Difference between revisions of "Avatars"

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[[Category:Diegetic Patterns]]
 
[[Category:Diegetic Patterns]]
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''Game elements that diegetically represent players, providing their main means of interacting with the world and whose fate is connected to the players' success and failure in the game.''
  
''Game elements that diegetically represent players, providing their main means of interacting with the world and whose statuses is connected to the players' success and failure in the game.''
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Many games let players be represented in them by one of the agents in the game, often as a human or an anthropomorphic persona (but in some cases less human-like entities as vehicles, blobs, etc.). Echoing the idea from religion that some gods can incarnate into beings on Earth to be able to interact there, these forms are called [[Avatars]]<ref name="WikiDef"/>. The presence of [[Avatars]] when their players are not interacting with the game system is in this case not consistent with the original meaning; games having this design are in fact closer to using the ''Horse'' concept in Voodoo<ref name="Horse"/>.
  
Many games lets players be represented in them by one of the agents in the game, often as a human or an anthropomorphic persona (but in some cases less human-like entities as vehicles, blobs). Echoing the idea from religion that some gods can incarnate into beings on Earth to be able to interact there, these forms are called [[Avatars]]<ref name="WikiDef"/>. The use of [[Avatars]] can be for several reasons: to let players take a specific role in the events that unfold during gameplay, limit their perception of the game world, localize the area where they can affect the game world, or create game elements the player must keep safe. Through doing this, the players' attention can be focused on specific parts of the game and provide an anchor for the players' emotional investment in the games.
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The use of [[Avatars]] can be for several reasons: to let players take a specific role in the events that unfold during gameplay, limit their perception of the game world, localize the area where they can affect the game world, or create game elements the player must keep safe. Through doing this, the players' attention can be focused on specific parts of the game and provide an anchor for the players' emotional investment in the games.
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Note: ''When abstract and representational forms of of diegetic persons exist, both forms are commonly referred to as [[Characters]]. That the term [[Avatars]] is not used in this case is in compliance with the original meaning of the term since it implies a clear distinction between the two, and this is not the case in those situations. However, this pattern is described to be useful regardless if an abstract representation exists as well.''
  
 
=== Examples ===
 
=== Examples ===
Avatars can be found in most games having a game world since players needs some focal point within the world to affect it. The pattern was already present in early arcade and video games, e.g. [[Space Wars]], the [[Pac-Man]] series, and the [[Bomberman Series]] make use of this pattern, and this tradition is continued in many modern games following the aesthetics from the games (e.g. [[Continuity]], [[Icy Tower]], and [[Zombiepox]]). The case could even be made that it is present in [[Chess]] even if players can move other pieces, since losing one's king is equal to losing the game. Likewise, one could argue that in most traditional, sports such as Wrestling and Soccer, the players themselves are [[Avatars]], noting that their actions are restricted and that it shouldn't matter for the games' definitions who participates as long as they match certain criteria.
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Avatars can be found in most games having a game world since players needs some focal point within the world to affect it. The pattern was already present in early arcade and video games, e.g. [[Space Wars]], the [[Pac-Man]] series, and the [[Bomberman series]] make use of this pattern, and this tradition is continued in many modern games following the aesthetics from those games (e.g. [[Continuity]], [[Icy Tower]], and [[Zombiepox]]). The case could even be made that it is present in [[Chess]] even if players can move other pieces, since losing one's king is equal to losing the game. Likewise, one could argue that in most traditional, sports such as Wrestling and Soccer, the players themselves are [[Avatars]], noting that their actions are restricted and that it shouldn't matter for the games' definitions who participate as long as they match certain criteria.
  
Although not strictly necessary in single-player FPS games such as the [[Doom]] and [[Quake]] series since the players don't need to be able to see themselves (other than in mirrors for believability issues), [[Avatars]] are needed in the multiplayer modes of these games and FPS games specifically designed for team-based gameplay such as [Castle Wolfenstein: Enemy Territory] and the [Left 4 Dead Series]. Likewise, players are represented as [[Avatars]] in Massively Multiplayer Online Roleplaying Games such as [[World of Warcraft]], but here players often have a greater possibility to personalize their appearance through physical characteristics and equipment. Games using third person perspectives, e.g. the [[Assassin's Creed]] series and the [[Lego Star Wars Series]], let players see their own [[Avatars]] in relation to the game world, making it easier to understand scales and simulate an awareness of ones surroundings not purely based on what is in line of sight. The use of vehicles, e.g. cars in the [[Need for Speed Series]] and anti-aircraft artillery pieces [[World War II Online]], or blobs, as in [[Gish]] or [[Mercury Meltdown]], show that not only anthropomorphic representations can be used as [[Avatars]].  
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Although not strictly necessary in single-player FPS games such as the [[Doom series|Doom]] and [[Quake series]] since the players don't need to be able to see themselves (other than in mirrors for believability issues), [[Avatars]] are needed in the multiplayer modes of these games and FPS games specifically designed for team-based gameplay such as [[Return to Castle Wolfenstein: Enemy Territory]] and the [[Left 4 Dead series]]. Likewise, players are represented as [[Avatars]] in Massively Multiplayer Online Roleplaying Games such as [[World of Warcraft]], but here players often have a greater possibility to personalize their appearance through physical characteristics and equipment. Games using third person perspectives, e.g. the [[Assassin's Creed]] series and the [[Lego Star Wars series]], let players see their own [[Avatars]] in relation to the [[Game Worlds|Game World]], making it easier to understand scales and simulate an awareness of one's surroundings not purely based on what is in line of sight. The use of vehicles, e.g. cars in the [[Need for Speed Series]] and anti-aircraft artillery pieces [[World War II Online]], or blobs, as in [[Gish]] or [[Mercury Meltdown]], show that not only anthropomorphic representations can be used as [[Avatars]].  
  
 
The computer game [[Paradroid]] used an extended variant of the [[Avatars|Avatar]] pattern. The player controlled a defenseless robot, which could control one other robot, and the gameplay consisted of switching between these second-order [[Avatars]] to defeat all robots on a spaceship.
 
The computer game [[Paradroid]] used an extended variant of the [[Avatars|Avatar]] pattern. The player controlled a defenseless robot, which could control one other robot, and the gameplay consisted of switching between these second-order [[Avatars]] to defeat all robots on a spaceship.
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== Using the pattern ==
 
== Using the pattern ==
While the [[Avatars|Avatar]] present players with a tangible presence in a [[Game World]], the [[Character]] is the abstract representation containing game information about aspects such as [[Attributes]] and [[Skills]]. However, since these in many cases affect each other it is often necessary to consider these two patterns together.  
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While the [[Avatars|Avatar]] presents players with a tangible presence in a [[Game Worlds|Game World]], the [[Characters|Character]] is the abstract representation containing game information about aspects such as [[Attributes]] and [[Skills]]. However, since these in many cases affect each other it is often necessary to consider these two patterns together.  
  
