Homework 13

The first method of Indirect Control is Constraints, meaning cutting the players choices or freedom. This could be exemplified in either letting the player explore the map or leaving them to follow one set path throughout the game. If the player were left to rely on their own devices then the game would by nature become much more difficult and as the book describes it "open ended" since they cant predict how it will end where as taking away that freedom but giving them a set of options, a path, or missions, then they can predict what will happen as well as the game has a clear end. For example, if you look at the Sims, the original medium for playing Sims is the computer however in recent years they have developed portable versions of the Sims on handheld devices and phones and other consoles. This is great for marketing, however with the extension of mediums the game play has been severely changed. No longer can you customize the character down to the size of their ears and then set them loose to live their life how you chose to control them, you are given a handful of options and are then given a set amount of quests to then complete. This completely changes the integrity of the game being that its supposed to revolve around controlling these characters life's not completing quests and such. Concerning our game,  the constraints revolve around movement in the city. For instances, since the city is based off of Paris, the player must stay bound to navigating the quartiles which not only holds to the lack of free will but also makes the design easier on the team. Overall, Viral Shock doesn't have very many constraints in the works, due to the fact we want the player to believe they have free will so that the twist at the end will be more intense.

To tie in with the previously explained method, the second is Goals, meaning how the designer sets up the goals of the game can affect how much freedom the player will have. An example of this is whether the developer creates side roads, now these side roads may be explorable yet because of the goals of the game, the player will inevitably be unable to explore this because the goals lead them into a different direction. This is how developers can express indirect control and undermine some of the free will they have allowed the player to think they have. For our game, we are following the same example and creating side roads and dead ends that are easily able to explore but have no real reason for being there especially when the player will be guided to stay on the main road. This indirect control will allow us to still give off the vibe of free will and control but actually manipulate the player into where and what we want them to do.

The third method is Interface, meaning by creating the interface a certain way, the whole influence of the game can change. For instance in a game having a countdown will automatically change the players speed in the game whereas the countdown meter could simply just be a guidance and they are possibly missing other stuff due to concern over speed. For our game, this could is shown through our use of not only a visor interface but a stealth meter, we are automatically enforcing our idea of it being a futuristic distopia as well as that the game is stealth based. Because of these interface designs, other aspects such as run down allys or car will be avoided in a effort to not only reach their 'goals' and will also cause the player to not slow down and take their time.

For the fourth method, it is Visual Design. This basically means that how the character is shown, how the camera work, and other visual aspects can unintentionally change the game. To further this point we wouldn't expect a 90 year old character to be your character that's abut to scale walls and fight just as we would expect the camera to follow the main character and not focus on other things causing the game to be distant and confusing. For our game we have tried making the interface and the visual design as simplistic as possible and the player, hopefully, has no issues with the interface or how to play the game.

For the fifth method we have Characters. This shows control through,if done right, the players choices can be affected by their feelings for the character. This means that  if the developers can craft a game that makes the player feel so attached to a character, they can inadvertently control them since the player will want nothing to happen to their character. This is a very sneaky method of controlling but when done right can have the player doing whatever you want them to do. For the game, we are hoping to craft some characters that in the short time frame will be attachment worthy characters. These characters should provoke thought and should cause the player to care for them and influence how they play the game such as not wanting to get caught for fear of loosing their ability to play a certain character.

Finally for the last indirect control method, we have Music. The music choice we use in games can significantly effect how the game is played, such as picking fast music can make the player feel rush and speed through the level whereas slow music can cause suspense and tension. This technique is used by movies all the time and has proved a major success on exerting a last final bit of control over the game. For our game, we are going to rely on the slow, intense, and creepy music to set the feel of the game as well as cause the player to be more jumpy and susceptible to being easily scared.

Overall for our game, we will rely heavily on indirect control to avoid seeming too controlling about getting our point and premise across to the player. I believe that using methods such as music and scenery, that this will be the only way we can accomplish this.