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Obsidian: [[08-01-01-GameDesign]] [[10-01-01-GameTheory]] [[Classic_Mechanics]] [[05-01-01-MechanicsSingle]] [[09-01-01-Ludology]] [[10-01-01-GameTheory]] [[12-01-01-Lore]]

Oral Stories > Theater > Books > Film > Radio > TV > Games > AR Books - imagine, movie - see, games - act.

Ludology

Ludology (etymologically ‘game logic’) - Study of games, the act of playing them, and the players and cultures surrounding them. It is a field of cultural studies that deals with all types of games throughout history.

Paradigm Characteristics	Narratology	Ludology
Community structures	Mostly pedagogy, limited number of non-pedagogy researchers	Non-pedagogical game studies, although some thematic overlap with pedagogy
Group commitment networks	Wide range of disciplines, including drama & literature, education, cognition, management	Narrow range of allegiances, limited to non-pedagogy - one central research center, one peer-reviewed journal, and between one and two dozen primary investigators
Shared examples	Computer simulation, non computer simulation, role play, experiential learning, drama, literature, film	Videogame, virtual reality, hypertext, television, and emergent forms of computer play
Tacit knowledge and intuition	Pedagogical side of experience - i.e., learning and cognition	Non-pedagogical side of experience - i.e., play
	Linear Nature	Cyclical nature
	plot, character, and themes.	gameplay mechanics, rules, and player interaction

Movies can create ‘knowledge differences’ easier than games which blend protagonist and player.

Classical Approach

• Jean Piaget (9 August 1896 – 16 September 1980) was a Swiss psychologist Importance of games:
• Johan Huizinga: Nature & Significance of Play as a Cultural Phenomenon pdf
• Someone who wants something badly (OBJECTIVE) and is having a hard time getting it. (OBSTACLE).

Structure

Linear narrative is not enough for games and can be less important. See or listen not as powerful as play themselves (ease of remembering & memorizing!).

• Games as Rules + fictional Content (experience / challenge (gameplay loop) + mystery)
• Free movement and actions, Need to act. Engage with external
• Reactivity Respond to your actions

In linear movies we say: show don’t tell, in interactive entertainment it convert to play, do don’t show. (But we should use every method in hierarchy just in good proportions). (sometimes is quicker, cheaper and more efficient to tell).

Authorship

Narrative (story meaning) vs Mechanics (dynamical meaning). Driven How much power over the world. (Authored vs generative narration)

• Game story domination - Authored - no impact on story - Linear - low agency hi certainty of deliver
• Player story domination - Generative - agency & expression of will - Cyclical - high agency, low certainty

Scale of authorship: (linear) Linear > Wide Linear (linear with paths) > Interactive Linear > Multi ending > Branching path (multi choice but not emergent) > Open World > Open ended > Emergent > Sand box (Fully player driven) > (cyclical) > Random

Agency

It’s about degree of control and influence a player has over the game world and its narrative. It’s about the choices and actions a player can take within the confines of the game. (player’s ability to impact the story through the game design or gameplay)

Autonomy

It’s about the player’s ability to decide how they want to engage with the game, even if the choices are limited. the abstract principle that autonomous beings, agents, are capable of acting by themselves.

• freedom is not control: Between freedom and controlis a subltle ideology though, one that transcends ther mere confines of the game and extends into reality. -

?

• is player forced like with cutscene but can join narrative lore when he want
• create problem not puzzle

1. Quality
   • Active presence - expressing agency and will taking actions and locomotive. Extorting will into expression - video games
   • Mental & Social - communication with abstraction of language -literature, podcasting, consuming information, internet
   • Embodied & Environmental - cinematic storytelling of film, music lighting rhythm (film, build and release narrative tension) give sense of time - music
   • Emotional - site touch smell, haptics. we are trying to digitalize those inputs - theater architecture (VR)
2. Context
3. Character
4. Story

Outward Inward / Individual Bonding

Feeling being in control.

1. what to communicate
2. what emotions

Narration

Some game structures can be metaphors Narration can be Atmospheric or Narrative

Plot and characters are things video games find verry difficult to deal.

Avoid Red Herring (something that misleads or distracts from a relevant or important question)

Embedded / Explicit

Embedded narratives are pre-determined stories, defined by author. The game creators decide the narrative and the player follows their direction. player can’t influence backstory.