Two main requirements are needed for players to perceive themselves as having [[Avatars]] in the game. First, that a single entity in the [[Game Worlds|Game World]] is their primary ability to affect the game, i.e. that person is their [[Focus Loci]] (since controlling several game elements give rise to the [[Units]] patterns). Second, that the game (or other players) can affect the players' success or failure regarding gameplay through the entity. This does not mean that players only can have one specific [[Avatars|Avatar]] during a complete game session, simply that one only has one at any given time (since playing several at once would make them [[Units]]). Examples of using more than one [[Avatars|Avatar]] include [[Fahrenheit]], where the player switching between several different protagonists in the game story, and [[Cursor*10]] where players cooperate with previous instances of their [[Avatars]]. Games such as [[Sleepwalker]] and [[Mario & Luigi: Partners in Time]] blur the distinction between [[Avatars]] and [[Units]] by having several deigetic persons that they have to take care of (they can be said to instantiate a weak form of [[Parallel Lives]] but they are controlled as one group. A weaker form of this blurring can be found in games where players'  have companions more limited than full-fledged [[NPCs]] that accompany the [[Avatars]], e.g. the dogs in the [[Fallout series]] and the [[Shadow Dancer]] and [[Fable II]] games. Another variation of [[Avatars]] is to use them in a layered fashion where a player's [[Avatars|Avatar]] controls another game element directly. This typically presented to the player by replacing the [[Avatars|Avatar]] with the other game element and providing the actions of the game element to the player. Examples of this are the possessing of other droids in [[Paradroid]] and the possibility to enter the driving position in vehicles in [[Battlefield 1942]].
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Two main requirements are needed for players to perceive themselves as having [[Avatars]] in the game. First, that a single entity in the [[Game Worlds|Game World]] is their primary ability to affect the game, i.e. that person is their [[Focus Loci]] (since controlling several game elements give rise to the [[Units]] patterns). Second, that the game (or other players) can affect the players' success or failure regarding gameplay through the entity. This does not mean that players only can have one specific [[Avatars|Avatar]] during a complete game session, simply that one only has one at any given time. Examples of using more than one [[Avatars|Avatar]] include [[Fahrenheit]], where the player switching between several different protagonists in the game story, and [[Cursor*10]] where players cooperate with previous instances of their [[Avatars]]. Games such as [[Sleepwalker]] and [[Mario & Luigi: Partners in Time]] blur the distinction between [[Avatars]] and [[Units]] by having several diegetic persons that they have to take care of (they can be said to instantiate a weak form of [[Parallel Lives]] but where the [[Avatars]] are controlled as one group and losing one may immediately have bad effects). A weaker form of this blurring can be found in games where players'  have [[Companions]] more limited than full-fledged [[AI Players]] that accompany the [[Avatars]], e.g. the dogs in the [[Fallout series]], [[Shadow Dancer]], and [[Fable II]], and the various [[Companions]] in [[Torchlight]]. Another variation of [[Avatars]] is to use them in a layered fashion where a player's [[Avatars|Avatar]] controls another game element directly. This typically presented to the player by replacing the [[Avatars|Avatar]] with the other game element and providing the actions of the game element to the player. Examples of this are the possessing of other droids in [[Paradroid]] and the possibility to enter the driving position in vehicles in [[Battlefield 1942]]. Note that the controlling of [[Avatars]] can be dislocated from the [[Avatars]] themselves by using [[God Fingers]] to give the actual instructions on what they should do - the [[Sims series]] is an example of this. This is ''not'' [[Indirect Control]] of the [[Avatars]] since players do not have to act through any other game element to reach the effects they want, it is simply that the giving of instructions are done indirectly.
  
Choosing the abilities [[Avatars]] provide naturally depend on the intended gameplay and theme, but some are more likely than others. [[Movement]] is very common, both to allow explorations and re-positioning in the [[Game Worlds]] and since players are used to thinking about themselves in relation to their locomotion. Besides what actions the avatars can perform, their likelihood to succeed can be linked either to the [[Character]] statistics, player skill, or [[Player/Character Skill Composites]] and the choices made here typically determine the proportions importance of [[Dexterity-Based Actions]] and [[Tactical Planning]] in the game.
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Choosing which [[Abilities]] the [[Avatars]] should provide naturally depends on the intended gameplay and theme, but some are more likely than others. [[Movement]] is very common ability used with [[Avatars]], both to allow explorations and re-positioning in the [[Game Worlds]] and since players are used to thinking about themselves in relation to their locomotion. Related to [[Movement]] is the consideration if the [[Avatars]] should be [[Diegetically Tangible Game Items]] - if they are they can become [[Obstacles]] to the [[Movement]] of other game elements, and in [[Multiplayer Games]], other [[Avatars]]. Also related to this is if they should extend [[Zone of Control|Zones of Control]], i.e. affect the [[Abilities]] of those next to them. Another common ability is perception, i.e. that the [[Avatars]] can detect some aspects of the [[Game Worlds|Game World]] but not other. Note that this can be used both to limit what actions are possible (e.g. only being able to shoot enemies which are in the [[Avatars|Avatar's]] [[Line of Sight]]) but also to limit the ''players''' information about the game state, i.e. provide a form of [[Fog of War]] and make [[God Views]] impossible. That latter is typically a natural consequence of [[First-Person Views]] unless the [[Game Worlds|Game World]] has very few [[Obstacles]]. [[Combat]] is also a common ability for [[Avatars]] and makes [[Capture]] and [[Eliminate]] goals possible. Although more common for [[Characters]], actions related to [[Transferable Items]], e.g. [[Trading]] and [[Stealing]], can sometimes be appropriate for [[Avatars]]. A rather rare ability for [[Avatars]] but which can be vital in [[Multiplayer Games|Multiplayer]] first-person shooters is to allow some [[Avatars]] to have the [[Privileged Abilities|Privileged Ability]] of being able to act as a [[Spawn Points|Spawn Point]]. Besides what actions the avatars can perform, their likelihood to succeed can be linked either to the [[Characters|Character]] statistics, player skill, or [[Player/Character Skill Composites]] and the choices made here typically determine the proportions importance of [[Dexterity-Based Actions]] and [[Tactical Planning]] in the game.
  
Many games start with a [[Limited Set of Actions]] available through the [[Avatars]] and then expanding this as gameplay progresses. By doing this, as is done for example in the [[Super Mario|Super Mario series]] and [[The Legend of Zelda series]], the game can provide a [[Right Level of Difficulty]] in the beginning and a [[Smooth Learning Curves]] as the game commences. This
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Many games start with a [[Limited Set of Actions]] available through the [[Avatars]] and then expanding this through [[New Abilities]] as gameplay progresses. By doing this, as is done for example in the [[Super Mario|Super Mario series]] and [[The Legend of Zelda series]], the game can provide a [[Challenging Gameplay]] in the beginning and a [[Smooth Learning Curves]] as the game commences. Note that [[New Abilities]] or [[Improved Abilities]] can be given either to [[Avatars]] or [[Characters]]; the abilities are linked to [[Avatars]] when the abilities are only observable through actions in the [[Game Worlds|Game World]] or there are no observable abstract representations of [[Characters]] behind the [[Avatars]]. These [[New Abilities]] provide ways of having [[Character Development]] even in games that do not have explicit [[Characters]]. Another option to providing [[New Abilities]] to [[Avatars]] is through diegetically facilitated them through [[Location-Fixed Abilities]] such as [[Controllers]], [[Installations]], [[Tools]], or [[Vehicles]]. [[Game Items]] such as [[Weapons]] can provide both [[New Abilities|New]] and [[Improved Abilities]] while [[Armor]] can protected against [[Damage]]. Further, the game design can support the [[Predetermined Story Structures]] by limiting access to game areas until various [[Privileged Abilities]], or [[Privileged Movement]] to gain entry to [[Inaccessible Areas]], have been acquired.
  
