Thesis Documentation

Gameplay, Graphics & Character Attachment

Kaitlyn Harris

Interplaying Emotions

Index

Abstract & Definitions 2Background 3Research 4 Visual Research 5 Project Beginnings 6 Pixels in Particular 8 Creating Ann 9 Gameplay vs. Graphics 10 Character Attachment 11Gameplay Spectrum 12Style Guide Observation Mode 13 Guidance Mode 14 Symbiosis Mode 15Applied Design Guidelines 16Playground 18Conclusion 19Bibliography 20

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Abstract

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VIDEO GAMES are a unique blend of interactivity and visuals. When a player interacts with a character in a game, gameplay and graphics work together to create a unique experience and character attachment within the player. I believe that different styles of gameplay can be grouped into categories based on how a player interacts with a character. Nuances in graphic styles within the gameplay categories can cause varying degrees of character attachment. It is important to explore these different combinations in order to better understand how the way that games are made can effect player’s emotions.

In order to explore the relationship between graphics and gameplay, I have created a Style Guide that outlines the gameplay spectrum I have created as well as a design supplement that explains how to design games with the gameplay spectrum in mind. There is also an interactive demoPlayground where the user can explore the different categories outlined in the Guide.

The Style Guide and Playground represent only a portion of what is possible in games, but it’s a way of exploring the potential of this unique art form to leave its mark on people.

DEFINITIONS § Character Attachment - a psychological merging of a player’s and character’s minds

§ Player - an individual who plays video games and interacts with their characters

§ Character - a virtual avatar used for interaction in video games

§ Interaction - the ability for a player to influence a game’s actions or events

§ Gameplay- the way coded controls effect a game or character’s actions or events

Background

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AS AN ARTIST I have always been interested in the unique visuals that video games have to offer. I got into independently developed games a few years ago and fell in love with the graphic diversity they had to offer me. My first meaningful experience with an indie game came fromplaying Superbrothers: Sword & Sworcery. The graphics in that game are completely pixelated, but they were done so in such a way that I found extremely compelling. My interest in this game led me to explore video game graphics and the effect they have on their players in terms of an emotional connection with the characters present in the game.

Through initial research and personal experience, I began to realize that the graphics were simply the cherry on top of a game’s interactive potential. What makes video games unique, of course, is their ability to be played. Allowing a player to have some sort of input into a character’s actions is what has the most influence over our experience with characters in video games. A video game’s graphics simply provide a tangible way for us to better proces and experience this interaction.

This project has since evolved to focus more on the different ways we can interact with charactersin a video game while also demonstrating thedifference visual changes can make.

Ann, your interactive companion in the Playground portion of this project, in the iconic Sworcery style.

Research

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IN THE BEGINNING stages of this project my research focused on how graphic elements in a video game can effect a player’s emotional attachment to the game’s characters. I interviewed developers and designers with this graphic approach in mind and they all seemed to have similar responses to my questions. They often stated that the character’s design and a game’s mechanics were developed in tandem and worked together to create a player’s experience.

Based on these responses, I should have noted sooner the importance of interactivity andgameplay when considering character attachment. Despite this, the visual research I did has helped me in the process of creating the graphics for this project. Graphics, of course, are how a player visually experiences a game and are very important to the game as a whole. However, through my research I’ve noticed that having a unique visual style does not necessarily dictate levels ofcharacter attachment, but rather serves to enhance them.

“It's never one thing then another. Everythingis developed in parallel. We have ideas for the mechanics and visuals, and how they tie together. We implement, test, and iterate on both, for months.”- Ken Wong, artist for Monument Valley, regarding the visual development and gameplay mechanics of Princess Ida (right)

Visual Research

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MY INTEREST in exploring indie game visuals came from my own personal experience with games that I had played. As an artist interested in game design, I was impressed by and drawn to the unique visual styles of the games I had played. I took a very direct approach in assuming that these visuals played a key role in my emotional attachment to the game and its characters. Before shifting my focus to gameplay as the core facilitator of character attachment, I did some extensive research into the effect of a game’s graphics on character attachment.

