The Critical-Glossary

Table of Contents

#...... 3 The Critical-Glossary is a collection of terms and definitions on game design. The A...... 3 field of game design is vast. To sufficiently cover it this glossary includes terms from B...... 5 other fields such as story design, educational C...... 6 psychology, and neuroscience. I have also coined many terms as well as improved the D...... 11 definitions of many commonly used terms.

E...... 13 The glossary is the product of four years of F ...... 15 blogging and research at critical- gaming.squarespace.com. In addition to the G ...... 17 definitions nearly every entry features a link to the blog article where I discuss the term H...... 18 in detail. Do visit these articles for I...... 19 examples, images, videos, and interactive demos. J-K ...... 20 All of the definitions in this document are L...... 21 the most up-to-date versions as of M...... 22 11/11/2011. Keep in mind that some terms are now obsolete and the exact wording of N...... 25 definitions may be slightly different than what you’ll find on the linked blog articles. O ...... 26 P...... 27 Feel free to use, reference, and share this glossary with anyone (as long as you do not Q ...... 30 charge for it or gain any monetary value). If you have any questions, comments, or R...... 31 concerns I can be reached via the contacts S...... 32 found on the critical-gaming about me page. Also visit the page to download the first four T ...... 37 years of the blog in two specially formatted PDFs. As always, everything is free and U...... 39 your feedback is always appreciated. V...... 39 ~Richard Terrell (KirbyKid) W ...... 40 X-Y ...... 40 Z ...... 40

2 better with the other game elements, or for ease of understanding and use.

# abstract key These keys have no spatial definition or 3 rules of eureka physicality within the game world. These See “slow eureka,” “simultaneous keys are usually an item that is merely discovery,” and “conceptual platform.” indicated in your inventory. The game tells you that you picked up a key, and 16 basic desires afterwards a certain lock will be opened for See “Reiss’s theory of 16 basic desires.” you. Abstract keys conceptual like having to do a specific action like clearing the room of enemies. ~ see article

abstract mechanic A A mechanic that has no spatially defined effect on other spatially defined gameplay elements. Also a mechanic that is not consistent with the established style or abstract counter fiction of the game. When a counter is designed that blatantly ~ see article ignores the rules of form fits function, it can be considered an abstract counter. Many accel (timing) times, these counters are designed to Short for acceleration. The ability to execute balance gameplay and are "last minute" static or complex timings through a steady alterations. In such cases, fixing the forms of increase of tempo. the game would take too much work, time, ~ see article and/or resources away from development. And so we're stuck with simply memorizing accordion level design how these counters work individually despite Folded level design that folds back and forth how they look. In this way, abstract counters at multiple creases that creates some kind of are very similar to special case counters. pattern. ~ see article ~ see article abstract game accuracy (controls) An abstract game has rules, but no fictional Input device terminology. The degree of world. Many traditional non-electronic closeness of an outcome to the declared games are abstract, but very few video target. Accuracy is only useful for comparing games are abstract. Half-Real, chapter 4. the ranges of input of different devices of the ~ see A Dictionary of Video Game same type of input. e.g. the value range of Theory pressing all the way up on the analog stick of a 360 controller versus a PS3 controller. abstracting ~ see article Arbitrarily simplifying a virtual element that represents anything concrete from real life. action frequency Anything short of a 100% functional The rate the player inputs mechanics to real recreation of a real-life element means there time. A high action frequency occurs when is some part of the representation that is the speed of input exceeds one’s ability to missing or simplified. Instead of judging process the actions and reactions whether this difference in representation is consciously. A term that applies mostly to significant, we simply categorize it as spamming non-continuous mechanics. e.g. abstract. A game designer must abstract button mashing. A cluttering, emergent nearly everything within a video game. See quality of action games. “digital truth” for the exception. He/she may ~ see article choose to do so for stylistic effects, to work

3 adaptation (skill) Any path other than the main path. When The skill of adjustments and change. One of there is no clear main path (perceived or the 5 types of DKART skill. One can adapt defined), alternate paths are not possible. within a single DKART skill or facet of these ~ see article skills (tier.1), between 2 skills (tier.2), or across the entire skill spectrum (tier.3). With analog variables of change each increasing level the complexity and More commonly called analog variables or difficulty of the adaptation significantly properties. Properties of game mechanics or increases.. elements that can be adjusted to a fine ~ see article degree or on an analog scale. ~ see article adjacent possible See “conceptual platform.” And-lock A lock that requires multiple keys to open. If advanced technique the player doesn't have all the pieces, Shorten to ATs. Any application or nothing happens. If you've ever collected 3 combination of mechanics beyond the most pendants, 7 crystals, or any other number of straight forward individual use of game special items to progress in a game, you've mechanics. ATs can be very useful, experienced an and-lock. functional, or have little practical purpose. ~ see article adventuring apples and oranges Any combination of the following: Having a “A comparison of apples and oranges goal (clear or vague) to achieve without occurs when two items or groups of items knowing the exact steps you need to take to are compared that cannot be validly get there. Exploring the unknown motivated compared. by curiosity. Dealing with the unplanned and the unexpected on your way to your The idiom, comparing apples and oranges, destination. Getting lost, distracted, or refers to the apparent differences between following a hunch that ultimately leads you items which are popularly thought to be to the main goal. Being transformed along incomparable or incommensurable, such as the way. apples and oranges. The idiom may also be ~ see article used to indicate that a false analogy has been made between two items, such as agency where an apple is faulted for not being a Exerting effort or control over the state of a good orange.” ~wikipedia game. This involves using one of the core ~ see article skills (DKART) to create agency. See "effort." arbitrary limitation Typically hard-coded exceptions to the aggressive (playstyle) established game rules/systems to limit This style of play mainly involves executing some possibility of emergent gameplay. moves that are designed to lead one to ~ see article victory most quickly. If the point of the game is to attack like in fighting games, then the artificial dynamics aggressive style means using attacks almost An obsolete term and concept. Judging exclusively. In a more general sense, being whether a game dynamic is artificial is a an aggressive player means setting the foolish pursuit considering that nearly tempo of a match. Setting the tempo means everything in a video game is an abstraction, playing in such a way that greatly influences arbitrarily created, or abstract. Trying to the opponent to constantly respond. figure out what is more or less artificial will ~ see article always result in an endless spiral due to bias, semantics, and poorly defined criteria. alternate path asymmetric multiplayer game

4 The types of game where players start the mechanics to counter you. The longer this game with different sets of options. Sirlin.net back and forth continues, the deeper the ~ see article interaction, system, or game, as long as the parties can continue without repeating the asynchronous time (async) same moves or resetting the gameplay A B.E.S design innovation applicable to real- conditions back to the state defined by the time games. First we take the idea of real- initial conditions. Only applies to reactionary time and define it by actions and concepts counters. understanding that it’s the coherency of ~ see article these details that create our sense of time. Then we break down this newly defined version of time dividing it in specific bad 3D contextual ways. From here new timelines When the position of an element in a video can be created and presented to players in game is ahead in the view so that the player an asymmetric way only to be reassembled cannot make or easily make informed into a master timeline. decisions about distances to and around the ~ see article element. Being informed is relative to the challenge at hand and the aims of the attachment player. Bad 3D is an emergent issue that The player's experience of emotional occurs more frequently when the game attachment to the outcome of a game. system lacks sufficient “monocular depth Attachment is the prerequisite for the joy of perceiving” elements. Also notated as winning and the sadness of losing. Half- "ba3D/ BA3D" Real, chapter 2. ~ see article ~ see A Dictionary of Video Game Theory baiting Putting yourself in a situation that appears attack-attack-heal vulnerable to lure the opponent into making The all too familiar, overused, overpowered a mistake by attacking, moving in, or acting tactic that involves merely attacking away, in some way. Baits are often single steps in taking damage, and healing to maintain the more elaborate mixups. pressure. This tactic is very common in ~ see article RPGs. It can be found in other genre as well. balance All design elements within a game are in attackers (playstyle) some kind of balance. A game can be See aggressive (playstyle). balanced for different effects. When we talk of video game balance we generally mean avatar (story) of gameplay or even a sub system of [Acting] based on the player's understanding gameplay. And by balance we generally of the avatar's principles and limited mean so that there are interesting choices. perspective, independent of their own. ~ see article However, there are countless to balance a game. Understanding what kind of balance (whether toward a specific skill, character, playstyle, etc) is a much less subjective and much more thorough method of B understanding a game's design than Sirlin's definition which conflates the term with concepts of interesting choices, design back and forth counters space, and move viability. Sirlin’s definition Interplay encounters where mechanics are is decent for the general use of the term. used initially to achieve some kind of ~ see article 2 functional advantage over an opponent or gameplay element. Then the opponent or A multiplayer game is balanced if a element takes the opportunity to use reasonably large number of options

5 available to the player are viable--especially, see functional blind spot but not limited to, during high-level play by expert players. --Sirlin, December 2001 brain stamina ~ see article 1 The brain is a complex organ. Though the exact science of memory storage eludes beginner's luck neuroscientists, we do know that the mind Refers to the supposed phenomenon of can be over worked. At such a point, one's novices experiencing disproportionate mental acuity drops sharply. The longer you frequency of success or succeeding against can go and the more stress you can put on an expert in a given activity. ~wikipedia your mind before experiencing this drop the ~ see article more power to you. Furthermore, the quicker you can recover from a mental "brain lock" behavior-fits-function the better. When emergent gameplay behavior aligns ~ see article with the fiction of the game. The term is typically used to describe cases where the brute force (solution) behavior is contrary to the fiction. The opposite of an elegant solution. ~ see article Generally, brute forcing a problem involves buckling down and solving a problem bias (controller design) despite there being a significant element of Input device terminology. The difference chance, lots of trial and error, and/or very between the mean of the outcomes and the strict action based execution. Abiding by the target value. Only relevant when discussing classic struggle between brains and brawn, accuracy. brute forcing a problem is definitely the ~ see article brawn; the opposite of thinking deeply or critically about a problem to find a solution. binary variables ~ see article Properties of game mechanics/elements that only have an on/off either/or state. buffer (input) Sometimes called "either/or variables A software feature that extends a player (properties)." input. So if a player hits a button early, if the ~ see article hit is within the buffer window the action is still executed as if the button was pressed blind mixup exactly on time. Buffer windows are typically Blind encounters occur whenever a player is extended in front of timing windows. Some put into a situation where he/she must make games (Guitar Hero) allow players to hit an uninformed choice (often without the notes after the timing windows have passed opportunity to ever gain this information) that by extending the buffer window after the fact results in one of at least two outcomes. as well. Basically, being in a situation where the best ~ see article you can do is make a guess. The mixup happens when the game or another player button mashing forces a player into a blind encounter to Inputting commands rapidly and possibly influence a mistake. Examples include mindlessly. Can lead to a high "action calling a coin flip (50%). Guessing right in frequency." Rock Paper Scissors (33%). ~ see article ~ see article ~ see article 2 blindness The limited vision/perspective of a player. Typically applies to games played under a fog of war. Can apply to 3D, 2D, and 1D C games. ~ see article callouts blind spot

