Trying to define the game

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Trying to define the game

Define the game

Although we briefly discussed (and loosely defined) gameplay in chapter 2, “game concepts,” we do it in the way the player experiences it. In order to continue, we have studied gameplay independent of player experience. We study the core concepts of game play that players don’t change. To do this, we need to illustrate the game definition of player independence. Sid Meier once defined games as “a series of interesting choices”. This is a good starting point and the basis for defining game play. We add this statement to our official definition of gameplay:

The challenge of one or more causal associations in a simulated environment.

On the face of it, this seems to be far from the original definition of Sid Meier (though it is not very good). However, our statement is more precise and rigorous. It’s fair to say that Mr. Meyer is unlikely to want his original definition can be used with any more than it may be the last comment – the statement aims to challenge and inspire further thinking on this topic. If so, it does have the desired effect and becomes a good starting point for our definition.

In the original statement, the use of the word series meant some continuous events. Although these events are related to each other in chronological order, it does not mean that they can be related to each other. For example, lightning strikes tend to occur quickly and continuously, but there is no evidence that the strike order is not accidental. Therefore, we need to define clearly that our game events are linked through causality. Please note that we do not say whether any of the multiple lines need to be linked to each other. In most cases, they are – for example, multiple plot lines in adventure games – but this is not a specific requirement.

The second half of the original definition USES the term “interesting choice”. While this is true, we feel this definition is too broad. Choosing to visit a movie theater, deciding what to watch, and considering whether caramel popcorn or pickled popcorn is a series of interesting examples of choice, is not an example of a game. So we’re replacing it with “challenges in a simulation environment.” The reason for further limiting the simulation environment should be self-evident: when we quit the game, we stopped playing the game.

Why do we use challenges instead of choices? Again, we feel that the term is too broad to be particularly useful. For example, we can decide to try shooting an attack robot to avoid it, or quit the game and play something else. All three are available options, but only the first two are game decisions. Therefore, we chose to use the term “challenge” because it accurately describes the type of event the player is subjected to.

Another example of a choice that is not directly played in the game is the popularity of user-defined “skin” (such as “earthquake” and “half-life”) in the game. The player can choose any appearance, but it is a purely cosmetic choices, not usually affect game play, unless by hook or by crook players to take advantage of it, or deliberately chose a camouflage too good skin – for example, in the extreme, for example a mobile shooting box, or forced all the opponents to make it more clear skin, such as pure white).

Odysseus encountered many challenges during his 20-year voyage to return to his wife Penelope in Homer’s Odyssey. Gordon Freeman (and his agent) faced many of the challenges he faced in his quest to escape the task of his “half-life” research lab. Tetris players face challenges in trying to score higher. Even the pac-man tried to eat all the bombs in the maze, while avoiding the evil spirit’s destruction of him.

The use of challenge is not perfect, but it can be done. Another way of using the word challenge that we discussed in the past is the test, but this is considered too restrictive. Ideally, we want to use a word to represent the concept of the two.

Pure challenge

The pure challenge is the typical form of game play challenge. They are not common in this form, but they form the basis for most, if not all, actual game challenges. Let’s first discuss the possible forms of pure challenge and then discuss how to apply these forms to real game situations.

Challenges come in many forms and forms. Even in a genre, a good game presents a range of challenges. The narrower the definition of genre, the narrower the scope, but it’s usually not a problem. Gamers who buy in type often know what to expect. In fact, unless it is doing particularly well, they often reject new forms of challenge because the challenge is inappropriate.

An example of this is the addition of a reflection-based fast street sequence to traditional adventure games, such as escape from the monkey island (see figure 7.1). Properly handled, this can improve game play and give a welcome break from ordinary actions. If handled badly, it can interrupt the player’s suspicions and effectively destroy the game.

Get out of the monkey island.

More detailed example of this phenomenon is Half – Life of Valve (see figure 7.2), it is a very good game, due to its original and innovative gameplay and story and has won many awards. (however, I also need to point out that the story line is not a best-selling novel or movie blockbuster only when compared to other games in the same type.) In most cases, a half – duplex life is a pleasure. In the first two thirds of the race, the immersive feeling and the feeling of being Gordon freeman were unparalleled. You can imagine yourself squeezed through the black mesa research laboratory in the middle of the desert of the corridor, to avoid the two evil aliens because blood and hostile government troops came in to clean up the level of confusion and unnecessary attention. Then, when the story reaches the first high point, you will be catapulted into the alien’s perspective to enter their field.

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