the final hurdle
In her paper "The Puppet Master Problem: Design for Real-World, Mission Based Gaming", Jane McGonigal suggests that "the success of the puppet master challenges our assumptions about the kinds of action and interaction that qualify as gameplay, reveal dramatic interpretation to be a viable game mechanic, and demonstrate the value of a dramaturgical perspective for pervasive game design." Discuss how these ideas could be applied to designing elements of narrative and gameplay in interactive media systems.
in games like "i love bees", the inquisitive and exploratory nature of the players are used for "dramatic submission" and creating a sense of immersion in reality. these power plays have created a new realm to games and play, as they bestow much control to the puppet master as opposed to the optionality endowed upon and valued by players in conventional interactive media. this control that the puppet master possess is almost absolute, with the exception occuring when players do not interpret the commands as intended by the puppet master. this idea of control is however not new to interactive media systems. mystery solving and mission based adventure games are examples. these adventure games often require the player to solve puzzles and uncover mysteries, and consequently unveil that one unique path towards the ending of the game. in the process of playing the game, clue after clue motivates the player and he pieces up these bits of narrative to help him complete the adventure. in these games, the ultimate control lies in the programmer as the game can only be completed if the player follows that unique path stipulated by the programmer. the difference between these games and power plays are that the commands issued by the game master (programmer) is much more subtle than that for power plays. another difference is that the possibility of real-time feedback is possible in power plays but not so often in adventure games. additionally, adventure games, whether computer-based or as choose-your-own-adventure books, construct narratives in virtual realities. power plays attempt to remove this virtuality by placing its players into the real everyday-life environment. this need for dramaturgical realism masks the need for interactivity among the players.
such ideas can probably be utilized in constructing immersive narratives in games. the difference between power plays like "i love bees" and conventional rpg games is the environment of the gameplay. having an environment that the player can identify with constructs that realism crave for, and this makes creates the drama in realistic context more immersive. thus is the idea of a "gaming cubicle". the gaming cubicle endeavours to simulate environments around the player, and the player with his 3-D glasses can "physically" walk through different places in the game. another way to incorporate dramatic interpretation is to exploit the player's existing environment of the home or office or the internet. these games may include elements that need the user to surf the net for information or to observe a common phenonmenon in his home to advance in the game. these attempts to realize the gaming environment may enhance the immersiveness of gameplay. another idea used by power plays is the overt submission from the gamers. this may be achieved through daring the player, like to enter a haunted house and perform certain tasks in there. to the player, such submission to the commands of the game master is required for the completion of the game and he will perform the mission or risk being removed from the game. thus, game design can probably include elements that provoke and challenge people to go the extreme or do things they normally wouldn't do. and the need for people to be part of a dramaturgical experience will motivate them. finally, psychology has shown that humans respond to rewards (e.g. satisfying one's curiosity or intellect) more effectively than to the fear of punishment (e.g. being disqualified in a game). thus, there must be substantial rewards to encourage players to complete the game. this will result in a better immersive gameplay and game masters will also have better control of the game when players are more focused on the rewards.
in games like "i love bees", the inquisitive and exploratory nature of the players are used for "dramatic submission" and creating a sense of immersion in reality. these power plays have created a new realm to games and play, as they bestow much control to the puppet master as opposed to the optionality endowed upon and valued by players in conventional interactive media. this control that the puppet master possess is almost absolute, with the exception occuring when players do not interpret the commands as intended by the puppet master. this idea of control is however not new to interactive media systems. mystery solving and mission based adventure games are examples. these adventure games often require the player to solve puzzles and uncover mysteries, and consequently unveil that one unique path towards the ending of the game. in the process of playing the game, clue after clue motivates the player and he pieces up these bits of narrative to help him complete the adventure. in these games, the ultimate control lies in the programmer as the game can only be completed if the player follows that unique path stipulated by the programmer. the difference between these games and power plays are that the commands issued by the game master (programmer) is much more subtle than that for power plays. another difference is that the possibility of real-time feedback is possible in power plays but not so often in adventure games. additionally, adventure games, whether computer-based or as choose-your-own-adventure books, construct narratives in virtual realities. power plays attempt to remove this virtuality by placing its players into the real everyday-life environment. this need for dramaturgical realism masks the need for interactivity among the players.
such ideas can probably be utilized in constructing immersive narratives in games. the difference between power plays like "i love bees" and conventional rpg games is the environment of the gameplay. having an environment that the player can identify with constructs that realism crave for, and this makes creates the drama in realistic context more immersive. thus is the idea of a "gaming cubicle". the gaming cubicle endeavours to simulate environments around the player, and the player with his 3-D glasses can "physically" walk through different places in the game. another way to incorporate dramatic interpretation is to exploit the player's existing environment of the home or office or the internet. these games may include elements that need the user to surf the net for information or to observe a common phenonmenon in his home to advance in the game. these attempts to realize the gaming environment may enhance the immersiveness of gameplay. another idea used by power plays is the overt submission from the gamers. this may be achieved through daring the player, like to enter a haunted house and perform certain tasks in there. to the player, such submission to the commands of the game master is required for the completion of the game and he will perform the mission or risk being removed from the game. thus, game design can probably include elements that provoke and challenge people to go the extreme or do things they normally wouldn't do. and the need for people to be part of a dramaturgical experience will motivate them. finally, psychology has shown that humans respond to rewards (e.g. satisfying one's curiosity or intellect) more effectively than to the fear of punishment (e.g. being disqualified in a game). thus, there must be substantial rewards to encourage players to complete the game. this will result in a better immersive gameplay and game masters will also have better control of the game when players are more focused on the rewards.
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