6 Gameplay information communicated think in or process multiple streams of verbally between teammates. information simultaneously without crossing ~ see article the information. ~ see article camera (controls) An input device that senses light. By cheater (playstyle) analyzing pictures or video the system is See meta man/gamer (playstyle). able to recognize patterns and track movement, shapes, colors, and even depth. chekhov's arsenal ~ see article A playful extension of the concept of Chekhov's gun applied to game design. The camping (playstyle) coined phrase highlights that not only are See “defensive (playstyle).” there many elements that need to be evaluated on necessity to the game as a cancel (mechanics) whole, but the value of these elements are The ability for a player mechanic or a player measured against each other. input to force a state change of a gameplay ~ see article element from a non-continuous state. Similar to “interrupts.” chekhov's gun ~ see article A literary technique that is the equivalent to foreshadowing. The author has explained cause and effect counter the phrase to also mean "do not include any Some counters occur when game elements unnecessary elements in a story." In other change from one state into another. With words, if you're going to put a gun on the each state comes new effects, lines of stage in a play, you better have that gun go contrary motion, and nuances. off at some point. ~ see article ~ see article

CED system choice (reflex) A universal system for analyzing and This reflex test features multiple stimuli with comparing stories of any type. It stands for multiple matching responses. “content,” “execution,” and “discourse.” ~ see article ~ see article chunking challenge mode (puzzle) See “coding & decoding” Levels that take a puzzle gameplay systems and incorporate real-time elements into the When players learn or improve their playing challenge. The simplest examples involve a game by learning not to process the completing puzzle mode levels in a limited individual pieces or states of the game, but time. rather thinking in terms of high-level chunks ~ see article (collections of pieces and states) instead. (Newell & Rosenbloom 1981, 42) challenging When a player uses some level of DKART "The master [of chess] has acquired an skills beyond their comfort level or past their immense memory for chess positions, limits. Obviously, this quality varies with organized as a collection of chunks. His each individual and should be supported ability for immediate perception and sort- with statements describing the particular term memory of chess positions depends skills/abilities of the player(s) involved. directly on how many chunks are used to “Unchallenging” is often used to refer to encode a position. [...] By implication, gaming experiences that are too easy. master players must spend an immense ~ see article amount of time with the game, in order to acquire the large number of chunks; this channels seems to be well supported by historical A sub-facet of knowledge skills. Knowledge data." (Newell & Rosenbloom 1981, 50) is one of the DKART skills. The ability to Half-Real, chapter 3.

7 ~ see A Dictionary of Video Game A fight [or] struggle, as between two Theory persons, teams, or ideas (from dictonary.com) clean (design) ~ see article series The opposite of cluttered design. Cleanness describes emergent gameplay that comeback mechanic maintains an clear information flow between A feature "in which being behind [or the game and player. Cancels, simultaneous disadvantaged] actually gives you [access actions, high action frequency, strange to] an advantage." ~Sirlin. Sometimes emergent behavior, arbitrary limitations, referred to as negative feedback. static-space, and excessive complexities are ~ see article all design elements that can contribute to a cluttered gameplay experience. command ~ see article series A timed sequence of controller inputs. e.g. Ryu’s fire ball in every Street Fighter fighting cleanness game. See "clean (design)" ~ see article climax complete matrix The most meaningful, difficult, or intense A matrix that works to achieve a victory of level, challenge, setpiece, or moment in a the game, set, or match played. game. ~ see article ~ see article complete save freedom cluttered design See "save freedom" The opposite of clean design. Design elements or decisions that communicates complete strategy obscure or ambiguous information in Only applies to solvable games or solvable emergent gameplay. Cancels, simultaneous gameplay challenges. A complete strategy is actions, high action frequency, strange a specific plan of action that players can use emergent behavior, arbitrary limitations, to achieve 100% guaranteed success (ie. no static-space, and excessive complexities are mistakes, no guessing, and reasonable skill) all design elements that can contribute to a without, making mistakes, or having to make cluttered gameplay experience. a guess of any kind. ~ see article series ~ see article co-author (story) complex (timing) [Acting] based on the player's understanding The ability to subdivide, syncopate, and of the avatar's principles or perspective execute elaborate, irregular, and layered combined with their own. timings. ~ see article ~ see article coding & decoding complexity A way to increase your ability to store The rules, parameters, stats, or data of a information beyond the 7+/-2 bits by system organizing the information into more ~ see article meaningful chunks. This can be done by grouping data like when remembering a 10 complexity hump digit phone number in 3 parts, or by using The minimum amount of complexities one another coding system. Any coding system must process in a given problem/challenge can work as long as it's memorable or before being able to reliably visualize the meaningful to you. correct solution/path. ~ see article ~ see article combat conceptual platform

8 One of the 3 rules of Eureka. Quoted directly ~ see article from the Radiolab podcast... "At any given time both in evolution of life and in the continuous (mechanics) evolution of technology, given the state of A gameplay or player state that will continue the current system there are a finite set of without end until acted upon by an outside moves possible. You cannot invent a force, which includes player input. microwave oven in 1650. You [could] ~ see article imagine one, but it is remarkably hard to imagine one [in that time]." continuum (design space) A game (series of levels/challenges) with a Another way of phrasing this idea is that directed or fairly linear progression through there are conceptual platforms that shape its content. Only applies to games with the way we think and consider variables for continuous design spaces. developing innovations. We can only ~ see article innovate to the next step (a leap) based on the conceptual platform we're currently on. contrary motion It's impossible to leap 2 steps into future The designed intent of a game element that innovations. It's improbable to think that far is functionally against the intent of at least as well. one other element. Basically, an obstacle or ~ see article enemy. ~ see article conceptual variation Adding or subtracting a different elements control (dexterity) than what was modified in the previous step. How slowly, smoothly, accurately, and ~ see article precisely one can execute a motion or a series of motions. Also refers to the content (story) coordination and manipulation of individual The foundation of a story and the first step in muscles as opposed to chunking actions the CED story analysis system. A story is into large groups of muscles. nothing more than a series of events, which ~ see article is really just a collection of details. These details include setting, characters, plot, controller feel complexity-simplicity, and theme. The feeling (mostly physical) of manipulating ~ see article a controller while playing a game. ~ see article contingency A factor that affects the effectiveness of controller input redundancy shaping behavior via consequences Different inputs that are mapped to the same (reinforcements or punishments). “If a function or mechanic within a single control consequence does not contingently (reliably, scheme. or consistently) follow the target response, ~ see article its effectiveness upon the response is reduced. But if a consequence follows the controller standards response consistently after successive A set of conditions or rules concerning instances, its ability to modify the response controls and controller design. Can be is increased. The schedule of reinforcement, applied to the console, system, hardware, or when consistent, leads to faster learning. genre-to-genre level. When the schedule is variable the learning ~ see article is slower.” ~wikipedia ~ see article controls Input device hardware and the mapping of continuous (design space) mechanics and other actions to the input A design space that is filled with many device. analog variables or many elements that ~ see article differ only slightly in function from each other. co-optional level design

9 A type of layered level design created to In music, Counterpoint is the writing of offer some combination of co-op challenges, musical lines that sound different on their co-unter-op challenges, and solo own, but harmonize when played together. challenges. Of course, this requires that the How the melody of a song interacts with the level design and challenge conditions other lines is the focus of Counterpoint. remain the same for all options to qualify as being layered. Like the name implies, co- Counterpoint, in gaming, is a word for the operating is optional. The more unique and layering of sets/systems of gameplay distinct each layer of challenge is from each elements into a cohesive, dynamic whole. other, the stronger the co-optional design. When interacting with one layer influences or changes the parameters of at least one core dynamic other layer very dynamic, emergent, and See “core gameplay dynamic.” variable experiences are possible. Counterpoint is an important part of the core gameplay dynamic design of the Super Mario Bros. 2D A gameplay dynamic that is key in creating platformers and a concept called “entropy.” most, if not a significant amount, of the ~ see article gameplay challenges for a given game, challenge, or level. crease ~ see article The point at which a level folds upon itself. See “folded level design.” core mechanic ~ see article See “primary mechanic.” critical-conversation core mechanic key A structured debate with a lot of flexibility. For these locks, the player's core mechanics Ultimately, the purpose of these debates is are the keys. Just JUMP, GRAB, SHOOT, for gamers to better understand and inform PUNCH, etc in the right place, with the right one another. Part of the core incentive and timing, or in the right way and you're in. flexibility design uses all of the principles ~ see article and lessons of game design including concepts like points, upgrades, feedback, corner (design space) reinforcements, and fun. Also notated as “C- A somewhat abstract concept for when C.” relatively little interactive content efficiently ~ see article fill much of the vast potential of a game's curiosity design space. By designing elements that One of Steven Reiss’s 16 basic desires that are as different as possible from each other motivate intrinsic desires. Curiosity is the functionally within the design space, the need to learn. This need is very easily coverage is more efficiently well-rounded. stressed in video games because games Thus creating elements that hit these far create learning environments or systems away points, creates corners. because they’re interactive and have goals. ~ see article ~ see article counter cut-scene A forced/influenced change in the line of Non-interactive (often cinematic) moments motion of a gameplay element by another in a gameplay experience. These scenes gameplay element. can convey a game's backstory, fiction, or ~ see article convey any kind of information. Cut-scenes can even be scripted out of real-time co-unter-op design gameplay. (Half-Real, chapter 3. with Elements, mechanics, or systems in a co-op modifications by Richard Terrell (KirbyKid)) game that allow players to work against a teammate or against the group. Cut-scenes are controversial in that they are ~ see article non-playable parts of a game, but they have also been defended for providing context for counterpoint the playing of the game (Klevjer 2002).

10 ~ see A Dictionary of Video Game victory). Any other use of “deep” to describe Theory an interplay system of a game must be explained explicitly. See “back and forth cycle counters.” The decay and refilling of a virtual resource in actual gameplay. When this cycle is made The following definition describes the use of possible completely using concrete space the term “deep” as it is commonly used for (2D/3D) and organic interactions, the cycle competitive multiplayer games. It is not a can be described as “organic.” sufficient definition for gameplay analysis. ~ see article A multiplayer game is deep if it is still strategically interesting to play after expert players have studied and practiced it for years, decades, or centuries. --Sirlin, D January 2002 ~ see article dead zone defensive (playstyle) A programmed zone positioned around the Playing defensively can involve anything neutral state of an analog stick that does not from blocking a lot, moving back, jumping activate a response from the game system. away, running away, hiding, reacting to the Dead zones are possible with non-analog opponent's moves/tempo, or playing in such stick input devices as well like the Wiimote a way that appears to be vulnerable but is or Kinect. actually in the perfect position to counter ~ see article attack. ~ see article decay (dynamic) The diminishing effectiveness or potential of degenerate strategy a gameplay element or mechanic. According to Salen & Zimmerman (2004, p.271), "A degenerate strategy is a way of decay counter playing a game that takes advantage of a In games featuring mechanics with limited weakness in the game design, so that the resources, counters of decay are possible. play strategy guarantees success." Whether you put an opposing ~ see A Dictionary of Video Game element/player in a situation that influences Theory them to use a limited resource, or you force them to use a limited resource, the idea is depth that by doing this enough the opponent's See ”interplay.” resources will run out and their strategies that rely on the decayed resource will no design space longer be a viable option. "Design space is best described as the ~ see article canvas that the designer can paint on." ~Damion Schubert decel (timing) Short for deceleration. The ability to execute A way of organizing and understanding the static or complex timings through a steady range of content and potential content decrease of tempo. (typically interactive) in a game. It takes into ~ see article account a game's primary function(s), mechanic(s), core dynamic(s), and fiction. ~ see article deep The term "deep" only applies to games with design-space-time continuum many back and forth counters. Put another Games with a design-space-time continuum way, the gameplay must sustain many force players to start at one part of the pushes and pulls between the opposing side continuous design space and slowly work (generally where each side tries to achieve

