kill the prince
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KILL THE PRINCE ADDRESSING PLAYER MOTIVATIONS
Justin ACHILLI
WHO THE HELL IS THIS DUDE? INTRODUCTION
• Started at White Wolf in 1995
• Le3 and came back a bunch of 9mes
• Now at Red Storm (Ubiso3)
• Freelancing for Onyx Path Publishing
JUSTIN ACHILLI
• Vampire: The Masquerade
• Vampire: The Requiem
• WOD MMO
• Assassin’s Creed: Revela0ons
• Social games on Facebook
• Unannounced AAA project
What About Games is Rewarding? Why Do We Play Games?
KILL THE PRINCE and you can choose your reward
SHITLOADS of
Dracula POINTS
PART MOTIVATION and reward
1
TYPES OF MOTIVATION
WHY DO Players DO WHAT THEY DO? Motivation and Reward
EXTRINSIC
INTRINSIC
• Because someone else told me to do it.
• Because you’ll kick my ass if I don’t.
• Because I’ll get something for it.
• For its own sake.
• Because it’s fun.
• To learn.
• Because it contributes to my image of myself.
TYPES OF REWARD EXOGENOUS ENDOGENOUS
• Unrelated to the ac9vity.
• Ex.: Eat this weird sandwich I found in the garbage and you can have a book.
• Ex.: Shoot an alien and you can have some points.
• Directly related to the ac9vity.
• Can make you be3er at the ac9vity.
• Ex.: Buy one book, get another book free.
• Ex.: Kill the vampire Prince and you can have some vampire powers.
WHY DO Players DO WHAT THEY DO? Motivation and Reward
Trigger
Interval: A length of 9me
Ra0o: An ac9vity or ac9on
Frequency
Fixed: Consistent
Variable: Occurring at different 9mes
Trigger + Frequency = Reward
Rewards: Trigger and Frequency
The human mind is hard-‐wired to enjoy surprise.
In video games, a variable ra9o reward scheme is the most effec9ve combina9on for long-‐term reten9on.
WHY DO Players DO WHAT THEY DO? Motivation and Reward
THEREFORE
(motivation)(reward) = how much the player cares
WHY DO Players DO WHAT THEY DO? Motivation and Reward
PART Motivation In Play
2
Overcoming challenge Competence
“Flow”
MASTERY
Ownership of fate Voli9on Agency
AUTONOMY
Recogni9on of Accomplishment
Context Comparison
RELATEDNESS
WHAT DOES A PLAYER Need? Motivation in play
motivations inform the game experience
• Controls and HCI
• Game systems
• An understanding of how to effect change in the game space
• Difficulty of overcoming challenges
“I’ll use a monofilament katana to kill the Prince and protect myself from his blood rockets with my armor-‐plated trenchcoat that’s also warded against Thaumaturgy. Then I’ll go Crinos.”
Mastery
WHAT DOES A PLAYER Need? Motivation in play
• Freedom to explore
• Not just geography, but also conceptual constructs and system combina9ons
• Sect and clan dynamics, Traits, the Tradi9ons, Discipline permuta9ons, etc.
• Se^ng one’s own goals
• Choosing who and what to interact with, as well as how
“Once I’ve killed the Prince, shall I become the next despot in his stead? Should I tear down the reminders of his tyranny? Might I even cede the domain to the Sabbat?”
AUTONOMY
WHAT DOES A PLAYER Need? Motivation in play
• The presence of other people; a shared experience
• Coopera9on and/ or compe99on
• A sense of cause and effect
• Apprecia9on for what the player has done
• Reputa9on
“Do you know who I am? I’m the motherfucker who killed the Prince! <guitar solo>.”
RELATEDNESS
WHAT DOES A PLAYER Need? Motivation in play
Flow: ChAllenge Difficulty
Flow is a state of cosmic awesome.
• Being in the zone, finding the Muse, “at one with the universe,” etc.
• Immersion in the challenge and the environment.
• The op9mal manifest of player capability and challenge posed.
Time and Player Skill (Character Competency)
Challenge Difficulty
Too Easy (boredom, apathy)
Too Hard (frustra9on, anxiety)
WHAT DOES A PLAYER Need? Motivation in play
PART Framing the Result
3
Name Your Reward • Came from playing the game.
• Only marginally related to playing the game.
• Have lidle real meaning in the context of the game.
• Suggest rather than demonstrate mastery.
• Minimal relatedness to the game world.
• Offer an unrelated sense of progression.
• Infinitely repeatable… …but why bother?
Satisfying the Needs Framing the Result
SHITLOADS of
Dracula POINTS
Name Your Reward • Came from playing the game.
• Relates to playing the game.
• Has meaning in the context of the game.
• Points back into the game.
• Makes the player beder at the ac9vity that generated it.
• New avenue of mastery.
• More opportuni9es for autonomy.
• Establishes new relatedness to the game world.
• Indicate numerous elements of progression.
Satisfying the Needs Framing the Result
Progression Specific rewards suit a wide variety of players.
• Narra9ve progression
• Character/ cumula9ve progression
• Feature progression
• Compe99ve progression
• Social progression
Without some element of progression, the story of the character is nonexistent.
Satisfying the Needs Framing the Result
PART Practical Application
4
Your Friend, the Core Loop
Understanding Your Chronicle Practical Application
Objective
challenge result
Loops are flexible
• Loop your loops
• Short-‐, medium-‐, and long-‐term
• Account for player mo9va9ons
• Individual and collec9ve
• Scale challenge difficul9es
• Results include rewards
• Vary results and rewards
Short-Term Loop: Killing the Prince
Discover the nature of the enemy
Who are these vampires kicking our asses? The
Prince’s Flunkies! Outrun or overcome.
Information, XP
Understanding Your Chronicle Practical Application
Medium-Term Loop: Killing the Prince
Find the Prince’s vulnerability
Catalog the Prince’s transgressions
Information, Leverage, XP
Understanding Your Chronicle Practical Application
Long-Term Loop: Killing the Prince
Settle the vendetta
Kill the Prince Vengeance, Reputation,
Opportunity, XP
Understanding Your Chronicle Practical Application
Nested Loops: Not Just for Programmers
Understanding Your Chronicle Practical Application
Any number of short-‐term loops
Any number of medium-‐ term loops
Any number of long-‐term loops
Rewards: When and What?
Understanding Your Chronicle Practical Application
• Vary reward triggers and frequency.
• Interval and ra9o
• Fixed and variable
• Vary rewards by mo9va9on (intrinsic & extrinsic).
• Vary rewards by progression type.
• An9cipate a great deal of narra9ve progression in a storytelling game.
• The humble Experience Point is a marvelous reward in almost every case.
• Find your troupe’s sweet spot.
Contact + References GO Further
Contact+ References
f facebook.com/jus0n.achilli
t @jachilli
www.jus0nachilli.com
PENS model: hdp://www.immersyve.com/ Csikszentmihalyi’s Theory of Flow: hdp://www.psychologytoday.com/ar9cles/199707/finding-‐flow Endogenous Rewards: hdp://chrishecker.com/Achievements_Considered_Harmful%3F Koster’s Theory of Fun (Learning as a Reward): hdp://www.theoryoffun.com/
thank you
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