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Level 9
David Mullich
Game Mechanics
The Los Angeles Film School
LAFS Game Mechanics - Balancing
Game Narrative
 Narrative Structure
 Cut Scenes
 Ultra-Powerful Event
Emotional Immersion
 Gameplay Immersion
 Anticipation
 Tension
Role-Playing
 Characters
 Character Development
 Player-Controlled Character Development
 Role-Playing
Story-Telling
 Creative Control
 Illusion of Influence
 Freedom of Choice
 Story-Telling
LAFS Game Mechanics - Balancing
What Is Game Balance?
Game Balance
 Single Player Games: The game’s difficulty
is matched to the player’s skill level
throughout the entire game.
 Multiplayer Games: All players have an
equal opportunity to win regardless of their
starting position, resources, goals, or skill
level.
The Fighting Game Problem
Extra Credits: How To Teach Complicated Mechanics
What Was The Main Message Of This
Video?
Making Fighting Games More
Accessible
 Single Player Mode
 Add Actions Through Leveling
 Provide Clear Choices For Actions
 Give Hints About Best Actions
Does This Make The Game EASIER?
Complexity vs. Difficulty
Difficulty: The skill required to successfully
reach a goal.
Complexity: The number of actions required
to successfully reach a game goal.
Right Level of Difficulty
The right level of difficulty is the one intended
by the game designer.
Why Designers Want Right Level of
Difficulty
 If challenges are too easy, players will
become Bored
 If they are too difficult, players will become
Frustrated
Other reasons:
 Combine Tension and Empowerment
 Promote Game Mastery
Difficulty Level Design
Considerations
 Which challenges should be made easier?
 Which challenges should be made harder?
 Which challenges should occur at another
point in the game?
Right Level of Complexity
The right level of complexity is the one
intended by the game designer.
Why Designers Want Right Level of
Complexity
• Influences Level of Difficulty
• Makes Game Mastery easier to achieve
• Supports Experimenting and Constructive
Play
Warning! Can lead to:
 Analysis Paralysis
What Determines Complexity
 Actions need to reach a goal, particularly if
rhythm-based
 Game elements the player must interact
with
 Relationships game elements have with
each other
 Narrative structure
LAFS Game Mechanics - Balancing
Balancing For Skill In Multiplayer
Games
Extra Credits: The Link from Optimal Power to Strategy
What Was The Main Message Of This
Video?
Balancing Effects
Rules and effects that lessen the difference of
value used to measure competition between
players.
Pre-Emptive Balancing Effects
• Handicaps
• Making Extended Actions into Interruptible
Actions
• Delayed Effects
• Selectable Set of Goals
• Diminishing Returns
Correcting Balancing Effects
Favoring Disadvantaged Players through:
 Better Rewards for Completing Goals
 New/Improved Abilities
 Shared Rewards
 Spawning
 Turn Taking
Handicapping Advantaged Players through:
 Worse Penalties for Failing Goals
 Lost/Decreased Abilities
Why Designers Use Balancing Effects
 Smooth Learning Curves
 Right Level of Difficulty
 Perceived Chance to Succeed
 Mitigates Asymmetric Abilities
Balancing Effects Design
Considerations
 Is the balancing effect designed to be pre-
emptive or correcting?
 Is limited foresight used to mask an
imbalance?
 Are there more than two players or teams
competing?
Symmetry
Symmetrical relations exist between players
regarding the goals, resources, and actions they
can perform.
Why Designers Use Symmetry
Allows:
 Player Balance (set-up only)
 Team Balance (set-up only)
Supports:
 Game Mastery
Symmetry Design Considerations
 Abilities
 Goals
 Resources
 Teams
How To Balance Turn-Based Games
Extra Credits: First Move Advantage
What Was The Main Message Of This
Video?
Rock-Paper-Scissors
Sets of three or more actions form cycles where
every action has an advantage over another
action.