ARTISTRY & EMOTIONS I drew inspiration from a few artistic theories on character design for this project. For instance, I referenced Scott McCloud’s theories about facial complexity and its impact on our emotionalconnections to characters. A majority of my inspiration comes from Chris Solarski, an artist and designer interested in studying the way traditional art history practices can be applied to video game design. His book, Drawing Basics & Video Game Art puts his ideas into writing, and I found them to be quite useful in my initial research. He covers the fundamentals (lines, shapes, colors, etc.) and discusses how they apply to game and character design. For example, he breaks down basic shapes into their connotative emotions: the circle is friendly and safe, the square is strong and stable, the triangle is sharp and aggressive. A character’s proportions usually suggest how childish or heroic they are. Simplistic facial expressions allow for players to project themselves and their feelings onto a character, similar to McCloud’s writings.

While these meanings don’t necessarily translate the exact same way every time to different people, he notes that basic shape psychology calls form these emotions. He emphasizes that simple elements are able to come together to create more complex emotions.

Project Beginnings

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ORIGINALLY, I was going to use Solarski’s principles as a sort of exploration of character design. My focus was placed more on how different characters could be presented and designed based on his principles. I had planned to presenting the player with a series of characters that could be played with in a variety of visual styles, ranging from 8bit pixels to simple 3D models. The player would have been able to choose from a selection of original characters and then be able to choose what style they interacted with that character in.

While this would have been an interesting study in character design and its effect on a player’semotions, it seemed as though it was already done in Solarski’s research. Additionally, I seemed to be missing a core component to the depth of my own research. It seemed arbitrary to present the player with these different options with no real basis of comparison between characters.

It was then that I shifted my attention and research on developing the gameplay spectrum that is outlined in the Style Guide. Standard gameplay guidelines would be the common thread that tied the visual styles together. However, I still used my initial research to develop my visual aesthetic in the interactive portion of my project. The qualities I found in pixel art matched the calm andexplorative nature of my project and so I used pixels to create the visuals for the final product.

Figure 1Character selection screen from early stages of

project development.

Figure 2Individual character style selection screen.

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Figure 1

Figure 2

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Pixels in Particular

PIXEL ART in games has had a long history that dates back to the first games that used pixels and limited color palettes as a response to technological restraints. As graphic capabilities got better, the need to use pixel art was not as strong. So why is pixel art used so frequently in indie game design today? What makes it so appealing?

Pixels are a product of technological necessity, but also nostalgia. A lot of indie developers today grew up playing older systems with those limited graphics capabilities. Now, in the digital age, we have the ability to make pixels as crisp and clear as ever. And so, there seems to be a revisiting of the pixel aesthetic as an opportunity to explore artistic possibilities and challenges.

While I myself have grown up playing games with more cutting edge and realistic graphics, I find the raw allure of the pixel artistically enticing. And so, for my project I am exploring the expressive capabilities of the pixel. Pixels are the most basic building block of digital graphics and also echo the strong and stable emotions associated with the square. It is for these reasons that I want to use pixel art to explore the emotions elicited by gameplay to create character attachment.

“There seems to be something more to the pixel... An alluring rawness of freedom in its simplicity.”- Simon Cottee, Pixels: A Pixel Art Documentary, 2010

Feat. right: Superbrothers: Sword & Sworcery

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Creating Ann

YOUR COMPANION in the interactive demo Playground area of the project application is Ann, originally referred to by me as “flower girl.” This character was originally conceived as a tribute to my mother for an unrelated idea. Her design was meant to be simplistic and to create an image of my mother’s childhood spirit. When considering a character to use for this project I thought that Ann would be a good fit.

