recursal/Fanatic-Fandom huggingface dataset:
Adding feature to reduce time for generation of items to avoid player frustration

Many games involve generation of items that are used as a part of gameplay. In certain games, time to generate items can cause player frustration. Player has to wait for item that varies from few minutes to multiple hours. Thus games can provide options for player to allow reduction of this time. This option can be incorporated to use player experience points, monetization element in game or real money. This can be used various games to generate revenue.

## Examples

1. Clash of Clan : Clash of Clan is a game by Supercell that was among top grossing games for Android and IOS platform for a very long time.The game allow player to create army of various characters, then create a strategy to attack opponents. Time needed to generate each item various from few seconds to one hour. One of interesting feature of game is to allow player to use 'BOOST' to reduce time to generation of characters. Player has to use 'Gems' to boost the unit that are involved in generation. 'Gems' are earned by completing various quest or by buying in the store.
Have a games emotional theme run through every element of the game in order to completely immerse the player

Too many games package their emotional themes into tightly constructed sub structures inside the game. For example, having a ‘funny level’ or a ‘scary mission’. If developers are going to strive to create humour, fear or any emotional response in their game outside of just ‘enjoyment’ they should strive to incorporate this emotion in every aspect of the game as it will allow the player to continuously be immersed in that emotion. If your game is about exploration, why not make the player search for the start button? If you are making a horror game, attempt to make even the act of changing the screen resolution a scary one. This not only creates a holistic experience for the player but starts the push the boundaries on when the ‘game’ actually begins and ends.

### Example 1: Shower with your dad simulator 2015: Do you still shower with your dad?

Shower with your dad simulator is a game that is obviously attempting to take on a comedic theme but one of the funniest elements isn’t even in the game proper. The game developers have continued the joke into the load screens, menu and option screens. The game is programmed to have longer than required load screens in order to appear to be a more complex game then it actually is and the option screen has no options but rather each ‘option’ is a parody of game options. This makes Shower with your dad simulator a game where ‘the laughs never stop’ and encourages a sense of exploration in the player to find jokes and comedy in other things they didn’t expect.
Erroneous player controls, cause disconnect from gameplay

When playing a game, players tend to program a game's controls into their muscle memory; the simpler the controls are, the easier for the player to memorize. In some games, particularly when navigating some menu systems, the game designers forget this and add erroneous controls such as using a different key to confirm a decision or a key in an awkward place on the keyboard or controller causing the player to need to look away from the screen to use it. These control schemes break the player's concentration and cause her or him to step out of the game experience. Even if it is just for a moment, it breaks the illusion of immersion that games can ideally create.

### Examples

#### Fallout 4

In “Fallout 4” the player is given, an opportunity on occasion to craft new weapons. One of the features of

crafting is that the player is allowed to scrap extra weapons they have found through the course of the game. For nearly every instance in the game, the confirm key is [E] However when scrapping, the item, the game creators decided that the player should be required to hit [Enter] instead. This causes the player to not only have to look down at his/her hands located on the mouse and the main game controls but to move their hands as well, breaking the player concentration and causing them to step out of the game play experience.
Encouraging social interactions during the gameplay, makes the play memorable.

Games which are designed for parties always encourages the players to interact with the other players surrounded by them. These games give a chance to the player in order to make new friendships and know others better. Party games always create fun and memorable movements to the player.

Jackbox Games is a Chicago based video game developers. Jackbox party pack comes with the bunch of games in it. The players will be playing the game with their mobile and voting will be seen on the screen. All these games are exciting and always creates the interaction between the players. Some of the games from Jackbox Party Pack 2 are Earwax, Fibbage, Quiplash XL, Bidiots and Bomb Corp. All these games will be played with a bunch of players. The interesting and the fun part of this games are the answers and the votings from the players.
Integrating a chance mechanic brings beneficial game elements

I played a new card game not newly made but one I have never played, Rook. Rook is a card game in which each player is dealt cards and there are bid cards face down in the middle. Each player teams up with another and works together to earn the most points. After each player is dealt their hands there is a bidding round in which you bid on how many points you think you'll earn through that round. Each player has to think of their hand strength and bid accordingly. If you happen to win the bid on points you get to look at the cards in the middle that are face down. These cards provide a chance to strengthen your hand and earn points for your team. If you win the bid and don't get the points you bid you lose the amount you bid. This bidding process made it an exciting point in the game. Not only did you want to see if your teammate bids high, inferring they have a dominant hand, but you want to see if you can strengthen your deck with the cards in the middle. This part of the game added the most tension and hype because it set the precedent for the entire round. It also added tension with the other teams trying to prevent your team from getting their bid points.
Achievements with untraceable progress

## Snack

Many games have achievements and they offer players incentives, goals, and alternative ways to play through the game.  Unfortunately, this doesn't always go off without a hitch.  In some cases a player can be persuing an achievement and have no way to know if they are actually succeeding.  When the player finally gets to the end and feels like they should get their achievement it may not register.  If the achievement was something the player has been working on for the whole game they will feel cheated.