Rock-Paper-Scissors in Quick Games
 Choices tend to have immediate
consequences
 Played repeated so that a Metagame
evolves of gaining knowledge of
opponent’s strategies
Rock-Paper-Scissors in Long-Term
Games
 Investments gain Asymmetric Abilities
 Players gain information about other
players by
 Public Information
 Sending Units into Fog of War
Why Designers Use Rock-Paper-
Scissors
Provides:
 Symmetry between actions or tactics
Promotes:
 Tension about chosen action/tactic
Supports:
 Game Mastery through knowledge of
successful actions/tactics
Handicaps
Making gameplay easier for certain players to
ensure that all players have the same chance to
succeed.
How Handicaps Are Provided
 Asymmetric Abilities
 Asymmetric Resource Distribution
 Asymmetric Goals
 Reversible Actions For Novices
 Reconfigurable Game Worlds
Why Designers Use Handicaps
Provides:
 Right Level of Difficulty in Multiplayer
Games
 Player or Team Balance
 Trans-Game Information
Warning! Conflicts with:
 Symmetry
Ways For Players To Set Handicaps
 Individual levels of difficulty
 Individual resources or abilities
 Individual negative consequences to be limited
or ignored
 Different thresholds for evaluation functions
 Individual bonuses to score values
 Individual starting locations or skill advantages
 Take back actions and perform other actions
Team Balance
Teams have equal chances of succeeding
with actions in a game or winning a game.
Ways To Provide Team Balance
Before Game:
 Team Configuration with Player Balance
 Symmetric Competency Areas and Privileged
Abilities
 Starting Positions
During Game:
 Handicaps
 Spawning
Why Designers Want Team Balance
 Gives players a Perceived Chance of
Winning
 Encourages Team Play and therefore
Social Status
 Players feel Empowerment
LAFS Game Mechanics - Balancing
Game Mastery
That one can clearly distinguish between skillful
and incompetent players when they are using all
their skills and abilities in a game.
The Player’s Journey
Allowing For Game Mastery
Requires:
 Right Level of Difficulty
 Right Level of Complexity
 Smooth Learning Curves
Nullified by:
 Randomness
 Balancing
Why Designers Promote Game
Mastery
 Empowerment
 Emotional Immersion
 Replayablity
 Varied Gameplay
 Competency Areas
 Strategic Knowledge
 Risk-Reward Trade-offs
 Trans-Game Information
 Social Statuses
 Investments in Gameplay
Game Mastery Design Considerations
 What skills can a player train and develop?
 Mental-Based
 Dexterity-Based
 Social-Based
 How is mastery revealed?
 How can mastery be maintained past game
sessions?
Smooth Learning Curves
Games designed to provide players with the
possibility of smoothly progressing from novice to
master.
Requirements
 Right Level of Difficulty
 Right Level of Complexity
 Consistent Reality Logic
Why Designers Want Smooth Learning
Curves
 Immersion
 Illusion of Influence
 Perceived Chance to Succeed
 Game Mastery
Smooth Learning Curves Design
Considerations
 Information provided to players for
overcoming challenges
 Automatic challenge difficulty adjustments
to the player’s skill
 Player-adjusted challenge difficulty
Empowerment
Players feel that they can affect the events
and final outcome of the game.
Ways To Provide Empowerment
 Right Level of Difficulty
 Privileged/New/Improved Abilities
 Producers & Converters
 Strategic Planning & Knowledge
 Freedom of Choice
 Player-Decided Results
 Creative Control
 Social Status
 Game Mastery
Why Designers Provide
Empowerment
 Emotional Immersion
 Competence Areas
 Higher Level Closures as Gameplay
Progresses
Warning! Can conflict with:
 Player Balance
 Team Balance
Empowerment Design Considerations
 How empowered does the player feel at
the beginning of the game?
 Does the empowerment increase
incrementally?
 What opportunities does the player have
for creative control?
 Do the players vote on anything?
 Can the player construct the game world?
Group Quest
Balance one of the games you previously
designed in class.
LAFS Game Mechanics - Balancing
Rhythm-Based Actions
Actions that require players to time their
actions several times in a row.
Implementation of Rhythm-Based
Actions
 Extended Actions
 Combos
 Moveable Tiles
 Deadly Traps
Why Designers Use Rhythm-Based
Actions
 Sensory-Motoric Immersion
 Game Mastery
Rhythm-Based Action Design
Considerations
 What is the extended action to be
performed?
