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Play-Persona: Modeling Player Behaviour in Computer Games

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the roof section, where he/she will f<strong>in</strong>d out that it becomes impossible to progress <strong>in</strong> the game and<br />

f<strong>in</strong>ish the level unless he/she changes the course of action.<br />

8 Conclusions<br />

The full scope and significance of the plann<strong>in</strong>g operated until now becomes visible only when the<br />

four type-curves described previously are overlaid (figure 9).<br />

FIGURE 9 Synthetic flow<br />

It is <strong>in</strong> fact <strong>in</strong> the movement of the player from one type to the other, play<strong>in</strong>g the same game but<br />

<strong>in</strong> different modes, that the role of the designer becomes clear: he/she is not a mere dealer of<br />

rewards and punishments dissem<strong>in</strong>at<strong>in</strong>g challenges and skills for a general undist<strong>in</strong>guished<br />

“audience” but a crafter, an orchestrator of experiences, a weaver of play<strong>in</strong>g modes.<br />

The player can <strong>in</strong> fact choose to play other roles, change mode of play and approach whenever the<br />

current l<strong>in</strong>e of actions becomes more tedious (or frustrat<strong>in</strong>g) than he/she is will<strong>in</strong>g to accept.<br />

I should mention that I exaggerated on purpose the four curves <strong>in</strong>clud<strong>in</strong>g for each one of them a<br />

segment <strong>in</strong> the forbidden zone; this was just to show the possibility of forc<strong>in</strong>g the player to change<br />

to a different type and play<strong>in</strong>g mode. It is not necessary to break the flow <strong>in</strong> such an abrupt way.<br />

This methodology applies <strong>in</strong>dependently from the set of past experiences that generated the<br />

subpersonalities s<strong>in</strong>ce its only concern is the end result. The flow diagram is no longer just a tool<br />

used to evaluate a posteriori the experience of players, but a precious tool <strong>in</strong> the design phase and<br />

an even sharper, more granular one when compar<strong>in</strong>g goals set <strong>in</strong> the plann<strong>in</strong>g phase and results<br />

achieved by the player <strong>in</strong> terms of enjoyment.<br />

Nevertheless this model can never substitute the iterative process <strong>in</strong>tr<strong>in</strong>sic to any successful level<br />

design as it cannot substitute players test<strong>in</strong>g. I feel it is important to stress how this method does<br />

not claim to make accurate predictions on players’ behaviour, but it provides more than an<br />

<strong>in</strong>spiration or an error proof<strong>in</strong>g tool: it provides a way to plan and design levels th<strong>in</strong>k<strong>in</strong>g concretely<br />

87

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