Difference between revisions of "Challenging Gameplay"

Revision as of 12:55, 22 December 2009

That the level of difficulty experienced by the player is the one intended by the game design.

Some games are intended to challenge players while others aim at entertaining players in other ways. The typical reason why games are made to have Challenging Gameplay is the idea that the value of succeeding with some task is in proportion to the difficulty of finishing it. The positive psychology concept of Flow^[1] can be related to this. It states that people that encounter and, most of the time, overcome challenges in areas where they are skilled experience these events as positive. Designers of games can try to create such challenges by controlling the skills needed for specific gameplay tasks as well as setting the conditions for success or failure.

Examples

Go can be played on boards of different sizes: 9x9, 13x13, and 19x19 are the most common. Players can choose the difficulty of a game by choosing the size of the board, as the complexity and thereby the difficulty (and length) of a game grows with the size of the board. However, this does not necessarily balance the game against one's opponent (it may since the sizes require somewhat different skills) so one can also use handicap stones to give one player an initial score advantage and thereby provide Challenging Gameplay to both.

Adventures that can be bought for many types of tabletop roleplaying games such as Dungeons & Dragons are categorized after which levels the players' characters should have. Although a game master may use any adventure for any group of characters straying from the suggested levels are likely to make the challenges too easy or too hard.

Zelda: The Ocarina of Time starts with easy quests that require mastery of very few actions and pose few threats. As players complete the quests, they move on to more challenging quests, and the game can thereby increase the level of difficulty as players show that they have mastered the current level of difficulty.

The Left 4 Dead Series allows players to choose different difficulty settings to adjust their gameplay experience in the campaign modes. In Left 4 Dead 2 this can be further be modified by choosing the realism mode, which makes the game more difficult by not highlighting important items in the game world.

Some games are well known for being difficult. The 2004 version of the video game Ninja Gaiden has been described as difficult by many reviews^[2] due to its combat system while Slaves to Armok II: Dwarf Fortress provides an extremely detailed game system that challenges players' management skills^[3].

The choice of car and transmission type in the Need for Speed Series allows players to make driving easier or more difficult but this choice has to be put in relation to the performance of the car. This since what is easier to control, e.g. cars with manual transmission, may be less powerful or provide less opportunities to control oneself how the vehicles behave.

Using the pattern

That what is easy for one person might be hard for another of course makes it hard to ensure that all players have the same level of difficulty when gaming. Although the difficulty of a game is individual to each player, games can be designed so that players can progress according to their own learning curve. Setting Challenging Gameplay in games can either be done by making challenges more difficult, by making challenges easier, or by controlling which challenges players have to meet.

Some general approaches to affecting how hard a game is includes providing Difficulty Settings or Handicap systems, incorporating Dynamic Difficulty Adjustment or Balancing Effects, or simply have the game become progressively more difficult and assuming that players will quickly play through the ones that are to easy for them. Which of these are feasible typically depend on other attributes of a game, e.g. if it is a Real-Time Game.

Making challenges more difficult can be done by introducing opposition or by making the required player actions more difficult to perform. Opposition can take the form of Enemies or Preventing Goals of Agents or other players (in Multiplayer Games). General ways of making challenges more difficult are by making the game have the Right Level of Complexity to have a certain difficulty and give players Limited Planning Abilities, introducing Time Limits for the challenges, distracting the players through Disruption of Focused Attention events, or forcing players to choose how to perform Attention Swapping. Temporary Ability Losses or Decreased Abilities (for example lowering Skills) can be used to make an otherwise easy challenge be more difficult. A more specific way to make challenges more difficult in games requiring Maneuvering is through the introduction of more Obstacles or simply increasing the speed which Rhythm-Based Actions need to be performed.

If the gameplay is too challenging it can be made easier, either by providing information about how to solve the challenge or by making the actions of overcoming the challenge easier to perform, for example, by the presence of Achilles' Heels. Information can be given by Clues, Traces, Extra-Game Information, or by letting players discover it themselves through Experimenting. Making challenges easier usually requires some form of Tradeoffs for players in that the Rewards may also be less, and players can be given a this choice through Selectable Sets of Goals or Supporting Goals. Challenging Gameplaycan also be created by Varied Gameplay to require players to use different competences.

Control of what challenges players meet depends on whether games are Single-Player Games or Multiplayer Games.

Games that are played alone can have their overall difficulty easily modified by the player through difficulty levels. In games with strong Narrative Structures, having Challenging Gameplay not only means adjusting to player skills to the challenges as gameplay progresses but also the development of the plot, for example, allowing Higher-Level Closures as Gameplay Progresses.

The game design may also let players directly control the difficulty since based upon the view that they can themselves judge if the challenges are appropriate or not. Explicit providing Difficulty Settings is a classic solution which also can let players have Casual Gameplay instead. Optional Goals (e.g. Achievements) is another possibility since these may be harder that the mandatory ones or just add additional complexity to the existing tasks. An example of the latter is the gaining the Guardin' Gnome Achievement in Left 4 Dead 2 which requires one player to significantly limit his or her abilities throughout most of a campaign as firearms cannot be used against the enemies when carrying the gnome. Supporting Goals, for example trying to find Easter Eggs, do not have to make other goals impossible but may in themselves be difficult to complete. In addition they may take extra time to perform and may deplete Resources for the player. To motivate players to make the gameplay challenging for themselves there is often a Risk/Reward structure so that the greater challenge provides a greater Reward even if this is only seen in Public Player Statistics such as separate High Score Lists or Achievements.

