Character Driven Game Design

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28 Character-Driven Game Design is constructed. In Hulk the gameplay changes to reflect the basic qualities of the characters: playing Hulk is about controlling a strong and resilient fighting machine, whereas playing Banner is about problem solving and avoiding fights. In this case, the game system obviously regulates play; in addition, the visual presentation of the body and movement of Hulk afford fighting whereas the body of Bruce Banner does not. Is the visual presentation of the body irrelevant? The theories of empathy and motor mimicry propose that the PCs will prompt similar automatic and involuntarily reactions as with the other persons or characters when motor actions and affective expressions are perceived. The idea of the person schema predicts that certain kinds of features promote categorizing an entity or object as a human agent. In conclusion, I suggest that the person schema can explain why characters presented in the first person perspective are considered as characters. I return to the themes introduced in this chapter in more detail in the articles 1 and 2.
Game and Gameplay Design First, I look at high-level game design approaches that can complement the design approach that is proposed in this thesis. After that, I review a pervasive premise of design approach, immersion-driven game design, for the character-based games and show some limits that the premise of immersion centricity introduces. Then I proceed to examine the proposals for character design for games. I conclude this chapter by arguing that there is a need to look for methods to bridge character design with gameplay design. Game Design Approaches Game design and development flow can be described roughly as follows: 1. Brainstorming a game idea. The starting point can be based on game play (e.g., race game), license (e.g., James Bond), or technology (e.g., the design team have a certain game engine available, or the target platform is specific). 2. Creating the focus, i.e., describing the core of the game briefly. 3. Fleshing out the design (e.g., by writing a design document). 4. Creating a playable prototype. This can mean a physical prototype in early phases of the design or a software prototype consisting of merely a single gameplay feature up to a fully playable level or game. 5. Play testing the prototype. 6. Production. (Davies, 2007; Fullerton et al., 2004; Rollings, Adams, 2003; Rouse, 2005) This process can be iterative in various ways. 1 Design processes may differ, for example, due to the approval process of a publisher (e.g., Davies, 2007). Notably, the core idea of my character-driven game design approach can be integrated with different variations of the design process. The design process is considered to consist of gameplay design and story design (Davies, 2007; Fullerton et al., 2004; Rollings, Adams, 2003; Rouse, 2005), in the areas in which this work belongs. 2 The focus of the character-driven game design approach is especially in steps 2 and 3. Gameplay design is about designing the game system. According to Järvinen (2008) the game system consists of the following parts: 1 An alternative for the presented process is agile game development methods. In agile game development (see, e.g., McGuire, 2006) the process changes and there is no separate production phase, but each iteration contributes towards the final product. 2 Depending on the writer, different subareas are identified. Davies (Davies, 2007) and Rouse (Rouse, 2005) discuss also, for example, level design and AI design.
Page 4 and 5: Aalto University Publication Series
Page 7 and 8: Contents List of Publications 9 Ack
Page 9 and 10: List of Publications This thesis co
Page 11 and 12: Introduction To explain my interest
Page 13 and 14: 1. Introduction 13 Game designers h
Page 15 and 16: 1. Introduction 15 tertainment. Whi
Page 17 and 18: 1. Introduction 17 and involuntary
Page 19 and 20: 1. Introduction 19 dition, the game
Page 21 and 22: Game Characters Characters are an i
Page 23 and 24: 2. Game Characters 23 can fly, and
Page 25 and 26: 2. Game Characters 25 Figure 2.1: H
Page 27: 2. Game Characters 27 David Houghto
Page 31 and 32: 3. Game and Gameplay Design 31 Figu
Page 33 and 34: 3. Game and Gameplay Design 33 what
Page 35 and 36: Character Engagement and Game Desig
Page 37 and 38: 4. Character Engagement and Game De
Page 39 and 40: 4. Character Engagement and Game De
Page 41 and 42: Conclusions My study has two primar
Page 43 and 44: 5. Conclusions 43 Factor Perceivabl
Page 45 and 46: 5. Conclusions 45 PC that lead to s
Page 47 and 48: References AARSETH, E., 2004. Genre
Page 49 and 50: References 49 Behavioral Neuroscien
Page 51 and 52: References 51 New York: John Wiley
Page 53 and 54: References 53 NICHOLS, S., 2004. Im
Page 55 and 56: References 55 K., C-64 version. Mas
Page 57 and 58: Research Material Assassin’s Cree
Page 59 and 60: Appendix 1 59 Quick Start Cthulhu.
Page 61 and 62: Gameplay Design Patterns In this Ap
Page 63 and 64: Appendix 2 63 Detective Structure I
Page 65 and 66: Appendix 2 65 accepted and disallow
Page 67 and 68: Appendix 2 67 References —— art
Page 69 and 70: Appendix 2 69 sibility of Surprises
Page 71 and 72: Appendix 2 71 —— Modulates: Cha
Page 73 and 74: Appendix 2 73 (Egri, 1960) of a cha
Page 75 and 76: Lies and Seductions Credits CREATIV
Page 77 and 78: Article 1 77 Characters in Computer
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Article 1 79 It is important to not
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Article 1 81 attacks, which are all
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Article 1 83 almost anything in the
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Article 1 85 situation(s) —— Ch
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Article 1 87 its physiological, soc
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Article 1 89 Banner. Obviously, it
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Article 1 91
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Article 2 93 Player Character Engag
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Article 2 95 elaborately simulated
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Article 2 97 affects and performing
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Article 2 99 (Björk and Holopainen
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Article 2 101 player would fear the
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Article 2 103 available and what po
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Article 2 105 Many games also use c
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Article 2 107 petty criminal, Tommy
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Article 2 109 site for empathetic e
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Article 2 111 Grodal, T. (1999). Mo
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Article 2 113 emotion. Personality
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Article 2 115
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Article 3 117 Gameplay Design Patte
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Article 3 119 are constructed predo
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Article 3 121 ter, especially in ga
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Article 3 123 General overview Clau
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Article 3 125 similar goods. This i
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Article 3 127 Conversational Respon
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Article 3 129 is very strict one an
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Article 3 131
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Article 4 133 Gameplay Design Patte
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Article 4 135 described in this pap
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Article 4 137 the ANT, is seeing a
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Article 4 139 Egri’s Premise rela
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Article 4 141 Reactions as they do
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Article 4 143 this can be seen as a
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Article 4 145 heathens as part of o
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Article 4 147 Faction member will h
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Article 4 149 Discussions In this s
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Article 4 151 than character relati
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Article 4 153 Conference, 2007. 30.
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Article 4 155 Name Information Pass
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Article 5 157 Lies and Seduction Pe
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Article 5 159 Figure 2. A gameplay
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Article 5 161
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Article 6 163 Character-Driven Game
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Article 6 165 and physique); ——
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Article 6 167 —— providing goal
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Article 6 169 Part of a character d
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Article 6 171 Character Defining Ac
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Article 6 173 given that the traits
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Article 6 175 and want to be in goo
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Article 6 177 rectly available to a
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Article 6 179 4th ed. Steve Jackson
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Article 6 181
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Petri Lankoski MA, Lecturer, Game D
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Character Driven Game Design

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