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Linking the success or failure of the gameplay to [[Avatars]] can be done in many ways. [[Race]], [[Traverse]], [[Deliver]], [[Herd]], and [[Connection]] goals naturally depend on the [[Avatars]] movement if their positions are used to determine if the end conditions have been reached. [[Game World Exploration]] can likewise be used if the game uses the [[Avatars]]' modes of perception to judge what has been found. The use of [[Damage]] (and by extension [[Eliminate]]) due to [[Combat]] or [[Traps]] is a very common way to make [[Avatars]] vulnerable and players' succeed linked to them, but [[Ability Losses]] (including [[Privileged Abilities]]), or losses of [[Scores|Score]] points or [[Tools]] are other possibilities.  Although these introduce negative possibilities for the players, once these vulnerabilities have been established they allow for the goals of [[Evade]] and [[Stealth]] to be linked to the [[Avatars]]. In general, any type of [[Penalties]] that can be avoided through [[Avatars|Avatar]] [[Movement]] leads to players having [[Evade]] goals. More specific goals that can be introduced in this way, especially when combined with [[Multiplayer Games]] and common [[Eliminate]] goals are [[King of the Hill]] and [[Last Man Standing]]. The death or [[Eliminate|Elimination]] of [[Avatars]] typically either signifies the end of the game (if [[Permadeath]] is used), [[Downtime]] before the next round begins or other types of [[Death Consequences]], or the loss of one of the [[Lives]] available (and in the last case requires [[Spawning]] or the activation of a new [[Avatars|Avatar]]). This makes the [[Survive]] goal an integral part of many games using [[Avatars]].
  
Further, the game design can support the Narrative Structure by limiting access to game areas until various Privileged Abilities have been acquired, either by Tools or Character Development. The possibility to improve the Avatar's abilities and attributes through Character Development can thereby be used to merge the development of the Narrative Structure with goals the player has. This can strengthen the player's empathic link with the Avatar as an effect of the Investments made while developing the Avatar.
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Besides these two necessary conditions, the [[Avatars]] relation to its surroundings and other diegetic persons are fundamental in how they are perceived. The use of [[Traps]], [[Environmental Effects]], [[Inaccessible Areas]], [[Obstacles]], [[Diegetically Outstanding Features]], and [[Safe Havens]] not only help define the [[Game Worlds]] but also the [[Avatars]] through how they affect them. [[Diegetically Tangible Game Items]] can serve many of these purposes while also having the functionality of various types of [[Game Items]]. That game elements in [[Game Worlds]] can help define [[Avatars]] becomes especially true if there are many types of playable [[Avatars]] or the [[Avatars]] are affected differently than [[Enemies]] and other [[Agents]], e.g. through having different rules concerning [[Line of Sight]]. Reversely, if [[Avatars]] block [[Line of Sight]] or not when this pattern is used affects the [[Avatars]] relation to the [[Game Worlds|Game World]]. [[Automated Responses]], actions initiated by the [[Avatars]] themselves without player interference, are ways to inform players about possible actions (e.g. by the [[Avatars]] glancing at them or commenting them) or possible dangers (e.g. how [[Avatars]] in [[Assassin's Creed 2]] and [[Prince of Persia]] make animations of regaining their balance after nearly falling of ledges when players have moved them to close).
  
New Abilities or Improved Abilities given to players can either be given to Avatars or Characters; the abilities are linked to Avatars when the abilities are only observable through actions in the Game World or there is no abstract representation of a Character behind the Avatar.
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Additional design possibilities exist to let players have closer attachment with their [[Avatars]], with two common approaches being related to what ability or appearance they have. [[Initial Personalization]] let players choose or modify the [[Avatars]] before gameplay starts so they can suit the players' preferences regarding either gameplay or theme. [[Character Development]], which can either be a continuation of the [[Initial Personalization]] or an independent feature, let players fine-tune their [[Avatars]] as gameplay progresses. The effort these two patterns require from players is in itself a potential cause for them to feel an attachment to them; the [[Value of Effort]] makes it more compelling to care about the outcome. Although most often related to [[Characters]], [[Predetermined Story Structures]] and diegetic-related patterns such as [[Loyalty]] can be applied when [[Avatars]] exist.
  
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While the pattern [[Characters]] handles abstract [[Attributes]] of diegetic individuals, it may be pointless to argue that both patterns exist in a game if there only exists a few [[Attributes]] and these are constantly presented to players. A typical example of this can be found in [[:Category:FPS Games|First-Person Shooters]] such as [[Battlefield 1942]] or the [[Quake series]] where [[HUD Interfaces]] display [[Health]] values, [[Ammunition]] left, and active [[Weapons|Weapon]]; here it is easier to consider these patterns (especially [[Health]] as being linked to [[Avatars]] rather than [[Characters]]. [[Equipment Slots]] can allow limited handling of [[Equipment]] without having to commit to the use of complete [[Inventories|Inventory]] systems. In contrast, [[Battlefield 2]] and [[Team Fortress 2]] store additional information related to [[Equipment]] and gameplay performances which qualify them to make use of the [[Characters]] pattern. Likewise, [[Invulnerabilities]] and [[Vulnerabilities]] (including [[Achilles' Heels]]) that do not develop over gameplay (due to being either permanent or very temporary) can be viewed as belong to [[Avatars]] unless the [[Characters]] pattern is used for additional purposes in games.
  
Besides these two necessary conditions, the [[Avatars]] relation to its surroundings and other deigetic persons are fundamental in how they are perceived. The use of [[Deadly Traps]], [[Inaccessible Areas]], [[Obstacles]], [[Outstanding Features]], and [[Safe Havens]] not only help define the [[Game Worlds]] but also the [[Avatars]] through how they affect them. This becomes especially true if there are many types of playable [[Avatars]] or the [[Avatars]] are affected differently than [[Enemies]] and other [[Agents]]. [[Avatar Reflexes]], actions initiated by the [[Avatars]] themselves without player interference, are ways to inform players about possible actions (e.g. by the [[Avatars]] glancing at them or commenting them) or possible dangers (e.g. how [[Avatars]] in [[Assassin's Creed 2]] and [[Prince of Persia]] make animations of regaining their balance after nearly falling of ledges when players have moved them to close).
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[[Avatars]] can actually be used in game sessions where their players are not present or providing input. [[Mules]] are [[Algorithmic Agents]] that ensure that [[Avatars]] continue taking actions while players are away from the game for extended periods of time. [[Ghosts]] are the use of [[Avatars]] to provide players of racing games with representations of how previous players (including themselves) gamed. An example of this is the platform game [[Icy Tower]], which makes use of [[Avatars]] as markers for the highest floor reached by other players, making them part of a [[High Score Lists|High Score List]] presented inside the [[Game Worlds]]. [[Algorithmic Agents]] can take over avatars to provide some actions to make the [[Avatars]] diegetic wait while the players is not providing input, but can also be used to support [[Drop-In/Drop-Out]] gameplay or [[Game Pauses]] in [[Multiplayer Games]].
  
