recursal/Fanatic-Fandom huggingface dataset:
Long exposition in beginning of game can make people bored

**Long exposition in beginning of game can make people bored**

Many times story heavy games want to tell us everything there is about the game universe before the game has started. This is usually done to give the player and character a motivation. Sometimes this expository sequence can go on too long, and make the player disinterested. Not only does this reduce the engagement, but the player does not get the backstory that the creator wants to tell.

Examples

**Aura: Fate of the Ages**

In the start of the game, the player has to watch a long cutscene play while a narrarator gives the exposition. This is it boring to watch, and it tells the story so fast with rapidly shifting images that it gets hard to follow. Not long into the sequence I found myself not caring at all what was happening on the screen and I just wanted it to end.
Micro Transactions Done Well - Leads to Player Growth

Many games incorporate micro transactions into their games, but few do it well. Many players feel cheated by the fact that people can "pay to win", or that the game is centered around having to "pay to win". By creating a system that is free to play, but doesn't require the player to have to spend money on the game will increase the player base growth of the game. If players feel like they can reasonably grind the in-game features that players who pay also receive, then they will stay satisfied and continue playing the game, as well as bring in their friends.

**Example: Hearthstone: Heroes of Warcraft**

In Hearthstone, the player receives daily quests that allow players to gain in-game currency (gold). This system allows players to gain gold reasonably well, which allows them to progress well without having to spend a dime. Players are also able to use their in-game currency to buy the games expansions, which few other games allow.
Measuring in Real Time - Keeps the Player Coming Back

While not a perfect fit for all games, using the player’s “real world” as a device can be a great tool in providing an extra component to gameplay. Time, for example, can be utilized to pace gameplay and narrative. When done well (used to supplement gameplay rather than hinder the player from progressing all together) it can give the player incentive to come back for more. It also adds a sort of reward for the time spent playing.

In the narrative-based app Lifeline, for example, the story you are interacting with is based entirely in real time. The concept of the game is that you are in communication with the lone survivor of a shipwreck on the moon, so each of your conversations is based on the time it takes for the other person to complete one of your suggestions, or perhaps you fall out of communication for an hour or so. This use of time creates a tangible connection between the player and the narrative, adding a sense of reality to the fiction.
Rewards for Going Off the Beaten Path

Many games were made with a clear, linear direction for the player to take. Designers will go through extreme effort to make sure the player will always know where they should go to progress to the next stage of the game. However, with the development of open-world exploration games, more and more games have incorporated rewards for straying from this main path and really going out of their way to explore the nooks and crannies of these virtual worlds. These hidden items are sometimes in-game tokens or collectibles that often grant some kind of benefit after finding a certain number of them. Other times developers will hide easter eggs or bonus content in hard to reach locations just for fun with no in-game effect at all.

## Examples

### Halo 2

Skulls are small collectibles that modify gameplay, sometimes making the game more difficult and sometimes just changing the gameplay in an interesting way. Most of these skulls can only be found when playing through on Legendary difficulty, making the task for collecting all of them much more challenging and the sense of achievement all the more rewarding.
Introducing Rule of Third to create Game Play Bites

In contemporary world of "Butterfly media"(where users move rapidly between different sources of media), games fight for their chance in spare time along with other media. The chances of player to reach Ultimate Boss Fight are pretty low. An average gamer spends around half an hour on a game at length (study by Gamasutra).

Therefore, one good usage of the Rule of Thirds is to keep splitting your total game length into thirds until you reach a "game play bite" length of around half an hour..

If you ensure that some new experience or game play change or substantial reward is synchronized with these half-hour session, you can be more confident that the player is going to keep returning to the game because to them, regular and meaningful "carrots on sticks" provide compelling game play rewards.

EXAMPLES:

**Batman: Arkham Asylum**

***Batman: Arkham Asylum*** is a 2009 action-adventure video game based on the DC Comics superhero Batman. It was developed byRocksteady Studios and published by Eidos Interactive in conjunction with Warner Bros. Interactive Entertainment for the PlayStation 3 and Xbox 360 video game consoles, and Microsoft Windows.

Batman: Arkham Asylum provides a perfect example to rule of Third where every act is divided into few parts that would include start of act, middle followed by conclusion of act. These individual parts are further divided into session that require not more than 20 minutes to complete.

Further overlapping of these acts also provided new player experience.

