level design and its applications in affecting emotions and actions

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  • 8/8/2019 Level Design and Its Applications in Affecting Emotions and Actions

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    JohnDoran

    PSY101

    4/6/10

    LevelDesignandItsApplicationsIn

    AffectingEmotionsandActions

    JohnDoran

    PSY101

    4/15/10

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    JohnDoran

    PSY101

    4/6/10

    SidMeierclaims,"A[good]gameisaseriesofinterestingchoices"(Rollings&

    Morris2000).Inthatlineofthinkingitwouldbeadvantageousforaleveldesignerto

    guideaplayerwithoutactuallyleadinghimbythehand.Ifaplayerfeelsagameistelling

    themwheretogoandexplicitlywhattodotheywillfeelasifthechoicestheymakeare

    insignificant.Aleveldesignercansupplementthepacing,ecology,andenvironmentofa

    levelbyapplyingaspectsfrombehavioralandarchitecturalpsychology.Successful

    implementationoftheseconceptsresultsinanimmersiveexperiencefortheplayer,

    unknowingoftheeffortstakenbythedesignertoguidethemalongtheway.

    Thewayagameispaceddetermineswhetheraplayerwillcontinueagametoits

    conclusionoriftheysuspendplayinthefirst10minutes.Whendonecorrectlyaplayer

    willencountertheartofleveldesign[whichwill]makeplayersthinktheyhaveinfinite

    choiceswhenreallytheyonlyhaveafew"(Feil&Scattergood,2005).Whentheplayer

    beginstofeeltheyareinaliving,breathingworldtheyaremorereceptivetosubtle

    cuesthedesignerplaces.Thisisfullyexperiencedwhentheplayerentersastateof

    Flow.FlowisacertainmindsetcoinedbyMihlyCskszentmihlyithataperson

    experienceswhenapersonisfullyimmersedwithinwhattheyaredoing.Flowis

    identicaltowhataplayerfeelswhenheistotallyimmersedinagame,givingthema

    suspensionofdisbelief.Duringthisexperience,theplayerlosesalltrackoftimeandis

    devotedtocompletinghisobjectives.Thisisamonumentalideatodesignersbecause

    whenitisappliedcorrectlyitfulfillstheobjectivethatadesignerishiredtodo,givea

    positiveexperience.

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    ValvesHalf-Life2doesthisisaveryeffectiveway.Inthebeginningofthegame

    theplayerisstuckinatrainstationandhastofollowalineartrailthatisreasonably

    safe.Thisisadvantageousbecauseatthispointtheplayermayhavenounderstanding

    ofhowtoplay.Also,theplayerisnotplacedinahighdifficultysituationwhiletheyare

    gettingaccustomedwiththecontrolsandinteractions.Thisrisksanexperiencedplayer

    gettingboredsothegameispacedforthispartofthegametoendshortlyonce

    controlsarelearnedwhileweavingitintothefictionoftheworld.Oncetheplayerhas

    basicinstructionsonhowtoplaythegametheyaretakenalargersizeoflevelinthe

    earlychaptersofthegametomaketheplayerbelievethateverywherehegoesthere

    arethingstoinvestigate.Asthegamecontinues,thelevelsgetprogressivelymoreand

    morelinear.Ifeelthereasonsforthisaretwo-fold.Firstoff,thefurthertheplayer

    venturesintothegameitbecomesmorecinematictoleadtotheendingsclimax.

    Secondly,itmeanslesscontentwouldhavetobecreatedwhichsavesbothtimeand

    moneyintermsofcreatingit.Attheendofthegamewehavegottentoapointwhere

    theplayerisinvestedandintheFlowstatebecauseatthispointtheplayershould

    havelearnedalloftheskillsnecessarytosucceedandshouldhaveachallengethatis

    justchallengingenoughtogivetheplayersatisfactiontocompleteitwithoutitbeing

    tooboringorpronetoanxiety.

    Half-Life2doesthisdifferentlyfromothergamesinthefinalhoursofthegame

    becausetheyconfiscateeverythingtheplayerhadaccomplishedsofarandgivesthema

    new(okay,upgraded)weaponthattheyhavetolearnhowtouseandsolvepuzzles

    with.ValvegetsawaywiththisbecausetheUber-GravityGunisfuntoplaywithand

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    playerandtheplacementofpositiveandnegativestimuliinvolvedwithboththe

    amountandlackoftheseitemscantriggercertainemotionswithinplayerswithina

    game.

    Inbehavioralpsychologythereisaconventionforoperantconditioninginwhichby

    usingconsequencesforactionsthereisaformofbehavior.Everypersonwhohas

    playedvideogamesforasubstantialamountoftimehashadbehaviorsengravedinto

    themashumanslearnbyobservation.Thisistheprimaryreasonwhypeoplehave

    difficultyplayinggamesiftheyhavenotdonesobefore.TheSonictheHedgehogseries

    ofgameshasusedtherewardofringsandotherpower-upstogiveincentiveforplayers

    totravelthewaythedesignerwantsthemto.Thisalsogivesplayersreasonstoexplore

    differentpathsonsubsequentplay-throughsoflevels.ThisisalessonLeft4Deadmay

    haveusedforgreatbenefitasplayerstendtofindonewaytogettotheendofalevel

    andwouldnotdoanyexploringastheywereconstantlygivennegativestimuliinstaying

    inoneplacebythedirectorspawninghordesofzombiesorspecialinfectedonthem.