Additional design possibilities exist to let players have closer attachment with their [[Avatars]], with two common approaches being related to what ability or appearance they have. [[Initial Personalization]] let players modify the [[Avatars]] before gameplay starts so they can suit the players' preferences regarding either gameplay or theme. [[Character Development]], which can either be a continuation of the [[Initial Personalization]] or an independent feature, let players fine-tune their [[Avatars]] as gameplay progresses. The effort these two patterns require from players is in itself a potential cause for them to feel an attachment to them, the invested effort makes it more compelling to care about the outcome.
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=== Diegetic Aspects ===
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[[Avatars]] is a diegetic pattern which is impossible to use without some form of [[Game Worlds]]. Given their importance in the overall gameplay, they do tend to have [[Diegetically Outstanding Features]] if they have any [[Privileged Abilities]] or [[Privileged Movement|Movement]]. Although [[Third-Person Views]] (or reflections) are necessary for players to be able to perceive their own [[Avatars]] in [[Single-Player Games]], and may be necessary to support [[Maneuvering]], they easily break [[Emotional Engrossment]] since players may have perceive their [[Avatars]] than the game presents them. Games with purely [[First-Person Views]] can have implied [[Avatars]], often encouraged through showing what [[Tools|Tool]] or [[Weapons|Weapon]] is active as if held by the [[Avatars]], and are easily induced in [[Multiplayer Games]] since players can see the other players' [[Avatars]]. Depending on the diegetic theme, some abilities might be more or less believable as belonging to the [[Avatars]] (e.g. being able to kill enemies at a distance in a realistic game without any type of ranged [[Weapons]]) and having these may weaken the presence of the pattern.
  
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The difference or similarity of both appearance and abilities between players' [[Avatars]] and [[Enemies]] can be used to magnify the diegetic difference in power. This is often done for [[Boss Monsters]] (e.g. the [[Super Mario series]] and the [[God of War series]]) but is some cases for all [[Enemies]] (e.g. in [[Shadow of the Colossus]]). By having a large difference in size and at the same time restricting the movement of the opponent, the game can provide [[Challenging Gameplay]] but not overwhelmingly so even the depiction claims this.
  
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When [[Avatars|Avatars']] fate are linked to how well players complete the gameplay, this can provide [[Emotional Engrossment]] but this can also be done through supporting players in having sympathies towards the [[Avatars]]. This can be achieved diegetically through a design so that the [[Avatars]] have a appealing personality or appearance, have been mistreated, or have abilities players would like to have. However, [[Avatars]] do not usually have strongly developed personalities as this can prevent the players from interpreting what they want into the [[Avatars|Avatar's]] actions. Further, if the [[Avatar]] can initiate actions on its own, e.g. in the form of [[Cutscenes]], this can lessens the players' [[Freedom of Choice]] and may destroy an [[Illusion of Influence]] as well as their [[Emotional Engrossment]] directed towards other objects or players in the Game World.
  
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[[Avatar Personalization]] is the ability to change [[Avatars]]' appearance, which although it does not direct affect gameplay can be important. While [[Avatars]] names are not part of their diegetic appearance, [[Naming]] can be seen as a variant of this personalization since it changes how the [[Avatars]] are presented to players. In games such as [[Tiger Woods PGA Tour]] and the third installment of the [[Fallout series]], the [[Initial Personalization]] not only includes gameplay options but also purely cosmetic choices. By doing so, players have two different avenues to create [[Emotional Engrossment]] to the [[Avatars]] and the game in general already before gameplay begins. For [[Multiplayer Games]], [[Handles]] presented [[Geospatial Game Widgets]] hovering above the [[Avatars]] can make each players' identity unique. Going further, differences in [[Avatars]]' appearances or [[Game State Indicators]] can be vital to express [[Asymmetric Abilities]] and [[Privileged Abilities]] in order to support players, both in finding [[Achilles' Heels]] in enemies and supporting team play, and [[Team Combos]] in particular, within [[Teams]] of [[Avatars]]. For games with [[Functional Roles]] these differences can easily be shown as changes in general appearance or clothing, while games with [[Vehicles]] or [[Equipment]] such as [[Armor]], [[Cosmetic Game Items]], [[Tools]], and [[Weapons]] can simply integrate the presentation of these with the [[Avatars]]. In other cases, e.g. games with [[Power-Ups]], [[Geospatial Game Widgets]] may be more appropriate instead, as for example is done for the showing that someone has the ''Quad Damage'' [[Power-Ups|Power-Up]] in the [[Quake series]].
  
The death or destruction of the Avatar typically signifies the end of the game or the loss of one of the Lives available for the Avatar. This makes the Survive goal an integral part of games using Avatars in Player Killing. Other possible options include the loss of Privileged Abilities, Score, or Tools.
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In games with [[Hybrid Gameplay Spaces]], [[Player-Avatar Proximity]] modify [[Avatars]] so they can not only interact with other [[Avatars]] (and other virtual gameplay elements) but also with players.
  
Many Avatars are designed to let the players feel a positive empathic link towards the Avatar to achieve Emotional Immersion. This can be achieved either through a design so that the Avatars have a sympathetic personality or appearance, have abilities the players would like to have, or have been mistreated. However, they do not usually have strongly developed personalities, as this can prevent the players from interpreting what they want into the Avatar's actions. Further, if the Avatar can initiate actions on its own, this lessens the players' Freedom of Choice and may destroy an Illusion of Influence as well as Emotional Immersion directed towards other objects or players in the Game World. The use of Avatars in Persistent Game Worlds is common to create stronger Emotional Immersion and a sense of Ownership.
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=== Interface Aspects ===
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As a [[Focus Loci]] for players, [[Avatars]] is an [[Category:Interface Patterns|Interface Pattern]] and several of the patterns mentioned above, e.g. [[Avatar Personalization]], [[Handles]], and [[Geospatial Game Widgets]] concern how all players (not only the one controlling an avatar) can understand the game state related to the [[Avatars]]. In addition to these, [[Avatars]] may be designs so they can visually display [[Emotes]]; this allows them to display [[Emotional Attachment]] if used properly.
  
Limited game state overview
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== Consequences ==
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Given that [[Avatars]] represent player agency in games and are inserted in the game when players enter games, they are examples of [[Game Element Insertion]] (having them present without players or their proxies controlling is possible but these version of [[Avatars]] should more correctly be called ''Horses''). [[Avatars]] are one way of giving players' [[Focus Loci]] that maintains [[Diegetic Consistency]] since they are diegetic entities, and as such they typically provide [[Freedom of Choice]] and [[Illusion of Influence]] from specific points within [[Game Worlds]]. Since they are also tightly connected to the players' success or failure in the game, they are a natural point of [[Emotional Engrossment]]. When they are the diegetic representations of players' [[Characters]], they also are an expression of player [[Ownership]]. Depending on the level of personality and goals described through the [[Characters]], and how acceptable those goals are to the players, [[Avatars]] also encourage [[Roleplaying]], but since the appearance of an [[Avatars|Avatar]] and its' possible actions restrict what players can do, the more these things are explicitly defined the more they restrict what type of [[Roleplaying]] is diegetically consistent. Even if the game does not present goals [[Roleplaying]] can emerge if players choose their own [[Player Defined Goals]].
  