11 their way through the content via smooth, clear system is given. We tend to break difficult to discern increments. things down by individual gameplay ideas, ~ see article which we intuit from direct experience. ~ see article dexterity (skill) The skill of action. Writing. Running. DKART system Jumping. Etc. One of the 5 main types of DKART is an acronym for the 5 core types skill. The facets or subcategories include of skill: dexterity, knowledge, adaptation, speed, control, harmony, efficiency, stamina, reflex, and timing. and power. ~ see article As a pun on René Descartes' "Cognito ergo sum/I think, therefore I am," the DKART difficulty system is rooted in the fundamental concept How challenging a task, action, or solution to of video gaming. Being a uniquely reach a goal is. Games can be challenging interactive medium, players have the power in a variety of ways. Typically, we measure to influence the game state, presentation, or and discuss challenge in terms of objective art form. This act of influencing is our skill using the DKART system. agency. To act we must use some facet or combination of our skills. Therefore, we can digital truth express the idea of selfhood or agency in a Phenomena of our universe that can be virtual environment as, "I DKART, therefore I wholly captured in computer code. For such am." phenomena incorporating them into a video ~ see article game is not an abstraction. ~ see article dominant strategy Strategy that is always better than all other diminishing trend (variation) strategies. Dominant strategies are An obsolete term previously used to generally considered flaws in a game describe a trend in variation where design. gameplay challenges become easier. It’s ~ see A Dictionary of Video Game much more clear to simply state the kind of Theory trends you find instead of concerning yourself with terms such as this. double blind encounters ~ see article A double blind encounter is when both (or all) players take action simultaneously (or direct (mechanics) nearly so) like when throwing hands in RPS. A measure of how the changes in the Can occur in real-time gameplay. Is most method of input are paralleled with an in clear with turn-based gameplay like the game action according to the form and Pokémon battle system. fiction of the mechanic. ~ see article ~ see article double blind mixup director (story) Influencing the opponent to make a mistake [Acting] based on the perceived through a double blind encounter. Because expectations of the developers or authors. both you and your opponent(s) must make a ~ see article decision simultaneously, there is no opportunity for either party to react and discourse (story) choose the best option. Therefore, the How a story compares to every other work, situation is ripe for a wrong guess on your event, and concept in the world. Topics opponent’s part. Think Rock Paper Scissors. include creativity, series, and transmediality. A double blind mixup doesn’t necessarily ~ see article have to put all parties at risk. The situation can still be very one sided. distinct section (variation) ~ see article Breaking down gameplay challenges, levels, or events into arbitrary sections when no double layered reading

12 Instead of simply trying a move or a featuring interplay loops and how the flow of combination, failing, and trying another these loops is determined by many different combination (repeating this process until a gameplay factors. solution is reached), double layered reading ~ see article involves reading non-solutions to give you significant insight to the real solution(s). By dynamic visual acuity (reflex) reading non-solutions, or failed attempts to The ability to clearly track moving objects. A solve puzzles, it's possible to cut down on facet or subcategory of reflex skill. the amount of trial-and-error. It can also help ~ see article circumvent the “complexity hump” by resetting the point where the player branches off of to create “trial-and-error trees.” ~ see article E double-tapping When players who don't know the exact timing window for an action increase their early attacks chances of success by inputting the input See “meaty attacks.” (generally a button) multiple times quickly in succession. If the first input is too early, the efficiency (dexterity) second one might do the trick. Some also A facet or subcategory of dexterity skill. How triple-tap. However, anything beyond this few muscles, motions, and how little level is impractical because the timing strength one can use without sacrificing the window would be much more lenient in the other facets of dexterity. This facet is first place or the player has a very poor determined by the minimum dexterity level sense of timing. required to successfully execute a target ~ see article motion. ~ see article double translation A term that describes how tier.2 adaptation effort is significantly more complex than tier.1 See “agency.” adaptation. For tier.1 you only have to consider the challenge/context and the skill When playing a game that is not purely being used. That’s two factors. But with random, a player exerts effort in order to tier.2, you have to consider the context and influence the outcome of the game. 2 skills being used. With 3 total factors to ~ see A Dictionary of Video Game consider, there are more elements that Theory influence each other to take into account. ~ see article either/or variables of change See "binary variables." dynamic (mechanics) An measure of how a mechanic (player elegant solution action) affects the various elements, Any solution to a challenge with multiple systems, or properties in a game. According solutions that is also one of the most to the form of the game world and the efficient, effective, or easiest solutions to mechanic, does the world react as execute. expected? Are the effects of the mechanic ~ see article special cases or do the resulting actions continue to effect the game world? elements ~ see article A general term for any part of a videogame. Includes, characters, cursors, avatars, HUD, dynamic encounter stage components, enemies, bullets, sound A simple and somewhat obsolete term that effects, music, etc. describes dynamic, emergent gameplay. ~ see article Typically used in to describe gameplay

13 elemental variation experience is the result of relating to its See “conceptual variation.” concepts (ie. using Knowledge skills) ~ see article emergence (gameplay) entropy In the simplest definition, emergence is The potential for emergent gameplay to gameplay in non linear games. Emergence significantly increase in difficulty and is the result of gameplay rules that govern complexity due to gameplay actions. (not absolutely dictate) many possible Typically the snowballing domino effect of outcomes. entropy is started by player actions. ~ see article Often times, emergent cases are thought of as ones that the player uniquely and ergonomics personally creates or cases that the "The study of designing equipment and designer(s) don't anticipate. This view is devices that fit the human body, its problematic. After all, the emergent movements, and its cognitive abilities." possibilities of most games far exceed ~wikipedia count. The more complexities (rules) in a ~ see article game and the more dynamic their interactions the more possibilities are error possible. Therefore, any one possibility out Input device terminology. Error is random of many is an emergent possibility. Just variability. because a designer doesn’t anticipate one ~ see article possibility doesn’t make it more special than any other possible outcome. execution (story) ~ see article How the content of a story is presented. Execution includes concepts of efficiency, emergent dynamic coherence, pacing, style/language, medium, Gameplay dynamics created from the and dynamics. freedom of play and the limitations and ~ see article player choices/strategies. These dynamics are not hard coded into the basic rules of the expanded gameplay idea game. Rather, they're the combination of An obsolete term originally designed to rules and other core gameplay dynamics. categorize gameplay challenges and ~ see example systems based on required player action. If the challenge requires players to combine emergent structure primary and secondary mechanics then the the design layers that allow for a few rules to idea is consider expanded come together in "unexpected" ways. ~ see article endless mode (puzzle) exploit This mode is like challenge mode except “…a case where a player knowingly uses a that the level arrangements/challenges are flaw in a game to gain an unfair advantage. randomly generated. Every time you play, In many concrete cases, it can be difficult to the level is different. Keep in mind endless distinguish between cheats, exploits, and mode doesn't mean you play until you lose. players who optimize their strategies for Rather, compared to the very limited playing.” replayability of puzzle mode, endless mode ~ see A Dictionary of Video Game has endless replayability. Theory ~ see article external (timing) engaging Having a sense of external timing involves When a player uses the DKART skills in using visual, auditory, or touch sensory response to a game's presentation, rules, or inputs to time actions. This mostly involves system. The more types and sub-types of extrapolating the timing of moving visual skill the player uses, the more engaging the elements. Examples include anticipating the experience. Relating emotionally to an collision of two objects moving at a constant

14 speed or anticipating when an object will hit that affect female characters directly or the ground when falling due to gravity. A indirectly reveal the operations of patriarchy. facet or subcategory of timing skill. When the player is encouraged or forced to ~ see article play in a way that depicts men as strong, rational, protective and women as weak, extinction emotional, submissive, and nurturing, then “The lack of any consequence following a the game can be said to support and behavior. When a behavior is reinforce patriarchal genders roles and inconsequential (i.e., producing neither ideologies. Patriarchal values work to favorable nor unfavorable consequences) it oppress women, and all feminist theory and will occur with less frequency. When a criticism works to promote women‘s equality. previously reinforced behavior is no longer A Feminist analysis can become more reinforced with either positive or negative complex when finding examples of actions reinforcement, it leads to a decline in that toward women if a game doesn’t feature any behavior.” ~wikipedia women or the game allows for limited ~ see article interaction with women. Writing essays about such games often leads to finding extrinsic motivation evidence by absence. In other words, a “Motivation that comes from outside of the Feminist critic’s central piece of evidence individual. Common extrinsic motivations are may be what can’t be done to women rewards like money and grades, coercion instead of what can. and the threat of punishment. Competition is in general extrinsic because it encourages finger gymnastics the performer to win and beat others, not to The complex, technical, and dexterous effort enjoy the intrinsic rewards of the activity. A of inputting or manipulating a gaming crowd cheering on the individual and controller. This term has a negative tone. trophies are also extrinsic incentives.” ~wikipedia first run's best one ~ see article See “beginner's luck.” eye movement (reflex) flow The ability to rapidly switch focus between flow zone. The concept of flow targets. A facet or subcategory of reflex (Csikszentmihalyi 1990) describes an skill.. optimal mental state where a person is ~ see article [completely] occupied with a task that matches the person's skills, being neither too hard (leading to anxiety) or easy (leading to boredom). Flow has seven traits:

F 1) A challenging Activity That Requires Skills 2) The Merging of Action and Awareness 3) Clear Goals and Feedback fail-safes 4) Concentration on the Task at Hand See “self-balancing forces.” 5) The Paradox of Control 6) The loss of Self-Consciousness fairness 7)The Transformation of Time “Players of equal skill have an equal chance ~ see A Dictionary of Video Game at winning even though they might start the Theory game with different sets of options / moves / characters / resources / etc.” Sirlin.net fog of war ~ see article In a game like Star Craft or Advance Wars, fog of war is a shadowy veil that obscures feminist criticism vision of units or other activity. You can see Like Marxist criticism, the most successful the terrain through this veil. Feminist critique of a game involves ~ see article analyzing how the range of player functions

15 folded level design frame trap Level design that reuses a space with the Timing your actions against an opponent second use containing an extra layer to the very precisely to bait them into reacting and gameplay challenge/experience that builds thus putting themselves at a disadvantage on the skills and experiences established in (usually because of the start up frames from the first layer. A basic type of folded level is their attacks). Typically the baiting gap, the a fetch quest where going and obtaining the opponent's action, and the start of your item is one kind of challenge, then returning counter action all occur within a few frames the same way you came is more difficult (1-10). because you have the item. ~ see article ~ see article freestyle folding moves To play a video game primarily using tactics When two or more moves are strung or actions of self expression rather than together in a sequence that increases the using strategy or a playing to win attitude. effectiveness of the later move(s), then To explain it using the DKART system, these moves are considered to be folded. freestyling involves little LTM and analyze ~ see article knowledge skills and relies mainly on STM, MM, reflex, Tier.1 adaptation, and dexterity form fits function skills. Freestyling is the opposite of playing Form fits function is a powerful game design with a strategy. principle used in many of Nintendo's ~ see article greatest games. Using familiar, intuitive visuals, games can use their form to fun communicate key information to the player Whatever you are willing to do or subject about how the interactions will play out yourself to free of coercion. This is a very (function). If there is a ball resting on a tee simple yet immensely practical definition of and the player avatar has a golf club in its “fun” t hat allows us to clearly tell if someone hands, you instantly get an idea of what is having fun or not by observing their kinds of interactions and function will play behavior. out in this scenario. ~ see article

FPShuffle While fun is an elusive concept, the most An emergent behavioral occurrence where popular school of thought claims that video two players in a first or 3rd person shooter game fun comes primarily from the dance back and forth shooting at each other enjoyment of problem solving. yet both failing to effectively do damage or kill one another. Some of the factors that --Sid Meier claims that "A [good] game is a help facilitate this dance are a lack of player series of interesting choices" (Rollings & skill, high maneuverability, weak weapons, Morris 2000, p. 38). high health, excessive cover, etc. ~ see article --Koster (2005) claims that fun arises from trying to understand the pattern of a game. frame --The idea of fun as a result of problem “Frame rate, or frame frequency, is the solving is also present in the concepts of frequency (rate) at which an imaging device interesting choices and aesthetic index. produces unique consecutive images called frames.” ~ wiki A second school of thought describes video games as a combination of a number of Furthermore, for video games, the image is different types of fun, where different games refreshed every frame and the game emphasize different types of fun. conditions are checked every frame. In a 60 FPS game, there are no computer --Hunicke, LeBlanc, and Zubek (2004) list 8 calculations or "thinking" happening types of fun: Sensation, Fantasy, Narrative, between frames. Challenge, Fellowship, Discovery, Expression, and Submission.

