recursal/Fanatic-Fandom huggingface dataset:
Effectively control bad player conduct.

Many online multiplayer games suffer from problems when their community becomes toxic. MOBA's such as DotA and LoL are notorious for players being rude and offensive to each other. Recently, in Blizzard's new game Overwatch, players got in the habit of saying, "ez," to the losing team after every match. To stem this display of poor sportsmanship, the developers simply filtered the text to something polite or embarrassing.

Shockingly, it's actually worked. Players lost their quick and easy way to be a jerk at the end of every match. The community is by no means perfect but this one obnoxious trend has died out.

**Town of Salem**

This game exhibits a similar strategy in moderating player conduct. Many swear words in chat are replaced with nonsense words or silly words (like 'flummery') discouraging the use of these words by toxic players while providing entertainment to other players. This turns a toxic troll in the game into another source of enjoyment for the players.

**League of Legends**

Riot does a good job of keeping toxic players at bay. They replace curse words with symbols, similar to Town of Salem as mentioned above. But they also have a reporting system built into the game itself. At the end of each match, players are able to report other players for any misconduct that happened during the match, such as feeding, offensive language, trolling, etc.The more negative reports a player receives, the worse the punishment for that player--the worst being the player's account is deleted. Other punishments include being muted in chat and temporary bans from playing the game.
Diegetic Storytelling Allows the Players to Choose How Involved They Want to Be

Some games, most notoriously Japanese role-playing games, bog the player down with so much complex lore and intricate plot details that the story itself becomes a burden. To subvert this problem, many games utilize diegetic storytelling: including details on the game’s story within the context of other things within the game. For instance, one may find a piece of notebook paper on which another character has written details surrounding the recent zombie outbreak. We know our goal is to survive, but we are not required to read the paper unless we want the background information. This agency frees players from feeling trapped within a story and also rewards attentive players with bonus information.

## Example: Dark Souls

In Dark Souls, players will often find swords or other items with lengthy item descriptions. There is no requirement to read these, but if they do players will find that many of these items contain bits of lore that connect with one another. One sword may say that it used used to belong to a great warrior who worshipped the sun and another might detail the fact that the youngest son of the king was exiled due to his unnatural desires and that, spurned by his father, he looked to the sun for guidance. These items for together like a puzzle, giving attentive players just enough information to piece the story together themselves.
Adding different modes on top of an existing game mechanic increases player engagement

Game designers that create a game featuring a simple yet addictive mechanic, have a bunch of techniques to keep their players engaged viz. multiple, diverse levels, progressively increasing difficulty, sufficient choice of weaponry, quests systems, etc. One such technique is that of adding different modes to an existing game. A different game mode, while leaving most mechanics the same, selectively alters certain rules and/or goals of the game thereby providing a completely new gameplay experience. Consequently, players have a chance to enhance their command over gameplay mechanics, experience the mechanic in a different light, challenge themselves, etc.

## **Examples**

#### **Geometry Wars 3**

Ultimate mode is a feature introduced in the Evolved Update for Geometry Wars 3: Dimensions. Very much like Adventure and Hardcore Mode, this mode is played across many different three-dimensional maps, featuring an even higher amount of power-ups and bizarre maps. There are a total amount of 40 levels in Ultimate mode, along with this host of maps it also features 2 brand new game modes, exclusive to this mode and Hardcore mode.
Autosave at a proper frequency

In many single-player games, there are not auto-save system or the interval of the auto-save is too long. Sometimes it's hard for players to remember to save the game at some points and identify the next dangerous period. So if they forget to save the game and die during the danger, they would be really frustrated because they have to restart from long time ago. But other games find a way around this problem by auto-saving the game at a proper frequency and some important points of the game so that even if the player forget to save and die, they can restart from a short time ago.

The Elder Scrolls V is set up in an open game world in which players will go through a lot of missions. Zones of some important missions are really large. Sometimes there will be several layers of a mission zone. And when the players are going through the mission, the game will be auto-saved when players enter a new layer. So even if the players forget to save, he will restart from the beginning of that layer instead of the whole mission when he dies. That will save players much time to go through the mission.
Inconsistent Access to Parts of A Multiplayer Arena Frustrates The Player

When the player can't access a part of a multiplayer arena that their opponent can, the player becomes frustrated. This is especially true when the player can be harmed by their opponent from that place.

Example 1:

In Battlefield 4, there are multiple maps played in urban skyscraper filled environments. These arenas are visually impressive, but they are frustrating to play in because snipers take helicopters up to the tops of buildings (some of which are accessible by elevator, but not all) and shoot at virtually defenseless infantry on the ground. It might not be as frustrating if elevator access to rooftops was a consistent feature of buildings in Battlefield 4. As it stands it seems like the skyscraper environment just wasn't fully thought through.
Diverse game play experiences lead to replay-ability.

