Well Played 2.0: Video Games, Value and Meaning - OpenLibra

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Uru achieves the sublime pleasures of impossible gameplay by merging this transcendent experience of intersubjective flow, hard fun of the “violin” variety, and a compelling and beautiful story world with a rich mythos. The result is a sublime experience comparable to any great work of art, yet totally unique to the video game medium. REFERENCES Csíkszentmihályi, Mihály (1990), Flow: The Psychology of Optimal Experience, New York: Harper and Row. DeKoven, B. (1978). The well-played game: A player’s philosophy. New York, NY: Anchor Books. Fron, J., Fullerton, T., Morie, J. & Pearce, C. (aka Ludica) (2007a). “Playing Dress-Up: Costume, roleplay and imagination.” In Philosophy of Computer Games Online Proceedings, January 2007. Fron, J., Fullerton, T., Morie, J. & Pearce, C. (aka Ludica) (2007b). “The Hegemony of Play.” In Situated Play: Proceedings of Digital Games Research Association 2007 Conference,Tokyo, Japan. Pearce, C. (2002). “Story as Play Space: Narrative in Games.” King, L. (ed.) Game On (Exhibition Catalog). London, Lawrence King Publishing Limited. Pearce, C. (2006). Seeing and Being Seen: Presence & Play in Online Games and Virtual Worlds. Position Paper for Online, Offline & the Concept of Presence When Games and VR Collide. October 25-27, Institute for Creative Technologies, University of Southern California. Pearce, C. (2007). “Epiphany of the Day: Am I playing the game or is the game playing me?” Virtual Cultures Blog, March 26, 2007.http://virtualcultures.typepad.com/virtualcultures/2007/03/epiphany_of_the.html Pearce, C. (2008). “Spatial Literacy: Reading (and Writing) Game Space.” In Proceedings, Future and Reality of Gaming (FROG), October 17-19, Vienna, Austria. Pearce, C. (2010). “The Ending is Not Yet Written: A Conversation with Rand Miller.” Game Studies Journal, Volume 10, Issue 1, April 2010. Pearce, C. & Artemesia. (2009). Communities of play: Emergent cultures in multiplayer games and virtual worlds. Cambridge, MA: The MIT Press. 164
Immersive Game Design: Indigo Prophecy Ben Miller Whenever I speak with various friends or coworkers about playing Indigo Prophecy, they inevitably bring up one or more of the following points: the gripping introductory scene, how the great story turned into a complete train wreck during the second half of the game, or the interactive sex scene that was removed from the United States and Canadian releases. While all of these points are valid and understandable, I think that the often-discussed narrative content is not the most remarkable facet of the game. The innovative game systems and mechanics that succeed in enhancing the immersive nature of the experience strike me as the most noteworthy and interesting aspects of the game. I feel that these systems are elegant and bold examples of great game design that are as inspiring as they are effective. Through a detailed analysis of these systems I hope to bring the concept of immersive game design to the forefront of other developer’s minds and promote the discussion of systems specifically built to heighten player immersion. Moreover, by identifying the central components of these systems I hope to give fellow developer’s additional “tools” they can use to enhance the immersive nature of their own games. Finally, I want to inspire others, as I have been inspired, to push boundaries and create new immersive systems of their own. Background Information Although Indigo Prophecy closely resembles an adventure game, David Cage, the director, lead designer, and writer for the game calls it an interactive drama or interactive story due to how it uniquely presents an interactive narrative. Despite the inherent difficulty marketing this unique game, Atari published the game internationally in September 2005 for the Playstation 2 (PS2), Xbox, and PC in six different languages. It was released as Fahrenheit throughout the world but the name was changed to Indigo Prophecy in the United States and Canada to avoid confusion with the film Fahrenheit 9/11. It has sold over 800,000 copies worldwide and all versions of the game have a favorable Metacritic score between 83 and 85. Although the game was simultaneously developed for all three platforms, the PS2 game was identified as the lead version and the primary control scheme was designed for dual analog stick controllers. I will reference this control scheme throughout the analysis 165
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Well Played 2.0: Video Games, Value
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Table of Contents Thank You. Well P
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Introduction Well Played 2.0 More P
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Cloudmaker Days: A Memoir of the A.
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abbreviations from the Periodic Tab
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that curtain was. This decision was
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experience. The ambivalence I felt
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special treat: in very faint text w
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storytelling where the topic is act
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16 It’s striking that an experien
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57 http://www.argn.com 58 http://ww
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the level of interactive engagement
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he wants the honor and glory for hi
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cinematics are units that go beyond
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differs from the first checkpoint).
