Character Driven Game Design

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46 Character-Driven Game Design condition with the Predefined Goals (Björk, Holopainen, 2005) and loose conditions by the Preventing Goals (Björk, Holopainen, 2005). 3. Structuring the game using Levels (Björk, Holopainen, 2005) that are based on the scenes of the play (note that all the scenes of the story might not be needed in the game and the game might require additional playable scenes). Each level can be designed to be based on setup 1 or 2. The design of a PC needs to be considered. In the above-described setups, goals are used to create and structure the conflict. In addition to the goals, the designers need to consider possible and impossible actions and predefined functions. These can be used to communicate the PC’s personality and to shape the gameplay. Concluding Remarks Empirical evaluation of the proposed design approach or PC engagement model has not been included as a goal of this study, because such evaluation would require a lengthy study of its own. Empirical evaluation is a possible follow up for this research. However, some reflections are needed. The character-driven game design approach has been used in designing a character-based game, Lies and Seductions, and hence the successful use of the method provides some supporting evidence for the utility of my method. While this assertion has an obvious weakness, namely the relation between the method and a designed game, the method has been used in practice. On the other hand, the method exposes a set of features and their implication within the characterbased games for the designers as demonstrated in the articles, which should be valuable as such. While the Lies and Seductions and Romeo and Juliet examples above have been adapted from literature and theater, the presented approach is not intended only for the adaptations. Lately, Grand Theft Auto IV (Rockstar North, 2008), while being an action game, integrates relations in gameplay; it is possible to seduce women and make friends in addition to completing missions. Grand Theft Auto IV demonstrates that social relations work as a part of an action game. I hope that the characterdriven method I have presented can give tools that help to think about and integrate gameplay and social conflicts at the very fundamental level. An interesting example to explore would be games in which a plain-clothes cop is set to infiltrate a criminal organization. Gameplay, then, could utilize making friends and maintaining trust rather than completing action-based missions.
References AARSETH, E., 2004. Genre Trouble: Narrativism and the Art of Simulation. In: N. WARDRIP-FRUIN and P. HARRIGAN, eds, First Person: New Media as Story, Performance, and Game. Cambridge: The MIT Press, pp. 45–55. ALEXANDER, C., ISHIKAWA, S., SILVERSTEIN, M., JACOBSON, M., FIKSDAHL-KING, I. & ANGEL, S., 1977. A pattern language. Oxford University Press: New York (NY). UFO Afterlife. 2007. [Game] Developed by ALTAR interactive, Top- Ware Interactive. ARISTOTLE, 1996. Poetics. London: Penguin Books. Lunar Lander. 1979. [Game] Developed by Atari, Arcade version. Atari. BATEMAN, C., ed, 2007. Game Writing Narrative Skills for Videogames. Boston: Charles River Media. The Hobbit. 1982. [Game] Developed by Beam Software, ZX Spectrum version. Melbourne House. BERMAN, R.A., 1997. Fade in: The Screenwriting Process. 2nd edn. Studio City: Michael Wiese Productions. The Elder Scrolls IV: Oblivion. 2006. [Game] Developed by Bethesda Game Studios, PS3 version. Bethesda Softworks LLC. BJÖRK, S. and HOLOPAINEN, J., 2005. Patterns in Game Design. Hingham: Charles River Media. BLAIR, R.J.B., COLLEDGE, E. & MURRAY, L.M.,D.G.V., 2001. A Selective Impairment in the Processing of Sad and Fearful Expressions in Children With Psychopathic Tendencies. Journal of Abnormal Child Psychology, 29(6), pp. 491–498 DOI=10.1023/A:1012225108281. BOLTER, J.D. and GRUSIN, R., 1999. Remediation: Understanding New Media. pbk. edn. Cambridge: The MIT Press. BORDWELL, D., 1985. Narration in the Fiction Film. Madison: The University of Wisconsin Press. CAILLOIS, R., 2001. Man, Play and Games. Urbana: University of Illinois Press. CAMPBELL, J., 1993. The Hero with a Thousand Faces. London: Fontana
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 and 28: 2. Game Characters 27 David Houghto
Page 29 and 30: Game and Gameplay Design First, I l
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: 5. Conclusions 45 PC that lead to s
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
Page 79 and 80: Article 1 79 It is important to not
Page 81 and 82: Article 1 81 attacks, which are all
Page 83 and 84: Article 1 83 almost anything in the
Page 85 and 86: Article 1 85 situation(s) —— Ch
Page 87 and 88: Article 1 87 its physiological, soc
Page 89 and 90: Article 1 89 Banner. Obviously, it
Page 91 and 92: Article 1 91
Page 93 and 94: Article 2 93 Player Character Engag
Page 95 and 96: 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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