 How long should it be performed?
 What feedback is provided to the player?
 What rewards or penalties are associated
with performing the action?
Boss Battle Ahead!
There will be a test on Levels 4-6 the next
time we meet!
On the LMS, describe a rhythm mechanic and
how you would balance it.
LAFS Game Mechanics - Balancing

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LAFS Game Mechanics - Balancing

  • 1. Level 9 David Mullich Game Mechanics The Los Angeles Film School
  • 3. Game Narrative  Narrative Structure  Cut Scenes  Ultra-Powerful Event
  • 4. Emotional Immersion  Gameplay Immersion  Anticipation  Tension
  • 5. Role-Playing  Characters  Character Development  Player-Controlled Character Development  Role-Playing
  • 6. Story-Telling  Creative Control  Illusion of Influence  Freedom of Choice  Story-Telling
  • 8. What Is Game Balance?
  • 9. Game Balance  Single Player Games: The game’s difficulty is matched to the player’s skill level throughout the entire game.  Multiplayer Games: All players have an equal opportunity to win regardless of their starting position, resources, goals, or skill level.
  • 10. The Fighting Game Problem Extra Credits: How To Teach Complicated Mechanics
  • 11. What Was The Main Message Of This Video?
  • 12. Making Fighting Games More Accessible  Single Player Mode  Add Actions Through Leveling  Provide Clear Choices For Actions  Give Hints About Best Actions
  • 13. Does This Make The Game EASIER?
  • 14. Complexity vs. Difficulty Difficulty: The skill required to successfully reach a goal. Complexity: The number of actions required to successfully reach a game goal.
  • 15. Right Level of Difficulty The right level of difficulty is the one intended by the game designer.
  • 16. Why Designers Want Right Level of Difficulty  If challenges are too easy, players will become Bored  If they are too difficult, players will become Frustrated Other reasons:  Combine Tension and Empowerment  Promote Game Mastery
  • 17. Difficulty Level Design Considerations  Which challenges should be made easier?  Which challenges should be made harder?  Which challenges should occur at another point in the game?
  • 18. Right Level of Complexity The right level of complexity is the one intended by the game designer.
  • 19. Why Designers Want Right Level of Complexity • Influences Level of Difficulty • Makes Game Mastery easier to achieve • Supports Experimenting and Constructive Play Warning! Can lead to:  Analysis Paralysis
  • 20. What Determines Complexity  Actions need to reach a goal, particularly if rhythm-based  Game elements the player must interact with  Relationships game elements have with each other  Narrative structure
  • 22. Balancing For Skill In Multiplayer Games Extra Credits: The Link from Optimal Power to Strategy
  • 23. What Was The Main Message Of This Video?
  • 24. Balancing Effects Rules and effects that lessen the difference of value used to measure competition between players.
  • 25. Pre-Emptive Balancing Effects • Handicaps • Making Extended Actions into Interruptible Actions • Delayed Effects • Selectable Set of Goals • Diminishing Returns
  • 26. Correcting Balancing Effects Favoring Disadvantaged Players through:  Better Rewards for Completing Goals  New/Improved Abilities  Shared Rewards  Spawning  Turn Taking Handicapping Advantaged Players through:  Worse Penalties for Failing Goals  Lost/Decreased Abilities
  • 27. Why Designers Use Balancing Effects  Smooth Learning Curves  Right Level of Difficulty  Perceived Chance to Succeed  Mitigates Asymmetric Abilities
  • 28. Balancing Effects Design Considerations  Is the balancing effect designed to be pre- emptive or correcting?  Is limited foresight used to mask an imbalance?  Are there more than two players or teams competing?
  • 29. Symmetry Symmetrical relations exist between players regarding the goals, resources, and actions they can perform.
  • 30. Why Designers Use Symmetry Allows:  Player Balance (set-up only)  Team Balance (set-up only) Supports:  Game Mastery
  • 31. Symmetry Design Considerations  Abilities  Goals  Resources  Teams
  • 32. How To Balance Turn-Based Games Extra Credits: First Move Advantage
  • 33. What Was The Main Message Of This Video?