16 game --Garneau (2001) list 14 forms of fun: Half-Real, chapter 2: "A game is a rule- Beauty, Immersion, Intellectual Problem based system with a variable and Solving, Competition, Social Interaction, quantifiable outcome, where different Comedy, Thrill of Danger, Physical Activity, outcomes are assigned different values, the Love, Creation, Power, Discovery, player exerts effort in order to influence the Advancement and Completion, Application outcome... and the consequences of the of an Ability. activity are optional and negotiable." ~ see A Dictionary of Video Game --Concerning game design, Shelley (2001) Theory emphasizes that "The Player Should Have the Fun, Not the Designer, Programmer, or game design Computer". According to Salen & Zimmerman: "The ~ see A Dictionary of Video Game focus of a game designer is designing game Theory play, conceiving and designing rules and structures that result in an experience for functional blind spot players." (2004, p.1) A space in a video game relative to the ~ see A Dictionary of Video Game player that is difficult to interact with due to a Theory combination of the player's mechanics and the level design (arrangement of level and game idea enemy elements). Sometimes notated f(x) The theme, concept, direction, or idea that blind spot or f(x)bs. governs and is communicated through the ~ see article design of a challenge, distinct section, level, etc. function creates form ~ see article When game mechanics or ergonomics inspire, shape, and define the creation of the gameplay fictional (mostly non-interactive) parts of a "A game’s gameplay is the degree and game. e.g. story, setting, premise, nature of the interactivity that the game characters, music, audio. includes, i.e., how the player is able to ~ see essay interact with the game-world and how that game-world reacts to the choices the player funomaly makes." (Rouse 2001, xviii) Gameplay can A humorous term that is the product of the be seen as independent of graphics or words fun + anomaly. Applies to people, fiction, but fiction plays a large role in notions, and cases of fun (real or theoretical) helping players understand the game. (Half- that operate under any number of fun Real, chapter 5.) fallacies. More so, it’s not that these ~ see A Dictionary of Video Game examples are impossible. It’s that they are Theory so rare, they should be consider anomalies. ~ see article series gameplay dynamic A system where one action has a range of influences on other gameplay elements, features, or challenges. ~ see article

G gameplay idea The theme, concept, direction, or idea that governs and is communicated through the gambit gameplay of a challenge, distinct section, Highly risky strategies. Generally, the riskier level, etc. the gambit, the bigger advantage the player ~ see article will gain if successful. ~ see article game state

17 A game can be seen as a state machine, a …it's possible for its input (button press) to system that at any time is in a given state, result in at least one other simultaneous and which has laws for how it will react to a mechanic if the mechanics can be executed given input. In a board game, the state of independently. (Mario's RUN/SHOOT fire the game is stored in pieces on the board. In ball) a video game, the state of the game is kept in the RAM of the computer. …the mechanic requires a command, which ~ see A Dictionary of Video Game is a timed sequence of controller inputs, and Theory this command does not force a change in the interactive gameplay state. (all special gimmick moves in Street Fighter 4) “A sometimes hidden innovation intended to attract attention and increase the unique …it can be executed with a combination of value of a product or work.” ~dictionary.com buttons that are mapped to one or more other mechanics. (Street Fighter 4's two goal button grabs). What the player of a game has to strive for. A goal is an assignment of value to the …the same input can result in one of two or possible outcomes of a game. The goal more different mechanics depending on the refers to the game as an activity, not to the context, and the context is determined by game as an object. (Half-Real, chapter 2.) gameplay factors outside of the player's Additionally, some games enforce goals, control (e.g. NPCs, proximity to items/level while other games have optional goals. (Juul elements, other players). This context does 2006) not change the player/character state. ~ see A Dictionary of Video Game ~ see article Theory ~ see article2 ~ see article3 goal-setting theory Based on the notion that individuals sometimes have a drive to reach a clearly gun-to-hand defined end state. Often, this end state is a A type of combat where one party must use reward in itself. A goal's efficiency is melee or hand-to-hand attacks against an affected by three features: proximity, opponent who uses ranged projectiles. difficulty and specificity. The enhancement ~ see article of performance through goals requires feedback. Goal setting and feedback go hand in hand. Without feedback, goal setting is not likely to be effective." ~wikipedia ~ see article H griefing (playstyle) "A griefer is a player who plays a multiplayer hand-to-hand (combat) video game to irritate and harass other Close range melee combat between to players, rather than in pursuit of game characters/bodies. objectives." wiki ~ see article ~ see article harmony (dexterity) grouped (mechanics) How the execution of one muscle motion A mechanic that shares the same input as affects the execution of another muscle another mechanic for a particular game motion. The more negatively resulting mode, level, or challenge. The opposite of motions are affected, the less harmony one individual mechanics. has. ~ see article A mechanic is grouped if... harmony (story) See "resonance."

18 irrelevant information (Haider & Frensch hit pause 1996). The distinct pause in the game or localized action due to a particular interaction of game In video games, related to the tendency of elements. players to ignore fiction in some games. ~ see article (Half-Real, chapter 4.) See Retaux & Rouchier (2002). hit spark ~ see A Dictionary of Video Game A graphic or visual effect that helps players Theory see exactly where two hitboxes meet. Collisions can occur in the blink of an eye, information warfare so sparks mark the point of collision and Gameplay challenges that involve fighting linger briefly. for information or fighting to restrict ~ see article information from your opponent(s) when the information is necessary for making key, human dynamic strategic decisions. See “fog of war.” Dynamics that only come into play in ~ see article multiplayer gameplay. Also see “team skill.” ~ see article inorganic (level) design Inorganic design is very similar to abstract hybrid game design. Abstract mechanics often influence Two wholly different types of gameplay level design that diverges from challenges (most likely from two different organic/concrete forms, mechanics, and genres) designed to be played at the same gameplay. The main difference between time or alternately in a gameplay challenge. inorganic and abstract design is that ~ see article inorganic design is made up of concrete, organic game elements. However, it’s the arrangement of these elements that work against the fiction and established norms of the game. I ~ see article

interactive immediacy Actually executing actions (dexterity) that A factor that affects the effectiveness of the game system recognizes and responds shaping behavior via consequences to. Can be measured by action per unit time (reinforcements or punishments). After a (APM) or in any other manner. response, how immediately a consequence ~ see article is then felt determines the effectiveness of the consequence. More immediate feedback interesting choices will be more effective than less immediate According to Sid Meier, a [good] game is a feedback. series of interesting choices. In an ~ see article interesting choice, no single option is clearly better than the other options, the options are individual (mechanics) not equally attractive, and the player must The simplest definition is when a mechanic be able to make an informed choice. is mapped to an input device (usually (Rollings & Morris 2000, p. 38.) button) that is not mapped to any other ~ see article series mechanic or function. ~ see A Dictionary of Video Game ~ see article Theory ~ see article2 internal (timing) information reduction The ability to accurately execute on a range The process where user improves of timings using a mental sense of timing. performance at a task by learning to ignore Whether you keep track of time in seconds, beats, or with audio memory, the more

19 accurate you are at keeping time in your [3] are interested in mastering a topic, rather head the more internal timing you have. than just rote-learning to achieve good ~ see article grades.” ~wikipedia ~ see article internal energy The motion and the direction of the brain as intuition gap it receives, processes, and stores data in Any lack of knowledge or understanding response to a odd, irresolvable stimuli. For created by any learning method. A blind spot example, optical illusions, literary ambiguity, for the mind. Occurs frequently from trial- and puns all have some kind of internal and-error learning methods. ~ see article energy. ~ see article intuitive (mechanics) A measure of the degree to which a interplay mechanic functions according to universal, Counters or the continual chain of back and common, or learned expectations. The more forth counters between any two gameplay familiar the mechanic, the more intuitive it is. elements. The essence of gameplay. Intuitive design is a great way to lower initial ~ see article learning barriers. ~ see article 2 ~ see article interplay barrier inward innovation A level of play or a counter strategy that one Looks at existing conventions and redesigns player can force another to embrace or else them for the purpose of making elements suffer a significant disadvantage. In other more intuitive, dynamic, analog, organic, or words, a highly effective counter strategy. engaging. ~ see article ~ see article interposition izanagi memory A monocular depth perception technique. The rare and involuntary act of memorizing When one object blocks another by existing a piece/string of data (large or small) in front or on top of it. instantly. Techniques to induce izanagi ~ see article memory are temporary or hard to repeat because one’s mind can learn that you're intrinsic motivation trying to "trick" it into learning. Named after a “Refers to motivation that is driven by an similarly powerful and somewhat limited interest or enjoyment in the task itself, and technique from Naruto. exists within the individual rather than ~ see article relying on any external pressure. Intrinsic motivation has been studied by social and educational psychologists since the early 1970s. Research has found that it is usually associated with high J-K educational achievement and enjoyment by students. Students are likely to be intrinsically motivated if they: key [1] attribute their educational results to Any element or system that can be used to internal factors that they can control (e.g. the open a lock. amount of effort they put in). ~ see article

[2] believe they can be effective agents in knowledge (skill) reaching desired goals (i.e. the results are One of the 5 DKART skills that includes the not determined by luck). facets or subcategories of LTM (long-term memory), STM (short-term memory), MM (muscle memory), code & decode, analyze, and channels.

20 ~ see article Level design can also refer to the physical knowledge base layout of a game (the environment). A general term for all information pertaining to a game including everything from the linear lock interactive to non interactive elements. These locks are hard coded to only open Includes a game’s complexity and metgame. after a single key is used in a specific way. ~ see article Just try getting into the key hole in Super Mario World without the Key. ~ see article

linear perspective L A monocular depth perception technique. Parallel lines seemingly converging at the horizon. law of frames ~ see article A video game can only be played or interacted with to a degree equivalent to its linear variation frame rate (fps). In other words, time and Adding or subtracting a single game element space are not infinitely divisible in a virtual or by a fixed group of elements. e.g. Level 1 world. The frame is the quantified measure has 1 enemy. Level 2 has 2 enemies. Level of existence and therefore interactivity for 3 has 3 enemies. And so on. game elements. This law mostly applies to ~ see article simple, singular game systems as opposed to networked system with multiple line of motion coordinated CPUs. The functional intent, potential, or action of a ~ see article gameplay element. For games with spatial core gameplay dynamics, the line of motion layered level design can often be expressed as an arrow line. When a single level, section, or area of a Since most games feature space (2D or 3D) level is designed to facilitate different as a core gameplay dynamic, it is challenges (some optional). Keep in mind convenient and illustrative to think of that having different versions of the level or function in this way. altering it after the start to create different ~ see article challenges doesn’t count as layered. All the layers must exist together and be accessible lobbying to each other. When a player intentionally puts him/herself into a disadvantaged situation in a free-for- learner (playstyle) all match in attempt to help another non See “R&D (playstyle).” teammate player gain an advantage. All of this is generally done to eventually come out learner's mixup on top. For example, when a player allows a When a player makes a mistake based on a losing player to kill him/her to avoid letting false assumption or any other quirk from the lead player get the points. their learning process. ~ see article ~ see article loci, emotion, and repetition learning barrier Various coding systems for building long See “skill barrier.” term memory. ~ see article level design The design of a interactive game challenge lock with a distinct goal, which includes the Any object/system that restricts or redirects arrangement of environmental objects, player progression or access. All locks must enemies, the sequence of enemy spawns, be able to be opened with a key. Locks can and any other interactive elements.