The game Dishonored has two notorious achievements.  One is called Clean Hands.  In order to get it, you not only have to play through the entire game from start to finish without killing anyone, you also have to keep them from getting killed.  If you sleep someone and they fall off a roof, you lose the achievement.  If they get attacked by a swarm of rats while they are unconcious, you lose the achievement.  There's a tracker at the end of each level that tells you if you succeeded but it is unreliable.  I have a complete play through of the game with 0 deaths at the end of every level and was meticulous about keeping unconcious enemies safe.  At the end, no achievement.  The other achievement is called Ghost.  For this you have to never be seen from the start of the game to the end.  Again there is a tracker at the end of each level and again I have a checkmark next to never being seen.  Again, I got no achievement.  I feel extremely cheated to have gone through the whole game with never being seen and never killing anyone only to be denied the payoff.
Choosing a cartoon style design illustrates what kind of game genre a player may expect

Choosing a style for aesthetics leads to the mood that a player will
feel throughout the entire game. For many casual games on the phone you
may notice a light hearted-cartoony style that illustrates that you
don't have to spend to much time playing and that you don't even have to
 take it that serious. This falls under the casual entertaining category for mobile users. The design style is important especially when you
 only have seconds to make an impression for mobile game players. In Clash Royale the icon art illustrates that it is a cartoon style game but could also indicate that it is a competitive game because the king looks like he is yelling in a battle. The Clash Royale Icon directly speaks to certain types of casual mobile gamers.
Giving the player choices in a character backstory or narrative introduction makes the player connect with the story or character immediately

Many games simply use a block of texts or a cut scene to set up the start of the narrative or a character’s backstory. These can work well but in some ways defeat the entire purpose of using a game to tell a narrative. By including simple and possibly entirely meaningless choices in these cut scenes or text immediately gives the player a sense of agency and connection to the character. This noticeably enhances the player experience and the depth and impact of the story

### Example 1: Firewatch

In the first minutes of Firewatch, the backstory of your character (Henry) and his wife (Julia) are told to you in a series of sort pieces of text. Each one is left with a small choice that has little to no effect on the later game but it encourages you to have ownership over Henry and Julia’s relationship. You decide how to approach Julia and how to deal with major relationship decisions like her job offer and having kids. It’s not just exposition dumped on to you but rather your story and it really cements that relationship for the player for the entirety of the game.

### Example 2: The Mass Effect Series

The Mass Effect Series allows the player to create the backstory of their playable character by selecting from two sets of three options at the beginning of the series. Along with the personalized avatar, this customization helps the player to feel connected to their character. They’ve helped to shape Shepard’s life story from before the games’ beginning. This is nice, as it smooths the transition from the when the player initially starts gameplay to when they feel comfortable in the virtual world, where the player does actively shape who their Shepard is. It gives the sensation that they’ve been involved in Shepard’s creation from the start.

**Dragon Age**

In Dragon Age the world will react differently depending on who you choose to play. Each race and class will create a different backstory for you character. For example, if you picked an elf to start with, people will generally treat you with disrespect due to their history. This really helps immerse gamer into this world they are playing in because the world is reacting to your choices. IL
Downtime in games - drives players elsewhere

There is a problem with online games (especially competitive ones), which use a matchmaking rating for players, in which the player must wait in queue for long periods of time. This tends to happen at higher competitive levels, where there are fewer players in the pool to create games. When this happens, it drives players to play other games while waiting in queue, rather than actively participate in the world of the game they are waiting for. Many designers don't capitalize on this time to be able to draw players more deeply into the world in which you have created for them, and there is lots of room for improvement. Some possible solutions include mini-games, backstories for lore, or other ways to display narrative to the player. The bottom line is, if players are being driven to other games while they are waiting in line to be able to play, they are more likely to spend there money elsewhere as well, because you haven't captured their attention.

**Example: League of Legends**

In League of Legends, especially at higher ranks, the player can be waiting anywhere from 5 - 30 minutes for a game, which generally lasts around 40 minutes. The only options that the player has during this time is to look in the shop at different skins/champions that they can buy. This leads a lot of players to turn to other games while waiting, which takes their attention away from League and into another world.
Instant Death Traps - Can Make the Player Feel Cheated

Obstacles that cause instant death have long been a staple in video games. They tend to be most common in platformer games, and usually old ones from the NES or SNES. They are as they sound - touch them, and the player dies instantly. In some cases, they can be used right and add tension for the player. More often than not though, instant death traps are placed in poor ways, explained poorly to the player, or just waste the player's time.