Text written narrator. explicit things are explained. (cutscenes). In literature: An explicit narrator is a narrator or character in a story that is the one telling the story.

• text tani
  • nie długie .ilość tekstu jaką jestem w stanie przeczytać zależy głównie od tempa rozgrywki.
  • znajdzki i notki na UI przy przedmiotach
  • zaszyfrowane: alien graffiti”. Komputer pokładowy próbuje dla nas rozszyfrować ich treść. Im więcej znajdziemy tzw. cipher-ów, tym lepiej komputer radzi sobie z tekstem. Tutaj przykładowy xenoglyph,-daje nam drobne hinty co do tragicznej przeszłości Seleny.
• audio >taśmy z nagraniami )czy przyklejamy do gracza_
• voicover
• narrator (ghost / astra )
• cutscany najdrozsze

.

• choices can be also explicit like: rpg dialog chose or harvesting little sister

Narrator

• First person narrators are by definition explicit narrators.
• Silent protagonist - to feel easy to slip in his role . (silence and concient is like agree) add to agency

#### part of story
Diegesis (/ˌdaɪəˈdʒiːsɪs/; from the Greek διήγησις from διηγεῖσθαι, "to narrate") is a style of fiction storytelling that presents an interior view of a world in which:

Details about the world itself and the experiences of its characters are revealed explicitly through narrative.
The story is told or recounted, as opposed to shown or enacted.[1]
There is a presumed detachment from the story of both the speaker and the audience.

#### part of stoyteling
 non-diegetic elements which are stylistic elements of how the narrator tells the story ("part of the storytelling").


####  Mimesis:
- The Representation of Reality in Western Literature, which opens with a comparison between the way the world is represented in Homer's Odyssey and the way it appears in the Bible


Tragedy and comedy, he goes on to explain, are wholly imitative types; the dithyramb is wholly narrative; and their combination is found in epic poetry. When reporting or narrating, "the poet is speaking in his own person; he never leads us to suppose that he is any one else"; when imitating, the poet produces an "assimilation of himself to another, either by the use of voice or gesture".[3] In dramatic texts, the poet never speaks directly; in narrative texts, the poet speaks as him or herself.[4]

In gmaes, mostly UI:
 "extra-diegetic"; a game character does not know about them even though for the player they may present crucial information
 non-diagetic sounds; voiceover  sfx theme songs

Evocative Narrative / Enviromental Storyteling

Implicitly construcred by the player Implied - Suggested but not directly expressed. Arises from visual cues or stmbols that create the barest impression of a story in the minds of viewers. It is the act of withholding the whole story, rather than the attempt to visually illustrate the story, that defines these images. player must figure out itself

Most immersive type of narration ! - it s the world speak and player will find their own story

mimesis connotations – the memories

• comenting of your actions in past
• too subtle invisible choices can feel like linear game

callbacks - (can be punchline later) - remained the known

Spatial storytelling

Narrative spaces / Environmental storytelling How ideas, mood, and story are expressed through visual form

Level Design / Scene / stage design / Lore

Required deductive resoning, - connect details to create story. Investigative and archeological skils.

• (piano in the kitchen > hole > music room upstairs)

Emergent Narrative.

Emergent - make own story with tools we get (author rules), but not direct writer expression
Mechanics in narration - implement plot in mechanics

Enacted

Enacted narratives rely on players developing their characters. Story elements such as power-upgrades and levelling up use enacted narratives. These narratives are usually in single-player games that emphasise character growth.

Emerge from systems

Need building blocks

• resonant theme - as universal as practical if desired for sharing
• meshes narratively with existing mechanics - test against sample story or patch existing holes
• mechanics < support > presentation
• involves user in state

(Roguelikes, Sandboxes, Minecraft’s, Dwarf Fortress)

Procedural storytelling

Procedural Narrative Generation:

Prioritizes agent spontaneity (all improvisation and simulation ) (Dwarf Fortress) <> Prioritize authorial structure (Adventures )

• simulation centric approach
• plot centric approach

link a link b

!!! procedural shatter in story: - hadncrafted but procedural hard to control pace of narrative bits. (embrace it) > few things in linear fashion i dont know what it mean »> but then next time u see you will renew knowledge about it and sonnection apears.