  • 34. Rock-Paper-Scissors Sets of three or more actions form cycles where every action has an advantage over another action.
  • 35. Rock-Paper-Scissors in Quick Games  Choices tend to have immediate consequences  Played repeated so that a Metagame evolves of gaining knowledge of opponent’s strategies
  • 36. Rock-Paper-Scissors in Long-Term Games  Investments gain Asymmetric Abilities  Players gain information about other players by  Public Information  Sending Units into Fog of War
  • 37. Why Designers Use Rock-Paper- Scissors Provides:  Symmetry between actions or tactics Promotes:  Tension about chosen action/tactic Supports:  Game Mastery through knowledge of successful actions/tactics
  • 38. Handicaps Making gameplay easier for certain players to ensure that all players have the same chance to succeed.
  • 39. How Handicaps Are Provided  Asymmetric Abilities  Asymmetric Resource Distribution  Asymmetric Goals  Reversible Actions For Novices  Reconfigurable Game Worlds
  • 40. Why Designers Use Handicaps Provides:  Right Level of Difficulty in Multiplayer Games  Player or Team Balance  Trans-Game Information Warning! Conflicts with:  Symmetry
  • 41. Ways For Players To Set Handicaps  Individual levels of difficulty  Individual resources or abilities  Individual negative consequences to be limited or ignored  Different thresholds for evaluation functions  Individual bonuses to score values  Individual starting locations or skill advantages  Take back actions and perform other actions
  • 42. Team Balance Teams have equal chances of succeeding with actions in a game or winning a game.
  • 43. Ways To Provide Team Balance Before Game:  Team Configuration with Player Balance  Symmetric Competency Areas and Privileged Abilities  Starting Positions During Game:  Handicaps  Spawning
  • 44. Why Designers Want Team Balance  Gives players a Perceived Chance of Winning  Encourages Team Play and therefore Social Status  Players feel Empowerment
  • 46. Game Mastery That one can clearly distinguish between skillful and incompetent players when they are using all their skills and abilities in a game.
  • 48. Allowing For Game Mastery Requires:  Right Level of Difficulty  Right Level of Complexity  Smooth Learning Curves Nullified by:  Randomness  Balancing
  • 49. Why Designers Promote Game Mastery  Empowerment  Emotional Immersion  Replayablity  Varied Gameplay  Competency Areas  Strategic Knowledge  Risk-Reward Trade-offs  Trans-Game Information  Social Statuses  Investments in Gameplay
  • 50. Game Mastery Design Considerations  What skills can a player train and develop?  Mental-Based  Dexterity-Based  Social-Based  How is mastery revealed?  How can mastery be maintained past game sessions?
  • 51. Smooth Learning Curves Games designed to provide players with the possibility of smoothly progressing from novice to master.
  • 52. Requirements  Right Level of Difficulty  Right Level of Complexity  Consistent Reality Logic
  • 53. Why Designers Want Smooth Learning Curves  Immersion  Illusion of Influence  Perceived Chance to Succeed  Game Mastery
  • 54. Smooth Learning Curves Design Considerations  Information provided to players for overcoming challenges  Automatic challenge difficulty adjustments to the player’s skill  Player-adjusted challenge difficulty
  • 55. Empowerment Players feel that they can affect the events and final outcome of the game.
  • 56. Ways To Provide Empowerment  Right Level of Difficulty  Privileged/New/Improved Abilities  Producers & Converters  Strategic Planning & Knowledge  Freedom of Choice  Player-Decided Results  Creative Control  Social Status  Game Mastery
  • 57. Why Designers Provide Empowerment  Emotional Immersion  Competence Areas  Higher Level Closures as Gameplay Progresses Warning! Can conflict with:  Player Balance  Team Balance
  • 58. Empowerment Design Considerations  How empowered does the player feel at the beginning of the game?  Does the empowerment increase incrementally?  What opportunities does the player have for creative control?  Do the players vote on anything?  Can the player construct the game world?