21 be in a locked, temporarily unlocked, or Like Psychoanalytic criticism, Marxist permanently unlocked state. criticism can seemingly critique a game by ~ see article looking solely at a its fiction. However, both of these critical modes, in relation to lone wolf (playstyle) videogames, achieve a deeper, more A player who refuses to work with profound level of analysis when the teammates or follow any team strategies. elements of interactivity between the game Such a player plays his/her own way as if and player are taken into consideration. playing a single player/non team based Many Marxist critics of literature believe that game. film, literature, art, music, and other forms of ~ see article entertainment such as videogames are the primary bearers of cultural ideologies. While long term memory (LTM) we’re being entertaining by these medias, Memory that can last as little as a few days our defenses are lowered making us all the or as long as decades. It differs structurally more susceptible to ideological and functionally from working memory or programming. A Marxist critic of videogames short-term memory, which ostensibly stores looks for how a game supports or condemns items for only around 18 seconds (Peterson capitalist, imperialist, or classist values. and Peterson, 1959). -wikipedia Perhaps the best and most obvious place to ~ see article look in games is the role and function of money. Some games represent money with look-alike mixup U.S. dollars or some other form of real world Influencing a player to make a mistake currency. Others use fictional currency from because two or more attacks, moves, or bell, to gil, to star bits, or even points. What game elements look identical to each other the player can purchase, how these items or but act very differently. services function, and how the money ~ see article circulates within the game world all become important areas of analysis. LTM ~ see essay see "long term memory." ~ see example ludonarrative dissonance matrix When the coherency of the gameplay and A Matrix is a specific kind of strategy that story content in a video game contradict continually reduces the opponent's viable each other. options until all of the opponent's choices ~ see article are either completely locked out or can be countered without the aggressor needing to enter double blind encounters. ~ see article

M meaty attacks As known as “early attacks.” Executing an action aiming for the middle or tail end of the main path action to "hit" the desired target. Typically The most common, guided, "safe," easiest, done to gain frame advantage. developer intended course through a game. ~ see article ~ see article mechanic (gameplay) manual buffering Player initiated actions from controller inputs Controlling the window of execution for a as designated by the game designers. mechanic typically through some kind of These actions have effects on the extended analog controller input. gamestate in terms of the variables and ~ see article dynamics of the gameplay system. ~ see article marxist criticism The hardware and software combination of gameplay actions

22 ~ see article the sound of opponents controllers to anticipate their actions. Sitting in the only mechanical balancing framework spot available that's outside of the glare of A list of positive and negative properties that the sun at your assigned station. Claiming any mechanic within a set can have based that you don't know where your opponent is on the primary function(s), core dynamic(s), even though you know that he/she went to and the most common type of counter in a the bathroom in hopes that they'll be game system. disqualified. Spreading the word about how ~ see article to counter your techniques that actually makes opponents more susceptible to your mechanical balancing formula tricks. And pulling out your opponent's The general formula or rule of thumb when controller cord. designing moves according to the ~ see article mechanical balancing framework. For example, for every positive property a move mind game also needs to have a negative property. A general term for influencing a human ~ see article opponent to make mistakes typically by paying attention to their expectations to memory span make informed decisions. Includes mixups A measure of the amount of information or as well as anything outside of the game "bits" of data that one can store in their short rules, mechanics, and interactions. In other term memory. Depending on the type of words, mixups are a subset of mind games. data, this number can go up or down. Some think the magic number is 7 give or take 2 A term for setting up and executing mixups bits. on human players. Like Yomi (reading the ~ see article mind of your opponents), winning successive mixups involves repeatedly mental channels guessing correctly. With enough successful The ability to take in multiple distinct guesses, one player may appear to be streams of data or maintain separate reading their opponent's mind. By feeding simultaneously trains of thought. the opponent information through baits and ~ see article patterns, it's possible to significantly ~ see article2 influence an opponent's thoughts and actions. metagame ~ see article The evolution of strategies and trends that ~ see article2 mainly revolve around counters and interplay barriers. mini loop A loop of interplay that's contained entirely “A broad term usually used to define any inside of an point or branch in a larger more strategy, action or method used in a game dominant loop of interplay for a game which transcends a prescribed ruleset, uses system. external factors to affect the game, or goes ~ see article beyond the supposed limits or environment set by the game. Another definition refers to minimum difference the game universe outside of the game The smallest degree of change needed for a itself. In simple terms, using out-of-game change to be significant for a particular information, or resources, to affect one's in- mechanic. Also known as “minimum degree game decisions” ~wikipedia of difference.” This is an arbitrary amount ~ see article that should be stated up front in any discussion of a game’s variation. meta man/gamer (playstyle) ~ see article Playing in this style requires strategizing outside of the game at hand. Some methods misplaced memory phenomenon are completely fair and ingenious. Others The occurrence of drawing a blank when not so much. Examples include listening to trying to access information while still in the

23 process of learning/memorizing it. When ~ see article information is being coded/decoded it is neither in one's STM or LTM, hence the motional parallax feeling of misplacing memories. A monocular depth perception technique. ~ see article Perceiving how objects at different distances move past your view at different speeds mixed-generational design when moving. When a game contains design elements ~ see article from at least two different generations of design conventions or trends that conflict multi-element whole with each other in some way. A somewhat obsolete and convoluted term to describe emergent gameplay. mixup A general term used to describe the effort of multi-fold level design influencing a player to make a mistake A level that is designed with multiple layers through game mechanics. and creases that fold onto each other more ~ see article than once. ~ see article MM See "muscle memory." multi loop A game system that has multiple interplay mob consciousness loops that each govern, more or less, the The collective will of a group of free-for-all dominant mechanics and interactions of a players. Also called “mob mentality.” game. ~ see article ~ see article mob mentality multiple goals See “mob consciousness.” Not the same as gameplay challenge sustaining multiple options, tactics, momentary vision (reflex) strategies, gambits, or paths to achieve The ability to instantly identify objects that victory. Instead, a gameplay challenge with come into your vision. A sub-facet of reflex multiple goals (multiple ways to win) is one skill. where victory is achieved absolutely by ~ see article reaching any one of the multiple goals. This design makes it hard to evaluate gameplay momentum actions and strategies because each goal See “entropy.” can offer a completely different context for what makes an action or strategy monocular depth perceiving techniques advantageous or disadvantageous. A collection of techniques humans ~ see article commonly use to judge depth and the distances of elements in 3D space. These muscle memory techniques do not rely on analyzing the Also known as motor learning… a form of difference between two offset eyes procedural memory that involves (binocular). There are 6 techniques total: consolidating a specific motor task into “linear perspective,” “interposition,” memory through repetition. When a “shadows,” “texture gradient,” “motion movement is repeated over time, a long- parallax,” and “size constancy.” term muscle memory is created for that task; ~ see article eventually allowing it to be performed without conscious effort. ~wikipedia motion controls ~ see article Input devices that use at least one of the following technologies designed to sense motion and position: linear accelerometers, gyroscopic sensors, rotation sensors, rate sensors, and magnetometers.

24 negative space In game design, the obsolete term for what is now called static space. N In art, “Negative space… is the space around and between the subject(s) of an narrative bullet image. Negative space may be most evident An example of ludonarrative dissonance when the space around a subject, and not typically used to describe violent actions. the subject itself, forms an interesting or For example, in gameplay, if the violence is artistically relevant shape, and such space is more cartoon-like allowing characters to occasionally used to artistic effect as the sustain multiple hits that would otherwise be "real" subject of an image. The use of extremely deadly or crippling, during a negative space is a key element of artistic narrative sequence, like a cut scene, the composition. The Japanese word "ma" is style shifts seemingly for the purpose of sometimes used for this concept, for advancing the plot. Suddenly the same example in garden design” ~wikipedia bullets you could take many hits from with ~ see article no problem kill instantly. new classical criticism narratology New Classical criticism focuses on The study of storytelling. Also: The study of identifying a game's primary function/action games as story systems (for example, that sums up all of the player's actions, Murray 1997). See Chatman 1978. functions, and abilities into a single mode of ~ see A Dictionary of Video Game expression. This expression can be thought Theory of as the interpretation of the game or what the gamer is actually doing when he/she natural counter plays. Sometimes the primary function can A natural counter is created from the be encapsulated in a single word. For limitations of time or space. This counter example, the primary function of the Super includes everything from dodging out of the Mario platforming series is "jump". way of an attack, taking advantage of "laggy" animations, to positioning elements After the primary function is identified, the in such a way as to prevent immediate New Classical critic then looks at a game's retaliation. For games designed around formal elements to analyze how they spaces 2D or 3D, natural counters are promote the primary function. The formal almost always the most prevalent, inherent, elements include Sound, Music, Art style, and dynamic type of counter. Story, Graphics, level design, enemies, etc. ~ see article Because the New Classical critic privileges interactivity over passivity (especially when natural dynamics focused into a limited number of rules and Gameplay dynamics of space or time and actions), such a critic is only concerned with sometimes decay. Also known as “organic how these elements shape the gameplay dynamics.” experience, and assumes that any formal ~ see article element in a game is only meaningful when it supports the primary function and exists in negative edge a lower state of priority to that function. In An aspect of mechanics and controls other words, elements like story can't be design. When a mechanic is designed to more stressed and more important to a activate when a button is pressed and when game than the gameplay. the same button is released. ~ see essay ~ see article ~ see essay 2 negative feedback non-individual (mechanic) The obsolete and somewhat confusing term See “grouped mechanics.” for “comeback mechanics.” non objective (playstyle)

25 A player that's not in it to win it, lose it, or to experiment. one true style (playstyle) ~ see article Having the one true style is a lot like being Superman (I imagine). You have so many nonre powers and abilities that you can pick what's Pronounced [non-ruh]. A term to describe a best for any given situation. So all playstyles poor, inaccurate, misnomer of a genre could be at the disposal of a gamer with the classification. Example. The Super Smash one true style. Brothers series doesn't belong in the party ~ see article genre. It's a fighting game. open variation Also, a new genre of video game for a game Doesn't look at examples from a game’s that appears to be of one genre because of levels, rather it focuses on arbitrary it’s visual presentation and gameplay arrangements and groupings. Open mechanics, but eventually emerges into a variation can also consider possible completely different genre. For example, a scenarios. kart racing game that, when played at a high ~ see article level, emerges to be a turn based strategy game. option select A an advanced mostly used by competitive nuance multiplayer. This technique involves Any effect, property, or detail of a gameplay inputting two or more sets of mechanics or element that is not mandatory or obvious. actions near simultaneously in such a way Typically, if understanding and using a that the game picks the best option for the property is mandatory for progression, then situation and executes. Option selects often the property is far more likely to be obvious. rely on a strong understanding of the It’s the optional, or non-required, properties nuances of mechanics. Non-individual that are less likely to be used, framed in mechanics increase the emergent likelihood context to the gameplay, and therefore of option selects. learned. So if power is defined by beating a ~ see article game, it’s mandatory goals/challenges define the scale of power. This is why an organic decay-cycle optional, nuanced property can be difficult to See "cycle." place on this power-value-scale. organic dynamics Depending on the set of challenges you See "natural dynamics." wish to group, a given property can be more or less nuanced. For single player games, organic key it’s common to consider the entire game. The opposite of abstract keys, these keys ~ see article are an organic part of the game world that’s ~ see article 2 defined by space (2D/3D). Depending on what dynamics a game is designed with, organic keys play by the same rules. The keys in Super Mario World, some in LittleBigPlanet, and many of the keys in The O Legend of Zelda: Phantom Hourglass are organic keys. This means to get them from one place to another, they can't simply be obsessed (playstyle) stashed away in an item menu. They must See “specialist (playstyle).” be pushed, picked up, or otherwise moved from point A to point B. Organic keys can obstacle turn a basic fetch quest into a dynamic A general term for any gameplay challenge challenge. From simple level design to the that the player can only overcome by using much more advanced folded level design. mechanics. ~ see article ~ see article