Example 2:

Uncharted 2 another example to explain rule of third. This is a action adventure third person platform shooter game published by Sony computer entertainment for play station 3. The player in this game jump, climb and scale narrow ledges. The player main goal is to collect the hidden treasure which helps in feature to un lock new levels.
Providing a Wide Variety of Enemies - Keeps the Player Engaged in Combat Scenarios

Some combat-focused games only possess one or two types of regular enemies. This lack of variety has the potential to make conflict repetitive. In many cases, the player is able to rid themselves of all present enemies in the same fashion. The enemies themselves demand no growth in the player’s understanding of the verbs available to them.

One way to keep the play from becoming monotonous in these types of games is to introduce a wider variety of enemies. If the design of these enemies demands that the player handle each of them in different ways, it will create variation in the gameplay. This will have the added effect of keeping the player more engaged, as they must now pay attention to how they are approaching each enemy in combative situations.

**Examples:**

One example of a game with a wide variety of enemies is Mass Effect 3. Lower level, run-of-the-mill types of enemies are often mixed in with a range of stronger enemies. One example of this would be the Reaper ground forces, where the weaker husks and stronger banshees coexist on the same field. This wide variety of enemies demands the player’s full attention when they are all placed in this space. The player must now consider which options will lead to less resistance as they push forward, as different enemies should be approached in different ways.

### Resident Evil 4

   There are a lot of different enemies in Resident Evil 4 that the player must combat and adjust their play style to defeat. The player begins the game fighting the normal villager enemies, but as the game goes on the enemies grow stronger and gain new weapons like crossbows or chainsaws. These enemies will sometimes all appear at the same time, leading the player to adjust the way the play. There are also other enemies in the game like the Garrador that are blind so the player must lead the Garrador using sound to defeat them. Another enemy the player combats is the Regenerator, an enemy that regenerates its body parts when attacked, seemingly being invincible. Once the player finds a special infrared scope, the player can use it to find hidden weak spots on the Regenerator that when shot will actually kill the enemy. All of these different enemies and more make the player have to constantly adjust their play style as they go through the game.

***The Last of Us***

While the differences in enemies are more subtle in this particular example, they are still very important. Within the world of *The Last of Us* (a post-apocalyptic survival horror game) there are multiple different kinds of "infected" people. While there are some that lean closer to the standard zombie, there are others that require entirely different strategy. A "bloater", for example, is a massive creature which can take more damage as well as hit with ranged attacks, whereas a "clicker" is blind but has acute hearing, requiring the player to mislead the creature by using sound. The appearance of these varied monsters within a level completely alter the chemistry of each scene and require the player to think strategically.
Players have to reset games to get bonus – makes players waste their time to repeat same games again and again

Some video games have not enough gameplay for players. A way that makes games more playable is to increase the difficulty of the game so that players feel more challenge and take more time to it. However, it is difficult to make a balance between challenge and playable. One of the features is that players have to reset their game to get a bonus. Although this design makes players take more time for playing, it forces us to repeat the same contexts again and again.

Example1:

Crush Crush is a simulation bishōjo games that players can get paid by doing their jobs and earn money to buy something for bishōjo in the game. One of the mechanics in Crush Crush is that player can reset their game to add the Time Bonus Multiplier. With a 2x bonus multiplier, players get paid twice as often from jobs, hobbies level at twice the speed, and the cooldown on girl affection gains is halved. However, this design forces players to reset their game for getting Time Bonus Multiplier regularly. Otherwise, they might take few hours for nothing.
Replay the highlight moment of a game - to motivate and satisfy players

There's lots of cool moments that happen throughout the game. And when you're playing with friends, something cool happens and you'll scream "Oh my god, this is… did you see what I just did?!" So some game designers came out a cool ideal was to capture those moments which slipped by and replay it after game. It is a really cool social moment at the end of the game, where it's not just your team but the other team seeing this epic thing, that happened during the game and you can all chat about it and bond over how cool that was.

## Example

#### **Overwatch**

One of the best parts of Overwatch is a little feature that shows a short highlight clip at the end of every game. It’s called Play of the Game. It’s a nice way to cap off a match, showing a player wrecking shop in the kills or heals department. When you earn it, it feels amazing. When somebody else does, well, you’ve got something to study and learn from.
Salesman NPC

With the invention of in game transactions and DLC, some games have experimented with placing an NPC in game that actually hits you up for real world money while you play. It's hard to imagine something disrupting the pla

yer experience more than having an actual in game character remind them that the game they are playing is a commercial product and someone from the company's marketing department would like to sell you something. Paying to add content to a game should take place outside of the experience of play.