  • 59. Group Quest Balance one of the games you previously designed in class.
  • 61. Rhythm-Based Actions Actions that require players to time their actions several times in a row.
  • 62. Implementation of Rhythm-Based Actions  Extended Actions  Combos  Moveable Tiles  Deadly Traps
  • 63. Why Designers Use Rhythm-Based Actions  Sensory-Motoric Immersion  Game Mastery
  • 64. Rhythm-Based Action Design Considerations  What is the extended action to be performed?  How long should it be performed?  What feedback is provided to the player?  What rewards or penalties are associated with performing the action?
  • 65. Boss Battle Ahead! There will be a test on Levels 4-6 the next time we meet!
  • 66. On the LMS, describe a rhythm mechanic and how you would balance it.

Editor's Notes

  • #4: GAME NARRATIVE: The structure of stories that are unfolded by playing the game. CUT SCENES: Sequences of story-telling where players cannot act within the game. ULTRA-POWERFUL EVENT:
  • #5: GAMEPLAY IMMERSION: Seizing the players’ attention and focus in a game world or in the activity of play. ANTICIPATION: The feeling of being able to predict future game events in the games to which one has emotional attachments. TENISON The feeling of caring about the outcome of actions or events in a game without having full control over them.
  • #6: CHARACTERS: Abstract representation of persons in the game. CHARACTER DEVELOPMENT: The improvements of character’s skills and knowledge. PLAYER-CONTROLLED CHARACTER DEVELOPMENT: Where character development is under a player’s control and can be planned. Role-Playing: Players having characters with somewhat fleshed-out personalities. The play is centered on making decisions on how the characters would react in staged imaginary situations.
  • #7: CREATIVE CONTROL: Players have the ability to be creative within the game world. ILLUSION OF INFLUENCE: Players feel that they can influence the outcome of the game, regardless of whether that is correct. FREEDOM OF CHOICE: Players have the ability to make choices in the game. STORYTELLING: The act of player’s telling stories within a game.
  • #9: It has a different meaning for Single Player vs. Multiplayer games.
  • #12: Fighting games are more about strategy than dexterity, but most players never acquire the information to develop the stfategy.
  • #14: No, it makes it SIMPLER!
  • #16: EXAMPLES: D&D Scenarios are categorized by Player Level Number. ZELDA: THE OCARINA OF TIME starts with easy quests and moves on to more challenging ones.
  • #17: Players feel both TENSION and EMPOWERMENT, due to PERCEIVED CHANCE TO SUCCEED and ILLUSION OF INFLUENCE.. Provide Smooth Learning Curves
  • #19: Complexity has to do with the understanding of rules, the consequences of immediate actions in the long run, and planning of many actions ahead. EXAMPLE: The size of a GO board determine the number of possible combinations in a single game session. Real-time strategy games like STARCRAFT can have many rules associated with them.
  • #20: With SMOOTH LEARNING CURVE, makes GAME MASTERY easier to achieve. With LIMITED FORESIGHT and PREDICTABLE CONSEQUENCES, supports EXPERIMENTING and promotes CONSTRUCTCTIVE PLAY.: *STIMULATED PLANNING may lead to ANALYSIS PARALYSIS and DOWNTIME
  • #21: RHYTHM-BASED ACTIONS: TEMPO and NUMBER OF ACTIONS. COMBOS GAME ELEMENTS: Main way of adjusting COMPLEXITY
  • #23: https://youtu.be/GiOA_CS25Kw
  • #25: Balancing Effects serve to make all players more likely to feel that they have a chance to win over their opponents. EXAMPLES: Power-ups in SUPER MONKEY BALL 2 give speed boosters only to players not leading in the race. (Further balancing effects can be added by players through the option that makes the leader have lower maximum speed than the other players.) Multiplayer online first-person shooters may arrange teams based on numbers or even experience. .
  • #26: PRE_EMPTIVE: Maintain Player Balance so that imbalances do not occur. SELECTABLE SET OF GOALS so players can choose ones that best fit their abilities. DIMINISHING RETURNS to prevent players from becoming clear leaders. Warning: If these effects are DIRECT, can RUIN ILLUSION OF INFLUENCE. INDIRECT METHODS include BUGETED ACTION POINTS and CHARACTER DEVELOPMENT.
