Play-Persona: Modeling Player Behaviour in Computer Games

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REFERENCES 1. Carson, D. Environmental Storytelling: Creating Immersive 3D Worlds Using Lessons Learned From the Theme Park Industry (March, 2000). Gamasutra.com. www.gamasutra.com/features/20000301/carson_pfv.htm 2. Jenkins, H. Game Design as Narrative Architecture, in Pat Harrington and Noah Frup-Waldrop (Eds.) First Person (Cambridge: MIT Press, 2002.) 3. Murray, J. The Last Word on Ludology v Narratology, Prefatory remarks for Keynote at DiGRA 2005, Vancouver CA, June 17, 2005 www.lcc.gatech.edu/~murray/digra05/lastword.pdf 4. Zimmerman, E Play as Research: The Iterative Design Process (2003) www.ericzimmerman.com/texts/Iterative_Design.htm 5. IO Interactive. (2006). Hitman: Blood Money. [XBOX360], Eidos. 104
ARTICLE 3 - WAVING EXPERIENCES: PLAY VALUES, PLAY MODES AND PLAY PERSONAS Article accepted by the Australasian conference Interactive Entertainment 2007, due to lack of funding I could not participate. Abstract This paper proposes basic procedures and core concepts with the intent of designing single player action games that without necessitating expensive adaptive technologies allow players to express themselves. The method applied is partly inductive, leaning on empirical observations in the QA department of a game developer studio and partly deductive, deriving concepts, frameworks and core ideas from established research in user-generated content and player-enjoyment. The purpose of this research is to draft guidelines and possible pre-production pipelines for level designers in order to achieve maximum consistency in scope, production values and artistic expression, and at the same time provide a focused yet diversified players’ experience. The ideas presented here stem from a co-operation between the renowned game development studio, IO Interactive, and the design-oriented research institute, Denmark's School of Design. Keywords Game worlds, level design, play-values, play-modes, play-personas, player experience. 1 INTRODUCTION As Sanders correctly pointed out [10] all efforts aimed at engendering defined experiences are doomed to failure since experiences and emotional responses alike are too individual, subjective and rooted in people’s past to be able to scientifically aim at re-producing them. Yet today’s tendency towards mass customization, as shown by Bozek [1] cannot be disregarded by game creators. A failure to incorporate means for mass customization could risk alienating the large majority of people that, thanks to the developments introduced by Web 2.0 [14], are becoming more and more acquainted with the practice of expressing themselves at almost every occasion: from Myspace to Wikipedia. 105
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Play-Persona: Modeling Player Behav
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4.2.3 PLAYER EXPRESSION 53 4.3 PEIR
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ACKNOWLEDGEMENTS I would like to th
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ABSTRACT This thesis proposes a fra
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Analysis seeks to break down comple
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Considering games as acts of commun
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ensemble - the syntagm. Selection r
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described in terms of likelihood of
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ook: FLUX, published in 2008. This
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2. A THEORETICAL FRAMEWORK FOR MODE
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“positivism” and “anti-positi
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with the game world based solely on
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on that text. Later, Barthes introd
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according to their mental state. Wh
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Following the humanistic tradition
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In most games it is not realistic t
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ehaviour. Assessing assumptions on
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Independently on the identity of ea
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main focus of the brand has always
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3.4 Play-persona as a lens (a poste
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Figure 10: personality and subperso
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4. CREATING EXPERIENCES The MDA fra
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Play-styles are sets of isotopic ga
Page 53 and 54: 4.2.3 Player expression Player expr
Page 55: Players will eventually understand
Page 58 and 59: Combining both of these two approac
Page 61 and 62: REFERENCES 1. Aarseth, E. (1997): C
Page 63 and 64: 52. Hunicke, R. LeBlanc, M. & Zubek
Page 65: 96. Wiggins, A. (2006): Data Driven
Page 69 and 70: ARTICLE 1 - TOWARDS A THEORY OF THE
Page 71 and 72: flow between the player, the avatar
Page 73 and 74: 6. The player constructs knowledge
Page 75 and 76: are sets of rational, bodily, and b
Page 77 and 78: ehaviorism asserting that a compreh
Page 79 and 80: 4.3 Origin of subpersonalities Acco
Page 81 and 82: environment and the emanating subpe
Page 83 and 84: flow line), one must increase the c
Page 85 and 86: 7.1 Explorer’s path FIGURE 5 Expl
Page 87 and 88: the roof section, where he/she will
Page 89 and 90: 14. DE SOUSA, R. 2003. Emotions. In
Page 91 and 92: ARTICLE 2 - DESIGNING LEVELS FOR EN
Page 93 and 94: 2 STRUCTURE OF A GAME LEVEL The fir
Page 95 and 96: 3.2 Symbolical Reading The movement
Page 97 and 98: The hangar is open for workers and
Page 99 and 100: gather info, spying through keyhole
Page 101 and 102: 6.2 Play-Personas I am going to def
Page 103: The Butcher persona would have quit
Page 107 and 108: types" [12]. Personas are construct
Page 109 and 110: esults in the relatively easy task
Page 111 and 112: Crew actions schemas are: • Squad
Page 113 and 114: choice given until the mark “poli