Diverse game play experiences lead to replay-ability.

In order for games to have high replay-ability they need to offer the potential for a different experience each time the game is played. If the players find themselves going though the same motions over and over again the game can become stale. Good games will offer many ways to play the game or many ways the same actions can have different outcomes.

ARMA 3

The open world and varying AI and human skill levels leads to a unique experience overtime it is played. Random movements of enemy combatants add to the unique experience each time it’s played. The players all come away with different experiences based on the weapons they used and the type of combat they found themselves in. Experiences like long range sniper battles and close quarters city combat.
A ludonarrative dissonance can pull a player out of the game

Designers should always look to avoid having a ludonarrative dissonance in their game. A ludonarrative dissonance occurs when game's narrative contradicts it's gameplay. In other words if a developer were to create a game where the main character is considered to be a morally good person (narratively speaking) yet the character due to the player's actions is allowed to do morally reprehensible actions, this would be considered a ludonarrative dissonance and can pull the player out of the game. Games that place an emphasis on player choice in regards to the narrative can often fall victim to this if the developers are not careful and don't design their game with certain outcomes to fit the player driven narrative.

### **Example 1: Mass Effect**

The Mass Effect series is beloved by many (myself included) but has a perfect example of ludonarrative dissonance lurking within it's story. Mass Effect allows the player to make many choices through out it's series which dictate how further storyline elements will unfold and can even effect the main character's appearance. However all these decisions are quantified and qualified on a scale between two opposing positions of paragon(good) and renegade(bad). However if a player were to go 100% renegade and be as completely self serving, ruthless, and vile as possible, they would definitely look the part but the narrative would continue to refer to the main character as a great hero with no mention to the horrible things they had done. In a way the narrative completely undermines the player's decision to be "bad" as the narrative will seemingly portray them as a great person.

### Example 2:Prototype 2

In Prototype 2 you play as James Heller who is out for revenge after his family was killed by the Blacklight virus. How does he go about his revenge you may ask? By killing and infecting more innocents with the same virus that killed his family. It would make sense if he kills the people who created said virus and not innocents but this ludonarrative dissonance completely negates the main character's back story and ruins the experience of taking revenge for your family's death.
Forcefully pursuing existing game genre limits innovation

Often, when we think of a game, we try to fit it in a genre like action, strategy, RPG, fantasy and so on. It is a good practice to do that, but I feel it limits the game's idea in expanding outside that particular genre. Most of the genres we know are either from existing games or borrowed from other industries like cartoon and cinematography. Besides, Modern games are evolving at a rapid scale such that it can offer experience catering multiple genres making it impossible to group under a single title. Also, What if we come up with a game which does not fall under any genre? How about defining a genre for it? Isn't that innovation?

## Examples

### #1 Seaman

Seaman came as an experiment project from Sega which used Dreamcast microphone to enable interaction between the player and the digital character. Though the digital character insults very often, the game is quite captivating owing to the funny conversation. I would call this as innovation as Sega tried something out of the box. It is tough to define a genre for it as it has a weird style of gameplay with simulation.
Automatically logging into to Play Services or Gamecenter to save player progress and score.

Automatically logging into Google Play services or Apple Gamecenter in order to save player/game progress, high score's and stats. This allows player to save his progress and resume from the same. If the player uninstalls the game and a later point in time installs it back again, can still resume from the state where he/she left.

Ex: BLU (Google Play)

BLU uses carefully placed automatic logging into Google Play Services placed into during the game loading. This reduces player time staring at the loading screen. The automatic logging implemented starts only when the player authorizes it to the game.
Kucorgó tér

## Leírás

A parkban rengeteg fitnesz gép van. Mellette van egy futópálya ahol egy kör 320 méter. Tökéletes választás itt edzeni a pálya idősek, sérülésből felépülőknek, kezdőknek vagy akár a fogyni akaróknak . A pálya burkolata fű.

## Megközelíthetősége

A Kucorgó tér buszmegállótól 150 méterre van. A megállóban megállnak a 97E, 162, 262,197, 202E buszok. A pálya az üzletek mögött van. Kocsival a Sisakos sáska utcán lehet megközelíteni.