  • #27: CORRECTING: Correct imbalances once they have occurred. Arrange TURN TAKING so Disadvantaged Players are in most advantageous positions. SPAWNING, so that disadvantaged players are at STRATEGIC LOCATIONS. .
  • #28: High Level Closures Maintains Tension
  • #29: LIMITED FORESIGHT: Players can not see too far ahead of the game, giving them a PERCEIVED CHANCE TO SUCCEED, although it may only be an ILLUSION OF INFLUENCE. MORE THAN 2: Corrective balancing as teams may enter into an UNCOMMITTED ALLIANCE against the leader. (GAME STATE OVERVIEWS and PUBLIC SCORES are necessary so that players can pinpoint the leader).
  • #30: A common feature in games to ensure that players have equal opportunities. In these cases, the outcome of games is either dependent on players’ SKILLS or RANDOMNESS, since the game system does not put any player in a favorable position. EXAMPLES: In CHESS, the players have the same pieces and set-up. In SETTLERS OF CATAN, the player who is first to place the first settlement is the last to place the second, while the last to place the first settlement is the first to place the second.
  • #31: Provides basis for showing GAME MASTERY when there is little RANDOMNESS Create OUTSTANDING FEATURES in the Game World.
  • #32: Do players have the same abilities? Do players have symmetric goals? Are resources distributed symmetrically? Do teams have symmetry?
  • #33: https://youtu.be/GiOA_CS25Kw
  • #35: EXAMPLE: Classic children’s game. In QUAKE, the relations between Weapons and Monsters.
  • #37: Often implemented as INVESTMENT to gain ASSYMETRIC ABILITIES, through UNITS or CHARACTER DEVELOPMENT.
  • #38: Introduces a form of RANDOMNESSS and limited PREDICTABLE CONEQUENCE unless players either gain knowledge of other player’s current activities or keep a record of their behavior.
  • #39: When player are aware of differences in their playing skills, they may agree on HANDICAPSS to make the outcome as uncertain as possible within the game world. EXAMPLES: GOLF is one of the most well-known sports using HANDICAPS. It not only ensures equal gameplay, but is a measure of mastery of the sport. Fighting games like TEKKEN allow players to choose starting health by percentage, for example 80% to 140%.
  • #41: Provides TRANS-GAME INFORMATION which can be a form of SCORE in a META GAME.
  • #42: INDIVIDUAL LEVELS OF DIFFICULTY RESOURCES or ABILITIES * ASSYMETRIC RESOURCE DISTRIBUTION and ABILITIES or PRIVILEGED ABILITIES can give BALANCING EFFECTS, as players may not have as much FREEDOM OF CHOICE. * Changing resources in the GAME WORLD make the game one with a RECONFIGURABLE GAME WORLD. NEGATIVE CONSEQUENCES. EVALUATON FUNCTIONSS BONUS START LOCATION / SKILL ADVANTAGES REVERSIBILITY
  • #43: Games with teams are usually balanced the same way as games where players play against each other. EXAMPLE: Some MULTIPLAYER ONLINE FPS have systems for automatically arranging teams based on kills or experience points. Teams changing sides during half time in SOCCER minimizes the influence of variations in the field or the direction of the sun.
  • #44: PLAYER BALANCE: * Doesn’t need to be if there is still SYMMETRY between teams. * Unless more than two teams are playing PLAYER DECIDED RESULTS cannot work as votes, etc. become draws. STARTING POSITION: Doesn’t need to be if there is SYMMETRY between teams. PRVILEGED ABILITIES: Doesn’t need to be if there is SYMMETRY between teams. BALANCING Lessened by: TEAM DEVELOPMENT
  • #46: How players can their skills and abilities in playing the game, and how to balance the gameplay for players with different skill levels.
