Posts Tagged design language

design language : careful flattery

94Careful flattery of the player works well as a valid game reward. Focus on making the player feel good, it’s a game, make them feel good and they will play again.

Flattery is the act of giving excessive compliments, generally for the purpose of ingratiating oneself with the subject.
wikipedia.org

“Flattery is telling the other person precisely what he thinks about himself” Dale Carnegie quote
“The aim of flattery is to soothe and encourage us by assuring us of the truth of an opinion we have already formed about ourselves.” Dame Edith Sitwell quote

Excessive, overly false and repetitive flattery will become tiresome and transparent.

Careful flattery could be called a compliment, which might be ‘better’ than flattery, although risks being too subtle for gamers in the heat of the action, where most activities are very unsubtle.

Compliment an expression of praise, commendation, or admiration: A sincere compliment boosts one’s morale.
dictionary.com

Plutarch recognized that flattery, “which blends itself with every emotion, every moment, need and habit, is hard to separate from friendship.”
quoted from “In Praise of Flattery” By Willis Goth Regier

Carefull flattery should be focused on helping the player achieve their goals, which is likely to be to feel good and enjoy themselves.

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design language : the treadmill

On scheduled rewards;

“MMO’s have empty gameplay but keep players hooked with constant fake rewards (“the Treadmill”)”

Jonathan Blow

http://www.slideshare.net/pixellab/gamesedu08-south-jonathan-blow/

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design language : the dog

Find the dog first. The dog;

  • The function before the form
  • The essence, the core
  • The heart of the game
  • The experience you want to deliver
If you don’t know what your product is about, what the real core activities are, then everything else is pretty much secondary until you do. Don’t let the tail wag the dog.
“the tail wagging the dog”
“if you describe a situation as the tail wagging the dog, you mean that the least important part of a situation has too much influence over the most important part.”

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design language: extreme fever

Apply ‘Extreme Fever’ to reward design, don’t be too subtle or coy about celebrating player success.

First, he added a rainbow flying across the screen. Then Brian piped in musical accompaniment: Beethoven’s “Ode to Joy.” When it all came together, the experience of Extreme Fever was an exhilarating (and hilarious!) reward for passing a level. Our test players found themselves thrilled every time they saw it.

Despite the insane wonder of Extreme Fever, the team never fully intended to keep it in the game. As Brian explains, “At first, it was just a joke… it was so over the top, it was just funny.” But Extreme Fever was one of those rare entertaining and rewarding features that people loved so much that it simply had to stay in the game. In fact, when people brought up concerns about the phrase, even Jason Kapalka, PopCap’s Creative Director, chimed in: “If there is one thing that will never change about Peggle, it’s ‘Extreme Fever.’”

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G-CREDit+

GOALS

Clear Goals
  • Give players purpose
  • Know what they’re aiming for at the end of the journey
  • Satisfaction in achieving

CONSISTENCY

Consistency in the World and its Rules

  • Give players a rounded and coherent ‘conceptual model’ of the world –  what they expect to happen will happen
  • Know that the world and the way it’s presented is reassuringly consistent and predictable
  • Constantly guided through the laws of logical, yet magical world

REWARDS

Rewards for Positive Interactions

  • Give players praise/reward/encouragement for everything that’s correct
  • Know they’re doing the right thing
  • Constantly rewarded and encouraged to continue achieving

Clear, Proportional and Consistent Feedback

  • Give players clear feedback to whatever they’ve done (however small the step)
  • Know that world is predictable and actions have appropriate consequences: cause and effect
  • Aware what has an effect and how big that effect is
EXPERIMENTATION

Opportunities for Experimentation and “Playground” Interactivity

  • Give players enough options to discover that experimentation is possible, rewarded and therefore encouraged
  • Know that making your own fun and playing around always gets you somewhere
  • Constantly reminded that there’s more to do than just the main path

Choices that are Clear and Meaningful

  • Choices are presented to players that give greater reward for actions that are riskier, more complex or tactically advantageous
  • Know that more sophisticated play and risk-taking are options that will have gains
  • Experimenting all the time, trying different methods and exploring game depth
DIRECTION

Clear Direction

  • Give players unambiguous guidance
  • Know where to go/what to do along the route of the journey
  • Constantly making progress
PLUS

Intuitive, Smooth Controls

  • Give players controls to assist them in what they are trying to achieve – nothing is clumsy or confusing
  • Know that controls are there to help players achieve goals
  • Aware that the only barriers are players’ own skill in dealing with the obstacles presented

Clear Pacing and Narrative

  • Give drama, context and rhythm
  • Know “story” and be engaged in it
  • Experience is meaningful, not spurious

Progression, Variety and Challenge

  • Give something new to do/achieve
  • Know that there’s always something new coming up
  • Constantly encouraged to keep playing

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design language: instructional literalism

“…to interpret statements in their literal sense”

Simple, direct and clear instructions that can be easily understood by the player.
The player will often have a number of things on their mind, and everything is open to misunderstanding and miscommunication. Write and review instructions in a very literal manner, and assume they will be followed by an average 6 year old.

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design language: jump moment

A ‘jump moment’ is when the player or viewer involuntarily jumps in reaction to a shock, surprise or spectacular event.

Sudden jumps are the scariest thing, ONLY when the director successfully misdirects you so you don’t expect it.

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design language: willing suspension of disbelief

midsummers.png

Alan Kay, TED 2008

“…what fools these mortals be!”

Puck, A Midsummer Nights Dream Act 3
Shakespeare means that we are easily fooled by almost everything. We go to the theatre in order to be fooled, we are actually looking forward to it. The same with magic shows, illusions and games.

Games are immersive fun experiences, that work most effectively if the player willingly suspends their disbelief in the obvious non realities. If either party; the player or the game, break the tacit agreement that supports the player’s suspension of disbelief, then the whole experience unravels and becomes less satisfactory. Games often break this agreement by being inconsistent with how they deal with aspects of the game that are not ‘in game’, e.g. restart, saving or instructions.

“Suspension of disbelief is an aesthetic theory intended to characterize people’s relationships to art. It was coined by the poet and aesthetic philosopher Samuel Taylor Coleridge in 1817. It refers to the willingness of a person to accept as true the premises of a work of fiction, even if they are fantastic or impossible. It also refers to the willingness of the audience to overlook the limitations of a medium, so that these do not interfere with the acceptance of those premises. According to the theory, suspension of disbelief is a quid pro quo: the audience tacitly agrees to provisionally suspend their judgment in exchange for the promise of entertainment.”

http://en.wikipedia.org/wiki/Suspension_of_disbelief

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