Play-Persona: Modeling Player Behaviour in Computer Games
Play-Persona: Modeling Player Behaviour in Computer Games
Play-Persona: Modeling Player Behaviour in Computer Games
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choice given until the mark “police car” is the chance to pick up a handgun, which <strong>in</strong> turn is a way<br />
to tra<strong>in</strong> the player to pick up objects. We arrive at the second shootout with the possibility to just<br />
observe our “saviors” or to take part <strong>in</strong> the action either with unarmed close combat or with the<br />
handgun. After climb<strong>in</strong>g the fence (another play-mode learnt from the “advanced movement”<br />
schema) the player ga<strong>in</strong>s access to rifles dropped by mercenaries shot by the helicopter that<br />
appears <strong>in</strong> the back lot of the garage. In the garage, which marks the end of the first half of the<br />
level, we have the first really big confrontation where the player will have to hold a small army of<br />
policemen until a gas tank explodes liberat<strong>in</strong>g the way to the fourth shootout. This area can be<br />
quickly evaded just by runn<strong>in</strong>g <strong>in</strong> the alley where the player learns another way or negotiat<strong>in</strong>g<br />
obstacles: by jump<strong>in</strong>g over a car it is <strong>in</strong> fact possible to ga<strong>in</strong> access to the warehouse, the first real<br />
breath<strong>in</strong>g room s<strong>in</strong>ce the beg<strong>in</strong>n<strong>in</strong>g. In the lower part of the warehouse another shootout forces<br />
the player out and towards a d<strong>in</strong>er, stage for the last gunfight before the escape of the crew. This<br />
first level does not allow for crew control and it consists mostly of narrow, corridor-like passages,<br />
yet the l<strong>in</strong>earity is concealed with several open areas and a couple of obstacles to overcome <strong>in</strong><br />
order to proceed along the path. In spite of the limited set of options available to the player and<br />
the narrow, l<strong>in</strong>ear structure, it is very successful <strong>in</strong> establish<strong>in</strong>g and re<strong>in</strong>forc<strong>in</strong>g both narrative and<br />
functional play values, furthermore player expression <strong>in</strong> terms of play style is not only allowed, but<br />
deliberately encouraged <strong>in</strong> many of the shootout sections.<br />
Navigation and <strong>in</strong>teraction attitudes are important look<strong>in</strong>g glasses through which we can study<br />
emerg<strong>in</strong>g play-styles. Navigation attitudes tell us how players move <strong>in</strong> the game space:<br />
- physical position of the avatar with<strong>in</strong> the limits of the available space <strong>in</strong> relation to the vector<br />
of hostile NPCs.<br />
- pace of movement (walk<strong>in</strong>g, runn<strong>in</strong>g, stay<strong>in</strong>g still, sneak<strong>in</strong>g, spr<strong>in</strong>t<strong>in</strong>g, etc.)<br />
- use of cover, flank<strong>in</strong>g or frontal charges.<br />
- Interaction attitudes <strong>in</strong>form us on how players chose to negotiate obstacles and NPC:<br />
- preferred weapon<br />
- preferred shoot<strong>in</strong>g mode<br />
- use of grenades<br />
- use of advanced teamwork (swap weapon, give ammo, heal, etc.)<br />
- use of <strong>in</strong>dividual command or squad command<br />
- whether or not player makes use of aim<strong>in</strong>g modifiers<br />
Study<strong>in</strong>g these variables is the ma<strong>in</strong> <strong>in</strong>strument <strong>in</strong> order to detect coalesc<strong>in</strong>g play-styles.<br />
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