[[Avatars]] can actually be used in game sessions where their players are not present. [[Ghosts]] are the use of [[Avatars]] to provide players of racing games with representations of how previous players (including themselves) gamed. The platform game [[Icy Tower]] makes use of [[Avatars]] as markers for the highest floor reached by other players, making them part of a [[High Score Lists|High Score List]] presented inside the [[Game World|Game Worlds]]
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Representing the main protagonists in many cases, [[Agents]] are often vital for [[Thematic Consistency]] although they are also bounded by the specifics of the theme. Letting players engage in [[Naming]] their [[Avatars]] risks breaking this consistency but does provide a minimal level of [[Avatar Personalization]].
  
=== Diegetic Aspects ===
+
As long as players are trying to achieve some form of goal while playing, [[Avatars]] are human-controlled [[Agents]]. When encountered in [[Multiplayer Games]] where players have goals to [[Eliminate]] each other, they are also [[Enemies]]. As [[Avatars]] are located within [[Game Worlds]], [[Spatial Engrossment]] is a common effect of having the pattern. Games have [[Detective Structures]] when players' perception of the [[Game Worlds|Game World]] is limited to one [[Avatars|Avatar]] and only what that [[Avatars|Avatar]] can perceive.
[[Avatars]] is a diegetic pattern which is impossible to use without some form of [[Game World|Game Worlds]]. Although [[Third-Person Views]] (or reflections) are necessary for players to be able to perceive their own [[Avatars]], game can use purely [[First-Person Views]] in multiplayer games since players can easily create the impression that they are also represented in the world based upon induction. Depending on the diegetic theme, some abilities might be more or less believable as belonging to the [[Avatars]] (e.g. being able to kill enemies at a distance in a realistic game without any type of ranged weapons) and having these may weaken the presence of the pattern.
+
  
For [[Multiplayer Games]], the differences in [[Avatars]]' appearances can be vital to express [[Asymmetric Abilities]] and [[Privileged Abilities]] to support players both in finding [[Achilles' Heels]] in enemies and support [[Team Play]], and [[Team Combos]] in particular, with team mates. For games with [[Selectable Functional Roles]] these differences can easily be shown as changes in general appearance or clothing, while games with [[Tools]] can simply integrate the presentation of the tools with the [[Avatars]]. In other cases, e.g. games with [[Power-Ups]], may choose [[Non-Diegetic Elements]] instead (as for example done for the Quad Damage [[Power-Ups|Power-Up]] in the [[Quake Series]]).  
+
Games with [[Avatars]] can provide a [[Possibility of Anonymity]] through having only allowing [[Mediated Gameplay]] through them or other restricted [[Communication Channels]].
  
The difference or similarity of both appearance and abilities between players' [[Avatars]] and [[Enemies]] can be used to magnify the deigetic difference in power. This is often done for [[Boss Monsters]] (e.g. the [[Super Mario series]] and the [[God of War series]]) but is some cases for all [[Enemies]] (e.g. in [[Shadows of the Colossus]]). By having a large difference in size and at the same time restricting the movement of the opponent, the game can provide [[Challenging Gameplay]] but not overwhelmingly so even the depiction claims this.
+
[[Avatars]] that have [[Achilles' Heels]] or [[Vulnerabilities]] give rise to goals concerning to [[Conceal]] these or [[Evade]] attempts to exploit them.
  
=== Interface Aspects ===
+
== Relations ==
 +
=== Can Instantiate ===
 +
[[Agents]], [[Capture]], [[Combat]],
 +
[[Detective Structures]],
 +
[[Dexterity-Based Actions]],
 +
[[Diegetic Consistency]],
 +
[[Eliminate]],
 +
[[Emotional Engrossment]], [[Enemies]],
 +
[[Game World Exploration]],
 +
[[Focus Loci]], [[Fog of War]],
 +
[[Game Element Insertion]],
 +
[[Illusion of Influence]], [[Loyalty]],
 +
[[Ownership]], [[Parallel Lives]],
 +
[[Permadeath]],
 +
[[Predetermined Story Structures]],
 +
[[Roleplaying]], [[Spatial Engrossment]],
 +
[[Spawn Points]],
 +
[[Survive]],
 +
[[Thematic Consistency]]
  
=== Narrative Aspects ===
+
==== with [[Achilles' Heels]] or [[Vulnerabilities]] ====
 +
[[Conceal]],
 +
[[Evade]]
  
== Consequences ==
+
==== with [[Diegetically Tangible Game Items]] ====
 +
[[Obstacles]]
  
 +
==== with [[Emotes]] ====
 +
[[Emotional Attachment]]
  
Avatars are the representations of players' Characters or are players' Focus Loci and are therefore an expression of player Ownership. They are what are created by Producers when players are Spawning. They allow Improved Abilities to be presented to other players within a Consistent Reality Logic by changing the Avatar's appearance to reflect the current abilities the player has.
+
==== with [[Mediated Gameplay]] ====
 +
[[Possibility of Anonymity]]
  
The use of an Avatar gives players a focus for Immersion --- particularly Spatial Immersion when used with First-Person Views --- and a focus for Roleplaying without affecting Consistent Reality Logic negatively; players can pretend that they are the Avatars on a physical level. The Spatial Immersion is further increased by the use of a Camera for Third-Person Views at the expense of Consistent Reality Logic. God Views, on the contrary, are not necessarily suitable for use with Avatars. Being a Focus Loci for players, Avatars can have strong emotional links to the players: what is good for the Avatars is good for the players and what is bad for the avatars is bad for the players. Avatars can provide Enemies for other players, and their abilities usually modulate Combat and can provide the basis for Orthogonal Unit Differentiation.
+
==== with [[Movement]] and [[Penalties]] ====
 +
[[Evade]]
  
== Relations ==
+
==== with [[Naming]] ====
 
+
[[Avatar Personalization]]
=== Can Instantiate ===
+
[[Agents]]
+
Spatial Immersion, Immersion, Ownership, Enemies, Third-Person Views, First-Person Views
+
  
 
=== Can Modulate ===
 
=== Can Modulate ===
Combat, Persistent Game Worlds, Player Killing, Roleplaying, Consistent Reality Logic, Survive
+
[[Line of Sight]],  
 +
[[Game Worlds]]
  
 
=== Can Be Instantiated By ===
 
=== Can Be Instantiated By ===
Mule
+
[[Ghosts]]
Ghosts
+
  
 
=== Can Be Modulated By ===
 
=== Can Be Modulated By ===
Privileged Abilities, Tools, Character Development, Characters, Improved Abilities, Producers
+
[[Ability Losses]],  
 +
[[Achilles' Heels]],  
 +
[[Algorithmic Agents]],
 +
[[Armor]],
 +
[[Attributes]], [[Automated Responses]], [[Avatar Personalization]], [[Characters]], [[Character Development]],  
 +
[[Companions]],  
 +
[[Controllers]],
 +
[[Cosmetic Game Items]],
 +
[[Cutscenes]],
 +
[[Damage]],
 +
[[Death Consequences]],
 +
[[Diegetically Tangible Game Items]],
 +
[[Diegetically Outstanding Features]],
 +
[[Eliminate]],
 +
[[Emotes]],
 +
[[Environmental Effects]],
 +
[[Equipment]],
 +
[[Equipment Slots]],
 +
[[First-Person Views]], [[Freedom of Choice]], [[Game State Indicators]],
 +
[[God Fingers]],
 +
[[Geospatial Game Widgets]],
 +
[[Handles]],
 +
[[Health]],
 +
[[Improved Abilities]], [[Initial Personalization]],
 +
[[Installations]],
 +
[[Invulnerabilities]],
 +
[[Limited Set of Actions]],
 +
[[Line of Sight]],
 +
[[Lives]],
 +
[[Location-Fixed Abilities]],
 +
[[Movement]], [[Mules]],
 +
[[Naming]],
 +
[[New Abilities]],
 +
[[Obstacles]],
 +
[[Player-Avatar Proximity]],
 +
[[Player/Character Skill Composites]],
 +
[[Privileged Abilities]],
 +
[[Privileged Movement]],
 +
[[Safe Havens]], [[Skills]], [[Spawning]],
 +
[[Stealing]],
 +
[[Teams]],
 +
[[Thematic Consistency]],
 +
[[Third-Person Views]], [[Tools]],
 +
[[Trading]],
 +
[[Transferable Items]],
 +
[[Vehicles]],
 +
[[Vulnerabilities]],
 +
[[Weapons]],  
 +
[[Zone of Control]]
 +
 