**Example 02 ? (the snack itself did not have an example): Plants vs Zombies**

In this game between some levels it pops a NPC called Crazy Dave to offer the player stuff to buy, even though they tried to do something funny it still breaks immersion and annoys the player. In game purchases should be optional and not attached to the gameplay moment. They should be offered when the player starts the game the first time, so he/she would be aware of it, but having in the middle of the game or in between levels is annoying and even frustrating (makes the player feel he/she is not capable of completing the level if he/she does not buy the option that is offered). It could be compared to adds poorly placed: they break immersion, distract the player and could drive the player away.
Multiple tutorials for players with different familiarity to the game - let players familiarize the game as fast as possible

## **Overall Description**

Although long and tedious tutorials is a terrible choice for letting players familiarize games, tutorials could be very effective if different tutorials target players with different knowledge levels of the game. This could help players locate their skill levels of the game and familiarize the core mechanics as fast as possible so that they can get into main game quickly.

## **Example for Demonstration**

### *WildStar*

WildStar is a MMORPG game published by NCSoft. Unlike other MMORPGs, WildStar has 3 different tutorials targeting players with different knowledge level of WildStar. Novice tutorial is for those who never played MMORPG games before; New to WildStar tutorial is for those who have played other MMORPGs but not WildStar; and finally, Veteran is for those who already had basic knowledge of WildStar. This setting can help players locate their skill level and let them skip those knowledge that they already knew and learn what they need to learn immediately.
Interconnected story-line in a franchise

The games that come out these days almost always have prequels or sequels lined up. Apart from the mechanics and characters that may stay same, it is important that the players can link the prequel or the sequel of the game to the game they played before. This makes it all the more exciting to play the prequel or the sequel. For making such connections, an interconnected story-line serves a key-role in game design.

### Examples

#### 1. Mafia II

In Chapter 14 of the Mafia II game there is a killing cutscene where a a guy named Tommy Angelo is killed. He is the protagonist from the first Mafia who is murdered by the NPC in the second Mafia game. The murder is also shown as the ending for the first game.
Limited updates and features in new update or sequels of game

When there are no distinct design patterns and game-play in
sequels of most anticipated games, it disappoints most players as they want new
games to have some kind of new ability or combo other than new graphics so that
they can enjoy the gameplay. For Example, Street Fighter 5, my most favorite
game, have some combos added, but for 90% part its exactly the same game with
some new graphics added in it. I was expecting to have more combos and
characters than previous game. It leads me to boredom and eventually stop
playing the game.
Surprise the player with an unexpected ending

Some games are too predictable, but there are some games that are able to surprise the player (mainly by narrative/story). If you are able to impact your player with an amazing discovery/change related to the player's journey, your game can be easily remembered in the future. It could happen when the player is a "good" avatar all game along and then figures that he was actually "evil", or maybe he goes all game trying to save the "princess" and he figures that the princess is imaginary/unreal.

**Example one (author's): Among the Sleep**

Where you play a boy with a teddy bear dealing with monsters, etc. By the middle-end the player figures that the boy is actually dealing with alcoholic parents in his own house.
Level Design and Playstyle – Design scenes to be approached by different playstyle and mechanics to craft unique experiences

## Snack

Player choice is an important part of a lot of games. Puzzle
games often only have one solution, but even Mario games have multiple ways to
complete scenes and levels, even if they require the same basic actions. Games
today are far more complex and grant the player customization, resources, and
other factors on how to complete stages. However, level design does not always play
a part in player choice. A hallway lined with enemies waiting for a player to
battle them head-on can be completed with a multitude of approaches, in a
theoretical game – for example, using grenades, guns, or stealth to get past
them. However, the level design in this scenario isn’t helping player choice,
rather it’s limiting their creativity. The unique experience a player can
encounter is greatly enhanced if levels and scenes are designed to be completed
in a variety of paths or approaches, not necessarily dictated by the resources
the player has. However, different playstyles offered to the player can dictate
how these different paths are designed themselves.

## Examples

### Dishonored

*Dishonored* is a prime example of how level design can
enhance a player’s unique experience. The player is offered two primary styles
of play – stealthy avoidance and head-on combat. A hybrid of these can be used
as well in the stealthy approach of entering combat. Throughout the game,
different paths to the same goal are offered to the player. Of course, their
overall choice of style might affect the story in the big picture, but in terms
of level design it’s interesting to explore the different ways a goal can be
completed in the separate paths. The most memorable example of this type of
gameplay in *Dishonored* is when entering the Dunwall Distillery area, where the
player can walk straight into combat, or climb a series of pipes and platforms
to avoid the nearby enemies. If the player wishes to play in a hybrid style,
there are multiple points of surprise the player can drop into combat from. (Start video @ 28:49)
Traveling In-Game With Little In Between

Games with large, open worlds can more easily have this problem. A game objective may require the player to travel to the opposite side of the game world to complete. This is completely fine so long as the game provides something more than idly walking over there. Games ought to have "active" travel, if they expect the player to travel to the objective without some instant travel button. The player ought to be engaged in the game instead of feeling burdened or bored from all of the required traveling.