A combination of Solarski’s drawing basics theories and Scott McCloud’s emotional projection theories were used when designing Ann. Her design is simplistic enough to facilitate at least a basic level of character attachment. When creating her stylistic variations I wanted her to be progressively more expressive while still allowing for emotional projection. While Ann is her own character with a personal connection and inspiration, she does not have enough distinguishing features to establish her own emotions and intentions separate from the player’s.

While interacting in the Playground, the player has the ability to alternate between three differentstylizations of Ann. Each style has its own graphic nuances and reactions to player input.

Early concept drawing of Ann beside her final pixelated variations seen in the Playground area.

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Gameplay vs. Graphics

“WITHOUT INPUT, graphics are not interactive... Just by holding the controller you have a more visceral experience.” Solarski mentioned this in my interview with him and I believe this statement is what caused the shift in my research. What makes games unique is their capacity for interaction. Graphics are important, but it seems that unique visual styles do not have as much of an impact on character attachment as I had originally assumed.

Solarski also mentioned that stylistic differences between games often don’t effect the basicstatements communicated by shapes and other elements. The core statement remains the same but the style is a superficial layer, like the cherry on top of a player’s experience.

While it is crucial to recognize the importance of shapes and other elements of composition used in game design, one must also realize the vital role that input plays in communicating emotions. Through research, I have created my own gameplay spectrum that hopefully further develops the language we have to talk about character attachment.

“The shape spectrum of emotions should NOT be used as a design formula -- but as a conceptual tool to assess artwork and identify problem areas.”- Chris Solarski, Drawing Basics & Video Game Art

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Character Attachment

THE STUDY OF character attachment in video games is not an entirely new one. There are several studies used in my research that approach and measure character attachment in different ways. My approach to character attachment is inspired by research studies done by Dr. Nicholas Bowman, Dr. Jamie Banks, and Dr. Melissa Lewis.

Each of these researchers start with the basic understanding that character attachment relates to the psychological merging of a player and avatar. They also extend their research to cover topics such as emotional intimacy versus agency, game enjoyment versus appreciation, and the various types of character attachment. Are we in control of a game’s character or do we feel responsible for its fate? Do we enjoy a game’s mechanics more or appreciate a game’s narrative more through character experience? Questions like these and more are addressed in their research. One study even establishes a metric system for predicting levels of character attachment based on theranking of various game features.

None of these studies, however, seem to establish a solid connection between attachment and different types of gameplay. One study by Bowman simply asks participants to think of any game character and rate their level of attachment based on their experience. Another study by Lewis only looks specifically at role-playing games. There doesn’t seem to be an established spectrum or way of breaking down games into different gameplay categories.

Through my research and experience I have created a spectrum of gameplay that categorizes a player’s level of interactive capabilities with a character. With this spectrum, I hope to establish a connection between character attachment and gameplay. While certain genres are often geared more toward a particular type of gameplay, I hope that this spectrum allows for us to talk about character attachment across all genres and levels of intensity.

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Gameplay Spectrum

THE STYLE GUIDE outlines six total modes (3 modes with 2 submodes each) ofgameplay developed for this project through research and experience. Each of the six unique modes within the gameplay spectrum represents a different style of gameplay that determines how a player interacts with a character within a game. The modes developed for this project are only anobservation of various styles of gameplay seen in games and are by no means the boundaries for all games. Additionally, modes do not have to be mutually exclusive, and more than one mode can be used within the same game. The Style Guide and its design supplement serve to break down and explain how each of these modes function regarding player-character interaction.

The following pages will provide a written outline of the six categories as well as examples of games that could fit within each. An extended version of the Guide is written in the project’scompanion application.

The diagram below illustrates the contents and order of the gameplay spectrum.