## Felszereltség

* Húzódzkodórúd
* Haspad/Hátpad
* Libegő
* Evezőpad
* Komplex Hasizom erősítő
* Gyalogló
* Derékformáló
* Mell-kar-hát erősítő
Forcing the Player to Complete Side Missions to See the End of the Game Leads to Players Missing the Ending of the Game

Most game developers want their players to finish their games so that they can see everything they worked so hard on to make. But some games force the players to complete all of the side content in the game to see the actual ending of the game. This can lead the player to get frustrated and bored by having to complete side missions just to see the finale of the game.

## Examples

### Batman: Arkham Knight

To see the final ending and closure to the entire Batman Arkham trilogy, the game forces the player to complete a certain amount of side missions. These side missions are extremely boring and repetitive that it can get extremely frustrating and boring having to complete all of these side missions just to see the ending of the game you've spend your time playing. I never actually got to the ending of the game because I was so bored with the repetitive side missions that I felt like I was just wasting my time and so I just stopped playing the game altogether.
An intuitively designed heads-up-display saves the player from hunting for information

A head-up-display (HUD) is commonly used in video games to visually communicate the statistics related to the game or game’s characters. Typically, UI designers will use common graphical elements such as text labels, progress bars, etc. to intimate characteristics such as score, health, ammo, etc. to the player. Such graphical elements are usually placed at the corners or boundaries of the viewable area so as not to visually interfere with gameplay elements. In some cases, these HUD elements are too many in number and some other times contain too much text thereby making it difficult for the player to read. In such cases, it helps greatly to fuse HUD elements into the gameplay elements. For games that demand that the player be focused on the gameplay elements, this avoids the player having to constantly keep shifting attention to the otherwise unobtrusive HUD elements. Having HUD elements fused with gameplay elements also provides for a cleaner and more intuitive user interface and enhances the overall gameplay experience.

**Examples**

**Dead Space**

As can be seen in the screenshot, Dead Space features elements of the HUD fused with the character’s suit. The overall interface of the game thus looks much cleaner and the player need only look at the most intuitive places for statistical information.
A Random Threat Adds Urgency To Player Actions

If the player is aware of a danger that could arrive at any time, their actions will be more deliberate and thought out. A threat that manifests itself at random times throughout the game means the player always has to be ready for that threat. This creates more depth for player decisions because the risk of making an incorrect decision can be detrimental. One might say that a risk element to player decisions increases the flow of the game.

Example 1:

A game that manifests this design snack is Factorio. Factorio is a game about automating the crafting of items. The player creates complex systems that build on each other to create even more complicated systems. While the player is building these systems, they might be attacked by the games mobs at any time. The constant threat of danger causes the player to prioritize their actions in order to be more prepared for the next attack.
Bad Camera Controls

A game's camera is the medium that acts as the player's entry into the game world. If a game's camera is clunky, difficult to control, visually unintuitive, or wholly obtrusive to the gameplay - no one will want to enter that digital world. The best way to deal with these problems is to design and playtest around those issues - make sure the camera movement is fluid, and if not ask if there is a conscious reason why it shouldn't be fluid; allow the player to easily have some control over the camera even if it is a 2D game; make sure the perspective of the camera is intuitive, and if it's not intuitive make sure that there is a conscious reason why it shouldn't be intuitive; and unless controlling the camera is one of the core mechanics of the game, the camera should *never* interfere with the gameplay.

## Examples

### *Star Wars: Obi-Wan*

*Star-Wars: Obi-Wan* was set to be a hit video game – capitalizing on the biggest franchise in the world with one of its most iconic characters in the player’s control. Unfortunately, the controls were horrible, in particular controlling the player camera. For this reason, it made the game frustrating to play; the challenge wasn’t in the gameplay, it was in controlling Obi-Wan correctly. Personally, I put this game down after a couple levels in as a kid who was obsessed with Star Wars. Controlling the camera felt like controlling an extra set of limbs suddenly added to the human body. Coordination was difficult for movement, let alone using other verbs while moving/looking around. This is the most memorable example I have of a game ruined by a terrible camera.

### *Assassin's Creed II*

*Assassin's Creed II*'s camera is notorious in switching camera angles when the player is climbing from place to place. The tomb levels became a frustrating task for many players when the camera would swing away from the direction the player was trying to go, and as a result they would fall or jump into a wall. They would have to start the climb all over again. *Assassin's Creed II*'s gameplay is based on the smoothness of the character's movement, and a jerking camera takes away from that experience.

**Resident Evil**

 The first installment of this franchise had some pretty terrible cameras. the cameras in this game were all fixed in position. Every room had a different camera that was positioned at a different angle. this made running from room to room very jumpy. The cameras also didn't play into the mechanics of the game very well. it was hard to aim at zombies when you weren't sure where your character was pointing. This was still great despite the bad cameras but could've been amazing if they were fixed.

