The document discusses dramatic elements in game design such as challenge, play, character, premise, and story. It covers how these elements connect players emotionally and how they are used. Challenge can create a flow state for players. Characters are used for embodiment, storytelling, and allowing players to experience fears and desires vicariously. Premises give context and prevent abstractness. Story implementation varies from simple premises to choices that allow player agency over the narrative.

1. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
LD4. DRAMATIC ELEMENTS
AND PLAYER EMBODIMENT
Andrea Resmini
Game Design
HT12 / HÖGSKOLAN I BORÅS, NOV 9 2012
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

2. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
TODAY'S CLASS
A brief recap from LD3
Dramatic elements
Player embodiment
Break
Workshop
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

3. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND OF GAMES
LECTURE 3 – FORMAL ELEMENTS PLAYER EMBODIMENT
RECAP: FORMAL ELEMENTS
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS For example, resources. But also rules etc

4. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
DRAMATIC ELEMENTS
challenge
play
character
premise
story
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

5. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
ROLE OF DRAMATIC ELEMENTS
they variously connect a game
to its player, emotionally
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

6. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
#1. CHALLENGE
in games it means tasks that
are satisfying to complete
and require just the right
amount of work
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

7. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
CHALLENGE IS PERSONAL
challenge is individualized
and determined by the ability
of the player in relationship
to the game itself
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

8. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
CHALLENGE IS DYNAMIC
it is also dynamic and requires
that a game adapts constantly
to hold the interest of learning
or differently skilled players
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

9. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
CHALLENGE IS SUBJECTIVE?
is there then a way to look at
challenge that is not defined
by individual experience?
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

10. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
THEORY OF FLOW
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Gingerbreadhouse.co.uk

11. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
SIMILARITIES BETWEEN EXPERIENCES
people describe enjoyable
activities in similar ways
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

12. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
ION
USTAT
FR
OW
CHALLENGE
FL
OM
RE D
BO
ABILITY
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

13. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
WHAT IS FLOW?
in flow experiences, action and
self-awareness merge and
effortless concentration on the
task at hand happens
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

14. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
WHEN DO WE HAVE FLOW?
flow happens in goal-directed
activities, bounded by rules,
which require skills
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

15. GAME DESIGN :: LD4 -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
–
AND THAT INCLUDES TUG OF WAR ...
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

16. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND OF GAMES
LECTURE 3 – FORMAL ELEMENTS PLAYER EMBODIMENT
… AND VIDEO GAMES
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

17. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
LOSS OF SELF-CONSCIOUSNESS
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS The Ceej: Singing In The Shower

18. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
TRANSFORMATION OF TIME
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Bullet time in in Max Payne 3, PS3

19. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
EXPERIENCE BECOMES AN END
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Clement Lefert, tumblr.com

20. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
THE PARADOX OF CONTROL
exercising or experiencing a
feeling of control largely
means that the outcome is
unsure, which means a person
is not in complete control
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

21. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC PLAYER EMBODIMENT
GAMES WRESTLE CONTROL AWAY FROM US
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

22. GAME DESIGN :: LD4 -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
– EMBODIMENT
#2. PLAY
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

23. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
PLAY REQUIRES ENGAGEMENT
but gameplay can engage
players in many different ways
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

24. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
COMPETITIVE PLAY
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

25. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
CHANCE-BASED PLAY
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Game of Bingo, http://blog.enclaveatwoodbridgecamapts.com/

26. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
MAKE-BELIEVE PLAY
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Nottingham.ac.co.uk

27. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
VERTIGO PLAY
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

28. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
#4. CHARACTER
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Lara Croft, Tomb Raider

29. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
WHY ARE CHARACTERS USED IN GAMES?
characters are used for
embodiment and storytelling
reasons, psychological reasons
and symbolic reasons
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

30. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
EMBODIMENT
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Player embodiment in Dead Space

31. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
STORYTELLING
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Aragorn as a non-player character, War in the North

32. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
PSYCHOLOGICAL REASONS
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Mirror's Edge

33. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
PSYCHOLOGICAL REASONS
a character helps mirror the
audience's fears and desires
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

34. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
SYMBOLIC REASONS
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Shadow of the Colossus

35. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
SYMBOLIC REASONS
a character helps represent
larger ideas, metaphors, and
allegories
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

36. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
PROTAGONIST VS ANTAGONIST
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS The Avatar and the Guardian, Ultima VII-IX

37. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
BOUNDING CHARACTER AND PLAYER
what does a character want or
need? what does the player
hope or fear?
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

38. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
BALANCING AGENCY AND EMPATHY
a pre-written character the
player should simply watch
from the outside vs an avatar
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

39. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
EMPATHY
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Little Big Planet

40. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
AGENCY
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Ultima IX, character creation

41. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
FREE WILL vs PLAYER CONTROL
?
THE SIMS MARIO DASTAN AVATAR
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

42. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
TYPES OF PLAYERS
we also have different types
of players, as we mentioned in
LD3. Competitors, explorers,
storytellers, achievers, jokers
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

43. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC PLAYER EMBODIMENT
REMEMBER ACHIEVERS?
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Increasing character statistics in Oblivion

44. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
#4. PREMISE
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Worlds of Ultima, Origin Systems

45. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
ROLE OF PREMISES
a well-executed premise
bounds the formal and
dramatic elements in a game
and heightens the players'
experience of the game itself
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

46. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC PLAYER EMBODIMENT
PREMISES PREVENT ABSTRACTNESS
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

47. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC PLAYER EMBODIMENT
PACMAN HAS A PREMISE
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

48. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
#5. STORY
in most simpler games,
story is just a souped-up
premise and nothing more
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

49. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
SUPER MARIO
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

50. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
TENSION IS UNAVOIDABLE
even with well-written
story-driven games there is a
constant tension between
storyline progress and free
development
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

51. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
GAME EVENTS AND THE PLAYER
how can a player shape
in-game events or modify their
course when a story unfolds?
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

52. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
SHOULD A PLAYER BE ALLOWED TO?
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Mark Hamill in Wing Commander III

53. GAME DESIGN :: LD4 -- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
– EMBODIMENT
SKYRIM
aph.org
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

54. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
ASSASSIN'S CREED
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

55. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
PRINCE OF PERSIA
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

56. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
-- DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
HOW DO BOARD AND VIDEO GAMES DIFFER?
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

57. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
USE OF THE STORYLINE
one answer is in the way video
games handle conflict and
weave it into the storyline
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

58. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
PREMISE AND STORY: JAWS
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

59. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
PREMISE AND STORY: DONKEY KONG
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

60. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
ONE KEY DIFFERENCE ...
Mario's success in freeing his
belle from Kong is in the hands
of the player, unlike Brody's
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

61. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
… BUT A GENERAL PATTERN
stories follow a general
pattern of exposition, climax
and resolution called the
dramatic arc
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

62. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
CLIMAX
NARRATIVE TENSION
EXPOSITION NARRATIVE RESOLUTION
TIME
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

63. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
DRAMATIC ARC AND 1H MINI-ARCS
all forms of storytelling make use
of the dramatic arc for
engagement. Games also deploy
shorter, session-based, 1h
mini-arcs to keep players going.
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

64. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
PREMISE AND STORY: LORD OF THE RINGS
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS

65. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
PREMISE AND STORY: PRINCE OF PERSIA
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Prince of Persia, Sands of Time

66. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
BREAK
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Back in 15, right? Thanks.

67. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
WORKSHOP
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS Let's get going

68. GAME DESIGN :: LD4 – DRAMATIC ELEMENTS AND PLAYER EMBODIMENT
THAT'S ALL FOLKS
This is it for this class.
Thanks for following!
ANDREA @RESMINI :: HIT, HÖGSKOLAN I BORÅS