Player experience and deceptive expectations of difficulty adaptation in digital games

Increasingly, digital games are including adaptive features that adjust the level of difficulty to match the skills of individual players. The intention is to improve and prolong the player experience by allowing the player to have the feeling of challenge without it being overwhelming and leading to repeated failure and frustration. Previous work has shown that player experience is indeed improved by such adaptations but also that the player experience can be improved by simply claiming such an adaptation is present even when it is not. It is therefore possible that claims about adaptations and the actual adaptations could interact and not lead to the intended outcomes for the players or worse disappoint players. This paper reports on two studies that were conducted to experimentally investigate the interaction between game adaptations and player information about adaptations on the player experience, specifically their sense of immersion in the game. For this, two games were developed using two different kinds of adaptations to adjust difficulty based on players’ performance in the game. Participants were provided with information about game adaptations independently of whether the adaptations were present. The results suggest that players felt more immersed in the game when told that the game adapts to them, regardless of whether the adaptation was present in the game or not. This effect was observed in both games despite their different adaptations and it remained prominent even during longer gaming sessions. These findings demonstrate that players’ knowledge of adaptations influences their experience independently of adaptations. In this particular context, the knowledge reinforced the experience of the adaptations. This suggests that, at least in some circumstances, developers do not need to be concerned about negative effects of telling players about in-game adaptations

Dynamic Difficulty: A Player Perspective

Video games are a major source of entertainment and is starting to be studied in detail. However, video games very so widely throughout the industry that it is difficult to see what makes games more popular. One of the most important aspects of video games is difficulty and it can drastically change the response the game gets. Through reading previous studies conducted on difficulty in video games a research question was formed: What do video game players want in games in terms of difficulty? A survey was created and conducted to peer into the preferences of gamers and their reasons for those preferences. The need for dynamic difficulty is highlighted and supported by the findings of the survey

Adaptation in Digital Games: The Effect of Challenge Adjustment on Player Performance and Experience

Good gaming experiences hinge on players being able to have a balance between challenge and skill. However, achieving that balance is challenging, so dynamic difficulty adjustment offers the opportunity to provide better gaming experiences through adapting the challenge in the game to suit an individual’s capabilities. The risk though is that in adapting the difficulty, players do not get a true sense of challenge, but rather some tailored, perhaps watered down experience. In this note, we report on a study, in which we used time manipulation as a method of simple adaptation in order to explore its effect on player experience (PX) and performance. Volunteers played a game in which the timer was adjusted based on their performance in the game, however they were not aware of the feature. The results showed that players in the experimental group found the game more immersive. This provides empirical support that dynamic difficulty adjustment could be used to improve the PX

Scaffolding Novices to Leverage Auditory Awareness Cues in First-Person Shooters

Today's digital games require the mastery of many different skills. This is accomplished through play itself -- sometimes experientially and other times by using explicit guidance provided by the game designer. Multiplayer games, due to their competitive nature, provide fewer opportunities for designers to guide players into mastering particular skills, and so players must learn and master skills experientially. However, when novices compete against better players -- as they would if they were new to the game -- they can feel overwhelmed by the skill differential. This may hinder the ability of novices to learn experientially, and more importantly, may lead to extended periods of unsatisfying play and missed social play opportunities as they struggle to improve in a competitive context. A game genre that suffers from this problem is the multiplayer first-person shooter (FPS), in which the skill difference between new players and experts who have reached a high level of expertise can be quite large. To succeed in a FPS, players must master a number of skills, the most obvious of which are navigating a complex 3D environment and targeting opponents. To target opponents in a 3D environment, you must also be able to locate them -- a skill known as "opponent location awareness". With the goal of helping novices learn the skill of opponent location awareness, we first conducted an experiment to determine how experts accomplish this important task in multiplayer FPS games. After determining that an understanding of audio cues -- and how to leverage them -- was critical, we designed and evaluated two systems for introducing this skill of locating opponents through audio cues -- an explicit stand-alone training system, and a modified game interface for embedded training. We found that both systems improved accuracy and confidence, but that the explicit training system led to more audio cues being recognized. Our work may help people of disparate skill be able to play together, by scaffolding novices to learn and use a strategy commonly employed by experts

Player Rating Systems for Balancing Human Computation Games : Testing the Effect of Bipartiteness

Human Computation Games (HCGs) aim to engage volunteers to solve information tasks, yet suffer from low sustained engagement themselves. One potential reason for this is limited difficulty balance, as tasks difficulty is unknown and they cannot be freely changed. In this paper, we introduce the use of player rating systems for selecting and sequencing tasks as an approach to difficulty balancing in HCGs and game genres facing similar challenges. We identify the bipartite structure of user-task graphs as a potential issue of our approach: users never directly match users, tasks never match tasks. We therefore test how well common rating systems predict outcomes in bipartite versus non-bipartite chess data sets and log data of the HCG Paradox. Results indicate that bipartiteness does not negatively impact prediction accuracy: common rating systems outperform baseline predictions in HCG data, supporting our approach’s viability. We outline limitations of our approach and future work

Player Balancing for FIrst-Person Shooter Games

When player skill levels differ widely in a competitive First-Person Shooter (FPS) game, enjoyment suffers: weaker players become frustrated and stronger players become less engaged. Player balancing techniques attempt to assist the weaker player and make games more competitive, but these techniques have limitations for deployment when skill levels vary substantially. In this thesis, we developed new player balancing schemes to deal with a range of FPS skill difference, and tested these techniques in a series of five studies using a commercial-quality FPS game developed with the UDK engine. Our results showed that our balancing techniques (Combo and Delay) are extremely effective at balancing, even for players with large skill differences. These techniques also led to higher enjoyment of the game by players of all skill levels. Our studies are the first to show that player balancing can work well in realistic FPS games, providing developers with a way to increase the audience for this popular genre. In addition, our results demonstrate the idea that successful balancing is as much about the way the technique is applied as it is about the specific manipulation