## Mighty No. 9

Perhaps the most egregious case of instant death trap abuse in recent years is in Mighty No. 9. A throwback to old Mega Man games, this game perhaps goes too far in reminding the player how old platformers used to be.

Take these giant purple turbines in Mighty No. 3's stage. These are instant death if the player touches them, and are poorly designed from several perspectives.

Firstly, their hitboxes are unclear. How close can the player stand next to them before they die? Is the hitbox the purple color, or the actual turbine?

Second, the only way to pass this particular obstacle is to use a move that is not explained clearly to the player and serves little other purpose in the game. The player can dash low to the ground if they hold down and hit the dash button, but they never need to use this ability before this. It's hard to tell where they need to start the dash either, because they haven't needed to use their dash ability with precision before either.

Third, this is boring level design. The player is in no real danger here - there are no enemies around and no time challenge. They either dash under the obstacle, or they die instantly. If they get through it, the player won't feel challenged, and if they die, they feel cheated.
Choke points in Real Time Strategy games – Helps balance gameplay

Positioning is key in many games and genres, this is no
exception for Real Time Strategy (RTS) games.
In fact positioning is one of the most important skills to master in the
RTS genre. Game designers can keep this in mind while designing maps for their
RTS games.  There are many ways in which
the map can play a key role when it comes to positioning, one of these is the
choke point. Creating choke points on the map can create interesting dynamics
between the players and/or AI. Choke can provide a defenders advantage for the
player their first, it encourages strategy on how and when to attack, and it
causes the player to look alternate avenues of attack.

## Examples

StarCraft 2 - Choke points are utilized to great success in Blizzard’s StarCraft
2, they are found in every map and are especially common near each player’s
home base.  These choke points allow the
player to find a balance between defending against early aggression and
building up their economy in the early part of the game. Essentially this
allows games to go on for (in most cases) longer than a few minutes which in-turn
enriches the gameplay experience.

Warcraft 3 - There are natural choke points built into most of the Warcraft 3 maps, and are usually a good way to be able to defend against enemy attacks, especially during the early game. This allows players to be able to focus on building up their economy, without having to worry about being attacked from all sides.
Clutter Matters: Don’t Create Duplicate Scenes, Create Stories with the Environment

## Snack

Nearly every 3D game is cluttered in some way with objects. There are usually a lot of recurring assets – it’s ridiculous to think a development team would require artists to create unique assets for each object placement. However, this doesn’t mean designers should get lazy with placing clutter, even if they have a vast amount of different objects. Creating the same setup of a dresser with books, a cloth, and a stack of gold on top is boring and can be the small, seemingly meaningless part of a game that breaks immersion. Even placing the same common item twice in proximity or using a unique-looking asset twice in the same room can distract the player. Instead, designers should look to not only create variance in clutter placement, but try to tell stories through the environment. For example, a skeleton could be placed in a dungeon with a dagger in its back and gold spilled in front of them – one could infer this person was murdered for the valuables they were carrying and the culprit left behind evidence of this event. This can draw the player’s attention toward clutter sometimes, which isn’t its main intended purpose, but these small details can be easily overlooked as long as they don’t distract the player in an unbelievable way.

## Examples

### *Skyrim*

   Examples of this type of storytelling-through-clutter happen often in RPGs, such as Skyrim. Level and quest designers at Bethesda want each dungeon to offer something different, since their library of assets are used hundreds of times over, creating the same basic themed environments often. Random loot chests and leveled items can only go so far in creating a varied environment, and often don’t change the general aesthetic. Instead, level designers have placed dead bodies near traps, daggers into notes on tables, spilled household items on the floor where a fight may have taken place. These details add flavor to the environment and give the player a reason to reflect on a scene built with basic items.

***Dragon Age II***

One of the greatest critiques of Dragon Age II was the use of recycled environments. Areas lost all of their intrigue the moment the player entered them because one house looked like the next looked like the next. Each has the same general layout, objects, and architecture. A smuggler's den would have all of the same little accents as a dungeon where a mage had gone missing. Very few set pieces were unique, and it unhinged the narrative for many players who found it difficult to immerse themselves in the repetitive set pieces.
Graphical Glitches ruin Game play.

Game studio aspires realism into game design in order to provide player real world simulations of activity. Sometimes, this causes graphical errors among elements of game design.