Least amount of player control &

lowest CA potential

Most amount of player control & highest CA potential

Observation Guidance Symbiosis

Static Mobile Perpetual FiniteButtonBased

ActionBased

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Style Guide

OBSERVATION

Observation mode has the least amount of interactive capabilities with a character. A player’s actions within the game have little to no influence on character actions. Most non-playablecharacters (NPCs) would fall into this category. Emotional attachment to characters is possible but it is on a very shallow or superficial level.

Static Observation

§ Character “idles” in place and has no independent actions to complete § Rarely acknowledges or reacts to player input, if at all § May provide textual or visual feedback regarding game elements not related to character § Examples: Two Dots, Green the Planet, Feed’em Burger, NPCs

Mobile Observation § Character performs independent actions without input from player § May acknowledge player input, but reactions are not directly related to input § Examples: Tiny Tower, Happy Street, Tap Titans, Disco Zoo, Clash of Clans, NPCs

Style Notes

§ Characters presented in this mode are typically graphic enhancements to the main functionality of the game (micro-management, puzzle, etc.) and not designed for emotional attachment § Graphic complexity can vary from game to game

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GUIDANCE

Guidance mode is a step up from observation mode in terms of character interactivity. A player has limited control over a character’s actions. Character interaction in this mode usually has a limited range of actions that can be performed by the player. This mode provides a higher level ofemotional attachment because the player has responsibility and control over the character.

Perpetual Guidance

§ Character continuously or repeatedly performs an action until given other input from player § Lower attachment because player is only partially in control of character actions § Game objective to “survive” as long as possible by avoiding obstacles, etc. § Examples: Jetpack Joyride, Temple Run, Mega Dead Pixel, Miika

Finite Guidance § Character performs single action based on player input § Relies solely on player input to navigate through an environment § Game objectives to navigate environment and/or narrative § Examples: Superbrothers: Sword & Sworcery, Monument Valley, Limbo

Style Notes

§ Character designs relatively simplistic to indicate a limited range of motion § Game objectives visible on screen (collectible items, new areas, etc.)

Style Guide

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SYMBIOSIS

Symbiosis mode has the highest level of character interactivity. A player has direct control over all character actions. Characters in this mode typically serve as an extension of the player and have a variety of actions to perform. This mode provides the highest possibility of strong characterattachment because the player is either directly assuming the role of the character or is completely responsible for them.

Button Based Symbiosis

§ Character performs actions directly from player input based on game interface § Player interaction with game’s UI directly correlates to character action § Buttons provide thin layer of emotional separation from character § Examples: Revolution 60, Arcane Soul, Mage Gauntlet

Action Based Symbiosis § Character performs actions directly from player input based on controls § Player has direct control over actions through coded gameplay, not UI § Examples: Reaper: Tale of a Pale Swordsman, The Deer God, Lili

Style Notes

§ Ability to perform complex actions allow for more complex character designs § Simplified designs allow for player projection onto character § Games may utilize interfaces to display information but they do not always effect character actions

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THERE ARE MANY WAYS that games can be designed using the gameplay spectrum as a guide. However, there are particular examples that were used when compiling research for this project. There are no real hard set rules for game design as a whole, however it is important to establish some guidelines when designing a game based off the gameplay spectrum whileattempting to create some level of character attachment.

As part of this project I developed a series of applied game design guidelines that serve as a design supplement to the gameplay spectrum and Style Guide. Outlined in the document are notes for different ways that levels and games can be designed based on their relationship to the gameplay spectrum. Like the other elements of this project, this design document is a base that should be used for reference.

Each of the six modes of the spectrum will have a visual mock up as well as design notes on how to create a level or game based off that mode.

Applied Design Guidelines

Figure 3A sample page from the design

guideline supplement.

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Symbiosis Mode Design

C.

A. B.

D.

Button-Based Symbiosis:Interaction with a character is the main focus of the game. A player experiences the main content of a game through character actions.