26 organic lock people pay more attention to the incentive, These locks are much more lenient than and less attention to the enjoyment and strict locks. Organic locks are created out of satisfaction that they receive from gameplay rules and dynamics. Because performing the activity. The overall effect is dynamics foster emergence, multiple a shift in motivation to extrinsic factors and solutions are also probable. For example, if the undermining of pre-existing intrinsic you need a certain amount of weight on a motivation." ~wikipedia switch to unlock a gate, for an organic lock ~ see article it's possible to use a variety of game objects as a weight. In LittleBigPlanet, all the objects in a level have weight and physicality to them. To weigh down a switch you can jump on it, get you and 3 of your friends to stand P on the switch, drag an object over to the switch, push down on the switch using a jetpack, or even flip the switch upside down paradigm shift so it weighs down on itself. Coined first in Thomas Kuhn's book The ~ see article Structure of Scientific Revolutions (1962), a paradigm shift now broadly refers to a origami level design fundamental change in ideology. Final A type of multi-fold level design where the Fantasy 13 has popularized the phrase in creases and layers are so flexible or the realm of video games to mean a dynamic that the possible paths within a fundamental shift in tactics or strategy. But I single level are interconnected and complex. think the term needs a little more specificity. I visualize the complex web of possibilities After all, every action we make in a video as the creases in the paper of an origami game can be an adaptive response to the figure unfolded. conditions in the game and therefore qualify ~ see article as a change in tactics. Gamers create and switch between new strategies and or-lock playstyles all the time. A lock that can be opened with any key of a specific type or a range of types. The locked So, to make the term more exacting, I'll add doors in many Zelda dungeons are or-locks. that a paradigm shift involves changing the This means you can use any small key you tactics, strategies, and/or roles of a multi find to open any of these locked doors. part system of a single allegiance. In other ~ see article words, paradigm shifting is all about players/characters fulfilling roles and then outcome changing those roles together to The outcome is the final state of the game. fundamentally change their function. You The outcome of a game is quantifiable, can't paradigm shift playing one character in meaning that it is meant to be clear whether a shooter or a fighter. You can only do so as the outcome was one or another; who won part of a team when you can change the the game (Salen & Zimmerman 2004, 96). roles of the team in one move. Games set in persistent worlds do not ~ see article necessarily have an outcome. It is the valorization of the potential outcomes of a pattern mixup game that gives a game a goal and lets the A mixup created by stringing together a players win or lose. (Half-Real, chapter 2.) series of moves to make and break patterns. ~ see A Dictionary of Video Game In a player v player match, executing a Theory pattern involves playing in such a way to influence your opponent to recognize and overjustification effect anticipate your moves. The more moves you “Occurs when an external incentive such as string together successively, the more likely money or prizes decreases a the opponent will pick up on the pattern. person's intrinsic motivation to perform a Once you know your opponent will probably task. According to self-perception theory, try to counter your moves anticipating the

27 pattern, you can counter their counter. Often ~ see A Dictionary of Video Game called “pattern based mixup.” Rarely called Theory “rhythm (based) mixup.” ~ see article player A human interacting with a game. In video peripheral vision (reflex) games player generally means a human The ability to spot objects in the area outside player. A game played against the computer central vision. A sub-facet of reflex skill. is considered a single player game. ~ see article ~ see A Dictionary of Video Game Theory perpetual comeback See "comeback mechanic." (p)layered dynamics The dynamics of gameplay that additional phase of combat players inherently affect. The term is a pun The set of conditions greatly shaping the off of the words player and layered. potential strategies and playstyles all parties ~ see article are affected by equally. For example, in the Bomberman battle mode, the final 30 (p)layered level design seconds or so activate a “hurry up” phase in When the challenge(s) of a level which the stage begins to shrink forcing all fundamentally and organically change with remaining players into a closer proximity. the addition of players. This means the level ~ see article doesn’t recognize that more players are present and alter any part of the level. The pigeonhole principle additional players can be cooperative, “In mathematics and computer science, the counter operative, or neutral. The term is a pigeonhole principle states that if n items are pun off of the words player and layered. put into m pigeonholes with n>m, then at ~ see article least one pigeonhole must contain more than one item.” ~wikipedia. playing to win ~ see article A term coined by David Sirlin, but a concept that has existed as long as there have been pin competitive games. Take the rules of the Any procedure or steps involved in using a game and the rules of the tournament, and key to open a lock. then do everything you can to win. Don't ~ see article worry about being cheap or honorable. Don't worry if you're driving your opponent crazy. play Don't worry if you're exploiting a strategy “Play is a term employed in ethology and that in your opinion greatly unbalances the psychology to describe to a range of game. When it comes down to it and you're voluntary, intrinsically motivated activities sitting in the competitive hot seat, you have normally associated with pleasure and to do everything you can without reserve if enjoyment. Play is commonly associated you want to be victorious over others who with children, but positive psychology has will surely do the same to you. stressed that play is imperative for all ~ see article higher-functioning animals, even adult humans.” ~wikipedia podobolic motion An element (most likely an enemy element) Salen & Zimmerman define play as "Play is that flies up from below and then falls back free movement within a more rigid down with the same speed and timing (like a structure". (2004, p. 304) Sutton-Smith lists Podoboo from the Super Mario Bros. 2D 7 rhetorics of play: The rhetoric of play as platforming series). The element can move progress, the rhetoric of play as fate, the from any angle as long as it reverses its rhetoric of play as power, the rhetoric of play direction and returns to where it spawns. as identity, the rhetoric of play as the ~ see article imaginary, the rhetoric of the self, and the rhetoric of play as frivolous. (1997, p.9-12.) pointer controls

28 A device that either directly or indirectly uses locks, you may or may not have the light or another mechanisms to relay mechanics necessary to progress. positional coordinates to a cursor via 2D or ~ see article 3D movements. The cursor movement is always proportional to real-life movements. precision There is no springy action or snap back with Input device terminology. The degree to pointers. which repeated attempts under unchanged ~ see article conditions produce the same outcome. Also called “reproducibility” and “repeatability”. politics ~ see article The making and breaking of alliances in a free-for-all (whether made public or done in pressing the advantage private). A general concept in any strategy/skill based ~ see article game where a player puts him/herself into an advantageous situation and attempts to positive space maintain that advantage. In art, the space taken up by the subject(s) ~ see article of an image. ~ see article preventative counter When a player or game element stops an poto&cabolic controls element of contrary motion from ever Coined after Honeyslug's indie flash game affecting them according to the aims of their Poto&Cabenga, this terms refers to control functional intent. design when one non-individual input ~ see article controls two elements simultaneously . ~ see article primary function A short descriptive word or phrase of what power (dexterity) you do in a game. That is to say, it's a A sub category of dexterity skills. How much description of the main type of interactivity in force drives a single motion/action. a game. Sometimes referred to as "strength." ~ see article ~ see article primary mechanic power (intrinsic desire) Whether a game is defined by an action or a One of Steven Reiss’s 16 basic desires that group of actions, a small set of the most motivate intrinsic desires. Power is the need essential/mandatory mechanics rests at the for influence of will. This need is very easily core of every game. These mechanics are stressed in video games because they are the primary mechanics. interactive. ~ see article properties (variation) The subset of complexities that define a power (variation) mechanic or any other interactive gameplay The obvious, straight forward means to element. For example, the properties of a achieve a functional goal. Generally aligns punch in a combat system could be with the primary function(s) of the game. strength, speed, range, damage, etc. ~ see article proximity powerup key How quickly a goal can be reached or how Like core mechanic keys, some locks are clearly one can mark their progress from opened with optional or upgraded abilities. beginning to end. It's easier to be motivated Examples include using super bombs to to do something that has a fairly immediate access new areas (Super Metroid), result. One of three features of goal-setting hookshotting to new spots (Zelda), and the theory that determines the quality of the tiny warp pipes in New Super Mario goal. Brothers. The first time you run into these ~ see article

29 psychoanalytic criticism is the challenge is no longer entirely focused For those who aren’t careful, a on stressing knowledge skills. Endless Psychoanalytic critique of a game appears puzzles and randomly generated puzzles to only be concerned with the fiction of a are usually puzzle challenges. game and the relationship of the characters. ~ see article Unless the game is Psychonauts, most games seem to have little to nothing to do puzzle mode with the human psyche. Neglecting how the The levels in this mode use the game's core game fiction and the gameplay (or game puzzle/gameplay system and feature rules) come together to create the challenges with very limited solutions. The Psychological work in a game is a common purpose is not to give the player the freedom pitfall. Another easy pitfall is to get wrapped to play around with countless, emergent, up in Psychoanalyzing the developers of the and divergent possibilities while exploring game, or what may be infinitely more the results of their choices. Rather, the embarrassing, accidentally analyzing one’s purpose of the challenge in a puzzle mode is own psychological state while trying to pass to limit the player in such a way to test their it off as an analysis of the game. Though it is knowledge of the puzzle engine and their true that the fiction of a game is an important logical strategies. Puzzle mode levels part of any Psychoanalytic analysis, the typically deemphasize real time, action gameplay is where the most profound based skills (timing, reflex) in order to source of material lies because the completely test the player's knowledge skills interactivity of the game can influence and (logic, deduction, analyze). This means that transform the player in more subtle ways many puzzle modes are turn/move based. than a passive medium. Like a clever joke or plot twist, the challenge ~ see essay and engagement comes from learning the ~ see essay2 solution/punch line. Usually, once a puzzle mode level is completed, there's little punishment challenge and therefore incentive for players Common definition: "to subject to pain, loss, to replay it. This is known as the “spoiler confinement, death, etc., as a penalty for effect.” some offense, transgression, or fault" ~ ~ see article dictionary.com. puzzle stage “is a consequence that causes a behavior to A level or level section that focuses on the occur with less frequency.” ~ wikipedia nuanced use of gameplay mechanics with a ~ see article very limited set of solutions. Puzzle stages are generally inserted into non puzzle pure organic (level) design games. Typically optional bonus rooms, A type of level design that reflects the puzzle stages are free to create nuanced interconnected intricacies of our organic challenges. world. Basically, designing a pure organic ~ see article level means taking out as many "artificial" video game limitations as possible. For example, designing levels with no invisible walls, no automatic resetting of rooms, and no unlimitedly respawning resources. It’s not Q about designing more realistic mechanics, but more dynamic, long lasting, and possibly realistic consequences. quantification ~ see article Organizing the range of possibilities of any element or scale into distinct, easier to puzzle challenge reference parts for the purpose of analysis. A level or challenge made using a game’s ~ see article puzzle engine that incorporates some element that stresses real time DKART skills quasi counter (timing, reflex, and even dexterity). The point