These graphical errors include improper collision mechanisms, graphical disturbances, misrepresentation of any activity or play, or inappropriate character behavior on the scene. Some times, elements of scene do not abide by rules of physics. The behavior of these objects may contradict other game elements. These issues must be handled during build or development phases and proper play-testing should be done in order to remove them during release.

Such glitches disturb aesthetics of the game and may cause to damage the player experience.

**EXAMPLES:**

***FIFA 16***

 FIFA 2016 is an association football simulation video game developed by EA Canada and published by EA Sports for Microsoft Windows, PlayStation 3, PlayStation 4, Xbox 360, Xbox One, Android and iOS. The game simulates soccer experience giving different levels of difficulty over various tournaments and modes of operation.

When the game was launched it had some graphical errors that made

players frustrated and eventually lose interest in the game. Following images shows some types of graphical malfunctions in the game. These errors were based on character design and misrepresented certain physical activity in game of soccer.

Example 2:

Fallout 3 is a action role video game devoloped by Bethesda game studio. This game is played as first person perspective, the player can switch the perspective angles. The gameplay is full of glitches which can frustrate player easily. The player cannot concentrate on gameplay, these glitches can irritate any player easily.

**Dead Rising 3**

   After the successes of the first two installments of this franchise, it seemed as if the developers didn't, for whatever reason, feel the need to fully flesh this game out and ensure graphical integrity. Whether it was an issue of deadlines cutting bug testing or errors related to the art assets themselves, this game was shipped with a variety of glitches. After five minutes of gameplay I jumped over a car, landed on what appeared to be solid asphalt, and proceeded to fall through it into an abyss of open air. I needed to eject the game's disk and begin gameplay from the very beginning in order to get it working again, only for the same thing to happen elsewhere. By that time I felt it wasn't worth the effort, and have never touched the game since. I will never know if this game is good or not (I suspect not) because the graphics kept me from even playing it.
Adding a completely different mechanic to an established franchise could drive away existing players

Having an established franchise spells out quite a few advantages as well as disadvantages for game developers. One of the advantageous repercussions, is that the player base is now familiar with the franchise’s characters and universe. However for many games, adding to these characters and the game, while also retaining players becomes increasingly challenging. For such games, developers sometimes take a huge risk by adding completely different gameplay mechanics and thereby drive their players away.

## **Examples**

### **Plants vs. Zombies Heroes**

*Plants vs. Zombies: Heroes* is a collectible mobile card game that released on October 2016 for iOS and Android. Many carried forward their loyalty to the franchise and comfortably moved from *Plants vs. Zombies* to *Plants vs. Zombies 2: It's About Time* since the core mechanic was largely the same with the change being additional content. However, with *Plants vs. Zombies: Heroes*, the core mechanic has completely shifted from tower defence to that of a collectible card game. This will drive away many of the casual gamers that the franchise has attracted over the years since a collectible card game requires a lot more dedication and deliberation to enjoy.
Cultural Preference

Games of the past touting warfare or sabotage have always had villains that were, almost always, not American. Enemies fought and killed were usually picked from a variety of Middle Eastern, Asian, European, occasionally South American, or Russian cultures - essentially anyone that speaks with a different accent or language. When thinking of war or infiltration games, it's hard to remember the last time that an enemy force was born from America. It's easy to funnel resentment towards those who are different than the player, which helps justify the mass killing of enemies in shooter games like - you guessed it - *Call of Duty*. There are, of course, exceptions to this idea, but it seems like cultural preference for white-America in games predictably keeps our enemies across spatial and cultural borders. While this seems more like a political issue than a design issue, consider this question: would these games have been worse if they just had the player (a force of good) fight against evil Americans instead of evil (insert other culture here)? In the end, every war game is a struggle of good versus evil. By constantly placing other cultures as the enemy consumers are being shown that the foreign country is, essentially, evil. This is a form of cultural preference and intolerance that has been used throughout history prior to the 21st century to create propaganda and to divide people. Luckily, though, this issue is slowly being addressed by games and entertainment today. In short, think wisely about enemy design and consider if having enemies that are culturally different from the main character is essential to the main story or theme.

~P.S. Fighting a foreign enemy force the entire campaign just to find out that, in a twist, an evil white American guy (whom you probably met earlier in the story) was behind it all - doesn't count as being culturally fair. You still killed hundreds of evil foreign opponents and only one evil white guy.
Freedom to play outside of the the main storyline

A game design that allows the player to take a break from the main storyline, and explore the world they are playing in gives the game multiple layers and depth. Traditionally, a game was designed in a linear perspective guiding the player through a strict, predictable map and story, but today game designs allow for the player to choose where in the map they want to explore. This allows the player to immerse themselves in the world they are playing, and give an additional freedom of choice inside the game.

