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Play-Persona: Modeling Player Behaviour in Computer Games

Play-Persona: Modeling Player Behaviour in Computer Games

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5. USING PERSONAS: “Hitman: Blood Money”<br />

As a brief example on how to build personas, it will be considered how designers can develop<br />

personas of player behavior dur<strong>in</strong>g the early phases of game design, based on character-based<br />

<strong>in</strong>teraction and navigation metrics. The case study is Hitman: Blood Money, which <strong>in</strong>cludes an<br />

embryonic version of the metric system currently <strong>in</strong> use at IO Interactive.<br />

<strong>Persona</strong>s developed for use <strong>in</strong> early-phase game design are not limited to narrative description of<br />

modalities of use, but take the form of coherent patterns of play, deconstructed <strong>in</strong> terms of specific<br />

metrics and expressed quantitatively. Dur<strong>in</strong>g early development, the designers at IO Interactive<br />

anticipated that a specific persona (mode of play) would be prevalent <strong>in</strong> Hitman: Blood Money,<br />

namely the “silent assass<strong>in</strong>”. This persona could be narratively def<strong>in</strong>ed as <strong>in</strong>troverted, calm, formal<br />

and a loner. He tends to trust no one, is extremely professional, kill<strong>in</strong>g only his designated targets<br />

<strong>in</strong> the most silent and surgical manner, preferr<strong>in</strong>g to set up his hits as if they were accidents. The<br />

highest priority rema<strong>in</strong>s for him to ma<strong>in</strong>ta<strong>in</strong> his identity a secret; hence he is will<strong>in</strong>g to dispatch<br />

even <strong>in</strong>nocent bystanders if they have seen him <strong>in</strong> action. The game rewards this unobtrusive,<br />

silent and sober behaviour profile with additional cash at the end of each mission; however, as it is<br />

<strong>in</strong>creas<strong>in</strong>gly important for the success of games to support multiple different modes of play, the<br />

designers needed to def<strong>in</strong>e additional play personas, anticipat<strong>in</strong>g variances <strong>in</strong> player behaviour to<br />

accommodate for different ways through which players can express themselves. These <strong>in</strong>itial<br />

persona hypotheses can be fleshed out us<strong>in</strong>g narrative descriptions of the character animated by<br />

different players [2]. Additionally, all the navigation and <strong>in</strong>teraction play modes of the game can be<br />

mapped out as possibility fields. Subsets of these can be selected to procedurally describe the<br />

patterns of play that best fit the different personas. This concrete and parametric collection of<br />

possible play modes forms the persona hypotheses.<br />

Navigation possibility field: A possibility field is the collection of all potentially available choices<br />

<strong>in</strong> any given moment. There are four classes of play-styles that can be used to structure the<br />

navigation possibility field. <strong>Play</strong>-styles can be categorized by monitor<strong>in</strong>g navigation metrics, based<br />

on play modes (comprised of <strong>in</strong>dividual/few metrics tracked), for example:<br />

Brawn play-style: The player is obviously <strong>in</strong>terested <strong>in</strong> show<strong>in</strong>g off and test<strong>in</strong>g the limits of the<br />

character’s physical prowess by climb<strong>in</strong>g everywhere, mak<strong>in</strong>g use of force whenever possible and<br />

always be<strong>in</strong>g on-the-move.<br />

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