###
Encouraging the Player to Play Outside of the Game Rules

## Concept

Certain types of games may challenge the player by providing a set of rules, either implicit or explicit, which can be tested and broken by the player's actions. Many times these rules, if not explicitly stated, will be based on assumptions common in games regarding, for example, what types of objects can be interacted with or what types of actions can be used to interact with a game character. This breaking of assumptions essentially challenges the player to examine their own assumptions about how to interact with the game.

## Examples

*Little Inferno* focuses on acquiring an larger and larger amount of items to burn. Despite this seemingly all-consuming pyromania the game encourages, the player may hesitate or assume certain items are not capable of or not allowed to be burned, either through assumptions from real life or assumptions based on 'protected' items in other video games. The player is rewarded with money to buy more items as the burn objects, including seemingly 'safe' items in the game. This encourages experimentation in regards to the game's dynamic which is exploited later in the game.

When they make the game *Big Rigs: Over the Road Racing,* there are some mistakes in the game, like the car going backwards is faster than going forward. However there is a cult following of this game because of those mistakes. Making this game encouraging the player to play outside of the game rules in a different way.
Characters’ relationship developed by players continuing in next parts or versions or Sequels

Characters’ relationship developed by players continuing in next parts or versions or Sequels,

you can also experience the effort you put in relationship building in next part with the bonus dialogue options and more social with certain game characters.

Example: Dragon Age Origins and Mast Effect, so in Dragon Age Origins, if you made a relationship with one distinct or important NPC in game, it is going to continue on same level of social or relationship in next part of game, which makes Role Playing game experience more authentic and engaging.
Allowing One Player to Steal Another Player’s Reward in Competitive Multiplayer Environments - Creates Disillusionment in the Hardworking Players

Multiplayer environments often thrive off of competition between players. This tension can be a huge motivator for continued participation in the game, as each player has a deep-rooted desire to best the others. This is what drives them to perform tasks that will place them one step ahead of the competition. Nothing can make a player in this environment feel disillusioned faster than taking the reward for their hard work and giving it to their opponent for no particular reason. After this, the hardworking player is left feeling cheated and has no desire to repeat the process. This can ultimately result in them quitting interaction with the aggravating components of the game.

**Examples:**

Pokémon Go

One example of this can be found in the gym system in Pokémon Go. The player who actually beats the gym has a lag before they can claim it. This is because they must go through a series of screens upon the defeat of the gym. In the time that this lag occurs, it is possible for players from opposing teams to put their Pokémon on the gym, despite the fact that it’s possible they did no work in defeating this gym. After this occurs, the player who originally defeated the gym is left frustrated because they now have to go through the whole process again if they want a chance to claim said gym, with the possibility that the same thing could happen again looming over them.

***H1Z1***

In this post-apocalyptic MMO, your goal is to thrive in a cut-throat, zombie-riddled environment. And one way, in particular, to do that is to purchase an air drop ticket, which will send a box of goods floating down onto the map for the player to collect. The catch, however, is that the person who bought the air drop is not guaranteed to be the one who actually receives it. In fact, if they are overpowered, they could lose not only the goods purchased, but everything on their person. So while this may not take from someone with greater skill, it does take from the real-world pocket of the player and give the reward to someone else.
Games that starts off too hard

**Games that starts off too hard - Bad**

Games
that starts off too hard is bad because it can end up intimidating the players.
A good game is supposed to slowly get harder as the player progress throughout
the game. As the player get better the game should introduce new challenges to
keep the game difficult and interesting. If the player’s feels overwhelmed at
the start of the game they are very likely to quite. Keeping the game well balance
and knowing how to properly adjust the difficulty is very important.

**Example: Dark Souls**

"*Dark Souls*" is an extremely difficult game to master because of how hard it is on the first level. On the first level some enemies can kill you in 2 to 3 hits. Once you die you lose a certain amount of
souls and respawn to your last check point. Trying to get from check point A to
check point B gets increasingly harder each time you die because the enemies
only drop a certain amount of souls and they don’t respawn. These souls are whats required for you to keep going.
Getting stuck with no possible way of getting out

Games designs are meant to be a challenge, and maps are meant to be explored, but it is extremely frustrating when the map and difficulty of the game trap a player in a position where they are incapable of escape. Today's game designs have for the most removed this issue from games, but back in the day nothing was more frustrating than having to start a game completely over because the game saved the players progress at a point where the player was trapped with no escape. A lot of times this looked like a player that tried to rush through the game and didn't level their character up enough to overcome a boss. The player was incapable of going back and redoing anything they may have missed to overcome this issue, and therefore was stuck.