Example #1: Deus Ex: Mankind Divided

This game has a large, open world where many objectives require you to travel from place to place. However, traveling from point A to point B may take 10 minutes and there is nothing in between to keep the player engaged. What is worse is when you finally get to point B, it just tells you to go back to point A for the next objective. So the player spends a lot of time walking through the city without encountering anything to engage him/her.
Not Providing Players a Means to Orient Themselves in a Large Game World leads to Player Frustration

There are games that provide players with large areas to explore and revisit to get previously unattainable items. Large areas in this case represent levels or locations that the player can return to and explore at their own pace. However, there are cases where the player is not given a means to orient themselves and can get lost very easily. If the player wishes to revisit an area to try a new object it becomes the responsibility of the player to memorize the exact location of that area. This can soon lead to frustration as the player has to take time to find that area again and this can be especially difficult is the game world is very large.

## Demonstrative Examples

### Metroid

In Metroid, the player navigates the game world that is comprised of several rooms. However, the game has no map to indicate to the player which room he/she is currently in. This makes the player have to memorize the layout of the entire game in order to revisit an area.
Regularly add content to the game - Will keep the player invested in the game for longer.

In an age where there are more games coming out than people know what to do with, it is very important that once a player starts playing your game they continue playing it, even after they've finished it. The most common way modern games do this is by adding a multiplayer element. However, this is not sufficient if the developer fails to keep the online experience fresh. One way of keeping players in the game for longer is to keep updating the game with new content preferably in the multiplayer. With regular meaningful updates, the player will want to keep coming back to experience the new features that have been added to the game.

## Examples

### GTA V

GTA V is one of the few games that know how to do updates often and do them well. They have been consistently adding new game modes, new vehicles, new organizational structures and even seasonal updates in an almost monthly update cycle. With each free update, the players get multiple hours of new content in the multiplayer. This is one of the main reasons why it is still relevant and still selling copies 3 years after its release.

   **Hearthstone**

Hearthstone is a game that has regular updates and expansions added to it. There are single-player expansions that players can purchase and there are expansions that release new cards/decks available to all players. Since Hearthstone releases new cards so often, the game's meta changes frequently which keeps player's interested in the game. Hearthstone also offers seasonal rewards for things such as ranked play or special events, like the World Championship. There are also weekly "Tavern Brawls" that offer all players a new game mode with new rules and a free pack for your first win. All of these seasonal/regular events and rewards keep players engaged and coming back often to play.
Enforced Group Content

Although it is often great to have content to play with other players in Massive Multiplayer Online Role Playing Games(MMORPGs), but sometimes in such genre of games solo or small party of players may often find it problematic to enjoy the content which is targeted towards a larger group of players. When designing group content such as dungeons or higher scale raids, games should often consider the view point of solo players or small parties of players who have trouble finding groups or have to ignore groups altogether due to rising toxicity of current multiplayer games. MMORPGs should provide players with a easy mode settings that would allow such solo players or small party of players to enjoy a large group content they previously couldn't.

## Examples

### Guild Wars 2: Heart of Thorns

Guild Wars 2, released in 2012 had introduced raid content in their expansion pack "Heart of Thorns", due to raid content belonging to a higher difficulty setting a group of ten players would be required to clear that content. Such a kind of requirement often isolates the solo or small party players who can't find a group or would not like to join one.
Roleplaying Turned Grey – Avoid allowing players to become a master of being a jack-of-all-trades

## Snack

Dungeons and Dragons marks the iconic rise of roleplaying games, allowing players to step into the shoes of a specific character with specific specialties. Although tabletop roleplaying games are often played with multiple people, the unique characteristics expressed through background and skill are what makes the experience compelling. If everyone at the table played as characters with the same abilities and effectiveness, the players would most likely grow bored and not continue play after a while. Some single-player digital roleplaying games have allowed themselves to succumb to this bland experience, afraid to deny the player the ability to explore possibilities without creating another character. The design of this type of experience involves injecting pre-scripted story into the player-character’s arc and not allowing the player to create their own unique character in the long-run unless the player strictly roleplays to not level up any further. In essence, every branch on every skill tree is open to the player and eventually the character could become a master of being a jack-of-all-trades, erasing any possible flaw the character could have. Committing to certain skills may be meaningful early in the progression, but eventually becomes meaningless; making commitments should have consequences in terms of accessible skill trees in order to provide a purer roleplay experience.

