Character Driven Game Design

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62 Character-Driven Game Design - Potentially conflicting with: none References: —— article 1 Character Defining Actions The choices that a player makes define what kind of character the character is. The character largely is how it behaves in terms of the interpretation. In addition, the character can get better in performing actions after repeated use. - Example: With the successfully use of a skill or ability in a table-top role-playing game CORPS (Porter, 1994) one gets experience in those skills, and the skill will increase after enough use. A similar system is used in The Elders Scroll IV: Oblivion (Bethesda Game Studios, 2006). Using the Pattern: Character Defining Actions can be implemented by using patterns of Character Development (Björk, Holopainen, 2005) where the performed actions determine the areas of Gaining Competences—via Skills (Björk, Holopainen, 2005), Improved Abilities (Björk, Holopainen, 2005), and New Abilities (Björk, Holopainen, 2005). Alternatively, actions can change the relations between the PC and NPC via Actions Have Social Consequences. The use of characters introduces pattern Character Defining Actions, as to how the player or the game system guide the character influence on how a player interprets the character. Consequences: The choices of a player influence the perceived personality of the character. Moreover, the choices the player makes shapes the gameplay to match the traits of the character. Relations —— Instantiates: none —— Instantiated by: Character (Björk, Holopainen, 2005), Enforced Character Behavior —— Modulates: none —— Modulated by: Character Development (Björk, Holopainen, 2005), Gain Competencies (Björk, Holopainen, 2005), Skills (Björk, Holopainen, 2005), Improved Abilities (Björk, Holopainen, 2005), New Abilities (Björk, Holopainen, 2005), Actions have Social Consequences, Player-Designed Character, Internal Conflict —— Potentially conflicting with: Narrative Structures (Björk, Holopainen, 2005), Cut-Scenes (Björk, Holopainen, 2005) References: —— article 2 —— article 6
Appendix 2 63 Detective Structure Information available for a player is limited to the information of one character. The player experiences the game event aligned with a single character. The Detective Structure is typical pattern used in games, for example, in Half-Life (Valve Software, 2001), Deus Ex (Ion Storm, 2002), and Silent Hill 3 (Team Silent, 2003). Using the Pattern: Detective Structure is a form of Imperfect Information (Björk, Holopainen, 2005). The information available to the player is limited to what is available to one character; the player does not need to have unlimited access to what the character knows, feels, and perceives. Detective Structure can use First-Person Views (Björk, Holopainen, 2005) or Third-Person Views (Björk, Holopainen, 2005). Detective Structure with Clues (Björk, Holopainen, 2005) can be used to support Narrative Structure (Björk, Holopainen, 2005), for example, solving a mystery by finding Clues (Björk, Holopainen, 2005) to reach the Predefined Goals (Björk, Holopainen, 2005) such as Gain Information (Björk, Holopainen, 2005). Consequences: As Detective Structure limits the player’s information. a certain point-of-view, pattern Imperfect Information (Björk, Holopainen, 2005) and Uncertainty of Information (Björk, Holopainen, 2005). This means that it can be used more freely (than with Melodramatic Structure). This is likely to add to Tension (Björk, Holopainen, 2005) and create possibilities for Surprises (Björk, Holopainen, 2005). Relations: —— Instantiates: Imperfect Information (Björk, Holopainen, 2005), Uncertainty of Information (Björk, Holopainen, 2005) —— Instantiated by: none —— Modulates: Narrative Structure (Björk, Holopainen, 2005), Tension (Björk, Holopainen, 2005), Surprises (Björk, Holopainen, 2005) —— Modulated by: Clues (Björk, Holopainen, 2005), Gain Information (Björk, Holopainen, 2005), First-Person Views (Björk, Holopainen, 2005), Third-Person Views (Björk, Holopainen, 2005) —— Potentially conflicting with: Perfect Information (Björk, Holopainen, 2005), Melodramatic Structure References: —— article 2 —— article 6 —— Smith, 1995
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Aalto University Publication Series
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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 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: Gameplay Design Patterns In this Ap
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
Page 97 and 98: Article 2 97 affects and performing
Page 99 and 100: Article 2 99 (Björk and Holopainen
Page 101 and 102: Article 2 101 player would fear the
Page 103 and 104: Article 2 103 available and what po
Page 105 and 106: Article 2 105 Many games also use c
Page 107 and 108: Article 2 107 petty criminal, Tommy
Page 109 and 110: Article 2 109 site for empathetic e
Page 111 and 112: 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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