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Play-Persona: Modeling Player Behaviour in Computer Games

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Analysis seeks to break down complex situations, identify components and <strong>in</strong>gredients <strong>in</strong> order to<br />

understand someth<strong>in</strong>g [30]. Analysis seeks to solve problems through identify<strong>in</strong>g and remov<strong>in</strong>g the<br />

cause. Analysis rarely fosters progress towards a desired goal, it barely removes impediments.<br />

Analysis is all about 'what is', the past and present state of th<strong>in</strong>gs, and its emphasis is on know<strong>in</strong>g.<br />

Design <strong>in</strong>volves putt<strong>in</strong>g th<strong>in</strong>gs together <strong>in</strong> order to deliver some value by construct<strong>in</strong>g and creat<strong>in</strong>g<br />

solutions [30]. Design is never completely free, it is always bound by constra<strong>in</strong>ts and specifications,<br />

nevertheless it is trough design that we move forwards towards our desired goals. Design is all<br />

about 'what can be', future possibilities and its emphasis is on th<strong>in</strong>k<strong>in</strong>g.<br />

The Danish Design School perfectly embodies this dual soul. A few years ago, the school’s<br />

leadership devised a four steps research strategy rang<strong>in</strong>g from basic research, applied research,<br />

practice-based research and artistic practice, cover<strong>in</strong>g the entire spectrum from most abstract<br />

research to concrete artistic praxis. Recently, the four layers have been condensed <strong>in</strong> one<br />

<strong>in</strong>tegrated conta<strong>in</strong>er: practice-based research. One way to concretely implement practice-based<br />

research is “design” <strong>in</strong>formed but not bound by “analysis”. This almost self evident statement was<br />

to become the found<strong>in</strong>g pillar of my research and eventually allow me to fit, albeit slightly<br />

awkwardly, <strong>in</strong> radically different environments and communicate effectively with people from<br />

opposite ends of the human spectrum. In short, the difficult marriage between analysis and design,<br />

promoted ceaselessly by the research leaders <strong>in</strong> the Danish Design School, guided my curiosity to<br />

f<strong>in</strong>d areas of overlap between knowledge and thought, between truth and purpose. It was only<br />

natural then that my ma<strong>in</strong> research question (“How can attractive gameplay experiences be<br />

shaped?”), led me to the topic of gameplay metrics 2 , s<strong>in</strong>ce they are objective and actionable<br />

records of players’ actions <strong>in</strong> games. Gameplay metrics can <strong>in</strong> fact provide both empirical grounds<br />

for decision-mak<strong>in</strong>g <strong>in</strong> the form of prescriptive recommendations and also, by offer<strong>in</strong>g a snapshot<br />

of the state of the <strong>in</strong>teraction between players and the game, represent a perfect basis to build<br />

descriptive statements. It is <strong>in</strong> the theoriz<strong>in</strong>g and sense-mak<strong>in</strong>g of the metric data, <strong>in</strong> the<br />

<strong>in</strong>terpretative layers used to make sense of the data, that analysis becomes design. Every time we<br />

question the data with a hypothesis, every time we approach a problem with expectations towards<br />

a desired outcome we re-create reality, mov<strong>in</strong>g closer to our desired goals. The play-persona<br />

2 The term “gameplay metrics” refers to data about players’ behaviour <strong>in</strong> a game (location, use of skills,<br />

powers, abilities, <strong>in</strong>teraction with other players, deaths, etc.), automatically recorded dur<strong>in</strong>g a play session.<br />

12

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