Another challenge with keeping Challenging Gameplay lies in that gamers typically learn how to manipulate systems in games simply by playing the games (i.e. they are gaining Game Mastery). This means that games often need to be designed so that more experienced gamers have, or can have, harder challenges. Levels are common ways of controlling difficulty in throughout a game, simply by having the Levels become more difficult as the game and Campaign progresses and letting players gain access to them when they show that they have mastered the previous Levels. This however assumes that players do not replay Levels extensively and may therefore interfere with Replayability. A common solution to this (e.g. the Left 4 Dead Series or the Bomberman Series) is to reuse Levels from Campaigns for other game modes where the challenging aspects are different, e.g. Multiplayer Competition or Time Limited challenges instead of Singleplayer Traverse goals.

This problem of Game Mastery has some additional properties in Multiplayer Games and especially so when gamers compete against each other since difference in relevant skills easily make the game too difficult for some gamers and too easy for others. The relation between Challenging Gameplay and Multiplayer Games is however more complex since the latter also offers a solution to providing more difficult challenges as a player becomes better at the game; simply play against a better opponent. For this to work players need to be able to find other players of approximately the same skill level; making Trans-Game Information such as Public Player Statistics available in Game Lobbies can be useful for this.

Multiplayer Games also offers the design possibility of using Betrayal that can add additional challenge to the gameplay and require more complex Social Interaction.

Real-Time Games Unwinnable Games Drop-In/Drop-Out Time Limits

In Multiplayer Games, the Right Level of Difficulty must be designed with consideration to Player Balance. This can be done through Handicaps before gameplay begins to make all players have equal possibilities in the game or through Balancing Effects during gameplay, for example, Player-Decided Distribution of Rewards & Penalties. Having one of the players take the role of a Game Master allows the Right Level of Difficulty to be granted at all times, as long as the Game Master can gauge the merit players' plans and adjust the difficulty accordingly.

As Reconfigurable Game Worlds and Ephemeral Goals are constructed during, or immediately before, gameplay their use can make pre-designed ways of achieving the Right Level of Difficulty less effective. Game Masters can be used to mitigate this problem, as they can adjust the difficulty level on the fly.

Diegetic Aspects

Making games more difficult by removing information can be in many case be done quite easily by removing Non-Diegetic Elements. One example of this is the realism mode in Left 4 Dead 2 where all outlines of important objects in the game world (which can be seen through walls) are removed and thereby finding equipment or the other players become more difficult.

Interface Aspects

Manipulating the way a game is controlled, for example as a Penalty, can easily provide Disruption of Focused Attention and thereby Challenging Gameplay if used. Inverting the controls so that up is down, left is right, etc. is a direct way of doing this (e.g. the skull Pick-Ups in the Bomberman games) and can relatively easily be adjusted to. Unless the control mappings is reverted back it may however be seen as a new norm and stop being challenging. Switching between many different control mappings can continue to create Challenging Gameplay but may take away the focus on the gameplay itself.

Consequences

Providing the Right Level of Difficulty in games allows players to feel Tension as there is a risk that they may fail, while giving the Empowerment, since they have a Perceived Chance to Succeed and Illusion of Influence. If the Right Level of Difficulty is continuously provided for players, it gives them a Smooth Learning Curve and increases the likelihood that players progress to having Game Mastery. If this Right Level of Difficulty is due to Competition, the learning is enforced by a Red Queen Dilemma.

Value of Effort

Challenging Gameplay can make games difficult to win or complete but the opposite does not need to hold. Games can have Casual Gameplay but still be hard due to Randomness.

Even if a game design manages to constantly provide Challenging Gameplay this does not guarantee that it will continue to be interesting for any given gamer. If players

Further Player Improvement Potential

Relations

Can Instantiate

Smooth Learning Curves, Empowerment, Illusion of Influence, Perceived Chance to Succeed, Sensory-Motoric Immersion, Limited Planning Ability, Tension

Can Modulate

Multiplayer Games, Red Queen Dilemmas, Player Balance, Single-Player Games, Maneuvering, Rhythm-Based Actions

Can Be Instantiated By

Difficulty Settings, Time Limits, Achilles' Heels, Selectable Sets of Goals, Balancing Effects, Game Masters, Right Level of Complexity, Handicaps, Varied Gameplay, Betrayal, Optional Goals, Achievements

Can Be Modulated By

Attention Swapping, Reconfigurable Game World, Decreased Abilities, Supporting Goals, Enemies, Tradeoffs, Levels, Ability Losses, Easter Eggs, Disruption of Focused Attention, Clues, Extra-Game Information, Obstacles, Limited Planning Ability, Traces, Experimenting, Multiplayer Games

Potentially Conflicting With

Reconfigurable Game World, Ephemeral Goals, Casual Gameplay, Multiplayer Games

History

One half of splitting the Right Level of Difficulty pattern from the original collection in the book Patterns in Game Design^[4]. The other half is Casual Gameplay.

References

1. ↑ Csíkszentmihályi, Mihály (1996). Creativity: Flow and the Psychology of Discovery and Invention. New York: Harper Perennial. ISBN 0-06-092820-4
2. ↑ http://en.wikipedia.org/wiki/Ninja_Gaiden_(2004_video_game)
3. ↑ http://en.wikipedia.org/wiki/Dwarf_Fortress
4. ↑ Björk, S. & Holopainen, J. (2004) Patterns in Game Design. Charles River Media. ISBN1-58450-354-8.