## Examples

### Grand Theft Auto 3

Grand Theft Auto 3 is a great example of this type of game design. A player could choose to play the missions that set up the games main story, or they could explore the city and cause havoc. This allowed the player more freedom, and an option to have more control over their character and the choices that character could make.

### Fallout: New Vegas

After guiding the player through an opening sequence that introduces the character and his/her background, the world opens up and you can go in any direction and do basically anything that you want. Although there is a main storyline available, the player is able to create their own story through branching quests that almost certainly guarantee a unique experience for each playthrough.
Designing weapons to do more than one thing - Makes game play more varied and interesting

When weapons exist in games they take on one of the main verbs that game will use. whether that verb is shoot or stab, the player is going to be using it for the majority of their play. By allowing your weapons to perform multiple verbs, it creates choices for the player. Now that the weapon or tool can shoot or bash the player can change their play style and be more creative with their weapon.

Example:

In "**Chronicles of Riddick escape from butcher bay**" the player can use a variety of different weapons to fight their way to the end of the game. The developers created the weapons so that most of them had functionality to do more than one thing. Guns could shoot, bash and perform a finisher. The finisher move was one of the things that made weapons in this game special. It was based on hitting a your bash or shot button at the right time. If your timing was right you would go into a choreographed kill sequence. By designing these weapons to be multidimensional it added to the players engagement. it allowed the player to be more creative with how they wanted to kill and even rewarded them in interesting ways.

**Example 2: Ana from Overwatch**

In the game overwatch, there are many different characters and each one has there own weapons and abilities. One of these characters is named. "Ana". What makes Ana's weapon unique is that when she shoots and enemy, it does damage to them. But when she shoots an ally, it heals them. This mechanic of giving her weapon both the power to heal and damage make her character interesting and complex to play.
Clunky controls ruin your gameplay experience

By clunky controls I mean opposite of fluid controls. There are different things in games which make the controls feel clunky, sometimes there is a latency or delay in the player pressing the button and the character in the game performing the action or not being able to press the right sequence of buttons in the right amount of time which leads to unexpected behavior of the character in the game. Usually when segueing from one animation to another there will be a stutter or an awkward lack of control while the system runs the next animation.

In short if the controls don't feel responsive or if it doesn't feel like second nature then YES! the game suffers with clunky controls. Players might get used to it and learn to play with it but it is a bad design and should be avoided.

**Example:**

**1) Dark Souls**

The largest contributor to that 'clunky' feeling is delay or unexpected behavior. Jumping in Dark Souls (first game) is clunky. That doesn't mean you can't get good at it, but the method to jump can be tricky and a bad jump usually means death. To jump, you double tap the dodge roll button, which is also the Run button. A lot of players who play Dark Souls for the first time think the controls are clunky in general. There are delays to swinging your weapon and commands are somewhat queued, resulting in unintended actions if you mash the button.

Also jump attacks and kicks/guard breaks are also pretty bad as the command is forward+attack which is really finicky. If the game decides that you didn't do it correctly you perform a standard attack and often leave yourself wide open to the enemy.
Karina

**Karina** is a camper on The Survivor Show. She is the lovesick stereotype. While she is lovesick, she is very manipulating and mean and ironically manipulable.

## Personality

While shown to be love sick and having a heart to some degree, her actual motives are quite unclear and she is shown to keep to herself quite a lot. With this being the case, some of her motives are clear with attempting to manipulate contestants and win over Matthew's heart.

While ironically being a manipulative, scheming person as shown when she tries exploit Owen's kooky secrets. Karina is ironically easily manipulated by several contestants and in a weird twist, even good-hearted contestants like Sina and Jaden attempt to manipulate her.

## Appearances

In the first episode she is introduced by Owen Cole. She walks up as if she is Famous. She then catches Matthew's eye. When she walks off the podium she introduces herself to Matthew but he rejects her for her Arrogance. She is on the Bear Killers team.

She continues attempting to win him over but she loses every time. In the second premiere episode, she decides to focus on the competition. She then is tripped by Rebbeca much to Beth's amusement. She and Rebbeca are then introduced as true enemies. In Crazy People she becomes even more jealous of Jennifer. She then becomes afraid that she would try and take Matthew. Rebbeca is then voted off in the next episode much to the happiness of Karina.
Allow Choice in Exploration

When exploration is a main mechanic of a game, see "Walking Simulators" for examples, choice is the driving force for the player to sculpt their experience. For example, they can choose to see certain things, go down a different path, or look in another direction. If you want to craft a game that utilizes how a player interacts with your system to build a narrative, you must allow them to set the pace, choice, and overall shape of their story.