Page 115 and 116: REFERENCES 1. Bozec, P. "My Everyth
Page 117 and 118: ARTICLE 4 - WEAVING EXPERIENCES IN
Page 119 and 120: In order to be able to take acti
Page 121 and 122: persona could be narratively define
Page 123 and 124: of non lethal, silent, and clean de
Page 125 and 126: ARTICLE 5 - DEFINING PERSONAS IN GA
Page 127 and 128: software is however limited in that
Page 129 and 130: event sets, i.e. capturing metrical
Page 131 and 132: objects and entities within it. Eve
Page 133 and 134: metrics include tracking camera vie
Page 135 and 136: Figure 4: Example of interaction me
Page 137 and 138: looting is a play-style observed in
Page 139 and 140: players can choose between differen
Page 141 and 142: Play modes: Running, climbing, fall
Page 143 and 144: according to their positioning on a
Page 145 and 146: 14. Medlock, M.C., Wixon, D.; Terra
Page 147 and 148: ARTICLE 6 - PLAY-PERSONAS: BEHAVIOU
Page 149 and 150: experiences are evaluated and remem
Page 151 and 152: B) It is possible to infer user nee
Page 153 and 154: personas are hypotheses that emerge
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Expert Rookie Grunt Athlete Chess-
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Procedural description: Shooting: -
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In the case example for Tomb Raider
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2. Cooper, A.: The Inmates Are Runn
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ARTICLE 7 - TOWARDS GAMEPLAY ANALYS
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The requirement for improving user-
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The literature on game metrics is m
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ecause they all stem from in-house
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If a player kills a traitor they re
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Figure 3 (Top): diagram showing the
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titles where there is a trend towar
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a secondary variable together with
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player spent at the location and wh
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3. Börner, K., Penumarthy, S.: Soc
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34. Thompson, C.: Halo 3: How Micro
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ARTICLE 8 - ANALYZING SPATIAL USER
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on basic statistical analysis metho
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visualization or for creating overv
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egarding actions undertaken in-game
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ased methods within the games area
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2.4 The EIDOS Metrics Suite The dat
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is played in Third-Person perspecti
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one cause of death, and performing
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ArcGIS permits different layers to
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4. Cadez, I., Heckerman, D., Meek,
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35. Whiteside, J., Archer, N. P., W
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ARTICLE 9 - PLAYER MODELING USING S
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unsupervised learning in capturing
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3. TOMB RAIDER: UNDERWORLD The popu
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2 - Environment; the percent of tot
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(ESOM) [5] to emphasize the distinc
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populated middle-left cluster (Fig.
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weight values we repeat the trainin
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TABLE I THE FOUR PLAYING BEHAVIOR C
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(d) Number of Deaths, D (e) Complet
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equests for specific in-game puzzle
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13. G. N. Yannakakis and M. Maragou
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ARTICLE 10 - PSYCHOLOGY OF PERSONAL
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Personality is described as recogni
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Inputs: Outputs: Primary attack (ra
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Due to the fact that each game metr
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12. Jennett, C., Cox, A.L., Cairns,
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ARTICLE 11 - GAME METRICS AND BIOME
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His research interests are biometri
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5. R. L. Hazlett. Measuring emotion
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ARTICLE 12 - ANALYZING USER BEHAVIO
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elated to player-game interaction a
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10. Kuniavsky, M.: Observing the Us
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ARTICLE 13 - PATTERNS OF PLAY: PLAY
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Play-personas are here introduced a
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It is only natural that game design
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4 Defining play-personas using game
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TRU is the eighth installment in th
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gameplay, descriptiveness of player
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In the case of TRU, the three param
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into which sections of the levels t
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Runners: This group completes the g
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17. Iser, W.: The Implied Reader. J
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