30 A counter that falls somewhere between a Such tests feature a 'memory' and preventative and reactionary counter. 'distracter' set of stimuli. There's still only ~ see article one response the user is responsible for, but QTE now he/she must distinguish if the presented A quick time event. Created and popularized stimulus is the right or wrong one to react to. by Yu Suzuki in his game Shenmue. “a ~ see article method of context-sensitive gameplay in which the player performs actions on the redundancy control device shortly after the appearance See “controller redundancy.” of an on-screen prompt.” ~ wikipedia. refining trend (variation) An obsolete term previously used to describe a trend in variation where gameplay challenges become harder. It’s much more clear to simply state the kind of R trends you find instead of concerning yourself with terms such as this. ~ see article R&D (playstyle) A player experimenting with moves, options, reflex (skill) and mechanics to learn new things about a How much one comprehends in a very small game or an opponent. Winning is not the moment of time and how quickly/accurately primary goal. Also, a player who plays in one can respond. One of the 5 types of such a way to help another gamer learn. DKART skills. The facets or subcategories ~ see article include reflex, stimulus-response curve, peripheral vision, dynamic visual acuity, reactionary counter momentary vision, and eye movement. The measures a game element can take to ~ see article "stop the bleeding" after an element of contrary motion has succeeded (at least reflex range initially) in its functional aims. In other words, The small range of reaction window time making the most out of the situation by where reflex skills can be most stressed and influencing things back in your favor. applied. Generally between 10 and 60 ~ see article frames (ie. between 1/6 second and 1 second). reading (puzzle/strategy) ~ see article Reading a puzzle mode puzzle (referred to from this point simply as a puzzle) involves reinforcement simultaneously reverse engineering the A word that often replaces the common challenge from the winning condition and usage of the word “reward. “is a deductively eliminating extraneous consequence that causes a behavior to elements, moves, and strategies. Reading occur with greater frequency.” ~wikipedia involves looking at a game according to ~ see article function, rules, and gameplay dynamics as opposed to just individual gameplay Reiss’s theory of 16 basic desires elements or move possibilities. A theory to explain the basic sources of ~ see article intrinsic motivation. In order of relevance to game design they are power, curiosity, real-time (gameplay) vengeance, saving, independence, Any case where the game state (gameplay acceptance, honor, status, social contact, challenge), actions, and cause-effect tranquility, physical activity, order, idealism, reactions are furthered via some rate of family, eating, and romance. game time to actual time. ~ see article ~ see article recognition (reflex) resonance (story)

31 A measure of how well different facets of a story enhance each other usually in some roller coaster level design abstract or thematic sense. Also called Any level design where the emphasis is "harmony." When elements work against placed on looking and "feeling" cool rather each other the elements are said to create than being functional. In other words, when "dissonance." the presentation, graphics, sound, or story ~ see article are prioritized over interactivity, variation, counterpoint, function, or challenge. responsiveness ~ see article Input device terminology. The time it takes for the system to respond (an expected rolling the dice output) after inputting. When lacking sufficient skill, attempting to ~ see article overcome a gameplay challenge that is ultimately decided by chance. Generally reusable key used to describe a scenario with a low These keys aren't consumed when used for chance of success (0-30%) yet the player the first time. Some keys have limited use. repeats attempts until successful. A type of Some can be reused over and over. brute force approach. ~ see article ~ see article reverse flow rules When mechanics are used in such a way as Gameplay complexities. See “complexity.” to reverse the natural flow of interplay within its interplay loop. Generally the potential to All games have rules: reverse the flow is small compared to the --Salen & Zimmerman describe rules as normal flowing actions. limiting player action (2004, 138). ~ see article reward --Half-Real, chapter 3 argues that rules “Something given or received in return or specify limitations and affordances. recompense for service, merit, hardship, etc." ~dictionary.com --Piaget (1941) examines how groups of ~ see article boys developed the rules of a game of marbles over time. rhythm mixup See “pattern mixup.” --Neumann & Morgenstern emphasize the distinction between the rules of a game riddle (puzzle) (which are obligatory) and the strategies the Riddles are designed to challenge one to player plays with (which are not) (1953, 49). think outside of the box or to make long and ~ see A Dictionary of Video Game uncommon connections between ideas. Theory Solving a riddle often comes with a feeling of invention or a sense that one has a run-and-gun discovered the solution. Unfortunately, A type of combat where characters or player developers often design riddle puzzles that controlled elements can attack and move force players to "figure it out" without simultaneously. offering enough clues or teaching them to ~ see article effectively read the presented conditions. Essentially, if you don't know how to tackle a rush down (playstyle) difficult problem and you don't have effective See “aggressive (playstyle).” help (clues) all of your efforts will be trial- and-error work. If the best strategy you can hope to develop for a challenge is brute trial and error, then the challenge can’t support puzzle “reading.” Some riddle puzzles video S games do it better than others. ~ see article

32 safeguard (balance) specified set of challenges). Secondary See “self-balancing force.” mechanics are also not tertiary mechanics. sandbox sections (sub-sections) Game (or game mode) that lets the player A way to organize parts that make up the experiment with its mechanics, regardless of whole. All games can be broken down into the game's goal, if any. sub-sections or sections. e.g. rooms, loading ~ see A Dictionary of Video Game sections, cut scenes, stages, levels, rounds, Theory or turns. ~ see article save abuse A side effect of any level of save freedom. self-balancing force When players use save features to Inherent limitations built into the design of a significantly reduce the challenge or game that works to balance out the consequences of a system. When saving is gameplay in a specific way. manipulated as a gameplay mechanic rather ~ see article than a system feature that exists mostly ~ see article2 outside of the gameplay experience. ~ see article sensitivity Input device terminology. The smallest save freedom change in the input method that triggers a A design feature (or set of features) that give response in the system. the player the ability to save/load the exact ~ see article game state whenever and wherever they want. sequence breaking ~ see article Progressing through a game or level in an order other than the main path or the saving developer intended order. One of Steven Reiss’s 16 basic desires that motivate intrinsic desires. Saving is the need “The act of performing actions or obtaining to collect. This need is very easily stressed items out of the intended linear order, or of in video games because we tend to collect skipping “required” actions or items entirely. achievements, progress, skills, and other Sequence breaking is often used to beat a virtual objects. game unusually quickly, to beat it while only ~ see article completing a few objectives or obtaining a few items, to obtain useful items early in the screen-blocking game, or to help push a game as far as For split-screen competitive multiplayer possible in some other way.” ~wikipedia experiences, playing in such a way to hide ~ see article elements or obscure your view when playing a split screen multiplayer game setpiece ~ see article “In Video Games, "setpiece" refers to an object in any given level that is unique or is screen-looking not part of the level's default object set. For split-screen competitive multiplayer These pieces… often… simply serve the experiences, instead of being blind to the function of building atmosphere. It can also other player's view, actions, and location refer to scripted (non-random) events of when out of sight, you can simply look at significance in the game, such as an their screen to spy on them. It's easy, encounter with a major antagonist.” effective, and difficult to avoid doing. ~wikipedia ~ see article ~ see article secondary mechanic(s) shadows The set of mechanics that are not A monocular depth perception technique. mandatory to beat the game (or some other Shadows from light sources help us understand the 3Dness of objects in space.

33 ~ see article ~ see article series short term memory (STM) skill barrier “The capacity for holding a small amount of A general term for the minimum amount of information in mind in an active, readily skill needed to compete or progress in a available state for a short period of time. The challenge. Typically used to describe duration of short-term memory (when barriers to entry for new players or players rehearsal or active maintenance is unfamiliar with the genre of game. Related prevented) is believed to be in the order of terms include “complexity hump” and seconds.” –wikipedia “interplay barrier.”

Also known as primary, active, or working skill ceiling memory. The highest level of agency or skill that one ~ see article can apply to a particular game challenge, level, or game. simple (reflex) ~ see article A measure of one's basic reflex ability. The test typically gives a visual (or audio) skill spectrum stimulus in a known location to which the The range of skill needed to successfully user must respond to quickly using a single play a game at a specific level. input. ~ see article ~ see article skyrocketing success phenomenon simultaneous discovery A phenomenon that occurs due to our One of the 3 rules of Eureka. When multiple learning limitations. When improving at a independent people come to the same task, mental resources are used to develop innovative, unique, or inventive discoveries the sharper skills and better strategies. at nearly the same exact time. Once our brains are done processing, we're ~ see article free to excel. So naturally one will experience poorer performances before very size successful performances. Also known as A factor that affects the effectiveness of “suckcess.” shaping behavior via consequences ~ see article (reinforcements or punishments). This is a "cost-benefit" determinant of whether a slippery slope consequence will be effective. If the size, or When "falling behind causes you to fall even amount, of the consequence is large enough further behind." ~Sirlin. Falling further to be worth the effort, the consequence will behind usually means a loss of key be more effective upon the behavior. resources/abilities. Rarely referred to as ~ see article positive feedback. ~ see article size constancy A monocular depth perception technique. slow eureka (the) Perceiving objects in the distance as having One of the 3 rules of Eureka. Basically, the same size despite looking smaller to the Eureka happen slowly in our minds. eye. Certainly some "ah-ha" moments come ~ see article together quickly. But most Eureka moments, though they may feel like all the pieces of skill the puzzle snap together quickly, are the User or player agency. There are five core result of a much longer process. Perhaps a categories of skill. Dexterity, knowledge, better metaphor is, though the pieces can be adaptation, reflex, and timing. These are snapped together quickly, it takes us much known as the DKART skills. Team skill is longer to "cut each piece out." another core type of skill that only applies to ~ see article team based multiplayer (and perhaps free- for-all) situations. snake (playstyle)

34 See “meta man/gamer (playstyle).” spectator sport moments soloist (playstyle) Moments where one or more players in a See “lone wolf (playstyle).” competition are forced (or nearly so) to merely observe the results of an action solution event play out in real-time. In these A specific method or strategy for reaching moments players don't have to worry about the goal of a gameplay challenge. playing, thus they become spectators of ~ see article their own sport. Such moments can help players understand the action while creating solution-rhythm tension A single static timeline of actions develop as ~ see article a solution for a complex timing challenge. ~ see article speed (dexterity) How quickly one can execute a series of solvable gameplay challenge motions or repeat a single motion. A type of challenge that the player can ~ see article overcome without making a mistake, without having to guess (no “blind encounters”), and spoiler effect without needing beyond human skills (see How challenges that heavily or mostly stress “reflex range”). knowledge skills can be spoiled once the ~ see article player learns the solution/trick. Because it’s hard to un-know or unseen such information, special case counter after being spoiled the player can never A counter that is designed outside of the experience what it’s like to solve the range of the core player mechanics. The problem again. rules or mechanics of these special case counters generally cannot be extrapolated to stamina (dexterity) apply to any other part of the game. Special How long a motion or series of motions can case counters include quicktime events or be maintained or repeated before a level of QTEs. performance drops. This level of ~ see article performance must be declared. A sub-facet of dexterity skill. specialist (playstyle) ~ see article Being a specialist or playing obsessively involves devoting yourself to a particular stand-and-strike aspect of the game. The more complex, A type of hand-to-hand combat where dynamic, and nuanced the feature you pick, characters/bodies must attack or move, but the more of a specialist you can become. not both at once. The best specialists know more about their ~ see article chosen feature than the best players in the world and even the game creators. static (timing) ~ see article The ability to time actions based on a simple, unchanging time period like clapping species or tapping to a beat. A sub-facet of timing A term for an obsolete method of analyzing skill. emergent gameplay. The 4 varying levels of ~ see article counterpoint with the last being a combination of the previous three. static space ~ see article When the conditions of a gameplay challenge do not change (or hardly change) specificity (goal-setting theory) regardless of the player actions needed to A clearly defined goal. One of three features overcome the challenge. Typically, repeated of goal-setting theory that determines the player action of a known strategy are quality of the goal. required to overcome these challenges. ~ see article ~ see article