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oom that you just saw in the vision
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Figure 10. Screenshot of the Castle
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fight, the space is large enough th
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scenes have more of a pounding elem
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going to have a successful ending (
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Interestingly, it doesn’t rewind
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note, I actually let myself get kil
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an attempt to inject it into gamepl
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Team XBox. Prince of Persia: Sands
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Gray discs require two adjacent bre
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my own music,[72] or more often, I
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allows five discs before a new row
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Chain Factor functioned as the “t
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I think, what well-designed virtual
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The genius of this system is that t
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haunting (and haunted) games I’ve
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Compared to “Sabre Wulf” and
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altitude) depending on the moment o
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Aside from that thread that explora
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would make anyone feel eager to pla
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learn on how to jump and take the o
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DREW DAVIDSON et al. (2008). Beyond
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her picture. When opening the locke
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The story advances with the explora
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Favorite moments Nothing would stop
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than yourself. Your character is re
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on presence, flow, and learning. Ho
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oach did not serve as a distraction
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game. However, some players felt pr
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sugary sweets from the picnic blank
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Csikszentmihalyi, M. (1997). Findin
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30 square kilometers around the Che
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Deus Ex and System Shock to set the
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the dreams,” muses this nameless
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fails to realize that the Zone is n
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leak, empty land-scape highlights t
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The storyline, characters, and even
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enough. Call of Duty 4: Modern Warf
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developers utilize environmental es
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The title of the novel is a referen
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And yet the same sun, the same moon
Page 113 and 114: (www.perimeterpartners.com), Bill H
Page 115 and 116: Actraiser Andy Jih While many other
Page 117 and 118: simple to dive into: run left and r
Page 119 and 120: the only task left is to go to the
Page 121 and 122: have ended the game simply with an
Page 123 and 124: For an adventure game to succeed, i
Page 125 and 126: cinematic, Manny despairs of his lo
Page 127 and 128: normal day-to-day life to reach new
Page 129 and 130: weren’t completed due to budget a
Page 131 and 132: mechanic Elementals that look like
Page 133 and 134: gameplay mechanics in Fallout 3. Th
Page 135 and 136: with moral dilemmas is done with th
Page 137 and 138: contained vignette will also make m
Page 139 and 140: One of the most discussed Quests in
Page 141 and 142: the grove to help the Wasteland whi
Page 143 and 144: weapons lost will change playing st
Page 145 and 146: nonexistent, and few gamers I talk
Page 147 and 148: Cyan is notorious for baffling play
Page 149 and 150: Figure 2: The Cleft in the desert,
Page 151 and 152: “writing” Ages, housed in “li
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Page 157 and 158: them prideful and greedy. The impli
Page 159 and 160: midst and walking down the path. If
Page 161 and 162: Figure 17: Decoding the door in Ede
Page 163: As mentioned earlier, central to Ur
Page 167 and 168: compartmentalizes all of the conten
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Page 171 and 172: initiating a similar game-ending ev
Page 173 and 174: interactions have even greater sign
Page 175 and 176: was trying to concentrate on inputt
Page 177 and 178: Lions & Jackals: The Politics of Fa
Page 179 and 180: Banga, meaning “the all-powerful
Page 181 and 182: ealization of what he turned into.
Page 183 and 184: Maybe 80% of our players are just l
Page 185 and 186: Jeffries, L.B. “Far Cry 2: The He
Page 187 and 188: Looking beyond the moments, it is i
Page 189 and 190: prowess. There is some level of apt
Page 191 and 192: solid short-term goal, much like fi
Page 193 and 194: time or exploring the same game lev
Page 195 and 196: and seamless; the player is whisked
Page 197 and 198: Rasmus: I have an absolute love for
Page 199 and 200: feeling that there is something int
Page 201 and 202: sessions make it easy to get into t
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Page 205 and 206: Jesper: I would argue that the disc
Page 207 and 208: incredibly exciting and rewarding,
Page 209 and 210: playing games — ironic, I suppose
Page 211 and 212: Sutton-Smith, Brian. 2008. Play The
Page 213 and 214: dilemma itself. Should I, the playe
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Pool of Radiance Sam Roberts Pool o
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play experience of Pool of Radiance
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probably at what might be called th
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containing a moment of choice, is a
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interpreted, without remaining hide
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Making and Unmaking Place in The Da
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technical accomplishments, the play
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understanding.”[160] Time of day
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ears).[167] Videogames take advanta
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the orphanage, church, warehouses,
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Golden Arm and His Girl Friday, tel
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directions except toward the goal.
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This dynamic is played out in a sho
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169 Celia Pearce, “Narrative Envi
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ilovebees: Playing and Designing in
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Curious parties falling through the
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Columns of paired numbers appear, l
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may be, they may still need to be n
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strength of its developers and its
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Resident Evil 4: The Mercenaries Mi
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skills at RE4 have earned you the p
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Another important factor that adds
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The strongest pressure on the playe
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• Do I have enough health left to
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New Section Francisco Souki It was
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the game stayed true throughout the
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a reflective Mamma mia! You only ne
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point it all took shape in my head.
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neutral planet, the attacking ships
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want to attempt to play at an exper
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abusive language. Most importantly,
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Stephen Jacobs is an Associate Prof
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granted by the EPSON Ibérica’s
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and Second Person. He is cited in m
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of Gaming and Computer-Mediated Sim
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designing and developing cross-medi
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