  • #47: Player skill Is achieved when players feel they have an understanding of the game or a possibility to perform actions in a game that a previously not possible. When the skill is sufficiently far from the initial level, players can feel that they have gained Game Mastery. EXAMPLES: In CHESS:, the differences between novice and experts is so large, novices have no chance to win against an expert player. In FIRST-PERSON SHOOTERS, there can be a wide range of mastery. ILLUSIONARY REWARD WARNING: * RANDOMNESS and BALANCING EFFECTS can make MASTERY hard to perceive or even achieve.
  • #49: Best done through LEVELS, where the appropriate difficulty of challenges can be set.
  • #50: Games that support use of different skills for solving challenges promote VARIED GAMEPLAY. ASSYMMETRIC ABILITIES may allow different types of Game Mastery in the same game. This promotes REPLAYABILITY, but in multiplayer games requires COMPETENCY AREAS. Knowing when to perform actions is also part of Game Mastery. Development of STRATEGIC KNOWLEDGE may be due to required RISK/REWARD choices or TRADEOFFS. Passed on as TRANS-GAME INFORMATION between instances, making playing the game a form of INVESTMENT. And knowing when to perform EXTENDED ACTIONS, and the long-term consequences of PENALTIES and REWARDS.
  • #51: DEXTERITY: Coordination-based and timing-based actions. MENTAL: Memorizing, Puzzle Solving, Experimenting, Determined by the level of COGNITIVE IMMERSION or SPATIAL IMMERSION. Games involving RANDOMNESS can also support Game Mastery, but usually through Strategic Knowledge about Probabilities. SOCIAL: Negotiation, Storytelling, Betting. REVEALED: Most commonly in OVERCOME goals, PERCEIVABLE MARGINES or GAME STATE OVERIVEW. MAINTAINED: TOURNAMENTS HIGH SCORE LISTS with HANDLES SOCIAL STATUS, especially if game supports SPECTATORS.
  • #52: When learning the skill to play a game is actually a part of the gameplay and an enjoyable experience in itself, the game is said to have a SMOOTH LEARGNING CURVE. EXAMPLES: LEGEND OF ZELDA provides signs and characters that give players hints about what they can do. FIRST PERSON SHOOTERS: Single-player mode can be seen as preparation for playing multiplayer.
  • #53: RIGHT LEVEL OF DIFFICULTY based on the Player's Skill Level.
  • #55: INFORMATION: Allows players to build STRATEGIC INFORMATION and LIMITED FORESIIGHT. EXTRA-GAME INFORMATION provided as CLUES or HELPERS CONSISTENT REALITY LOGIC
  • #56: Games let players make choices that can affect the final outcome of the game. The possibility to have an influence over what happens is a form of power and gives players a feeling of EMPOWERMENT simply by playing games. Playing a game can be seen as an agreement among all the players to give each other clearly defined powers. But this Empowerment is bounded by the rule of the game. The level of Empowerment depend upon the design of the game and upon the other players. EXAMPLE: Gaining new weapons in FPS games. In RPGs, scenarios are made for the highest level characters.
  • #59: BEGINNING INCREMENTAL IMPROVED/NEW ABILITIES, especially PRIVILEGED, by giving them COMPETENCE AREAS Choose how to uses PRODUCERS or CONVERTERS, by giving them FREEDOM OF CHOICE CREATIVE CONTROL VOTING CONSTRUCTING WORLDS BALANCING * Lessened by TIME LIMITS, ROLE REVERSALS, and ganging up.
  • #62: In Rhythm-based Games, timing and stability can be as important as performing the right action. They are basically EXTENDED ACTIONS that require TIMING in REAL-TIME GAMES. EXAMPLE: Early computer sports games like CALIFORNIA GAMES required players to make long sequences of rhythm based actions. DANCE DANCE REVOLUTION requires players to hit various buttons in certain combinations while following certain rhythms.
  • #65: EXTENDED ACTION TIMING FEEDBACK PROGRESS INDICATOR ILLUSORY REWARD REWARD/PENALTY Failure to keep rhythm usually ends the Extended Action with no penalties, especially with OVERCOME goals or COMBAT actions. Failure while performing movement-related Combos, penalties are often associated with DEADLY TRAPS