Newsgroup: it.hobby.giochi.gdr.dnd
Titolo: [link] Suscitare emozioni nel gioco

Leggetevelo, puo' essere di aiuto a qualunque master...
34 Ways to Put Emotions Into Games
http://www.gamasutra.com/gdc2003/features/20030308/kane_emotion_01.htm
    	Paolo

 
http://www.gamasutra.com/gdc2003/features/20030308/kane_emotion_01.htm
Sembra interessante, ma non fanno entrare nel sito e vogliono che ti iscrivi
al loro database... Poichè non ho voglia di farlo per ricevere poi
l'ennesima montagna di spam, non potresti incollare l'articolo in un post ?
:-)
ciao
Satana

 Satana
sottoscrivo (e non mi iscrivo :)

 un post ? 
Ok, posto.
### Disclaimer ###
Staroba non e' scritta da me ma copiata da Gamasutra.
L'autore e' in fondo
ZAU!
    	Paolo
At "34 Ways to Put Emotions Into Games," one of the closing sessions of 
GDC 2003, screenwriter and producer David Freeman discussed the key role 
that emotion plays in any entertainment experience, interactive or 
otherwise. At the heart of his talk was an explanation of the thirty-
four-pronged classification scheme that he uses to identify the various 
techniques for endowing a game with emotion - what he terms 
"Emotioneering."
Freeman, who comes to the game industry with a film and television 
background, began by addressing why we would want to put emotions into 
games in the first place. Once upon a time, he says, graphics alone were 
enough to make a great game, but players are becoming increasingly 
dissatisfied with experiences that lack in emotional breadth and depth. 
According to Freeman, this is why games (in spite of their undeniable 
successes) have yet to achieve the same widespread market penetration as 
movies or television - because the emotional complexity of gaming is not 
up to the standard set by more conventional entertainment media.
Games can be emotionally complex, though; it's almost a tradition of 
emotionally simplicity that has held gaming back from upping the 
emotionally stakes and possible reaching an even wider audience. He 
emphasized several times during his talk that he sees the potential for 
very great things coming out of the gaming industry, and that his 
relatively critical take on the emotional development of current games is 
only an indication of what he feels the industry is capable of achieving.
The key, says Freeman, is to recognize that emotional power is not simply 
a matter of writing good dialogue, but comes from integrating emotional 
content throughout the structure of a game. (Or a movie - he made an 
extensive example of The Two Towers, demonstrating numerous ways that the 
both the story and the structure of Middle Earth are heavily imbued with 
emotion.)
Emotioneering involves what he phrased "the artful application of exact 
techniques," and said that being aware of these techniques early in the 
development process would enable writers, producers, and game designers 
alike to inveigh their games with the emotional complexity that is 
currently missing in the industry. This, he said, will be what creates 
the truly powerful interactive experiences of the coming years.
The 34 Techniques
Freeman says he has compiled over a thousand individual techniques for 
Emotioneering, but has sorted these into roughly thirty-four general 
categories. He fleshed many of these out with detailed examples, and 
provided an outline of the rest:
Techniques Relating to Non-Player Characters
1. NPC Interesting Techniques. These are techniques which make (major) 
NPCs dimensional and fresh, and thus interesting. The key here is to give 
each major NPC between three and five distinguishing inner traits which 
define the ways in which they see, speak, think, or act.
2. NPC Deepening Techniques. These are techniques that give major NPCs 
emotional depth and complexity. Many of Freeman's techniques are divided 
along this Interesting/Deepening dichotomy - a split that Freeman 
basically equated to "breadth vs. depth." Breadth comes from having a 
diversity of traits; depth comes from the degree to which those traits 
are emotionally penetrating. Examples for this category included deep 
regret, hidden secrets, and inner wisdom.
3. Dialogue Interesting Techniques. Techniques which make single lines of 
dialogue by minor NPCs interesting. Freeman noted that most single-line 
characters currently use what he calls "robospeak" - dialogue conveying 
no noticeable traits. Even with only one line of dialogue, characters can 
and should convey a variety of inner traits.
4. Dialogue Deepening Techniques. Techniques which make single lines of 
dialogue by minor NPCs convey a sense that the NPC has emotional depth. 
Similar to technique #3, but dealing with depth rather than 
interestingness.
5. Group Interesting Techniques. Techniques which make groups - groups as 
small as a platoon or as large as a tribe, race, or culture - fascinating 
and intriguing to the player. Like characters, large groups should have a 
number of distinguish traits that make them recognizable. Klingons, for 
example, love battle, find importance in honor, exaggerate their war 
stories, are loyal to race and clan, and so on.
6. Group Interesting Techniques. Techniques which make groups embody a 
feeling of emotional depth. Examples might be cultural wisdom or general 
aesthetic appreciation.
7. NPC to NPC Chemistry Techniques. Techniques which, with very little 
reliance on dialogue, make it feel like two NPCs have "chemistry" - that 
is, that they belong together as friends or lovers. For instance, two 
characters might think the same way, get into little spats, or talk about 
each other fondly when the other isn't around.
8. NPC to NPC Relationship Deepening Techniques. These techniques make it 
feel like two NPCs have a rich and complex relationship. e.g., giving 
characters several layers of (possibly contradictory) feeling toward one 
another.
9. NPC Character Arc Techniques. Techniques which give an NPC a character 
arc. (Freeman defines a character arc as: "…the rocky path of growth 
undergone by a character, usually unwillingly, during which the character 
wrestles with and eventually overcomes some or all of a serious emotional 
fear, limitation, block, or wound." He pointed out that the key 
difference between the original Star Wars and The Phantom Menace is that 
in the original, every major character had an arc - whereas in Episode 
One, the only character with an arc was Jar Jar Binks.
10. NPC Rooting Interest Techniques. These are techniques which make us 
"root for," or identify with, a given character. Examples: NPCs that find 