Pokemon Red/Blue didn't allow a player to leave once they began their final battle with the elite 4. If a player saved the game, but couldn't beat the elite 4 they were stuck and couldn't beat the game. This forced the player to start the game from the beginning.
Adding Multiplayer Which Can Only Aid The Player Can Lead to a Better Player Experience

One large criticism of multiplayer games, especially when online and relatively anonymous, is that players can be harassed, trolled, and griefed oftentimes with little recourse available in perspective to what was lost (for example, losing a game and as a result having a lower rank in multiplayer or losing many hours of work). This can be alleviated by removing the potential negative impacts other players can have on a single player. This is not necessarily applicable to all types of multiplayer games but can work well with games where the single-player experience (if any) is very similar in design to the multiplayer experience.

## Journey

Journey is a good example of a game where multiplayer can only help and not harm the player. The single and multiplayer experiences in Journey consist of traversing the same levels, the only difference is that in a multiplayer experience another player may be in the same level as the player. The other player can do nothing to impede the progress of the player, however, the players can help each other move through the level more quickly than if one player was traversing it alone.
Good stories

Good stories:

I think a good story is the most important consideration when developing a game.  If you have a great story, people are going to want to buy it.  Even that means a game will require little interaction from a player.  It’s kind of like reading a good novel.

Example: Tsukihime

Tuskihime’s fame and renown is often attributed to its comprehensive and expansive storyline and its writer Kinoko Nasu’s unique style of storytelling.  This is a good game because the game respects Kinoko Nasu’s story.  In order keep the original story, the gameplay requires little interaction from the player.  Most of the game's duration is spent on reading the text that represents either dialogue between the characters or the inner thoughts of the protagonist. The player is presented with choices.  Some choices will affect the story in large ways.  Other choices do not affect the story at all or only affect it in small ways.

Example 2: Brothers: A Tale of Two Sons

I like this game mostly becasue of the smooth and interesting storyline within this game. This game is basically about two brothers are trying to help their ill father to reach to a village's doctor and get recovered. During the journey, two brothers would encounter a lot of problems in certain situation and they need each other's hand to solve the issues are facing to them. The story of this game is the most interesting and moving story I know so far in video games

**God of War**

It is a heavy story-driven game. The gameplay of God of War is based on its story. By playing the game, player know more and more story about the main character. Also, the story provided hints for the player and helps her/him to solve puzzles in order to discover more stories and complete the game.

**Life is Strange**

Dontnod and Square Enix produced a powerful and compelling narrative in Life is Strange. Even though the gameplay mechanics were at times very simple or non-interactive, many players keep buying and playing through every episode because they were drawn back to the story. Players were compelled to see what happened to the characters developed in earlier episodes and how their previous choices effected the story.
Extending the boundaries of the computer game into the physical world

The technology is creating interesting game plays like pushing the boundaries of video games into the physical world. By this kind of games, players get a chance to experience both video games and interacts with physical activity of gameplay.  This sort of gameplay will create the immersive environment the player and hence create a positive impact on the experience.

**Example:**

The game which explains such gameplay is Pokemon Go. This is a mobile based game which is released in 2016 the basic gameplay of this game is to catch the Pokemon's with poke balls. The player have to walk in physical world to catch Pokemon's in his mobile. This concept of gameplay atracted many players.

'The Walk' Morpheus VR experience

Project Morpheus powered VR experience designed to promote the forthcoming Robert Zemeckis helmed movie ‘The Walk’. Promoted by Sony Pictures Entertainment using a virtual reality experience which, somewhat predictably, puts user in the shoes of actor as he engages in act of crossing Twin Tower on a tight rope. Wearing Sony’s Project Morpheus VR headset, the user is asked to walk off the edge of one of the Twin Towers, trying to stay balanced on a strip on the ground underneath the user’s feet.

This was attempt of transmedia to promote film using a VR experience. This allows user to interact with computer based operation that overlap some physical boundaries.
Game Platform Gives Players Different Player Experience

What game platform a game is going to use impacts on players' experience with the game. A game in Iphone or Android devices would be most likely be the game with touch control or intellisense control, such as car racing game. A game in PC would be using the keyboard and mouse, such as FPS shooting game. A game in Xbox or PS those gaming consoles at least would not be a small game. People might think Xbox and PS are pretty much the same for a game. As I was playing FIFA, xbox and PS actually gave me different player experience as I was using different controllers. Some game only has PS4 version but not Xbox One version such as Uncharted 4 because more people love PS instead of Xbox. Therefore, a good choice for what platform a game is going for really affects how its market goes.

