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1 the Message in the Mechanics The Message in the Mechanics: Designing Game Mechanics that Reflect a Character’s Mental State Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Bruce Evans Graduate Program in Design The Ohio State University 2019 Thesis Committee Scott Swearingen, Advisor Mary Anne Beecher Monica Robinson 1 Copyrighted by Bruce Evans 2019 2 Abstract Videogames share many of the common traits found in traditional visual media, traits like the visual style, tone, and pacing. However, games have the added component of interaction through the game’s mechanics. The design of these mechanics can aid in the message of a game to add meaning and metaphor to the player’s interaction. This study and subsequent creative project investigate the design of game mechanics and how they can portray the mental state of the character through the game’s interaction. The creative project based on contextual research will inform the player about these mental states through the game’s mechanics. ii Dedication To my wife, Cindy. iii Acknowledgments I would like to extend a special thank you to my advisor Scott Swearingen for guiding this project as well as his tremendous feedback on game design. I would also like to thank Monica Robinson for her much-needed external view on games and Mary Anne Beecher for her design expertise and honest feedback. Another special thanks to the students in the Department of Design and ACCAD for their late-night playtests and feedback. Lastly, I want to thank my partner in life, Cindy, for all her love and support. iv Vita 2007 ……………………………………………………………...… Waverly High School 2011 ………………………………………………………………B.S.C Communications, Media Arts and Studies, Ohio University 2016 to 2018 …………………………………………….…Graduate Teaching Associate, Department of Design, The Ohio State University Fields of Study Major Field: Design v Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iii Acknowledgments.............................................................................................................. iv Vita ...................................................................................................................................... v List of Figures ................................................................................................................... vii Chapter 1. Introduction ....................................................................................................... 1 Chapter 2. Background Research for the Creative Project ................................................. 7 Defining Mechanics ........................................................................................................ 7 Mechanics vs Rules......................................................................................................... 9 Designing Game Mechanics ......................................................................................... 10 The Role of Game Mechanics ....................................................................................... 16 Creative Precedents ....................................................................................................... 23 Braid .............................................................................................................................. 24 Hellblade: Senua’s Sacrifice ......................................................................................... 26 Papers, Please ................................................................................................................ 29 Chapter 3: Concept Development for the Creative Project .............................................. 32 Chapter 4: Creative Process .............................................................................................. 42 Chapter 5: Synopses .......................................................................................................... 59 Chapter 6: Evaluation of the Creative Research and Project Result ................................. 63 Bibliography ..................................................................................................................... 71 Ludography ....................................................................................................................... 74 vi List of Figures Figure 1. Screen capture from The Legend of Zelda: Breath of the Wild by Eiji Aonuma (2017) .................................................................................................................................. 9 Figure 2. Screen capture from Middle-earth: Shadow of Mordor by Michael de Plater (2014) ................................................................................................................................ 12 Figure 3. Screen capture from Oxenfree by Adam Hines and Sean Krankel (2016) ........ 13 Figure 4. The Elemental Tetrad by Jesse Schell (Schell, 2008) ....................................... 22 Figure 5. Screen capture from The Marriage by Rod Humble (2007) .............................. 23 Figure 6. Screen capture from Braid by Jonathan Blow (2008) ....................................... 24 Figure 7. Screen capture from Braid by Jonathan Blow (2008) ....................................... 25 Figure 8. Screen capture from Hellblade: Senua’s Sacrifice by Tameem Antoniades (2017) ................................................................................................................................ 27 Figure 9. Screen capture from Hellblade: Senua’s Sacrifice by Tameem Antoniades (2017) ................................................................................................................................ 29 Figure 10. Screen capture from Papers, Please by Lucas Pope (2013) ............................. 30 Figure 11. Screen capture of Remain Indoors .................................................................. 33 Figure 12. Screen capture of Barbara’s In the Parking Lot .............................................. 35 Figure 13. Screen capture of the note in Eventide. ........................................................... 36 Figure 14. Screen capture from The Legend of Zelda: A Link to the Past by Tezuka Takashi (1991) .................................................................................................................. 41 Figure 15. An early texture swapping prototype .............................................................. 45 Figure 16. Screen capture of the audio logs from BioShock by Ken Levine (2007) ........ 46 Figure 17. Screen capture of an environment puzzle in Uncharted: Drake’s Fortune by Amy Hennig (2007) .......................................................................................................... 48 Figure 18. Early image of the torch, the source of the mechanic ..................................... 54 Figure 19. The ranger character model ............................................................................. 55 Figure 20. Design process for a Mechanics as Message game ......................................... 69 vii Chapter 1. Introduction Video games have become one of the largest entertainment industries in the world. Advances in real-time graphics and interactive technology, as well as the increasing accessibility to these technologies, has increased the popularity of games as a storytelling medium. However, games have distinct differences compared to other visual mediums like film and comics. Video games’ unique characteristic of interaction makes it a prime candidate for alternative modes of storytelling. The aim of this paper is to examine to what extent do game mechanics and gameplay influence the game player’s perception of the game’s message. There are unique attributes to be found in all media. Visual media like film and comics have distinct characteristics that foster storytelling. For instance, film is made of shots juxtaposed together by the cut or edit. The “cut” is an important attribute, perhaps the most important attribute of film. The story in a movie is told through the cuts (Mamet, 1991). A shot of a man screaming then cutting to a mouse is a very different story than a shot of a man screaming and cutting to a dark figure lurking in the corner. Comics, in comparison, are comprised of juxtaposed images similar to film, however, the time between the frames can vary, unlike film, which is viewed at a fixed rate. The reader can spend seconds, minutes, or even hours dissecting a single comic panel. Scott McCloud in his book Understanding Comics, states that a major difference between film and comics 1 is the “space” that the image occupies (McCloud, 1993). A film occupies the same space, in a single frame on a screen. Comics are composed of frames drawn at various sizes and often found in a book on different pages. These spaces allow for different viewing experiences. Cinematographers use lenses, lights, and the shot to create the frame seen by the audience. These tools can be used to create a metaphor or add to the narrative found on the screen. The way a shot is framed or lit can give the audience insight into the character’s thoughts, ideas, or motivations. Similarly, in comics, the size of the panel can change allowing for different viewing perspectives.
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