## Examples

### *Skyrim*

In *Skyrim* the player is told everything about the character they roleplay, with the exception of joining optional factions. The player can start to aim for a certain character build in terms of skills, but after leveling up a few dozen times, can be a master of certain skills and begin to branch further into the skill trees. Eventually, they may begin specializing in skills that weren’t in the plans of the original character’s roleplay aim. If this continues, the player-character becomes a jack-of-all-trades, arguably approaching the ultimate point of bland roleplay. In this sense, the character has less identity than when he or she stepped off the wagon to be executed in the beginning sequence.

### Final Fantasy XII

Final Fantasy XII's License Board allowed players to build their characters how they liked, letting them unlock the ability to use every piece of equipment in the game, as well as every spell and ability. While the developers probably intended players to only developer their characters along one specific track and have everyone specialized, by the end of the game usually every character had completely filled the License Board, so every character could potentially do anything.

The License Board system was later redone in the International Zodiac Job System version of the game.
Floaty Platforming Mechanics Leads to Frustration and Imprecision

Precision is a very important part of 2D platformers. Precision platforming lets the player feel and control their jumps, knowing exactly where they are going to land. Games like Super Mario and Rayman Origins use this precision to create tight platforming where the player always feels in control of their character and their platforming actions. So platformers tune their mechanics to be more floaty and loose. This type of platforming is much more frustrating and imprecise than the platforming of the previously mentioned game. This can get very frustrating when playing one of these floaty platformers because it can lead to more accidental deaths and missed jumps because of how imprecise it is.

## Examples

### Sonic CD

All of the 2D Sonic games apply to this type of platforming but I will focus on Sonic CD for this example. Sonic has a very light feel when you move him around. His jumps feel floaty and loose. This can make the platforming (especially in the later levels as the game gets harder and focuses less on speed) very frustrating and annoying as it can be hard to land on platforms and control where you want Sonic to go in game.
Blocking in-game advertisement repel the players

Blocking in-game advertisements is a poor form to monetise through games. No player wants to see a popping advertisement while he is playing the game. Most of the people who I talked with never click on advertisements; they rather use blockers to prevent showing these kind of advertisements. Usage of such advertisements during game play communicates negative vibe to the player. These advertisement make the player frustrated to an extent of deleting the game itself. If advertisement is one of the primary source of revenue, it should be done in a humble manner like giving user the choice of showing and hiding those advertisements. Further, these advertisements should blend into the game rather than showing it as a popup redirection. For instance, many football games will advertise famous product brands, team names on the billboards, playgrounds and banners within the game. This is an equivalent experience of the real world and hence the player won’t feel frustrated rather he would feel natural. Another way to include advertisement is to blend it during load screen or while showing cutscenes as the player does not interact with the game during this time.

**Zoo Landing**

Zoo Landing is a casual addictive game in which the player helps animals to escape the zoo. The only way to escape is to move up by sliding over a gigantic skyscraper while dodging projectiles and collecting food. Further, it has a very good pixel art based 2D visuals and the view is shown from a side-on perspective. Overall the game has the quality to make at least a million download but it has just seen five thousand download in the Android store. All the good layers of the game are abstracted by the blocking advertisement. In my observation, when I tried playing this game, I found popping advertisements everywhere(landing page, gameplay). This made me feel frustrated and I even uninstalled it. The game maker gives an option to get a paid version for which he claims there are no advertisements. But the choice of advertisements in the free version didn't allow me to go for the paid version. It is always advisable to use In-Game advertisements in a humble manner which make the user to participate more rather getting frustrated.
An Overabundance of the Same Side-Quest Type Makes the World Seem Artificial.

In many games that aim to have a large and lived in feeling world the player will find side quests to complete. It is understandably difficult to think of nothing but original idea for sidequests, however, when a vast number of sidequests in a game begin to follow the same formula, they actually hinder the gaming experience. By having a high number of largely similar quests, the game world makes itself feel smaller and less like a living entity and more like a game, thus ruining the magic circle. Given that this is the exact opposite to the goal of having a rich, believable world, that side quests strive for, this becomes a huge problem.