35 the game rules and player to learn these rules, analyzing structure develops a clearer static trend insight into how a game works at its core. A static trend is where there is no change We're all familiar with the structures of between sections, or when the changes are genre. Any gamer can instantly recognize a inconsequential because they fall short of first person shooter like Halo from a puzzle meeting the minimum degree of difference game like Tetris. Many gaming genre have declared for the analysis. certain looks to them that is the result of ~ see article their gameplay structures. Like with any genre, the degree to which the conventions STM are followed or deviated from varies greatly See “short term memory.” from game to game. Recognizing a game's structure is an acute way of talking about strategy how a game works in or outside of its genre. A strategy is a specific plan of action typically for the purpose of obtaining an stylization advantage. Also known as “abstracting.” ~ see article The simplification that a game makes when strategy, complete simulating an activity. For example, the fact See "complete strategy." that cars do not run out of gas in Grand Theft Auto III. (Half-Real chapter 5.) strength (dexterity) ~ see A Dictionary of Video Game How much force drives a single Theory motion/action. More commonly referred to as "power." A sub-facet of dexterity skill. sub-mar ~ see article A comical term for any level of design that is less than the level of Super Mario Brothers stop-and-pop (NES) for any particular design feature, A type of gun or projectile based combat layer, or element. where players can move and shoot, but not both at once. suckcess ~ see article A humorous term for the “skyrocketing score phenomenon.” strict encounters When a game system is designed with suspension mechanics that have very few dynamics and When a game element or game idea is variation. Like in Rock Paper Scissors, the offset form the established pattern of game outcomes of each hand to each hand are ideas to create scenarios where the exact, strict, and unchangeable. element/idea can carry over and influence ~ see article other game ideas. ~ see article strict lock ~ see article 2 See “linear lock.” symmetric multiplayer games strict variation The types of game where all players start Examines the exact way a game’s "levels" with the same sets of options. are arranged or grouped. Can examine any ~ see article group of areas, challenges, or levels so long as their relative order is maintained. sympathetic resonance ~ see article A human phenomenon where the abstraction of feelings moves past structuralism / deconstruction criticism impressions based on the source Structures are probably the most material/original experience(s). i.e., when recognizable feature of videogames. people make feelings/opinions off of their Because structures create the foundation for feelings/opinions. When this cycle repeats

36 too much anything can feel right/wrong to a Game/Human Dynamics, Giving Orders, person regardless of the actual facts. Taking Orders, Synchronicity, and ~ see article Communication. ~ see article

tells, mixups with A seemingly look-alike mixup that has a cue or tell to forewarn the player of the upcoming situation. T ~ see article

tempo tactic A variation of tension timers that uses Tactics are general plans typically meant to acceleration to increase the amount of gain some kind of advantage. tension over time. ~ see article ~ see article Setting the tempo: playing in such a way to tactical asymptote do more with your turn to pressure the A point along the tactics-strategy spectrum opponent into doing less. that marks the set of knowledge that is ~ see article 2 required to successfully overcome a challenge using strategy. This point doesn't tension represent the maximum amount of strategy Stress or pressure on the player that is (specific plans/details). created by the awareness of some kind of ~ see article potential loss (generally of time or virtual resources). tactical threshold ~ see article See “tactical asymptote.” tension timer teacher (playstyle) Creating tension using timers either organic See “R&D (playstyle).” or clock based. Generally applies to timers of at least a few seconds. Otherwise, the team dynamic timed situation would tend to stress reflex A type of "human dynamic" that applies to skills, which many players use LTM to deal interactions between teammates in and out with rather than being conscious of and of the game. reflecting on the tense moment. ~ see article ~ see article team gameplay dynamic tertiary mechanic A system where a teamplayer's actions have Any mechanic that depends on an external a range of influences on gameplay element the player cannot independently elements, features, or challenges as well as produce. For example, kicking a Koopa shell the team's ability to function as a unit. in Super Mario Bros. A somewhat obsolete ~ see article term because it is difficult to determine exactly whether the external elements are a teamplayer (playstyle) part of the player’s abilities or otherwise. A player who puts teamwork and team Furthermore, this definition can overlap with strategies above their own personal styles, the categories of primary and secondary choices, and even their own (virtual) well mechanics. For example, you can make a being. tertiary mechanic mandatory for progression ~ see article and therefore primary by definition. team skill texture gradient A new category of skill to go along with the A monocular depth perception technique. core 5 DKART skills. The 6 subcategories of Because there’s more detail of objects up team skill are Game/Player Limitations, close, the further away objects are, the

37 smaller they appear creating a finer pattern The skill of real-time awareness and to the eye. synchronicity. One of the 5 types of DKART ~ see article skill. The facets or subcategories include static, external, internal, acceleration- the book deceleration, complex timing, and tracks. A term for the primary and most effective ~ see article way to improve at a strategy game. Doesn’t necessarily include dominant strategies. By tracks (timing) memorizing "the book" of information The ability to comprehend and execute regarding other players, potential moves, multiple independent timing elements. A strategies, match records, etc. you can sub-facet of timing skill. make the most informed decisions against ~ see article your opponent(s). This is especially effective with strategy games because they, by translation design, tend not to feature/stress any real- The rewording or paraphrasing a game idea time DKART skills like timing or reflex. into another medium (typically words). An ~ see article unused term. Relates somewhat to “transmediality.” the novelty The vast and highly unique emergent transmediality freedom there is within a gameplay system Games are a transmedial phenomenon, after the players embrace the systems, meaning that a game can be implemented in endure “the squeeze,” and learn “the book” different game "media": Chess can be (if possible). Commitment of this level is played on a board, on a computer, or blind. required for competitive players, but it also Soccer can be played as a physical sport or helps spectators enjoy the game more. as a video game. Computer chess is an ~ see article implementation of chess (everything that can be done in normal chess can be done the squeeze on the computer and vice versa), but A term for the perceived and actual computer soccer is an adaptation (only reduction of viable playstyles, tactics, and selected aspects of the sport is included in strategies for a competitive multiplayer the video game). (Half-Real, chapter 2.) experience. One may feel like all of the fun ~ see A Dictionary of Video Game is slowly being squeezed out of the game by Theory the other player as they get better at the game and the metagame grows. For many trial and error great multiplayer games, the squeeze is only A general method of problem solving, fixing a small requirement before one can things, or for obtaining knowledge. "Learning experience the novelty. doesn't happen from failure itself but rather ~ see article from analyzing the failure, making a change, and then trying again." ~Wikipedia three rules of eureka, the ~ see article See “slow eureka,” “simultaneous discovery,” and “conceptual platform.” triangle (interplay loops) Because the triangle is one of the simplest tiered adaptation shapes that uses as few lines as possible, The facets or subcategories to adaptation; interplay loops that are designed around 3 one of the DKART skills. This tier system options are ideal for balance and simplicity. provides an easy way to organize examples This is why many games use a triangle for of adaptation by their complexity. their interplay loops. This is also why many ~ see article games use multiple triangles to add additional interactions to their game systems time period instead of using a more complex shape. Length of time. Typically real-time. ~ see article timing (skill) triangularity

38 See “triangle (interplay loops)” When certain properties or design features are given to some but not all elements in a Crawford's term for game design where set. The ratio of distribution tends to be between three units or moves neither is the around 3:7 for the set. strongest (A beats B, B beats C, C beats A). ~ see article Rock-papers-scissors is triangular. (1982) --Neumann & Morgenstern describes such unidirectional flow non-fixed relations as intransitive (1953, 39, The most common type of flow for interplay 52). loops. Like in Rock Paper Scissors, the counters only flow in one direction thus --Smith (2003) proposes a general principle making a closed loop of interactivity and for creating intransitive relations and potential. interesting choices in "orthogonal unit ~ see article differentiation" whereby units and moves are valued on several different non-overlapping unintuitive leap axes. When one is forced to use trial and error to ~ see A Dictionary of Video Game come up with solutions that lies beyond Theory intuition gaps. ~ see article tier capacity The goals and rules of the game create the upgrade key value scale by which all gameplay choices See “powerup key.” are measured. The functions or roles needed to compete set the limit of the emergent tiers. When there are more items available than role slots, the inferior options will be pushed to a lower tier. see V “pigeonhole principle.” ~ see article value scale turn The measure by which we evaluate every A moment of gameplay where gameplay game action. Our scales can be very actions and reactions are paused only to be personal and subjective (how fun or difficult furthered by player commands. This something is) or they can be quantified and excludes functions like pause. universal (how many points you stand to ~ see article gain or lose). In terms of game goals, the scale must have at least one quantifiable turn-based (pure) element because the game must recognize A game system where the player can only the victorious game state when it occurs. use their mechanics on their turn. This turn ~ see article must end in some way and an equal opportunity/turn given to the other player(s) variable (variation) (human or AI). Analog gameplay variable/property with 3+ ~ see article degrees of change. See "analog variables of change." turtling (playstyle) See “defensive (playstyle).” variation Differences between game elements.

versatile key Some keys can actually open multiple locks. For these keys, it makes a big difference U whether or not the key is reusable. If not, the player may be faced with a difficult choice; uneven design space to open door number 1 or door number 2. ~ see article

39 to be stressed in a more complex or layered viable options way. “Lots of meaningful choices presented to the ~ see article player. For depth’s sake, they are presented within a context that allows the player to use strategy to make those choices.” ~Sirlin.net ~ sirlin.net > Articles > Balancing- multiplayer-games-part-1-definitions X-Y video game dynamic A general term for any interactive system yomi within a game. Not to be confused with "Yomi is the Japanese word reading, as in video gameplay dynamic. reading the mind of the opponent." Sirlin.net ~ see article See “mind game.” ~ see article viewer (story) ~ see article 2 [Acting] based on the player's compulsion, independent of any consideration for the avatar's principles. ~ see article Z virtual resources Resources defined, expressed, and contained completely within a game's virtual zero-sum funomaly space, world, or rules. A type of funomaly where one thinks one ~ see article can increase the amount of fun in a game by reducing the amount of “unfun” or vision “punishing” elements. This way of thinking is See “blindness.” mostly erroneous because of how complex and possibly convoluted fun actually is. ~ see article

zero-sum game “In game theory and economic theory, a

W zero-sum game is a mathematical representation of a situation in which a well-rounded design participant's gain or loss is exactly balanced Creating a small, efficient set of mechanics by the losses or gains of the other (or other gameplay elements) that don't participant(s). If the total gains of the overlap and clutter each other in function. participants are added up, and the total Can be thought of as touching as many losses are subtracted, they will sum to zero.” “corners” as possible or being as spread out ~wikipedia as possible within a game’s design space ~ see article considering the number of elements in the set. Generally used to describe primary mechanics of a gameplay system. ~ see article ~ see article2 wrinkle In general... "an ingenious trick; a clever innovation." ~dictionary.com

For design spaces, it's more useful to think of wrinkles as design elements that help interesting choices emerge or DKART skills