 +
=== Possible Closure Effects ===
 +
-
  
 
=== Potentially Conflicting With ===
 
=== Potentially Conflicting With ===
[[Units]]
+
[[God Views]], [[Units]]
God Views, Parallel Lives, Emotional Immersion
+
  
 
== History ==
 
== History ==
Line 92: Line 175:
 
<references>
 
<references>
 
<ref name="Bjork & Holopainen 2004">Björk, S. & Holopainen, J. (2004) Patterns in Game Design. Charles River Media. ISBN1-58450-354-8.</ref>
 
<ref name="Bjork & Holopainen 2004">Björk, S. & Holopainen, J. (2004) Patterns in Game Design. Charles River Media. ISBN1-58450-354-8.</ref>
<ref name="WikiDef">[http://en.wikipedia.org/wiki/Avatar Definition of Avatar at Wikipedia]</ref>
+
<ref name="WikiDef">[http://en.wikipedia.org/wiki/Avatar Definition of Avatar at Wikipedia].</ref>
 +
<ref name="Horse">[http://en.wikipedia.org/wiki/Loa Wikipedia entry on Loas], describing the concept of possession in Voodoo.</ref>
 
</references>
 
</references>
  
 
== Acknowledgments ==
 
== Acknowledgments ==
 
Karl Bergström, Aki Järvinen, Johan Peitz, Karl-Petter Åkesson
 
Karl Bergström, Aki Järvinen, Johan Peitz, Karl-Petter Åkesson

Latest revision as of 18:14, 9 August 2016

Game elements that diegetically represent players, providing their main means of interacting with the world and whose fate is connected to the players' success and failure in the game.

Many games let players be represented in them by one of the agents in the game, often as a human or an anthropomorphic persona (but in some cases less human-like entities as vehicles, blobs, etc.). Echoing the idea from religion that some gods can incarnate into beings on Earth to be able to interact there, these forms are called Avatars[1]. The presence of Avatars when their players are not interacting with the game system is in this case not consistent with the original meaning; games having this design are in fact closer to using the Horse concept in Voodoo[2].

The use of Avatars can be for several reasons: to let players take a specific role in the events that unfold during gameplay, limit their perception of the game world, localize the area where they can affect the game world, or create game elements the player must keep safe. Through doing this, the players' attention can be focused on specific parts of the game and provide an anchor for the players' emotional investment in the games.

Note: When abstract and representational forms of of diegetic persons exist, both forms are commonly referred to as Characters. That the term Avatars is not used in this case is in compliance with the original meaning of the term since it implies a clear distinction between the two, and this is not the case in those situations. However, this pattern is described to be useful regardless if an abstract representation exists as well.

Examples

Avatars can be found in most games having a game world since players needs some focal point within the world to affect it. The pattern was already present in early arcade and video games, e.g. Space Wars, the Pac-Man series, and the Bomberman series make use of this pattern, and this tradition is continued in many modern games following the aesthetics from those games (e.g. Continuity, Icy Tower, and Zombiepox). The case could even be made that it is present in Chess even if players can move other pieces, since losing one's king is equal to losing the game. Likewise, one could argue that in most traditional, sports such as Wrestling and Soccer, the players themselves are Avatars, noting that their actions are restricted and that it shouldn't matter for the games' definitions who participate as long as they match certain criteria.

Although not strictly necessary in single-player FPS games such as the Doom and Quake series since the players don't need to be able to see themselves (other than in mirrors for believability issues), Avatars are needed in the multiplayer modes of these games and FPS games specifically designed for team-based gameplay such as Return to Castle Wolfenstein: Enemy Territory and the Left 4 Dead series. Likewise, players are represented as Avatars in Massively Multiplayer Online Roleplaying Games such as World of Warcraft, but here players often have a greater possibility to personalize their appearance through physical characteristics and equipment. Games using third person perspectives, e.g. the Assassin's Creed series and the Lego Star Wars series, let players see their own Avatars in relation to the Game World, making it easier to understand scales and simulate an awareness of one's surroundings not purely based on what is in line of sight. The use of vehicles, e.g. cars in the Need for Speed Series and anti-aircraft artillery pieces World War II Online, or blobs, as in Gish or Mercury Meltdown, show that not only anthropomorphic representations can be used as Avatars.

The computer game Paradroid used an extended variant of the Avatar pattern. The player controlled a defenseless robot, which could control one other robot, and the gameplay consisted of switching between these second-order Avatars to defeat all robots on a spaceship.

The creatures in the Black & White series are not Avatars since they are only indirectly controlled by players and they affect the game world through an intangible hand.

Using the pattern

While the Avatar presents players with a tangible presence in a Game World, the Character is the abstract representation containing game information about aspects such as Attributes and Skills. However, since these in many cases affect each other it is often necessary to consider these two patterns together.

Two main requirements are needed for players to perceive themselves as having Avatars in the game. First, that a single entity in the Game World is their primary ability to affect the game, i.e. that person is their Focus Loci (since controlling several game elements give rise to the Units patterns). Second, that the game (or other players) can affect the players' success or failure regarding gameplay through the entity. This does not mean that players only can have one specific Avatar during a complete game session, simply that one only has one at any given time. Examples of using more than one Avatar include Fahrenheit, where the player switching between several different protagonists in the game story, and Cursor*10 where players cooperate with previous instances of their Avatars. Games such as Sleepwalker and Mario & Luigi: Partners in Time blur the distinction between Avatars and Units by having several diegetic persons that they have to take care of (they can be said to instantiate a weak form of Parallel Lives but where the Avatars are controlled as one group and losing one may immediately have bad effects). A weaker form of this blurring can be found in games where players' have Companions more limited than full-fledged AI Players that accompany the Avatars, e.g. the dogs in the Fallout series, Shadow Dancer, and Fable II, and the various Companions in Torchlight. Another variation of Avatars is to use them in a layered fashion where a player's Avatar controls another game element directly. This typically presented to the player by replacing the Avatar with the other game element and providing the actions of the game element to the player. Examples of this are the possessing of other droids in Paradroid and the possibility to enter the driving position in vehicles in Battlefield 1942. Note that the controlling of Avatars can be dislocated from the Avatars themselves by using God Fingers to give the actual instructions on what they should do - the Sims series is an example of this. This is not Indirect Control of the Avatars since players do not have to act through any other game element to reach the effects they want, it is simply that the giving of instructions are done indirectly.