## Example: Final Fantasy XV

While the world of Final Fantasy XV is huge and largely detailed, including characters and settings that vary wildly in design, the sidequests which fill that world feel anything but next-gen. There are dozens upon dozens of side quests with which to fill out the world, but the majority of them are essentially just “go here and kill x number of monsters” or “go there and talk to that person” this heavily formulaic structure of the sidequests does not make Eos feel like a large and diverse living place, but instead highlights the dated design ideas behind a game that had been in development for over 10 years.
Multiple endings every game can bring a fresh breath of air to the same mechanics

On Betrayal on the House on the Hill you play the beginning of the game as usual but what gives this game a specific spark is that each time the haunt is revealed you get a different bad guy you must face with different objectives to defeat them. Betrayal has over 40 different endings and possibilities. From fighting a dragon, a banshee, witch that turns you into a toad and lets her cats eat you and much more. The game is a little gruesome if you have a weak stomach but with so many variable story endings the game brings a breath of fresh air that provides a lot of replay-ability.
Player Participation- A More Rewarding Experience

While most of the Massively Multiplayer Online Role Playing Games(MMORPG) follow a common trend of game play, where a player has to kill a certain mob, enemy or to attend an event to get a specific kind of loot or reward, in such a practice most games often ignore the problems that arise with such a flow and design. The most common among those would be Kill Stealing. To counter such a counteractive approach of attracting new players and keeping the older players still hooked to their games, MMORPGs should follow a system where every player should get rewarded for the contribution they have made to that event or a Boss/Enemy kill. Instead of rewarding a single player and having many frustrated players on the side, such an approach towards player participation would be effective for MMORPGs to attract new players. As MMORPGs are the kind of games which are driven by their daily player base.

## Examples

### Guild Wars 2

Guild Wars 2, released in 2012 is one of most modern MMORPGs which is completely different compared to traditional MMORPGs. They follow the approach of rewarding the player based on the contribution they make to certain events or bosses and totally eliminate the concept of kill stealing which is one of the most off putting feature of MMORPG genre.
Taking Choices away from the player can force them into contronting things and ultimately make a better game for the community

Too often we as game designer believe that more choice is always better but if we cautiously and tactically take choice away from players at certain points of the game we can make statements in the games we produce. If attempting to convey something in a simulation game that we would not have a choice of in real life by giving the player that choice in the game we are actually destroying the realism. Choices about player stats or builds can also create elitism or resentment amongst players when certain builds are better than others. By making players just get a random class or build destroys these problems as long as all builds feel balanced. These decisions might mean the game is not as popular but could be better for the community as a whole.

### Example 1: Rust

Interestingly, Rust gives the player no input on how their character looks. On game startup, the game randomly generates every player a character look and race and connects that design to the steam id so it can never be changed. This arguably lost Rust some sales and made several players uncomfortable as players are forced to play characters drastically different to what they are in real life. Many players describe describe new and interesting interactions due to this that i would argue has had a net positive effect on the community in helping players understand racial diversity.
Too many interaction. Too many confusion.

Giving too many controls to play the game often leads to confusion and frustration. Most of the people who I talked with loves playing game which has the least interactions. Nowadays, a major portion of the audience are women and old people; they participate in games which are easy to learn and master. From a revenue perspective, it would be wiser to build games considering these audience. Even if the game involve complex mechanics, the game designer should put all the hard work on the AI system and just leave the decision making control to the user. This would help achieving similar game mechanics with easy to learn game control. On the contrary, taking too much control from the user also creates a bad experience. Here, player will have less control over the game leading to boredom. Modern mobile games are a great example for ideal approach. A game interaction can be as simple as a touch or gesture that can trigger a timed action.

## **Examples**

   **#1 FLIGHT SIMULATOR**

Flight simulator is one of the game in which the keyboard is extensively used. To control the flight, you end up using more than ten keys. Only expert players can master the game controls and play the game which narrows down the audience. Games like this are mastered in forced environment rather than volunteer picking by the player. Some of the military forces require their pilots to complete lessons in flight simulator before taking the actual flight. While this might sound useful to the military, it is very complex for the general public and they easily give up playing these kind of games.
Monsters or Boss in-game Dropping Unrelated Items

In many role-playing games, we can notice a random loot dispersion system which couldn’t have a less conventionally bizarre ecology like birds dropping chain-mail shirts, wolves drop leather leggings and sharks dropping short-bows. Creatures dropping stuff they have no business carrying is a role-playing cliché.

