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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threshold. For the “Load<strong>in</strong>g” area it is the mansion. Lean<strong>in</strong>g over the yard, it is a symbol of the<br />
whole mission: grand, once magnificent and baroque from the outside but decay<strong>in</strong>g from the<br />
<strong>in</strong>side, it rem<strong>in</strong>ds us of past glories much alike the father himself, a once respected general but<br />
now drug producer. For the “W<strong>in</strong>e cellar” it is the barrels, they don’t exactly po<strong>in</strong>t towards an<br />
objective but represent the whole duplicity of the cover w<strong>in</strong>emak<strong>in</strong>g operation under which the real<br />
bus<strong>in</strong>ess happens. The metaphor becomes real when we notice that a big barrel conceals the<br />
secret entrance to the drug lab. In the “Drug lab” the landmark is the big percolator tank, while <strong>in</strong><br />
the “Hangar” it is the water plane, physical way out and metaphysical symbol of cleans<strong>in</strong>g.<br />
5 LUDIC ANALYSIS<br />
If players express themselves almost unconsciously by navigat<strong>in</strong>g the game world, they do it<br />
completely openly by choos<strong>in</strong>g how to <strong>in</strong>teract with it. “Hitman – Blood Money” provides plenty of<br />
tools to negotiate <strong>in</strong>teractions with the NPCs: distract<strong>in</strong>g, disabl<strong>in</strong>g, kill<strong>in</strong>g and for each type of<br />
<strong>in</strong>teraction there are several ways to accomplish it. Collect<strong>in</strong>g this k<strong>in</strong>d of <strong>in</strong>formation and<br />
triangulat<strong>in</strong>g it with the possible paths chosen by the player will help the designers understand<br />
what k<strong>in</strong>d of experiences players are after and what they actually get from play<strong>in</strong>g the game.<br />
5.1 Tools for the player<br />
The designers embodied “play-values” [4] <strong>in</strong> a system of rules that eventually translated <strong>in</strong>to the<br />
set of tools that players can use to express behaviour <strong>in</strong> the game world.<br />
Security zones: the player cannot walk <strong>in</strong>discrim<strong>in</strong>ately around the level; some areas allow only<br />
certa<strong>in</strong> types of people, creat<strong>in</strong>g progressively restricted areas, therefore disguises are rated<br />
accord<strong>in</strong>gly to the security they grant.<br />
Disguises: the player can change disguise steal<strong>in</strong>g them from unsuspect<strong>in</strong>g NPCs, drag the bodies<br />
of the victims and dispose of them as he/she see fit.<br />
Close combat: the player is given a wide arsenal of moves to negotiate close combat: head butt,<br />
punch, disarm<strong>in</strong>g, conceal<strong>in</strong>g weapon, fiber wir<strong>in</strong>g, elevator ambush, knives (slash<strong>in</strong>g and<br />
throw<strong>in</strong>g), narcotic and poison syr<strong>in</strong>ges, human shield<strong>in</strong>g and push<strong>in</strong>g.<br />
Agility moves: the player can jump walls and balconies, climb through w<strong>in</strong>dows, walk ledges, climb<br />
dra<strong>in</strong>pipes and ladders.<br />
Break<strong>in</strong>g <strong>in</strong>: there are many tools to earn<strong>in</strong>g access to restricted areas, such as spy<strong>in</strong>g from far<br />
away with b<strong>in</strong>oculars, observ<strong>in</strong>g NPC’s patterns of movement <strong>in</strong> the maps, talk<strong>in</strong>g to NPCs to<br />
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