Choosing which Abilities the Avatars should provide naturally depends on the intended gameplay and theme, but some are more likely than others. Movement is very common ability used with Avatars, both to allow explorations and re-positioning in the Game Worlds and since players are used to thinking about themselves in relation to their locomotion. Related to Movement is the consideration if the Avatars should be Diegetically Tangible Game Items - if they are they can become Obstacles to the Movement of other game elements, and in Multiplayer Games, other Avatars. Also related to this is if they should extend Zones of Control, i.e. affect the Abilities of those next to them. Another common ability is perception, i.e. that the Avatars can detect some aspects of the Game World but not other. Note that this can be used both to limit what actions are possible (e.g. only being able to shoot enemies which are in the Avatar's Line of Sight) but also to limit the players' information about the game state, i.e. provide a form of Fog of War and make God Views impossible. That latter is typically a natural consequence of First-Person Views unless the Game World has very few Obstacles. Combat is also a common ability for Avatars and makes Capture and Eliminate goals possible. Although more common for Characters, actions related to Transferable Items, e.g. Trading and Stealing, can sometimes be appropriate for Avatars. A rather rare ability for Avatars but which can be vital in Multiplayer first-person shooters is to allow some Avatars to have the Privileged Ability of being able to act as a Spawn Point. Besides what actions the avatars can perform, their likelihood to succeed can be linked either to the Character statistics, player skill, or Player/Character Skill Composites and the choices made here typically determine the proportions importance of Dexterity-Based Actions and Tactical Planning in the game.

Many games start with a Limited Set of Actions available through the Avatars and then expanding this through New Abilities as gameplay progresses. By doing this, as is done for example in the Super Mario series and The Legend of Zelda series, the game can provide a Challenging Gameplay in the beginning and a Smooth Learning Curves as the game commences. Note that New Abilities or Improved Abilities can be given either to Avatars or Characters; the abilities are linked to Avatars when the abilities are only observable through actions in the Game World or there are no observable abstract representations of Characters behind the Avatars. These New Abilities provide ways of having Character Development even in games that do not have explicit Characters. Another option to providing New Abilities to Avatars is through diegetically facilitated them through Location-Fixed Abilities such as Controllers, Installations, Tools, or Vehicles. Game Items such as Weapons can provide both New and Improved Abilities while Armor can protected against Damage. Further, the game design can support the Predetermined Story Structures by limiting access to game areas until various Privileged Abilities, or Privileged Movement to gain entry to Inaccessible Areas, have been acquired.

Linking the success or failure of the gameplay to Avatars can be done in many ways. Race, Traverse, Deliver, Herd, and Connection goals naturally depend on the Avatars movement if their positions are used to determine if the end conditions have been reached. Game World Exploration can likewise be used if the game uses the Avatars' modes of perception to judge what has been found. The use of Damage (and by extension Eliminate) due to Combat or Traps is a very common way to make Avatars vulnerable and players' succeed linked to them, but Ability Losses (including Privileged Abilities), or losses of Score points or Tools are other possibilities. Although these introduce negative possibilities for the players, once these vulnerabilities have been established they allow for the goals of Evade and Stealth to be linked to the Avatars. In general, any type of Penalties that can be avoided through Avatar Movement leads to players having Evade goals. More specific goals that can be introduced in this way, especially when combined with Multiplayer Games and common Eliminate goals are King of the Hill and Last Man Standing. The death or Elimination of Avatars typically either signifies the end of the game (if Permadeath is used), Downtime before the next round begins or other types of Death Consequences, or the loss of one of the Lives available (and in the last case requires Spawning or the activation of a new Avatar). This makes the Survive goal an integral part of many games using Avatars.

Besides these two necessary conditions, the Avatars relation to its surroundings and other diegetic persons are fundamental in how they are perceived. The use of Traps, Environmental Effects, Inaccessible Areas, Obstacles, Diegetically Outstanding Features, and Safe Havens not only help define the Game Worlds but also the Avatars through how they affect them. Diegetically Tangible Game Items can serve many of these purposes while also having the functionality of various types of Game Items. That game elements in Game Worlds can help define Avatars becomes especially true if there are many types of playable Avatars or the Avatars are affected differently than Enemies and other Agents, e.g. through having different rules concerning Line of Sight. Reversely, if Avatars block Line of Sight or not when this pattern is used affects the Avatars relation to the Game World. Automated Responses, actions initiated by the Avatars themselves without player interference, are ways to inform players about possible actions (e.g. by the Avatars glancing at them or commenting them) or possible dangers (e.g. how Avatars in Assassin's Creed 2 and Prince of Persia make animations of regaining their balance after nearly falling of ledges when players have moved them to close).

Additional design possibilities exist to let players have closer attachment with their Avatars, with two common approaches being related to what ability or appearance they have. Initial Personalization let players choose or modify the Avatars before gameplay starts so they can suit the players' preferences regarding either gameplay or theme. Character Development, which can either be a continuation of the Initial Personalization or an independent feature, let players fine-tune their Avatars as gameplay progresses. The effort these two patterns require from players is in itself a potential cause for them to feel an attachment to them; the Value of Effort makes it more compelling to care about the outcome. Although most often related to Characters, Predetermined Story Structures and diegetic-related patterns such as Loyalty can be applied when Avatars exist.

While the pattern Characters handles abstract Attributes of diegetic individuals, it may be pointless to argue that both patterns exist in a game if there only exists a few Attributes and these are constantly presented to players. A typical example of this can be found in First-Person Shooters such as Battlefield 1942 or the Quake series where HUD Interfaces display Health values, Ammunition left, and active Weapon; here it is easier to consider these patterns (especially Health as being linked to Avatars rather than Characters. Equipment Slots can allow limited handling of Equipment without having to commit to the use of complete Inventory systems. In contrast, Battlefield 2 and Team Fortress 2 store additional information related to Equipment and gameplay performances which qualify them to make use of the Characters pattern. Likewise, Invulnerabilities and Vulnerabilities (including Achilles' Heels) that do not develop over gameplay (due to being either permanent or very temporary) can be viewed as belong to Avatars unless the Characters pattern is used for additional purposes in games.

Avatars can actually be used in game sessions where their players are not present or providing input. Mules are Algorithmic Agents that ensure that Avatars continue taking actions while players are away from the game for extended periods of time. Ghosts are the use of Avatars to provide players of racing games with representations of how previous players (including themselves) gamed. An example of this is the platform game Icy Tower, which makes use of Avatars as markers for the highest floor reached by other players, making them part of a High Score List presented inside the Game Worlds. Algorithmic Agents can take over avatars to provide some actions to make the Avatars diegetic wait while the players is not providing input, but can also be used to support Drop-In/Drop-Out gameplay or Game Pauses in Multiplayer Games.

Diegetic Aspects

Avatars is a diegetic pattern which is impossible to use without some form of Game Worlds. Given their importance in the overall gameplay, they do tend to have Diegetically Outstanding Features if they have any Privileged Abilities or Movement. Although Third-Person Views (or reflections) are necessary for players to be able to perceive their own Avatars in Single-Player Games, and may be necessary to support Maneuvering, they easily break Emotional Engrossment since players may have perceive their Avatars than the game presents them. Games with purely First-Person Views can have implied Avatars, often encouraged through showing what Tool or Weapon is active as if held by the Avatars, and are easily induced in Multiplayer Games since players can see the other players' Avatars. Depending on the diegetic theme, some abilities might be more or less believable as belonging to the Avatars (e.g. being able to kill enemies at a distance in a realistic game without any type of ranged Weapons) and having these may weaken the presence of the pattern.