No narration

Experience as an end itself

or devolved from mechanics:

• elementy multi - mosty / listy notki z miejsc / smierci

  Randomness

• (pre luck) input (before player make decision): levels
• (post luck) output (after action, hit chances in x com, lutbox) (more anger and res not for competence but bad luck undercuts strategy )

Player

We overcome obstacles by taking actions. Those actions define the character. What they do to get what they want. characterization - external description, shell, to see what character is need to look beyond characterization and see what he want.

• Who make a choice what player does. (in linear is designer in open world is player )

Character types: (who chose a characterization)

• Silent - negative space where player can fill.
• Cinematic - designer
• Open - player

GDC Strong video game character

High level wants by designer Low level wants by player (how i go to high level quest)

High level wants by player: no character like Minecraft

what they WANT (PURPOSE) (if no purpose noone care) if same purpose you can be not same as character whaty they DO (ACTION) - do action match with character ? how they SEEM (TRAIT) - not important

---

Ludonarration

Harmony & Dissonance

• Action fit settings to achieve harmony relation between narration and gameplay premise and setting of story make sense with actions you perform
• It only appear when player can interact with world in meaningful for a story way. feel game through the gameplay how themes are communicated through the gameplay

YT - Meaningful Mechanics
mechanics follow narration : restricted movement - is narration cyclical nature

Connect controls/mechnic with feelings

Motivation

MDA framework

Game designers will establish the rules and boundaries of a game (Mechanics) to create a certain sort of playing environment (Dynamics) which will invoke certain feelings, such as fun or thrill, in the player (Aesthetics).

Mechanics	Dynamics	Aesthetic
Strategic	Systemic	Narrative
Rules	System	Fun

link c, link d

Game Flow

How it progress

---

EMOTIONAL DESIGN

Dawn normal UX pionier - emiotional design

help form attachments > and how them can help : Emotional design
help form attachment

• visceral - reaction to stimulus - viceral recations can be inpredicatble - very prersonal on context // and transielnt (short lived). Important for making first impressions
• behavioral - can influence your beh
• reflecticve - will i reflect on it later.

Games systems can create feedback loop and can respond to beh and emot changes ./

https://www.katexagoraris.com/procedural-storytelling-visual-effe
https://www.ludonarracon.com/
https://trello.com/b/AM3ZOmAd/level-design-compendium
https://www.thevideogamelibrary.org/book/procedural-generation-in-game-design
YT rozprawki: PixelaDay

[ YT - How Video Games Create Empathy

Hellblade , Nier:Automata and Empathy in Game Design ](https://youtu.be/9IBhHRFfhm0) -

game podcasts https://www.psychologyofgames.com/
https://ludology.libsyn.com/
voicess of VR

Shadow of colosus symbols

Resonate !
Bonding vs	Bridging



Fun enable easy learning   



Exposition is ok in games sometimes  - (moving story forward plot device - shity - dressed up exposition )
- `Repetition` to highlight importance !  -
- `Dissonant Juxtaposition `- przeciwstawne rzeczy naprzeciw siebie (things side buy side creat context between them 0 if context is contradictory create mental dissonance audience need to resolve)




## Ending:
- force to reflect
- reconsider theme we starting with.

spatial (envo), genual sence of space
1 : relating to, occupying, or having the character of space. 2 : of, relating to, or involved in the perception of relationships (as of objects) in space tests of spatial ability spatial memory.
contiguous	structural

Broadly defined, spatial activities are activities that involve reasoning about qualities of space (e.g., distance, proportion), practicing mental visualization (e.g., imagining spatial layouts or spatial trajectories), and observing the positions of physical objects.

base of life: substance or dynamics of processes  

chase desire to order     
internal goal     
yes, unless   
what if   


Mistrust and misdirection  often are good narrative tools     
miningfull destructions    
Mental Modeling. Sense of mental image of game. that we would like to get.   

incentivie to play: See feature y cannot use yet

Experience

Alfred North Whitehead (known as the defining figure of the philosophical school known as process philosophy) reality is experience.

Psych states

Presence

Teleport body into a space. Spatial Presence

Immerse

Teleport mind - deep mental involvement. Immerse : altered time, with general sense of space (spatial) Fully immersed with mechanics while challenge and tension in balance (anxiety vs boredom)

The difference between immersive experience and traditional is the presence of a viewing port, proscenium or a frame with which to take in the experience. - Sara Thacher

Engagement

Manual or mental effort meets interactivity (involves solving problems) (not in books)
Psychological presence. According to his definition, engagement refers to the state in which individuals express their entire self

---

Illusion

People judge an experience largely based on how they felt at its peak and at its end, rather than the total sum or average of every moment of the experience.

