Learning curves: analysing pace and challenge in four successful puzzle games

The pace at which challenges are introduced in a game has long been identified as a key determinant of both the enjoyment and difficulty experienced by game players, and their ability to learn from game play. In order to understand how to best pace challenges in games, there is great value in analysing games already demonstrated as highly engaging. Play-through videos of four puzzle games (Portal, Portal 2 Co-operative mode, Braid and Lemmings), were observed and analysed using metrics derived from a behavioural psychology understanding of how people solve problems. Findings suggest that; 1) the main skills learned in each game are introduced separately, 2) through simple puzzles that require only basic performance of that skill, 3) the player has the opportunity to practice and integrate that skill with previously learned skills, and 4) puzzles increase in complexity until the next new skill is introduced. These data provide practical guidance for designers, support contemporary thinking on the design of learning structures in games, and suggest future directions for empirical research

Dirty footprints and degenerate archives: Tabitha Nikolai’s impure walking sims

Tabitha Nikolai’s Shrine Maidens of the Unseelie Court and Ineffable Glossolalia are impure specimens of the walking sim. While these are still first-person games that see players exploring eerily underpopulated environments and archiving textual fragments, they are at once more aesthetically reflexive and more refer-entially dense than many walking sims. Accommodating giant spiders, Weimar sexologists, messageboard trolls and quotations from Roman poetry, Nikolai’s unorthodox spins on the ‘archival adventure’ reflect her interest in queer and trans history and her commitment to interrogating discourses of purity, progress and redemption. Reviewing critical discussions of the walking sim alongside queer, trans and decolonial perspectives on archives, identity and subjectification, the article argues that while walking sims have often been praised for telling emotion-ally engaging stories, in Nikolai’s hands the form assumes different function: that of reckoning with history and exploring subjectivity