## Examples

### Guild Wars 2

Guild Wars 2 distinguishes itself from other MMOs in so many wonderful ways that it’s a shame to see a random loot dispersion system, with monsters dropping items which does not pursue the pragmatic response one expects from a role-playing game.

**Example: World of Warcraft**

Sadly "*World of Warcraft*" suffers from random loot dispersion system too. In my many years of playing "*World of Warcraft*" I've often seen enemies drop random items that seems unrelated to them. I understand its to reward the player but i believe they could have gone about this a better way.

- Ishun Lo
Punish System in online multiplayer game can improve player's behavior within the game

In online multi-player game, participation and properly behavior is essential in team working experience. It would be kind of annoying and your experience will be disturbed if your teammates hang on or misbehavior in words or other aspects. A good punishment system inside a game can greatly avoid these situations. It's very important to give the rights to player to supervise other players' behavior and let them express their feeling when they were affected by other players' misbehavior. Besides, punishment system can be used to generate rewards to those players who comply with the right order and help keep the game environment.

## Example

1.League of Legends. As a multi-player online competition game, League of Legends has a power punishment system inside the game and Riot Games have took great efforts to improve in the last several years. They divide misbehavior into great details and give rights to players to report a player's bad behavior within the game. The system will let negative player match up with other negative player as a punishment, too. Besides, Riot Games will give players who follow the right behavior rewards every certain amount of time.
Intuitive chat channel for multiplayer games helps improve player experience - mainly in MOBA's/MMO's

In Massive Online Battle Arena (MOBA) chatting with the rest of the team is essential to discuss the strategies the team want to pursue as well as bond with other players, ask for improvements or congratulate them. But the chat channel needs to be easy to access, intuitive and easy to read. Otherwise it can hurt the game itself, because instead of playing the game and helping the team, the player would need to deal with the issues of the chat channel. Some gamers (mostly experienced ones) use mic/headphones to communicate to each other through a secondary software or play in the same room with different computers, but for all other users an intuitive chat is essential and can make all the difference in the game results.

Sometimes having a chat that can also deliver messages to the opposite team can improve the engagement of players through taunting, etc.

Example 01 (author's): League of Legends

   Example 2:

Paragon

In Paragon, there is a chat option present in the game where the team members can communicate with each other and strategize about their moves/ warn fellow teammates of incoming danger. There are also shortcut keys that the player can use to quickly send across messages in the game to another player. The chat system helps the team to collaborate and as Paragon being a MOBA game requires lots of team communication, having a chat system is a boon.

   Example 3:

**Overwatch**

This is another example of games which has really good communication system for their players to discuss strategy. It has both text based chat and voice chat. Text based chat had different channels which can be used to talk to the teammates and also everyone else including enemy players. You can even whisper to your friends or a single person, which is player specific chat channel.

IMG: As you can see in the image the blue channel is for the team chat (only the team can see it) and the brown channel is the common chat channel which everyone can see. Then there is pink chat channel for player to player private messages.
Monster drop too many items that players had hard time pickup items they want

In the game, nothing could not be more exciting than you get a lot of items from the boss after taking great efforts to kill it. But if there are too many items dropped on the ground, especially a large count of useless items dropped from normal monsters, it could be annoying. It seems that you were surrounded by countless trash. When you find something valuable in these trash, it is hard to pick up them effectively.

**Example: Maple Story**

Maple Story has this problem. In the game, whenever you kill a monster, there will be several items drop from the monster. Normally, players will kill hundreds of monster within few minutes. So, it is nearly impossible for players to pick up all these items. Besides, the items dropped on the ground will block players' view when they battle against with monsters.

**Example: Ragnarok Online**

Ragnarok Online (RO) is a MMORPG I personally love the most. However it has this problem that monsters sometimes drop too many item and I hard time picking things I want -- If I pick them all my character would be over wright and hard to assot items. Also some other may come to steal your stuff.
Global Leaderboards - Creates Competition and Gives Players Incentive to Keep Playing

Having a system in place which displays the overall leaderboards
for a game makes for good design as well as increases the re-playability of
said game.  Many gamers are competitive
by nature and want to show off their skills in any way possible.  A global leaderboards provides them an avenue
to show off the hard work they have put into the game to the world. The re-playability
comes into factor as players joust for the opportunity to have their name shown
on the leaderboard.

## Examples

Madden Football Franchise – The Madden football franchise
has been played competitively for a long time.
Players practice and play the game for hours on end in attempts to
become the best madden player.  Madden
offers a way for the players to take the game seriously to gauge how they are
doing compared to the competition.  They
are able to track their progress and see results in real-time via the global
leaderboard.