A. Navigational button elements. These move the character through the game.

B. Action button elements. These initiate character actions such as attacking or dodging.

C. A Button-Based Symbiosischaracter. This character has access to a wide range of actions based on button input.

D. Represents a potential hazard, in this case an enemy character.

Figure 3

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The Playground

GAMEPLAY AND INTERACTIVITY are the main elements that facilitatecharacter attachment. The Playground serves as an interactive area for users to explore character attachment based on the gameplay spectrum outlined in the Style Guide. In the Playground, users can interact with Ann in 3 demo stages corresponding to the 3 main gameplay modes. Users will be able to choose what mode they interact in as well as alternate between different visual styles in real time. The mode will determine a user’s interactive capabilities with Ann. Through this format, I hope to emphasize the role of gameplay in character attachment and demonstrate the superficial enhancement graphics provide that attachment.

A sample screen from the Playground,in Observation mode.Users can cycle through the different visual styles using the tabs on the right. Signs within each level will highlight features of the gameplay, or, in this case, the lack thereof.

Conclusion

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THIS PROJECT has been very exciting for me to work on, both from an artistic and game design standpoint. I feel that I was able to combine elements of existing theories and research and create something new. With further development, I think the gameplay spectrum has the potential to influence how we talk about game design in the future.

FURTHER QUESTIONS

§ Could the gameplay spectrum help predict levels of attachment in the same way that existing character attachment does? § Is there an expectation for certain types of gameplay when a player is presented with particular visual styles? § Are there more categories that could be incorporated into the gameplay spectrum? § Can gameplay styles be geared toward eliciting certain emotions? § How can this be applied to focus game experiences around character interaction? § Can this research be applied to virtual reality video games?

These questions, and others, can certainly be asked as a response to my thesis and can hopefully be answered by continuing the research started with this project. All of the elements presented in this project - gameplay spectrum, Style Guide, and Playground - are presented from my limitedexperience and have a lot of potential to be expanded upon.

VIDEO GAMES are an ever changing art form. Their emotional impact on us is complex and requires continuous study. I hope to use the concepts developed as a result of this project to enhance our understanding of this exciting medium.

Bibliography

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WORKS REFERENCED

Banks, J., & Bowman, Close intimate playthings? Understanding player-avatar relationships as a function of attachment, agency, and intimacy. Selected Papers of Internet Research, 3. 2013

Bowman, N. D., Rogers, R., Sherrick, B. I., Woolley, J., & Chung, M-Y. “In control or in their shoes”: How character attachment differentially influences video game enjoyment and appreciation. Paper presented at the Broadcast Education Association Research Symposium, Media and the Social Life. Apr. 2013.

Frome, Jonathan. "Eight Ways Videogames Generate Emotion." Conference of the Digital Games Research Association. Tokyo, Japan. Sep 27, 2007.

Lewis, M. L., Weber, R., & Bowman, “They may be pixels, but they’re MY Pixels: Developing a metric of character attachment in role-playing video games”. CyberPsychology and Behavior, 11(4). 515-518. 2008.

McCloud, Scott. Understanding Comics:. New York: HarperPerennial, 1994. Print.

PIXEL - A Pixel Art Documentary. Dir. Simon Cottee. YouTube.com. N.p., 21 May 2010. Web. 11 Apr. 2014.

Preston, Alex. E-mail interview. 4 Nov. 2014.

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Solarski, Chris. Drawing Basics and Video Game Art: Classic to Cutting-Edge Art Techniques for Winning Game Design. N.p.: Watson Guptill, 2012. Print.

Solarski, Chris. Online interview. 20 Nov. 2014.

Wong, Ken. E-mail interview. 13 Nov. 2014.

Interplaying Emotions: Gameplay, Graphics & Character Attachmentby Kaitlyn Harris

was realized for:The Pennsylvania State University

Interdisciplinary Digital Studio (IDS)School of Visual Arts (SoVA)

Fall 2014 AA 410 Professor: Carlos RosasSpring 2015 AA 411 Professor: Eduardo Navas