10. Interest Curves for Videogames (and long experiences)
Overall game
Starting from an
introduction to
capture the
interest, then
levels or stages
that grow in
interest to
culminate in a
final climax (e.g.
final boss)
Each Level
Each new level
introduces an
aesthetic or a
mechanic that is
presented in a
series of
challenges
following the
same pattern, to
reach a “local
climax” (e.g. level
boss, story
revelation)
Each challenge
Even single
challenges can
be designed with
interest curves in
mind, with an
introduction and
increasing
difficulty
(sometimes they
end up in Quick
Time Events, or
QTE)
11. Lens of the Interest Curve
Is there a climax?
Ask testers to draw a Curve. Is it similar to the one envisioned?
Draw the Interest Curve of the Experience, what’s its shape?
Does it have a hook?
Does it have a gradually increasing interest with rests?
What could be changed to fix the Curve?
Is there a fractal in the Curve? Is it needed?
14. Factor 1: Inherent Interest
Some things are
more inherently
interesting than
others.
Risk is more
interesting than
safety, unusual is
more interesting
than ordinary.
Garry’s Mod - 2004 Valve Corporation
15. Lens of the Inherent Interest
What higher instincts does it appeal to?
What aspects of the game will capture immediately the
interest of players?
Does it let the players experience something they have never
experienced before?
What base instincts does it appeal to?
Do dramatic change and dramatic change anticipation happen
in it?
16. Factor 2: Poetry of Presentation
The more beautiful
the artistry used in
presenting the
experience the more
interesting and
compelling the
guests will find it.
Persona 4: The Golden - 2012 Atlus
17. The Lens of Beauty
Some things are not beautiful per-se, but can be if
mixed together. How can elements of my game be
composed in a way that it is poetic and beautiful?
What does beauty means in the context of my game?
What elements make up my game? How can they be
more beautiful?
18. Factor 3: Projection
The more an
experience happen
to someone close to
us the more it is
interesting.
Our empathy allows
us to put in the place
of others (even
virtual avatars) and
perceive their
experience as ours.
Final Fantasy XII - 2006 Square Enix
19. Lens of Projection
Do players get to be a character they could imagine
themselves to be?
Is there an activity in my game that once a player starts doing,
it is hard to stop?
What is there in my game that players can relate to?
What is there in my game that capture the players’
imagination?
Are there places in my game that players have always wanted
to visit?
Are there characters in my game that players would be
interested to meet?
Do the players get to do things that they would like to do in
real life but cannot?
20. INTEREST FACTOR EXAMPLES
A couple examples to understand Interest Factors
III
Vagrant Story - 2000 Squaresoft
21. High Inherent Interest: fire performing
Fire performing is an
example of High
Inherent Interest event.
What they do is very
risky and it is very hard
not to see what’s
happening when they
perform.
However, the poetry is
limited, as it is the
projection.
http://en.wikipedia.org/wiki/File:AnnanStaff2.jpg
22. High Poetry: Violin Concert
While the events are
not interesting (a bow
rubbed against strings)
and we do not project
on the players, if the
music is beautiful we
are strongly interested
in the performance.
http://commons.wikimedia.org/wiki/File:Yuri%27s_Night_Violinist_GSFC_2010_17.jpg
23. High Projection: Tetris
Tetris is a game of
blocks constantly falling,
leaving little space to
inherent interest and
poetry.
However success or
failure is entirely on the
shoulders of the players,
making the projection
very intense.
Tetris - 1984 Aleksej Patinov