   Audio Surf 2 - In Audiosurf 2 the player can see a global score board for everysong in every playstyle. Along with this the player can play levels and see where the previous player score increased throughout the song. This makes it feel like the player is always racing against other players that have previously played the song.
Too many useless items in puzzle game can cause unnecessary confusion and dissatisfaction

Many puzzle games involve collecting items to solve puzzle in the platform, and many of these items can even be carried through out the game for future usage. There are times that some of these collectable items will never be used when the majority of them serve a purpose for the game (for either pushing the gameplay or delivering more information for the story). When players carry many items in their inventory that do not serve a meaning in the puzzle game, these items can always lead to a confusion to players to wonder the purpose of these items, or even a dissatisfaction that players may think they have missed some plots. However, if there are more collectable items than needed, designers can always think of some ways to provide multiple possibilities to solve the puzzle using different combinations of these items.

## Example

Fran Bow is a 2D clicking puzzle game where player controls a little girl called Fran Bow to find out the truth behind her parents' death. In the game, Fran Bow can collect and combine different items and uses them to solve puzzles. She can also simply exam some items to get information. However, there are many items that she collects that have no functions in the game. Sometimes they will just disappear when you enter a new chapter or even stay in the inventory through out the game. For example, she can pick up a broom in Chapter 2. However, this broom serves completely no usage in the game. It might be used as a bridge, but it will break and disappear. Also, she can easily get the wood plank which is actually used as the bridge before using the broom. Often, the broom will be left in the inventory without ever being used and disappears eventually. This can cause a confusion and dissatisfaction for many players since it is frequently asked on the forum about the usage of the item.
Simple Visual and Interface Design Work on Mobile

If you're design a mobile game, simple controls and visual interface will help make the game appeal to the large mobile audience with less game design exposure. To reach the broadest audience, reduce colors and controls to a minimum.

## Examples

### **Hokus**

Mobile Game Hokus takes MC Escher's visual illusions and makes a beautiful and simple game of it. The only colors are white, grey and red. There are 3 variations of grey to distinguishes the different planes your cube can traverse. This mind-bending puzzle style game works well on mobile because the controls and visuals were design for simplicity. Your only controls are swiping up, down, left, and right to control the movement of the cube.

   #2) Geometry Dash

Geometry Dash is a music-themed action platform game in which players attempt to navigate a square through an increasingly hostile environment. It sports simple visuals and includes regular geometry shapes like Square, Triangle, Rectangle, and Circles. While the game might take time to master, it provides simple touch control mechanic supporting the art style. The game visuals also helps to leverage the small display form factor and the cheap hardware configuration. Further, These visual styles are tailored to appeal to people of all genders, ages and nationality such that its easy for people from different backgrounds to create an emotional connect with the game.
Riffing off of one core mechanic through the level design keeps the player interested

Many games have a million different mechanics and systems that play off of each other, like The Witcher 3. However, some of the most memorable and interesting games have just one mechanic. The game would expand on this mechanic by designing all of the levels around it. This would flesh out the concept and keep the player very interested in everything that's happening.

VVVVVV

   VVVVVV is a 2D platformer with a really simple mechanic: flipping. With a press of a button, the player flips gravity and the character shoots up to the ceiling. Press it again, back to the ground. This core mechanic is played with and riffed on with the environments for the 3 hours that this game runs for. It's super simple, but always entertaining and varied. The designers really knew how to get the most mileage out of such a simple idea.

Braid

Braid is a game with a very simple mechanic.  The player can reverse time and it will retrace all their steps from when they entered the room.  It will also cause enemies and objects to move backwards.  Using this mechanic, players have to navigate puzzles, avoid enemies and move from screen to screen.  This one mechanic is the core aspect of the game and it's used very well.  Even death in Braid can be reversed so there is never a need for the player to restart the level.  If they did, they could just back up to how it was when they walked in.
Loading Screen Minigames

Although this problem is becoming less prevalent with modern hardware and advances in processing power, loading screens are still an issue that affect players in a mostly negative way. Minigames help distract the player as they wait, and sometimes can even present interesting ways of preparing the player for the upcoming game.

## Examples

### Dota 2

Right after you enter the queue to begin a match, the Shopkeeper's Quiz would display a random item from the game and prompt the player to select the various components that combine to complete the item. This minigame kept track of successful attempts and encouraged the player with multi-streak popups. Not only was it a fun diversion, it also helped players learn and memorize the many item combinations that exist within the game.