Posts by Tag / TOPIC: Player Choice (12)

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Don't Be the Fun Police: Why Games Shouldn't Force Playstyles

When we play games for fun, we often need a goal system to shepherd us along. This is what makes it a “game” instead of a “toy” - the goals direct the player toward particular experiences. In most cases, the game designer tries to make the experience of achieving those goals enjoyable (though there are deliberate subversions of this as well). But since games are an interactive medium, the designer can only give the player a set of tools and suggest how to use them in ways that will be fun. It’s up to the player to decide what to actually do.

This presents a problem - the player may choose to use those tools in a different and less-fun way if it seems to be a more effective way to reach the game’s goals. As Greg McClanahan put it in his fantastic post Achievement Design 101, “What game designers in general often seem to ignore is that when players are presented a goal, their first inclination is to devise the most efficient (not necessarily the most fun) means of reaching that goal. . . . Show the player the end point, and that player will take the quickest and easiest route, regardless of whatever path the game intended for him to take.”

Awkward Zombie comic about Sora getting Winnie the Pooh out of Rabbit's house by destroying the house instead of playing Rabbit's minigame.

http://www.awkwardzombie.com/index.php?page=0&comic=120318

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Who's the Boss: Player Choice, NPC Consent, and the Designer's Unseen Hand

Last week, we discussed the spectrum of allowance - a way to describe how allowed a given action is within a game, ranging from impossible to required. A key point is that the game’s designer places each action on the spectrum. Aside from bugs (which violate the designer’s intent) and hacks (which partially override the original design with another), in a game you can only do what the designer lets you. This is true even when you have freedom of choice - that freedom was granted by the designer.

Some games understand this well and play with it effectively - see for example The Stanley Parable, especially the confusion ending (warning: spoilers). But not all games that examine player choice understand the designer’s role.

The Journey Of Me is a free browser game. It’s a 2D platformer and it takes about fifteen minutes to play. I am now going to spoil the hell out of it, but honestly I don’t think you should be too worried about spoilers in this case.

The Journey of Me title screen
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That Which Is Not Forbidden: The Spectrum of Allowance

When Grand Theft Auto III came out, it introduced a new interaction to the series: players could now solicit prostitutes and then kill them to get their money back.

“To engage with prostitutes in the game, all the player had to do was pull up to certain scantily clad women, who would enter the vehicle in exchange for a sum of money. . . . Disturbingly, players found they could reclaim their cash by simply killing the prostitute with their car after she’d exited.”
—Samantha Leichtamer, The 5 Most Shocking Grand Theft Auto Moments

This capability persisted in later games in the series and gave rise to a lot of discussion. Much of the commentary was careful to point out that murdering prostitutes is not required at any point. But of course Grand Theft Auto games are exactly that: games. You don’t have to play them at all. And they’re known as games where a lot of the fun comes from messing around in the sandbox, going on murder sprees that are also thoroughly unrequired. So is there a meaningful distinction to be made here?

I think there is. Merely pointing out that you can do something in a game is incomplete. It treats it as a binary, with the action either allowed or disallowed. But game design is much more subtle than that. There’s a wide range of how allowed an action can be.

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Uncharted, One Chance, and Cheating

I don’t have much more to say about Uncharted 2, as it turns out, because I didn’t get through much more of it before giving up and sending it back to GameFly. I’m therefore not qualified to review it, but I’ll tell you that the reason I sent it back was because I disliked (a) the combat (b) the parkour (c) the artifact-hunting, which leaves very very little to enjoy. All that remains is the game’s cinematic components, the dialog and characterization and set-pieces. And there’s the other problem: Uncharted 2 is, even more than its predecessor, far too movie-like.

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The Choice Is Not Yours: Why Prince of Persia Has The Best (And Worst) Ending In Modern Video Games

WARNING: THIS ESSAY CONTAINS FULL SPOILERS FOR PRINCE OF PERSIA.

The game is called “Prince of Persia.” But it’s not really about the Prince. (He doesn’t even seem to be a prince this time. We call him “the Prince” because he has no name.) Really, the game is about (legitimate princess) Elika.

Princess Elika

As the game opens, the Prince is lost in a sandstorm, calling out for Farah. Franchise veterans will recognize the name as that of the love interest from the Sands of Time trilogy - but it is soon revealed that Farah is actually the name of this Prince’s donkey, laden with the riches the Prince has recently looted.

It’s a nod to the previous games, but it’s also a dig at Princess Farah’s characterization and gameplay role. She was little more than a pack animal. The Prince, lost in the storm, is trying to reconnect with her, trying to return to that simplicity. Instead, he finds Elika.

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Mirror's Edge: What Went Wrong and Why

Mirror’s Edge is a Bad Good Game. The foundation is solid: players take the role of Faith, a genuinely badass woman with a non-exploitative, unconventionally beautiful design whose motivations revolve around survival and protecting her sister. Faith parkours her way around an unnamed city of bright colors and austere beauty, and is trained in a variety of disarm techniques should she encounter armed attackers she can’t simply outrun. Sounds good, right?

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I'm Not Evil, I Just Play That Way: Player Motivations and Character Goals

Recently we took a look at the technique of option restriction, which is when a game presents the player with only one path forward, thus eliminating choice while maintaining agency. If it’s handled well, it allows for close management of narrative progression while still letting the player feel that they are in control. So what is it that determines whether it’s handled well? What allows the player’s sense of control to be maintained even with a lack of choice?

“Players like to feel in control, but this sensation doesn’t necessarily come from having the ability to choose. Having control is as simple as doing what you want to do. It’s possible for players to feel in control even if they don’t actually have the ability to choose, as long as the what the game asks and what the player wants aligns. A good narrative should foster this.”
—Andrew Vanden Bossche, Would You Kindly? BioShock And Free Will