Examples:

Rocket League made a good choice for choosing the platforms. Rocket League was first released in PS4 because PS4 had a better review compared to Xbox One. In other words, more people have PS4 than Xbox One and PS4 have a bigger market out there. Although it came up with Xbox and PC, Mac, Linux versions later, PS4 still has the biggest market.
Disjointed Motion Controls Lead to Player Confusion

Motion controls can often lead to very immersive experiences within video games, especially things like Wii Sports and the way it uses natural movement to guide the mechanics of the gameplay. However, when the movements don't match up or work properly, this can lead to very confusing and disjointed experiences. Red Steel maps the game out to the player's hands for the guns. However, the way it uses buttons and the extremely innacurate method of turning makes this game a torture to play.

One of the most famous examples of this problem is in The Fighter Within.

It is a Kinect game that utilizes the player's body to correlate to the on-screen avatar that is in a fight. However, the accuracy of the Kinect picking up the player's body is so inaccurate that the game is almost impossible to play correctly. Sometimes punches are registered as kicks, being still is registered as punching, and other mishaps.
Inconsistent Art Style Makes Games Visually Confusing

By making art inconsistent, levels or areas in games can feel as if they aren't part of a cohesive whole. This leads to confusion in the player, as they can't be sure how game objects behave in relation to others. When game objects behave similarly but have a differing visual style, players are constantly re-learning relationships between game objects rather than perfecting their play. Visual inconsistency can also damage the unique visual style games use to create a recognizable brand.

Example:

*Dubwars*

Art style varies wildly from level to level, and enemies and environments look very different from one another while behaving in largely the same way. (there's supposed to be another image here but there's a page error)

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Example 2:

Diablo III

In Diable III, there is a secret level called Whimsyshire. The art style of Whimsyshire is entirely different to elsewhere in the game. Also, there are several special monster types found in Whimsyshire that never appear elsewhere in the game such as unicorn and flowers. This art style confuses players, and they do not know what the objects in Whimsyshire are for. For example, the cloud in Whimsyshire is actually the treasure chest, and players can open it to getting money. However, no one would know the cloud is treasure chest until they "accidentally " click the cloud.
Bump color art style

A well designed art style could change the playing experience, and the color style is the first thing that player going to see whiling choosing games. Bump colors get more eye-catching than normal colorway. If the color matches player's aesthetics. They would pick the game and play it without thinking about game mechanics. In addition, players are going to get more pleasure by playing those type of games.

## Examples

### **Candy Crash**

Candy Crash is good example for bump color style game. It is a typical match-three puzzle game. However, the art style is different and game colors are more bump than other match-three games. It gives players sense that makes them want to play the game.
Balance Between Predictable and Unpredictable

Games need to find a balance between predictable and unpredictable gameplay. If a game is completely predictable then it becomes uninteresting because there is no challenge. If a game is completely unpredictable then it is nearly unplayable because any action a player makes results in an unintended action. When there is a balance between predictable and unpredictable, the player is able to make decisions with an expected result and strategize for the elements of the game that aren't predictable. This makes for gameplay that makes a player want to keep playing.

**Example #1: Angry Birds**

Angry Birds is great because of the way it handles its physics. The birds and pigs act in relatively predictable ways. At the same time, though, its quite unpredictable because two shots rarely result in the same thing. There is always a bit of unknown when it comes to how the birds will interact with the environment and collisions.
Build-your-own game - Highly flexible gameplay attracts players spend more time on game

It is always a great idea to let the players have more freedom in the game. One of the ways to do it is by giving players the ability to establish their own world. In doing so, players will experience extreme satisfaction brought by accomplishing world-building process. Please note, this is different from level editors. Level editors allow players to build the whole map from scratch. It is different than using the materials from an existing game world to modify and build a new world.

## Example:

### **Minecraft**

In Minecraft, a sandbox game with the ultimate goal of simple survival, a myriad of sub games have evolved. From building mazes, traps, farms, and works of art to mini communities, players of Minecraft have suited the game to their own desires in ways that transcend the game's original designs. This only works because Minecraft is designed to be a free form game with few structured goals for the player.

**7 days to die**

   7 days to die is also a sandbox game. The original purpose of the game is that players should kill zombies and try to survival in the world. However, this game gives players a flexible gameplay that they can do anything in the game. For example, players realize that killing other players is more fun than just killing zombies so players should learn how to survival against other players instead of zombies. Also, some players play the game with their architecture skill to build an amazing house. There is no way you have time to build a big house when you try to survive in the harsh environment.
Drawn out progression

Many games use progression to help connect the player to their character. Progression in a game gives the player a sense of control and movement in the games story or in a characters evolution. It is a vital key to helping immerse and maintain immersion in a game. This progression is usually gained slowly over the course of the game, stretching across hours of game play. This makes it a great tool for extending the play ability and replay-ability of your game. But when game designers extend the requirements for progression to far, make progression to hard or require to much time, then interest and immersion can be lost.