themselves in danger, that perform acts of self-sacrifice, or that are 
members of the player's own group, team, or party.
Techniques Relating to the Player's Character
11. Player Toward NPC Chemistry Techniques. These make a player feel 
close to an NPC, either romantically or non-romantically. Might occur 
when an NPC admires or seems to naturally identify with the player's 
character.
12. NPC Toward Player Relationship Deepening Techniques. Techniques which 
make it feel as if major NPCs have an emotionally complex relationship 
with the player. As with NPC to NPC, multiple layers of feeling.
13. Player Toward NPC Relationship Deepening Techniques. Techniques which 
give the player emotionally complex relationships with major NPCs. 
(Example: You're jealous of your friend but you also admire him.)
14. Group Bonding Techniques. Ways to make a group feel bonded (and to 
make the player feel part of that group). Freeman's example was a platoon 
that shares a secret handshake, which you're not let in on until a little 
ways into the game.
Plot and Story Techniques
15. Emotionally Complex Moments and Situations. Ways to put the player in 
the middle of situations that are emotionally complex. (Example: you've 
created an outlawed robot killing machine, knowing you may have to fight 
your own creation later in the game.)
16. Plot Interesting Techniques. Ways of making game plots interesting, 
taking into account the many different kinds of story structures (linear, 
nonlinear, and multi-path) found in games. These are your common plot 
twists - revelations and surprise turns of events that alter a player's 
perception of the plot.
17. Plot Deepening Techniques. Ways to give game stories emotional depth 
and resonance. Freeman pointed to Crouching Tiger, Hidden Dragon, in 
which two major characters "switch roles" over the course of the film. 
Another common example is the death of a major character.
Techniques Unique to Interactive Entertainment
18. World Induction Techniques. These are techniques other than realism 
which cause you to become emotionally immersed in the world of the game. 
For instance, giving a player options in what they can "be, do, or have" 
in the game.
19. Role Induction Techniques. Techniques which make a player willing to 
identify with the character they're playing. These are incentives to play 
a certain character, such as being the best thief in the world (Thief: 
The Dark Project), having a license to break the rules (Grand Theft 
Auto), or being endowed with special powers.
20. First-Person Character Arc Techniques. Techniques which actually make 
the player go through an emotional transformation by the end of the game. 
For instance, structuring the game such that the player walks away 
feeling (a little) more responsible, more spiritual, or more relaxed.
21. First-Person Deepening Techniques. Techniques which actually give the 
player more emotional depth by the end of the game. Branching pathways 
and multiple viewpoints have this effect.
22. Revealing Complex Characters Through Their Fighting Style And Other 
Moves. Body movements can be used to add complexity to a character, even 
when the he or she doesn't speak a single word.
Other Techniques
23. Adding Emotional Depth to Your Game Through Symbols. Techniques for 
using symbols to enhance emotion in a game, while also making the symbol 
itself useful in gameplay. (See David Freeman's Gamasutra article "Four 
Ways to Use Symbols to Add Emotional Depth to Games." 
(
http://www.gamasutra.com/features/20020724/freeman_01.htm
)
24. Self-Created Story Techniques. These are techniques which make a 
player feel like he or she is playing the game, and not being "played" by 
it. And yes, these can even be implemented even in story-based games.
25. Motivation techniques. Techniques to make the gamer want to keep 
going and make it through the game.
26. "Connective Tissue" Techniques. These create a feeling of 
connectivity across the various locales in a game, even if they are 
distant in terms of space and time.
27. "True-To-Life" Techniques. These are ways to add a sense of realism 
to the emotional actions and reactions of NPCs.
28. Cross-Demographic Techniques. Ways to make games hold appeal for both 
kids and adults. Pixar does a good job of this with their animated film.
29. Injecting Game Elements With Emotion. This involves defining which 
parts of the game are actually "the game," and finding ways to add 
emotion to those elements.
30. Tying Story to Gameplay and Mechanics. In some games, the story and 
the gameplay appear to be unrelated, but in his view, it's more powerful 
when they're linked. Freeman used the example of Final Fantasy X, which 
had both a great story and enjoyable gameplay, but didn't necessarily 
link the two.
Cinematics, Coolness, and General Fun
31. Game Engine and Pre-Rendered Cinematics. In-game and pre-rendered 
cinematics are already among the most potent aspects of many games; this 
set of techniques involves ways to make them more artful, and thus more 
emotionally powerful.
32. The Opening Cinematic. Freeman indicates that the opening cinematic 
in any game presents particularly powerful possibilities for sucking a 
player into the game, and should never be underestimated.
33. "Cool Stuff." Many of the most creative things that designers have 
come up with over the years don't really fit into any other category.
34. "Fun." Last, but not least - games must be fun. No amount of 
emotional depth will save a game that is boring.
Freeman emphasized that his 34 principles are not a set of rules, but a 
set of tools with which to add emotional complexity to games. He also 
recognized that parts of the list were loosely organized, and that any 
thorough analysis would find a great deal of crossover between 
categories.
He concluded by stating out that there is no cookie-cutter method for 
turning these ideas into a good game, and that they were only useful in 
conjunction with creativity and hard work. But, Freeman believes that the 
industry is already beginning to move in the right direction and that we 
will see games with a more sophistical level of emotional complexity in 
the years to come.
David Freeman's "34 Principles of Emotioneering" are the subject of his 
forthcoming book, Creating Emotion in Games. For more information, visit 
his website, 
www.beyondstructure.com
. 

     Paolo
Grazie !
ciao
Satana

Staroba non e' scritta da me ma copiata da Gamasutra.
grazie :)
--
ciao, fabio
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