## Examples

### Gone Home

   In Gone Home, the player is essentially given free roam of the play space. With a minor amount of gated areas in their path. They uncover the narrative through exploration and examination of the space in order to piece together their purpose. The lack of linear guiding in Gone Home, that is the design of opening a majority of the house's areas at the beginning of the game, gave the player choice when it came to sculpting the experience. Some players go directly for the bedrooms, arguably the rooms in a home with the most purpose and information about its inhabitants. Others went for the more utility aspects of the home, like the kitchen or basement to uncover more about the workings of the family.

###

### **Witcher Series.**

The best pat about playing Witcher is the ability to roam freely. All the games in the Witcher series have this amazing world and lore to explore even if you are not following the stories. You can go anywhere and explore anything in the game.

### **Dark Souls**

In the first Dark Souls game, players were introduced to a hub world after completing the tutorial. This area was called Firelink Shrine. There were many paths leading away from Firelink Shrine, all of which were accessible from the start. Some of these routes lead to more difficult areas than others, a few of these being far beyond a starting player's level. While this endangered beginning players, it made the world feel very expansive and created a unique experience for everyone playing.

### **The Elder Scrolls: Skyrim**

Skyrim is an open-world action role-playing game. Players can freely explore the entire map without any restrictions. The game heavy encourages players to explore the world. In return of this, players can find hidden treasures, loots, quests, to progress their character and also help them progress the story of the game.

###
In Game Events Based On Real World Holidays

Recently, lots of MMOs have special holiday events for players to enjoy in-game and celebrate the holiday. It is really a good thing to integrate into games to make it more immersive and can always attract people to play. Depending on the region, MMOs can include some special events that will base on regional holidays.

**Example1:Transformice**

Transformice is an MMO platformer where you play as a mice and tries your best to bring back the cheese on the map. The game has a ton of events for the player to enjoy. Usually, the events contain Cosmetic Skins based on the events. A special holiday map will be randomly spawned for players to play with. When completing the map, a Cosmetic Skin will be added to player’s inventory. If player wants to have the whole set of event skin, players need to put lots of time into the game. Usually, these events will last 2-7 days.

**Runescape**

Back in the day this MMO had a multitude of holiday-centric events. Entire dungeons may appear overnight, new quests would be designed from scratch, or items in inventories/banks could be swapped out for a light-hearted April Fools laugh. Especially in cases of these time-sensitive events yielding unique and otherwise unobtainable items/experiences, they were actually a rather ingenious way to incentivize players to stay on the servers when they might otherwise be spending time away from the computer (like during Christmas). They also gave the players something fun and interesting to talk about to their non-Runescape playing friends, perhaps attracting new users to the game. In addition, if a special holiday item is enticing enough (rarely), it could also work to bring players who left the game back into the fray.

**Guild Wars**

Arenanet's MMORPG, Guild Wars, would often integrate themes of the pertinent real world holiday into their game. This would be done by new holiday oriented side quests such as snowball fights, turkey chasing, etc. Often times the developers would also decorate the city with the trappings of the season to appeal to players. Sometimes they would even have a holiday themed boss fight that was on a timer to inscentivize players to play during lull times such as having an undead Santa boss fight that must be fought at midnight on December 25th,

**World of Warcraft**

World of Warcraft has many holiday themed events. This events often have custom assets that can be gained through holiday themed quests throughout the game. Many major areas are decked out in holiday decor and they often have special boss fights or events for each holiday as well.
Bad Game Snack -Obvious puzzle intergration into narrative focused level or enviroment design.

Regardless if it is random cubes or blocks, a beam of light needing to be aligned, an emblem or crest, poor puzzle implementation can shatter good pacing and halt narrative emersion in a game alltogether. Puzzle design needs to be as immersive as the gaming world and the lore which governs said world. Tetris is succesful as a puzzle because the only explanaion necessary are the rules which dictate the game and the player's strategy in order to play the game. Any game design with a narrative focus does not bennefit from poor puzzle implementation because unlike Tetris there needs to be narrative context. The craft of world building demands that puzzles and their intergration into these worlds needs to be handled with the same care and attention to detail. Tomb Raider (2013) intergrated puzzle design so well, if not for the prompts, the player wouldnt even notice they are taking steps to complete a puzzle.

An example of weak puzzle intergration is Resident Evil. Capcom's Resident Evil has a huge disconnect between the world's narrative lore and the puzzles that are suppose to exist in this world. The mansion is haphaazradly desined and is made more jarring due to any actions done in the enviroment not making any sense, nor having a connection to the player or the game. The door knob has a crest on it, Moonlight Sonata played on a player's piano opens a secret passage for no apparent reason other than to maintain an eerie atmosphere of an enviroment that is ultimately a lab simulation in a controlled enviroment.