Virtual vs real experience

• people are able to belief in fake
• real world experience have additional fidelity

Suspension of Disbelief

• accepting unrealistic situations
• audience scram on movies
• Rules of game established reality that become a game norm
• Suspension of disbelief is necessary only when we failed to create secondary belief.
• inconsistence can break immersion

Paradox of control

key element of enjoyment how to offer meaningful choice without offering full control.

Illusion

Only when authentic (coherent and consistent )

Belief - Fiction is not real
Alife - Suspend true believe for a moment

we know how feelings are - experience taking. match own emotions with fictional characters. experience taking is harder in front of mirror so it can be related with ego suppress.

---

Entertainment / Enjoyment

• Entertainment is an escape from problems

things happening > its excitement its entertainment

Flow

Flow state / the Zone Game Follow - is wave zone between anxiety and boredom (sometimes challenge and sometimes powerful)

• Difficulty Curve - Challenge
• Pacing Rhythm + Pressure >Manage stress. If there is no stress its not meaningful and you don’t care. So pressure is good
• Learning Curve - Onboarding > tutorials super important

Challenges vs Abilities

Challenges/Abilities	Low		High
High	Anxiety (stressed, Alert)	Arousal (Alert Focused)	Flow (Focused, Happy)
	Worry (Sad, Stressed)		Control (Happy, Confident)
Low	Apathy (Sad, Depressed)	Boredom (Depressed, Contented)	Relaxation (Confident, Contented)

• primal forces
• context depended
• expose things to promote them
• predictable

if you lost a momentum from one moment to next and persist in that state

involvement, commitment, passion, enthusiasm, absorption, focused effort, zeal, dedication, and energy.

Emotions

Regarding or Aversive

Primal Emtion	Affective Feeling
Seeking	Enthousiastic
Rage	Pissed-off
Fear	Anxious
Lust	Horny
Care	Tender & Loving
Panic	Lonley & Sad
Play	Joyous

---

Workflows

box of secrets - background story for developers. And then player experience it from other direction. recognize small things. (create coherence)

Resources

[book: Rules of Play: Game Design Fundamentals]

postcolonial crituique of games ??

social structure & hierarchy & conflict

BEZ STRUCTUR NARRAITVE ALE NARATIONS AND CONNECTIONS: sport event:

• teams creation
• constatnt buildup
• final climax
  plot the same but story dynamic !!!!!

sports / war - same epic conflicts

who we are who are people we are rleated to

DRAMA:

• conflict
• comebacks
• underdogs
• social structure > hierarchies
• relationships
• champions heroes&villains
• grudges&revenge

sport seasons as interactive narrative - generate stories, setup conflict. same plot but every season have different exciting personal stories and drama.

• failure when time move forrward creates drama
• escalation to framatic climax
• neather linera or branching

People solve puzzles because they like pain, and they like being released from pain, and they like most of all that they find within themselves the power to release themselves from their own pain. - Mike Selinker and Thomas Snyder - Puzzle Craft.

Makeing games

• Game iterative > Greater level of complexity
• You can imagine what it may be like but you never gonna know until you actually experience it. match expectation with embodied experience. > Iterative process.

peer review: playback > review > action plan. https://youtu.be/Gsh-aYdFWws?t=1376

iterative: Improve existing game ! ide for succesfull project

which can happen if they don’t ‘announce’ their entry if they spawn from out of sight

important is to: empower player to action need: choice, motivation, information, time to use systems

why believe in your story where u get info about game who will play game

minimal viable mechanics

oprimize for interactions not ideas vision is lot of work not just an idea

structure of game
emergent narrative - interlocking mechanics , consistant, allow to investigate and came bacek.
replayabliity
novelity
exploration
roleplay
mastery

motivation

behaviour design - pavlov

Resources

midcore - requiring players to make time to play, rather than playing opportunistically or sporadically.

Max Derrat - best

| | | | | —————— | ——————————————————————————————– | — | | Incommensurability | Inconclusive - depends on investigator’s stance regarding reductionism and holistic thinking | | Every medium has its own narration styles, varying on genres, format, framing of art and limitations.