout the game.
REQUIRES:
ILLUSION OF INFLUENCE
PERCEIVED CHANCE TO SUCCEED
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ACTIONS: Increased by NEW/IMPROVED ABILITIES, often through REWARDS or CHARACTER DEVELOPMENT. EXTENDED ACTIONS. TRADING, CONCEAL, CONSTRUCTION.
EFFECT: RESOURCE MANAGEMENT gives players more opportunities over how to use RESOURCES.
MEANINGFUL: BUDGETED-ACTION POINTS to PLAYER DISTRIBUTION OF REWARDS & PENALTIES to REVERSABILITY.
GOALS: SELECTABLE SET OF GOALS or PLAYER-DEFINED GOALS, as well as OPTIONAL GOALS.
This may involve the retelling of the actions and events the players have already done, the history of the Game World, or part of creating the Game World.
EXAMPLE:
Game masters advance the story in a tabletop RPG.
ONCE UPON A TIME bases gameplay on a narrative started by the players.
GAME MASTER
History and current state of the GAME WORLD
PLAYER
ROLE-PLAYING
Providing back-stories for CHARACTERS, allowing CREATIVE CONTROL
BOTH
Players create and expand the NARRATIVE STRUCTURE
The capture must be done directly by the actions performed by game elements under the player’s control.
EXAMPLE: GO allows player to enclose an enemy group of stones.
EXAMPLE: AGE OF EMPIRES: Priests convert units controlled by other players.
REQUIRES: PUZZLE SOLVING and STIMULATED PLANNING in TURN-BASED GAMES Also, INVESTMENT and BETTING.
REQUIRES: DEXTERITY-BASED SKILLS and TIMING in REAL-TIME GAMES.
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CAPTURING ACTION: Usually COMBAT, MENEUVERING, or AIM & SHOOT.
ELIMINATE Reduces NON-RENEWABLE RESOURCES and HIGH-LEVEL CLOSURES.
GAIN OWNERSHIP: prevents EVADE and trigger retaliatory CAPTURE. May give capturing player NEW/PRIVILGED ABILITIES
The nature may change from simply detecting when another player is actively trying to achieve the goal to actively pre-empting the other player’s actions.
EXAMPLE: The Goalkeeper ins SOCCER.
EXAMPLE: The King in CHESS.
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PROMOTES OWNERSHIP of what is guarded.
As well as STRATEGIC KNOWLEDGE of STRATEGIC POSITIONS.
PREVENTS RESCUE, promoting CONFLICT.
OBJECTIVE
ACTIVE
1. ATTACKING the Intruder.
PASSIVE
Changing the environment (playing DEADLY TRAPS or ALARMS)
Making certain player actions impossible (BLOCKING a PATH).
BOTH: ALARMS could trigger GUARDS that ATTACK the intruder.
Used when the game cannot progress the entire game story through the player’s actions and events and need to give longer descriptions and explanations to players.
: CUT SCENES, which are the strongest way to control the flow of the story.
EXAMPLES:
In MYST, completion of puzzles resulted in cut scenes.
In WING COMMANDER III, used between flight missions to put player’s character in situations of choice and give the indication of the effects of that choice.
When used poorly, they have a lot of harmful effects and should not be used for narrative.
Presents:
Alternative Reality
Narrative Structure
Goals
Strategic Knowledge
Encourages:
Strategic Planning
Perception of Success
WHERE: BOSS MONSTERS, TRACES, SURPISES.
INFORMATION: Explain movement between levels and give GAME STATE OVERVIEW between Levels.
SEQUENCE:
Some of these are part of the game environment, like the rising and setting of the sun. Others are started by players, such as tripping an alarm, but players cannot influence how they develop.
EXAMPLES:
Platforms in PRINCE OF PERSIA that break away.
Moving Platform in SUPER MARIO WORLD
Can support or break an ILLUSION OF INFLUENCE.
What ultra-powerful events provide dramatic points and challenges?
EVENT:: Knowing how the event unfolds may be STRATEGIC KNOWLEDGE, allowing Players to prepare for the event.
START:: Knowledge of why the event starts may be STRATEGIC KNOWLEDGE, especially if the Player can start it.
PREDICTABILITY: Ones that are EXTENDED ACTIONS usually have PREDICTABLE CONSEQUENCES.