Example: Star Wars: Galaxy of Heroes

In Star Wars: Galaxy of Heroes, you get to fight holographic battles with legendary heroes from the series. These heroes range across all the star wars films. They each have different abilities and roles to play in your team. But the problem is that these characters, (if you don't spend money, which there prices are idiotic) can take any where from 1 to 6 months to unlock and fully upgrade. That is playing the game everyday for at least 20 minutes! This huge requirement of time and effort for very little in return can quickly cause many players to lost interest in the game. (like me)
Allowing the Player to Correct Their Own Mistakes

In genres of games focused on mastering a certain action or utilizing a verb in new ways there can be a benefit to allowing players to correct their mistakes rather than punishing them with a reset. This can be particularly useful in puzzle games where the player is encouraged to build on, test, and combine the core mechanics.

## Antichamber

Antichamber is a puzzle game where the player utilizes a gun coming in different flavors to interact with and manipulate certain elements of the environment to explore the world and progress through the game. There are multiple occasions in Antichamber where the player must cross a gap or perform an action based on timing. If the player fails at these, rather than dying and reseting to repeat the action to perfection, new areas of the world are discovered where the player can continue to utilize the game's verbs as they climb their way back to the initial puzzle.
In a complex UI system when there are not tutorial videos or on screen callouts to direct the player on what to do next.

Recently played a harvest and gather game on Facebook that just threw the player into this diverse world of random button clicking. Through exploring I found out that I could harvest anything on the map and apparently every click cost an energy action. And a surprise was that what you harvest and collect you can trade with yourself for upgrades on a random button. Please have some random callout text or a small guide that tells you what everything is and explains the complex menu system in the game. I probably played twenty minutes and it was twenty minutes to long. The game is called Coral Isle and I would stay away from this game.
In-game Markets Provide Motivation For The Player

When games add a marketplace for the player to interact with through selling loot and buying new and more powerful items, the player is more motivated to explore the game world. This is a common theme throughout many games and genres, however the rpg is probably the most common realm in which to find the market. Often times, the simple act of earning money in a game is satisfying for the player, but motivation could come in other forms such as needing to level up just one more time before being able to use an item or spell. Players who desire an item from the store are more likely to more fully explore game levels and 'play the game.'

Example 1:

A good example of this is in Divinity: Original Sin. D:OS has sprawling open levels that take a great deal of time to explore. There are secrets and stories that a player may never experience if they were simply playing for the main story arc. When I was playing with a friend of mine, however, we spent a lot of time finding and selling loot to save up for 'cool' items and spells that we wanted from the store. We played the game more completely than we otherwise would have.
Enemy Damage Feedback and Reaction Leads to Player Strategy

Enemy damage feedback and reaction can be an important part in video games, especially in shooters where precision aiming is most important. Aiming at specific areas on an enemy and having them react to where they were damaged can let the player adjust their strategy on how to defeat an enemy, as well as let them strategize on how to save ammo, get some distance from enemies, etc.

## Example

### Resident Evil 4

Resident Evil 4 is one of the best examples of this mechanic. In RE4, shooting enemies in specific parts of their bodies will lead to different reactions from them. For example if a player shoots an enemy in the knees, the enemy will fall to their knees allowing the player to move in and attack the enemy with a melee attack. The player can also shoot the enemy in the head to stagger them which allows the player to move away from the incoming enemies to get some space. The player can also shoot the enemies in the knees making them fall to the ground leaving them open to knife attacks that save the player ammo.Having different ways for the player to take down these enemies based on where they attack them lets the player create their own strategy when playing the game.
Delayed Movement Response to Cater to Smoother Animations: Causes reaction issues when necessary for players

Because of the continued innovation of technology, game developers are able to create much smoother animations than they were able to ten years ago. We have games that have very fluid animation now, but some designers have emphasized the visuals of animations above responsive controls. Sometimes animations take too long to show the player's current movement because the animation of the character turning or transitioning to the new animation is too slow. Although it may look visually appealing, it can be quite frustrating for the player when their character is not moving at the times the player wants them to, especially when there are actions that must be taken quickly (when the player must react fast). The time it takes the character to initiate movement from the moment the player presses a button or moves the joystick takes a split second too long, causing the player's character to react too slow, potentially resulting in the player's character taking damage, dying, or losing because of the design control responsiveness and not the player's reaction.