The difference or similarity of both appearance and abilities between players' Avatars and Enemies can be used to magnify the diegetic difference in power. This is often done for Boss Monsters (e.g. the Super Mario series and the God of War series) but is some cases for all Enemies (e.g. in Shadow of the Colossus). By having a large difference in size and at the same time restricting the movement of the opponent, the game can provide Challenging Gameplay but not overwhelmingly so even the depiction claims this.

When Avatars' fate are linked to how well players complete the gameplay, this can provide Emotional Engrossment but this can also be done through supporting players in having sympathies towards the Avatars. This can be achieved diegetically through a design so that the Avatars have a appealing personality or appearance, have been mistreated, or have abilities players would like to have. However, Avatars do not usually have strongly developed personalities as this can prevent the players from interpreting what they want into the Avatar's actions. Further, if the Avatar can initiate actions on its own, e.g. in the form of Cutscenes, this can lessens the players' Freedom of Choice and may destroy an Illusion of Influence as well as their Emotional Engrossment directed towards other objects or players in the Game World.

Avatar Personalization is the ability to change Avatars' appearance, which although it does not direct affect gameplay can be important. While Avatars names are not part of their diegetic appearance, Naming can be seen as a variant of this personalization since it changes how the Avatars are presented to players. In games such as Tiger Woods PGA Tour and the third installment of the Fallout series, the Initial Personalization not only includes gameplay options but also purely cosmetic choices. By doing so, players have two different avenues to create Emotional Engrossment to the Avatars and the game in general already before gameplay begins. For Multiplayer Games, Handles presented Geospatial Game Widgets hovering above the Avatars can make each players' identity unique. Going further, differences in Avatars' appearances or Game State Indicators can be vital to express Asymmetric Abilities and Privileged Abilities in order to support players, both in finding Achilles' Heels in enemies and supporting team play, and Team Combos in particular, within Teams of Avatars. For games with Functional Roles these differences can easily be shown as changes in general appearance or clothing, while games with Vehicles or Equipment such as Armor, Cosmetic Game Items, Tools, and Weapons can simply integrate the presentation of these with the Avatars. In other cases, e.g. games with Power-Ups, Geospatial Game Widgets may be more appropriate instead, as for example is done for the showing that someone has the Quad Damage Power-Up in the Quake series.

In games with Hybrid Gameplay Spaces, Player-Avatar Proximity modify Avatars so they can not only interact with other Avatars (and other virtual gameplay elements) but also with players.

Interface Aspects

As a Focus Loci for players, Avatars is an and several of the patterns mentioned above, e.g. Avatar Personalization, Handles, and Geospatial Game Widgets concern how all players (not only the one controlling an avatar) can understand the game state related to the Avatars. In addition to these, Avatars may be designs so they can visually display Emotes; this allows them to display Emotional Attachment if used properly.

Consequences

Given that Avatars represent player agency in games and are inserted in the game when players enter games, they are examples of Game Element Insertion (having them present without players or their proxies controlling is possible but these version of Avatars should more correctly be called Horses). Avatars are one way of giving players' Focus Loci that maintains Diegetic Consistency since they are diegetic entities, and as such they typically provide Freedom of Choice and Illusion of Influence from specific points within Game Worlds. Since they are also tightly connected to the players' success or failure in the game, they are a natural point of Emotional Engrossment. When they are the diegetic representations of players' Characters, they also are an expression of player Ownership. Depending on the level of personality and goals described through the Characters, and how acceptable those goals are to the players, Avatars also encourage Roleplaying, but since the appearance of an Avatar and its' possible actions restrict what players can do, the more these things are explicitly defined the more they restrict what type of Roleplaying is diegetically consistent. Even if the game does not present goals Roleplaying can emerge if players choose their own Player Defined Goals.

Representing the main protagonists in many cases, Agents are often vital for Thematic Consistency although they are also bounded by the specifics of the theme. Letting players engage in Naming their Avatars risks breaking this consistency but does provide a minimal level of Avatar Personalization.

As long as players are trying to achieve some form of goal while playing, Avatars are human-controlled Agents. When encountered in Multiplayer Games where players have goals to Eliminate each other, they are also Enemies. As Avatars are located within Game Worlds, Spatial Engrossment is a common effect of having the pattern. Games have Detective Structures when players' perception of the Game World is limited to one Avatar and only what that Avatar can perceive.

Games with Avatars can provide a Possibility of Anonymity through having only allowing Mediated Gameplay through them or other restricted Communication Channels.

Avatars that have Achilles' Heels or Vulnerabilities give rise to goals concerning to Conceal these or Evade attempts to exploit them.

Relations

Can Instantiate

Agents, Capture, Combat, Detective Structures, Dexterity-Based Actions, Diegetic Consistency, Eliminate, Emotional Engrossment, Enemies, Game World Exploration, Focus Loci, Fog of War, Game Element Insertion, Illusion of Influence, Loyalty, Ownership, Parallel Lives, Permadeath, Predetermined Story Structures, Roleplaying, Spatial Engrossment, Spawn Points, Survive, Thematic Consistency

with Achilles' Heels or Vulnerabilities

Conceal, Evade

with Diegetically Tangible Game Items

Obstacles

with Emotes

Emotional Attachment

with Mediated Gameplay

Possibility of Anonymity

with Movement and Penalties

Evade

with Naming

Avatar Personalization

Can Modulate

Line of Sight, Game Worlds

Can Be Instantiated By

Ghosts

Can Be Modulated By

Ability Losses, Achilles' Heels, Algorithmic Agents, Armor, Attributes, Automated Responses, Avatar Personalization, Characters, Character Development, Companions, Controllers, Cosmetic Game Items, Cutscenes, Damage, Death Consequences, Diegetically Tangible Game Items, Diegetically Outstanding Features, Eliminate, Emotes, Environmental Effects, Equipment, Equipment Slots, First-Person Views, Freedom of Choice, Game State Indicators, God Fingers, Geospatial Game Widgets, Handles, Health, Improved Abilities, Initial Personalization, Installations, Invulnerabilities, Limited Set of Actions, Line of Sight, Lives, Location-Fixed Abilities, Movement, Mules, Naming, New Abilities, Obstacles, Player-Avatar Proximity, Player/Character Skill Composites, Privileged Abilities, Privileged Movement, Safe Havens, Skills, Spawning, Stealing, Teams, Thematic Consistency, Third-Person Views, Tools, Trading, Transferable Items, Vehicles, Vulnerabilities, Weapons, Zone of Control

Possible Closure Effects

-

Potentially Conflicting With

God Views, Units

History

A rewrite of a pattern that was part of the original collection in the book Patterns in Game Design[3].

References

  1. Definition of Avatar at Wikipedia.
  2. Wikipedia entry on Loas, describing the concept of possession in Voodoo.
  3. Björk, S. & Holopainen, J. (2004) Patterns in Game Design. Charles River Media. ISBN1-58450-354-8.

Acknowledgments

Karl Bergström, Aki Järvinen, Johan Peitz, Karl-Petter Åkesson