An example of strong puzzle intergration is Ico. there is a point in the game Ico and Yorda have to cross a chasm within the castle. The visual language of the level design never strays from the main theme. Visually the structures in the enviroment that make up the world are decayed, wheatherd, and in a constant state of disrepair. The steps that Ico have to take to build a bridge over the chasm are never made overly obvious to the player who is  participating in a puzzle as formulaic as Smart Cube or Tetris. The reason for this is that there is a meaningful connection to the lore of the world connecting to both the character of Ico and the player.
Bind on Pickup System: players take more time for the game.

Bind on Pickup System is that after players pick up an item, the item cannot be traded or mailed to another character again or sold in the Auction House. The items with bind on pickup are in general very precious, so players have to take a long time to acquire the items.

### **Example: World of Warcraft**

In the World of Warcraft, most of the items with legend level are bind on pickup and only can be randomly gain from some very powerful monsters. If players take their time to kill the monsters, but the items did not drop, they must wait until next week.

### **Example: Dragon Nest**

The same thing happened in Dragon Nest. The items you get was bind with you when you pick it up. It was really annoying that players get equipment that they can not equip with, but unfortunately, it happened everyday when I played this game. I can only decompose them into pieces, which is very useless.
Glitchy Gameplay - Distracts from the Game and Can Ruin the Game

In most games you can find one form of a glitch or
another.  Sometimes these can be very
minor and not effect gameplay at all. Other times they can cause the game to be
un-winnable or un-playable. It is for this reason that it is very important to
test the design of your game for glitches that could prove to be disastrous.

## Examples

 Sphinx and the cursed
Mummy – There is a major glitch in Sphinx and the cursed Mummy that if
triggered will make it impossible to complete the game.  At one point there is a single door that you
need to go through to progress to the next section of the game.  However, if you save the game at the saving
station right outside the door then load your game from that point the door is
closed with no way to open it.

**Example #2 Superman 64**

   One famous example of a game that suffers from countless glitches is Superman 64. Some of the many glitches include failed collision detections, game freezes, etc. A classic glitch from this game lies on the game’s start screen. It begins with Superman flying around and collecting rings to show the player what to expect. Superman after a minute or two proceeds to fly into a wall and get stuck. This game received universally abysmal critic reviews.

**Example:**

The another example for games which has glitches and ruined the gameplay is "Red dead redemption". Red Dead redemption is an open world western action-adventure video game published by Rockstar games. The glitch in the game is Wagon flying here and there and the horses appear in sky. This glitch distracts the player from gameplay.
Foreshadowing Allows Players to get a Hint of What to Expect

Games that require the player to anticipate certain situations may sometimes not offer a chance for the player to do so. As a consequence, the player has to learn the behavior of an object at the very moment he/she encounters it and,in some cases, this can lead to the player having to restart the game. Some games use foreshadowing to give minor hints to the player on what to expect next. These hints give information to the player without telling it to them directly and serve as a means to allow the player to anticipate the mechanics required in the near future.

## Demonstrative Examples

### **Super Metroid**

   In Super Metroid, the player encounters a miniature version of the level's boss, Kraid. This serves as foreshadowing to teach the player that he/she must jump to avoid the belly spikes of this type of monster. Later in level, the player encounters the boss but knows what to expect. In this case the player jumps when the boss launches its large belly spikes.

**World of Warcraft**

In WoW, most raid bosses have a series of standard enemy fights before them (often called trash). Usually, these trash mobs use weaker versions of a bosses' moves, allowing you to anticipate what kind of abilities the boss has. Players gain a bit of experience with the mechanics before actually reaching the boss.
Character Development for Better Player Engagement

For someone who plays a video game for the story there is a very definite line between a good story and a GREAT story. This depends a lot on the character development. As we play games we are escaping into another reality and replacing our life with the character in the game. When the character development is done exceedingly well this transformation allows the player to connect with the game on a much deeper level. Maybe the how the character handles death, forms a bond with other AI, or demeanor changes over the course of the game can have a major effect on the player and overall game.

**Examples**

Last of Us

The relationship of Joel and Ellie is a major player in the Last of Us. Joel goes from feeling as if this girl is a burden and he is taking her as part of a job to make money. As the game develops and the characters are put into worse situations the dialogue and tone of the conversations there is a change in Joel's attitude toward Ellie. This very subtle continuous change over the course of the game has a major impact on how the game is received and the player engagement.