## Examples

#### NBA 2K15

For example, in NBA 2K15 the player movement looks very smooth, but the controls to move the player (Left and Right Joysticks) seems to not move the player as promptly as the player might want. This can cause issues when the player can see that they need to defend the opponent, but the animation of the character is just slightly too slow, causing the opposing character to easily run around the player's character. This is extremely frustrating because the player knows that when they reacted did not properly transfer over to their character because of the slow animations.
Blatant copy-pasting - bores the player and breaks immersion

**Blatant copy-pasting is tedious and immersion-breaking.**

All games require duplication and copying. An artist can’t be expected to create separate, unique asset for every tree and man-eating dog, and the engineer can’t possibly give all enemy mobs unique and particular personalities. So copying is required - but designers should always attempt to arrange duplicated elements in engaging and complex ways, helping to hide the duplication from the player. A designer should never simply scatter a featureless space with obviously copied enemies - it makes the duplication so obvious that immersion is broken and play becomes tedious.

**Examples:**

**Dark Souls**

Dark Souls 1 has some amazing level design and some terrible level design. The first major level of the game, the Undead Burg, uses a small set of enemies in a wide variety of challenging scenarios that never feels tired or stale. But in later levels, things fall apart - the most clear example being Lost Izalith. A major field containing a few important upgrades is guarded by a series of Taurus Demons. They stand almost shoulder to shoulder, on a flat featureless plain. The effect is that it’s obvious a level designer simply copied a single enemy out into a big group.

Because there is nothing to contextualize the crowd’s presence, and there’s nothing in the terrain to make the fight terribly challenging (as players can simply aggro individual demons and fight them away from the group), eliminating these monsters feels like a pointless chore. The encounter is devoid of rhythm and is a shocking contrast to the tight, engaging enemy layouts in the Undead Burg.

## Final Fantasy XIV

The original 1.0 release of Final Fantasy XIV was notorious for its copy and paste map design. It was very obvious that maps were constructed from a few different area props. Maps were very big, but empty and lifeless, and very boring to walk through. Since teleporting to different areas was very limited in the original 1.0 release, sometimes you had to walk places as well. Needless to say, FFXIV was very poorly received at its original release.
Borrow from Tabletop – Using Tabletop Mechanics and Rules Can Create Interesting Digital Ideation

## Snack

Game designers borrow and iterate
on existing digital game mechanics very often. We imagine and pitch our ideas
for original games through descriptions of existing games. Building on proven
mechanics and game types or improving on a mechanic for a more intuitive
experience is a smart approach to brainstorming concepts, and there’s no shame
in it; how often is a completely original idea going to be published? Even
using basic elements, such as first-person perspective, is borrowing from past
games. But why do we look so often at digital games to borrow from? Tabletop
and board games offer a plethora of mechanics and concepts digital game
designers can use and even put a new spin on just by using them digitally.
There have been a number of board games developed digitally that have been
successful, especially on mobile. Perhaps the best part about borrowing from
tabletop gaming is the structure of rules is often easily communicated through
Anna Anthropy and Naomi Clark’s A Game Design Vocabulary, clearly describing
phases of movement, actions, verbs, and objects a player can perform. Designers
should look inside the box – of a board game – for inspiration on mechanics in
addition to exploring digital games.

## Examples

### *XCOM 2*

The *XCOM* games in general are
great examples of digital games that are related to board games, and expand the
possibilities of a tabletop experience. Members of the player’s team are
allowed a certain number of spaces to move on the playspace grid, as well as a
combination of actions they can perform. Turn-based strategy is the most
comparable genre of digital games to board games in my opinion, but even RPGs
like *Dungeons and Dragons* have inspired countless developers with mechanics,
lore, and systems. *XCOM 2* does both in a way where the player can customize
their team members’ appearances and equipment, use resources to upgrade and
choose their abilities, and then utilize them in the turn-based combat system
described.
Bad Platform to Mobile Ports

It's common in the industry for a game to succeed on one platform, so management predict that if it is made portable, the title will continue to do well. This is rarely the case. More commonly, games are taken from their home platform and completely reworked to scale down to the mobile interface and screen size. Sometimes this can mean that entire games are redesigned and loses sight of it's original premise or charm.

### Tap My Katamari

When brought over from the PS2 to the smartphone, Katamari Damacy was reimagined to the whacky physics based roller, to an idle clicking game. The complete opposite of the original title, causing many older fans to be turned off by the sequel