    Rings,seenherefromSonictheHedgehog2,notonlypromoteexplorationandguidancebutalso

    areactuallyweavedintogameplaybytheiruseasalife-counterandlifegiver.Ifplayersweredamaged

    withoutaring,theywoulddie.Collecting100ofthemgivesthemanextralife,sotheyaregivenpositive

    stimulitocollectasmanyringsastheycan.

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    EdwardThorndikesLawofEffectcanbeusedtoacertaindegreeto

    increase/reducestressandadd/subtractdifficultyinalevel.Itisthroughrewardthat

    playersaremorewillingtofollowsuggestionsgivenbythedesignerwithoutnoticingit.

    Bygivingplayersincentivestotravelincertainwaystheyfeelitistheirchoicetogothat

    wayandiftheyconvenientlywindupwheretheyneedtoactuallygotocontinuethe

    gamethenthatwasclearlytheirsuperiorsenseofdirection.Ifthedesigneralsodoesa

    poorjobinleadingtheplayerortheplayerisanexplorer-typeandalwaystakesevery

    pathtoitsendadesignershouldplacerewardsattheendofdeadendsinordertogive

    positivereinforcementtowardsexploringthegameenvironmentasthatiswhatthe

    playertakingthenon-linearpathwilldo.

    Aplayercanalsobeconditionedtonottravelincertaindirectionfromnegative

    stimulisuchasdifficultenemiesanddangerouseffects.Aplayerisfarlesslikelytogo

    throughanenvironmentthathewilldiein.Goingstraightuptoanenemytankwithout

    arocketlauncherinSuccessOperationDarknesswouldalmostguaranteetheplayer

    death.Ifyouwantedtomoveaplayerintoacertaindirectionatthecostofheightening

    theirstressthisisavalidtactictouse.

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    4/6/10InOperationDarknesstanksarefarmoreoverpoweredthanotherunitsbuthaveaweaknessinthe

    formsofrockets.However,whenrocketsarenotavailableorhardtofinditwillmakeplayersgoaway

    fromthem.

    Thevastamountofthingsthatcanbedoneinleveldesigntoaffecttheplayermay

    bedoneintermsoftheenvironmentthattheyarein.Infact,inreallifethereisan

    entirebranchofpsychologyrelatedtotheinteractionsofhumansandtheir

    environment.Playersaremoreinterestedintheirgameplayenvironmentwhenthey

    haveincentivetocontinueexploringthegamesworld.Bioshockdoesthisinthevarious

    postersthattheyplacethroughoutthedifferentlevelsofthegame.These

    advertisementsforthecitizensofRaptureactuallyforeshadowotherlevelsthatplayers

    willaccessthroughouttheirgameexperiencewhilebuildinganticipationtokeepplayers

    playing.

    Bioshockspostersareusedtogreateffectinthegamesworldincreatinganticipationtowards

    seeingareas.

    Anenvironmentslightingcanbeusedinmanydifferentways.Primarily,light

    drawsfocustothingsandashumansarecreaturesthatlikethelighttheytendtotravel

    towardsit.Darknessandtheunknownareuncomfortableareasforplayerstobeinand

    bynotlightingareasasmuchasothersaddtotheforebodingnaturethatanareacould

    be.MonolithsF.E.A.Rdoesthisquitenicelybyturninganofficeintoanintenseand

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    dangerousplacetobein,eventhoughyouarefullyarmedandequippedtohandle

    anythingthatmaycomebyyourway.

    F.E.A.R.useslightingtoleadplayerstowardsareaswhilecreatingapprehensiveemotionsthrough

    theshadowsintheenviroment.

    Inconclusion,videogamesareinteractivesimulationsthatbecomeincreasingly

    lifelikeaswecontinuetocreatethem.Bydesignersapplyingaspectsfrombehavioral

    andarchitecturalpsychologiesintothepacing,ecology,andenvironmentofalevelthey

    caninfluenceplayerstohaveanexperiencetheywontforget.Byempoweringplayers

    throughthisprocess,levelswillflowmoreeffortlesslyandgivethemaximumamountof

    funpossiblewithintheconfinesoftheirplay-space.

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    Resources:

    Rollings,AndrewandDaveMorris.(2000).GameArchitectureandDesign.Scottsdale,Arizona:Coriolis.

    Feil,JohnandMarkScattergood.(2005).BeginningGameLevelDesign.Boston,Mass.:

    PremierPress.

    Csikszentmihalyi,M.(1990).Flow:ThePsychologyofOptimalExperience.

    NewYork,NY:Harper&RowPublishersInc.

    Hopson,John.(2002).

    http://www.gamasutra.com/view/feature/3011/the_psychology_of_choice.php ThePsychologyofChoice,RetrievedApril6,2010,from

    http://www.gamasutra.com.

    Seifert,Coray,JimBrown,JoelBugess,ForrestDowling,EdByrne,NeilAlphonso,

    MatthiasWorch.LevelDesigninaDay:BestPracticesfromtheBestinthe

    Business.2010GDC.MosconeCenter.SanFrancisco,CA.10March2010.

    Rogers,Scott.EverythingAboutLevelDesignILearnedFromDisneyland.2009GDC.

    MosconeCenter.SanFrancisco,CA.28March2009.