Tomb Raider

In the recent Tomb Raider reboot, the player controls a Lara Croft that is very fragile and has not killed anyone yet. The player connects a lot with the character of Lara Croft because we see every single time that she hurts and kills, developing the character.
Isabella Chiara

## Characteristics

### Relatives

Ava Chiara (Mother)Luther Chiara (Brother)

Sophia Chiara (Sister)

Quentin Chiara (Brother)

## Physical description

### Race

Northern

Isabella Chiara is the second child of Ava Chiara.

## Appearances

* *City of Alter*
	+ *Arc III*
		- *XXIII. Brothers in Arms*(mentioned)
	+ *Arc IV*
		- *XXXII. Strings*
		- *XXXIII. Striking Back*(mentioned)
		- *XXXIV. Chains of Command*
		- *XXXV. The Tin Man*
		- *XXXVI. Crossfire*
		- *XXXIX. Guilty as Sin*(mentioned)
		- *XL. The Gift*
	+ *Arc V*
		- *XLI. Premonitions*(mentioned)
		- *XLII. The Old and New*(mentioned)
		- *XLIII. Closure*(mentioned)
		- *XLIV. Lessons Learned*(mentioned)
		- *XLV. The Children*(mentioned)
	+ *LI. Remnants*(mentioned)
Constrain Player Movement or Power to Reinforce Moments of Weakness

Many video games deal with traumatic events - injury, natural disasters, and disease. A great way to reinforce these moments, and lend them real power is to let them reflect on the player's avatar even as they play. If a player character is struggling in a moment of intense grief or pain, a designer can restrict their movement abilities, or suddenly remove their defenses or power. The loss of control or power in the avatar will drive the moment home for a player, who will themselves feel disempowered.

## Examples

**HYPER LIGHT DRIFTER:**

Hyper Light Drifter concerns a character suffering from an unknown affliction. The player guides this character through the game, relying on quick movement and powerful attacks to stay alive against crowds of deadly enemies. However, after killing a boss, the character suffers a traumatic attack of their disease - for a few seconds their movement is heavily constrained, and after coughing blood they collapse and black out. Immediately after the frantic combat of a boss fight, which see the player dashing and slashing in a hectic action sequence, the sudden stripping of agency and power is jarring and impact. It is absolutely crucial that the player is still in control during the attack - they can feel how their power has been stripped away.
Allowing Players to Customize their Character but not Choose their Gender can Alienate Half the Audience

Letting players create their own character can be a really fun an engaging mechanic. It allows for a lot of replayability and players are more likely to get attached to their character if they designed them. However, some games allow players quite a bit of control on how their character looks, but leaves out the oh so important choice of gender. As we know that nearly half of all gamers are female this is a pretty large portion of the audience to not represent in a game where the design of the main character is supposed to be left up to the player.

Examples:

### **Saint’s Row**

The first Saint’s Row game offers a lot of customizing options, allowing players to choose their race, their build, and even alter their character’s features quite precisely, building them from the ground up. However, you can’t play as a woman, and it seems very strange considering that in all aspects other than gender your character is a blank canvas that you can paint all over. This problem was one that was clearly noticed by the creators so they changed it and allowed players to choose between a male or a female Boss in all the games that followed.
Chaotic Gamplay can be Effective for certain types of Games

Some games need to be structured, planned, and organized so that players can follow them efficiently.  In short, they can't be chaotic.  For example, if the goombas in Mario were to randomly decide to bounce around the screen whenever the RNG deemed appropriate this would be bad for gameplay.

Other games, however, can thrive off of chaos.  When things are unpredictable, random, or uncertain the player has to devote more mental resources to tracking and managing game objects.  This can be enjoyable under the right cricumstances, but developers must be careful to make sure that players don't feel robbed by the chaos.  In order for chaotic behavior to be effective it must not be true chaos, but, rather, a controlled chaos.

## **Examples**

### **King Arthur's Gold**

King Arthur's Gold is a team-based, 2D combat platformer.  There are several modes, but one of the most popular is Capture the Flag.  In this game mode, players are given roughly 2 minutes to construct fortifications before they are allowed to engage in combat with each other.  When those two minutes are up the "magical red barriar" dissolves and the players are let loose at each other... and the ensuing fight is chaotic!

This player-generated, controlled chaos makes the game extremely enjoyable.  You might be fighting off some enemy knights at the gates to your fort when, suddenly, one runs up to you with an explosive keg strapped to their back!  The next thing you know, your forward wall has collapsed on itself and the enemy has breached the outer defenses!

Another example of chaotic gameplay elements include the ability to catapult players across the map or for builders to tunnel scecretly into your fort.  This means players have to keep on their toes all the time and be aware that there is more than one way for the enemy to storm the gates:  sometimes it involves going under them.. other times over... and sometimes the enemy has decided to go out.. or rather break in.. with a bang.